PS 635 
 .Z9 S35 
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 COPYRIGHT 
 
 1917. 
 
 Polyglot Publishing Hou$e - 61 Centre Street, New York 
 
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 Personages : 
 
 VENUS 
 DIANA 
 
 PHYLLIS 
 
 PHILOMENE 
 
 RITA 
 
 RICHARD 
 
 GUSTAVB 
 
 Mr. JUDAS 
 
 BACCHUS 
 
 ADONIS 
 
 APOLLO 
 
 MERCURY 
 
 Mr. CLARY 
 
 OCTAVE RAN ILL A 
 
 THE BARONET 
 
 THE MARQUIS 
 
 WAITER 
 
 Nymphs, Gods, 
 Musicians, gypsies, 
 and general Chorus 
 
 Our Period 
 
 The scene of the First 
 
 Tableau is in Madrid, 
 
 That of the Second in 
 
 the Olympus; those of the 
 
 Third in the air; of 
 
 the Fourth in Monte 
 
 Carlo. Of the Fifth 
 
 in reality. 
 
 The right and left are that 
 of the actor. 
 
 This work is the property of JULES SCHMIDT, 
 and nobody can, without his authorization, either 
 reprint cr re- present it in Spain; or in any other 
 country having promulgated, or who shall in the 
 future promulgate international treaties of literary 
 property. The Author reserves the right of trans- 
 lation. The deposit required by law has been duly 
 made and the work has been filed in the Register 
 of literary property. 
 
 ©CI.D 46902 
 
 7v«>« / 
 
V V V V V V V V Y ~T ?~~? ? ? ? <T 
 
 the ii!iiiiiiP€SS 
 
 Words and Music by 
 
 Jules Schmidt 
 
 ppiiiyiiiiiii 
 
 >ri ^w \a vfc^# **» >ts* <*Sa> -» - -. t»«a 
 
 The scene, at the beginning, is hidden behind a 
 short curtain When it is raised, a lady appears on 
 the stage attired in pearl-color silken trousers, 
 She carries a court sword, has a fancy vest, a red 
 silk cloak and a wide-brimmed hat, of Charles the 
 Fourth's period. 
 
 A drink of champagne produced this dream 
 portraying effects of human vision 
 from which a Poet shaped the scene 
 to form a pleasant exhibition. 
 
 An ingenuous Miss worked out a scheme 
 to enhance the Poet's affection 
 By provoking a supernatural dream 
 to enlighten him in his selection. 
 
 (This tableau may be eliminated, according to the 
 judgment of Stage Manager.) 
 
MM -5 \W 
 
FIRST ACT 
 
 STAGING OF FIRST TABLEAU 
 
 TITLE: 
 
 "IN QUEST OF AN AFFAIR" 
 
 The stage represents the interior of a mansard,. 
 In the background, a balcony over the street. At 
 the right a garret-window through which the man- 
 sard is lighted. On the same side a desk; on this, 
 some papers, books, pens, and some newspapers, 
 A coffee service, a cane-seat chair and a waste 
 basket near it; on the left, a door with a peep- 
 hole, and above the door, at a certain height, a 
 "bell which rings through the pulling of a cord out- 
 side. In the center, with its back to the window, 
 is an easel holding a canvass on which is traced 
 the portrait of Mr. Judas (this portrait must bear 
 the absolute resemblance to the actor playing that 
 role). A folding stool, a box of colors, a pot with 
 brushes near the easel, a pallet. Scattered on the 
 stage, or hung on the walls are a few rough 
 sketches, among which the Venus of Milo and Dia- 
 na the Huntress. A few utensils such as are used by 
 painters and poets complete the tableau, that is to 
 say the furnishings of the Mansard-room indicate 
 that it is the abode of two artists as rich in illu- 
 sions as they are poor in what constitutes either 
 their wardrobe or furniture. It is day light. At the 
 rising of the curtain Gustave and Richard appear 
 on the stage Clothes out of fashion and shrunken 
 trousers, Richard giving the last strokes to the por- 
 trait of Mr. Judas and Gustave writing on sheet* 
 of paper, now and then tearing and throwing some 
 in the waste basket. 
 
No. I. MUSIC (according to parts) 
 
 GUST AVE 
 
 I fancy that beautiful look 
 a token of passionate love, 
 far brighter than stars from above 
 Why sadden my desperate love 
 like a page of a sorrowful book 
 my playmate of sunshiny days 
 my companion of out door plays 
 I crave for your wonderful look 
 far brighter than stars from above 
 that kindle the passions of love 
 
 My sweetheart Betsypol 
 My pretty brunette doll 
 I love to gaze at your cheeks of roses 
 
 Black eyes that haunt me so 
 My heart beats fast or slow 
 a world of Imppiness in store reposes; 
 (The music stops) 
 
 SPOKEN 
 
 GUST AVE — (Tearing another sheet of paper 
 which he throws in the basket) There goes the 
 third! And nothing! It makes me green! 
 
 RICHARD — (continuing to paint) If you want, I 
 can paint you of another shade. Don't miss the 
 chance! 
 
 GUSTAVE — Leave me in peace, old chum; there 
 are days when I cannot make even a miserable 
 song. 
 
 RICHARD — Yet, that bit you were singing a mo- 
 ment ago was very pretty. 
 
 GUSTAVE — It is magnificent. And that is just 
 what makes me half crazy. I have been cudgel- 
 ling my brain for the last three days trying to 
 find a suitable motive where I could introduce 
 these songs Henry has given me. 
 
 RICHARD — Henry? 
 
 GUSTAVE — Yes, Henry PeYez. my collaborator. 
 Just imagine! He has been requested to furnish 
 a work cf magic to the Eslava theatre; and the 
 lazy dog has given his songs to the music di- 
 rector who is already making the repetitions with 
 the actresses, while neither he nor I have so far 
 written a single scene. 
 
 RICHARD — Well, old man, if you have given 
 your word! 
 
 GUSTAVE — Worse yet! Henry has even received 
 an account. 
 
 RICHARD — By Jove! he has got nerve! 
 
•GUST AVE — Oh he has brass! (Taking again his 
 papers) It is impossible!.. Those verses rhyme 
 like hair in the soup! 
 
 RICHARD — Say! Why don't you start a review? 
 
 GUSTAVE — Not on my life! The public does not 
 dote on reviews. I. must make something origin- 
 al, very original. 
 
 RICHARD — You don't want much! My head la 
 swollen to bursting from knocking it searching 
 an original subject for a painting. 
 
 GUSTAVE — I believe it! — It is 1 p. m. now and 
 we have eaten nothing but the fourth of a small 
 loaf and we drank but a coffee yet. 
 
 RICHARD — That is to say we have our stomachs 
 in our heels. Ha, ha, ha, (he laughs) 
 
 GUSTAVE — I can't understand how you have the 
 courage to laugh. 
 
 RICHARD — (Rising) Try to have a little chat 
 with the neighbor opposite: it will refresh your 
 imagination. 
 
 GUSTAVE — With Miss Philomene? I did look 
 through the window a while ago; but she was 
 not on her balcony. They claim she is very rich. 
 
 RICHARD — So much the better! Try to make her 
 fall in love 
 
 GUSTAVE — - Really, now, do you think there is 
 a chance for me, by my attentions, to make an 
 impression?.. But what is the use? There is no 
 such luck for me! 
 
 RICHARD — Courage, Gustave! There is still some 
 reserve of gray matter in my brain! Follow my 
 example, and after all we have here the portrait 
 of Mr. Judas to prevent the landlord from break- 
 ing our heads; and we may yet have the great 
 good luck to obtain a three months extension of 
 our lease in this temple of Art. 
 
 GUSTAVE — Let us hope so! But this temple (he 
 points at his stomach) is not so easily restored. 
 
 RICHARD — Come here, look! look at my Judas; 
 you see: it is almost finished. 
 
 GUSTAVE — (Rising, goes to the easel) — Eh, 
 old boy, you are a great artist! One would swear 
 he is alive! 
 
 RICHARD — You said it: while I was painting hia 
 mouth, it seemed to say: "If you don't pay your 
 rent, I thrash you!" 
 
 GUSTAVE — It is sublime! It is monstrous! 
 
 RICHARD — Not at all, my friend. It is very easy. 
 
 GUSTAVE — It is beyond comprehension! To make 
 a portrait by heart! 
 
 RICHARD — (Rising) Oh! nothing surprising 
 about that! A character that we find at every 
 turn, even in the soup... when we have some! A 
 man who, for a miserly three months'rent has 
 
8 
 
 dogged cur very steps! I do know hiin by heart! 
 (The bell rings), 
 
 GUST AVE — ■ Get ready! We have him on our 
 shoulders now! (He walks back and forth, un- 
 certain as to what to do, sit down or hide away. 
 
 RICHARD — When you speak of the wolf, you 
 see his tail... (He acts in the same manner aa 
 Gustave. — (Looks through the peep-hole). 
 
 RICHARD — (whispers) Is it really the landlord? 
 
 GUSTAVE — In flesh and bones! 
 
 RICHARD — Ouch! What a shock, old chum! (the 
 bell rings again). 
 
 GUSTAVE — And to-day he sports a stick as big 
 as Hercules' club. 
 
 RICHARD — (as if seeking a supreme resource, 
 meditates, then taps his forehead and says to 
 Gustave: I have it!.... Answer, but don't open! 
 
 Mr, JUDAS — (from outside) Open, Mr. the daub- 
 maker. (Rings the bell a third time). 
 
 GUSTAVE — I'm coming. 
 
 RICHARD — (Takes up the pallet and the brushes 
 nervously, goes to the peep-hole, looks, then 
 runs to his portrait giving vertiginous strokes 
 with his brushes. Repeats the performance 
 several times. 
 
 Mr. JUDAS — Eh! there! Are you trying to make a 
 fool of me? Open, open, you, manufacturers cf 
 blind men's placards. 
 
 GUSTAVE — I'm coming! 
 
 Mr. JUDAS — Rascals! Rogues! wretches! 
 
 GUSTAVE — I'm coming, I tell you! (To Richard) 
 You go! (Aloud) Go! (Aside) What a shower 
 of blows we're going to get! 
 
 RICHARD — (Very loud) We are getting dressed) 
 
 Mr. JUDAS — (Outside) If you don't open quick, 
 I am going to undress you, wait!... 
 (The bell rings a fourth time, jerking much 
 more energically. 
 
 RICHARD — (Shouting) Wait a while; we are 
 nearly through! (Aside) My word! he is going 
 to break that bell! 
 
 GUSTAVE — Oh that would not be much; but he 
 is coming to throw us out! 
 
 RICHARD — Well, it is finished! Thank God! (To 
 Gustavo) Go and hide! (They open the door 
 with great caution, and remain hidden behind it. 
 
SECOND SCENE 
 
 The same and Mr. Judas. 
 
 Mr. JUDAS — (Enters, a stick in one hand and a 
 bottle of champagne in the other). We must 
 make an end of this. (He reaches to the center 
 of the stage. Richard and Gustave get out hur- 
 riedly, closing the door softly behind them: Mr. 
 Judas, furious, is trying to find them). If you make 
 me wait any longer, I burst that door, (A pause), 
 Where in the deuce are those rascals hiding? (He 
 looks everywhere all the while talking as if to 
 them) Are you making fun of me? Look here! it 
 will end badly, (keeps up hunting up on the stage 
 until his eyes rest on the portrait. Fear, surprise, 
 wonder are read on his countenance as he is won- 
 dering whether or not he sees his own physionomy 
 in a mirror. His expression softens and he says with 
 calm: By Jove! that individual here, it is me! Well 
 well! (Gustave and Richard look cautiously throu' 
 the door) 
 
 GUSTAVE — What is he doing? 
 RICHARD — Sh....sh.... It seems to me that the 
 trick has worked out all right. (He enters with 
 Gustave and they walk until they stand behind 
 Mr. Judas.) 
 Mr. JUDAS — (Talking to himself) That little 
 devil! (Unconscious that they are listening) But 
 how in the world could he have copied me 10 
 faithfully? 
 GUSTAVE — Isn't it wonderful, really? 
 Mr. JUDAS — (recovering from his surprise) Eh? 
 (He looks at them bewildered, hesitating be- 
 tween the impulse to scold them and the desire 
 to flatter them). I was not expecting that. 
 RICHARD — And I was not expecting you either. 
 Mr. JUDAS — Let us shake hands, my young 
 friend; You have touched the most responsive 
 chord in my system. "Why?'', you may ask 
 Well, because you have succeeded in doing what 
 neither photographers or artists ever could do... 
 I am 46 years old and... 
 GUSTAVE — (Aside) Adding to it the nursing 
 
 months... 
 Mr. JUDAS — ...I never had before a portrait to 
 satisfy me; but this one really flatters my vani- 
 ty.... It looks so real, just as if I were talking. 
 RICHARD — Yet there is something lacking. 
 Mr. JUDAS — What? 
 RICHARD — The receipt for the rent. 
 Mr. JUDAS. — One or all? 
 
10 
 
 RICHARD — That depends on your generosity. 
 
 Mr. JUDAS — Well, all right! I imagine that this 
 masterpiece was not made to be raffled amonc 
 the tenants? 
 
 RICHARD — (Aside) Good business. (Aloud) Oh,, 
 my! no! 
 
 GUSTAVE — Well, you see, as we could not find 
 the way to pay you... 
 
 RICHARD — And as to-day is exactly your birth- 
 day... 
 
 Mr. JUDAS — (Aside) Poor devil! (Aloud) I see.. 
 I understand. I guessed the fine intention; and 
 now you will see how the landlord you were so 
 afraid of can act. (He places the bottle on the 
 table and draws from his pocket three receipts 
 which he gives to Richard) Here are the three 
 receipts and also these (giving him some bank- 
 notes) five dollars to drink my health. 
 
 GUSTAVE — Mr. Judas, you are the very best of 
 all landlords! the most truly socialist on earth! 
 
 RICHARD — Most likely the only one! 
 
 Mr. JUDAS — All right, young men; all right; but 
 don't let the other tenants know anything of 
 this; otherwise my ruin is certain. I cannot re- 
 main longer; but later I shall send for the por- 
 trait, What a surprise it will be for my wife! 
 She also is dabbling in colors, and believes to 
 understand art; but the poor old soul has not 
 the hand very sure. It is at times quite amusing 
 to me. Yesterday, she tried to paint a study of 
 Alcala Street at the exit from the bull-fight; and 
 do you know what it looked like? 
 
 RICHARD — No. What? 
 
 GUST ATE — How could I guess? 
 
 Mr. JUDAS — Like the earthquake of Messina. 
 
 RICH. & GUST, (laughing) Ha, ha, ha! 
 
 Mr. JUDAS — Well, I must be going 
 
 RICHARD — A thousand thanks and a good, hap- 
 py birthday! 
 
 GUSTAVE (Opens the door politely, making a deep 
 courtesy) Make way for the illustrous Mecene. 
 
 Mr. JUDAS — Don't disturb yourselves, gentlemen 
 Good bye. 
 
 GUSTAVE — (Closes the door) Richard, let me 
 kiss you (does it) You are a wonder. 
 
 RICHARD — Didn't I tell you? You see, five dol- 
 lars and the rent paid. 
 
 GUSTAVE — (Looking at the bottle of champagne 
 that Mr. Judas left on the table) Where did that 
 come from? ■ . . , 
 
 RICHARD — A bottle of champagne (Takes ft). 
 
 GUSTAVE — To-day is certainly our lucky dayf 
 Bring it here! 
 
I [ 
 
 RICHARD — Wait, it belongs most likely to Mr. 
 
 Judas. 
 GUST AVE — Then he may as well reckon without 
 
 it now. Long live the landlord! (They uncork 
 
 the bottle and begin drinking with avidity) We 
 
 must empty it before he returns for it. 
 RICHARD — Eh, there! Don't you know that 
 
 champagne harms you when your stomach is 
 
 empty? Bring it here. (He drinks). 
 GUSTAVE — What delicious warmth I feel in m? 
 
 stomach! Long live Mr. Judas! 
 RICHARD — Hurrah! (The bell rings). 
 GUSTAVE — Who is it? (Gets nearer the door and 
 
 looks). Yes, it is Rita. Long live the janitor's 
 
 daughter! 
 
 SCENE II. 
 THE SAME AND RITA 
 
 RICHARD — Hurrah! and long live Mr. Judas r 
 
 RICH. & GUST. — Hurrah! 
 
 RITA — (Enters) What is the matter? Why all 
 this racket? Are you tipsy? 
 
 GUSTAVE — Tipsy? (He puts the bottle to her 
 lips) Drink! 
 
 RITA — (Drinks a mouthful and spits it out in 
 disgust ). I am sure I saw this bottle a moment 
 ago when Miss Philomena gave it to Mr. Judas, 
 They were just speaking about you when I pass- 
 ed her door. 
 
 GUSTAVE — That is why we are now drinking 
 the health of the charming Miss Philomena. 
 
 RITA — Oh la la... what a fine load you have, 
 both of you! 
 
 RICHARD — May be we have. (He dances with 
 Gustave). 
 
 RITA — Well, well! I declare! Can we tind out 
 the reason for all this racket? 
 
 RICHARD — Certainly! It's because Mr. Judas 
 after giving us the receipts for three months' 
 back rent, has given us five dollars to boot, and 
 forgot that bottle of champagne, we are drinking. 
 
 RITA — A miracle, sure enough! What story are 
 you trying to tell me, anyway? 
 
 GUSTAVE — It is just as he says. 
 
 RITA — Then tell it to somebody else, because I 
 know better than to believe in Mr # Judas' lapses 
 of memory or in that wine jumbling. 
 
 RICHARD — Really? Come here, then. (He takes 
 her by the arm and shows her the portrait). 
 
KIT A (Makes the sign of the cross, is bewildered) 
 
 — What foolishness is this? 
 
 RICHARD — What do you think of it? 
 
 RITA — Mercy! what schemes you concoct to avoid 
 
 working!.... 
 GUS. & RICH. — (Laughing) Ha, ha, ha. 
 RITA — Well, I came to take the coffee service. 
 
 (She takes it) 
 RICHARD — Ail right. When you take it down, 
 
 please tell them to send us up two dinners at 
 
 one dollar per cover. Take this to pay. (Gives 
 
 her the banknote). 
 GUSTAVE — Wouldn't it be better to go to the 
 
 "Petit Fourneau"? 
 RICHARD — I don 't intend to go out on the street 
 
 in tights during the day. (Points at his trousers) 
 
 This evening we shall go out. 
 GUSTAVE — It is settled, then. The champagne 
 
 seems to go to my head. 
 RICHARD ■ — Naturally, with an empty stomach! 
 RITA — Well, I must be going. (Moves) 
 GUSTAVE — Go; but do the same as the swallows 
 
 — return soon! 
 -RICHARD — Say, go easy with that stuff: there is 
 
 but very little of it left. 
 GUSTAVE — Oh, come on! Let us finish it. (They 
 
 drink until the bottle is empty) # 
 RICHARD — (staggers, and falls 'on the folding 
 
 bed) My devotion to turpentine and champagne 
 
 is such that it upsets me. 
 GUSTAVE — Eh, my dear boy, are you drunk? 
 
 fHe a 7 so staggers). 
 RICHARD — Nearly as much as you are. (Looks 
 
 at the portrait) Mr. Judas is winking at us... 
 •GUSTAVE — That's so. He seems to say: ''The 
 
 miserables! They didn't leave me a single drop!'' 
 
 (He goes tottering to the table and sits down) 
 
 There is no denying it: champagne is the king 
 
 •of wines; it gives inspiration. (Pause) (Thinks 
 
 a moment) Eureka! 
 RICHARD — What is the big find? 
 GUSTAVE — I have a title. 
 RICHARD — Baronet or marquis? 
 GUSTAVE — A title for my work. 
 RICHARD — And what is it? 
 GUSTAVE — Diana the Huntress, 
 RICHARD — Are you actually going to make pro- 
 fit out of my portrait? Then, you know, my dear 
 
 fellow, it will be fifty-fifty, 
 GUSTAVE — All that I need now is the Muse who 
 
 inspires my thoughts to come to my help. (His 
 
 head drops on the table again and he sleeps) 
 
«3 
 
 RICHARD — (describes a few zigzags; then falls 
 to the floor) That is it.... let the Muse come.... 
 bring the Muse to me... bring the mass... I say, 
 the Muse.... (He remains asleep). 
 
 SCENE IV. 
 
 THE SAME and PHYLLIS in fancy costume and a 
 
 symbolic wand. She goes out by the rear of ths 
 
 stage, behind Diana's statue. 
 
 No. (bis) MUSIC (According to parts. >> 
 
 During the whole scene, the music is on the work's 
 motive. Chord in confuse, rumbling tone 
 
 PHYLLIS — (Reaches where Custave lies and she 
 
 wakes him) Gustave, wake up. 
 GUSTAYE — (awakening) Eh? What is it? (H* 
 
 remains very surprised to see her.) 
 PHYLLIS — I am Phyllis, your protecting Muse, 
 
 coming in all haste to do your bidding. Speak I 
 
 What is your desire? 
 GUSTAYE — A suitable argument for seven songs 
 
 that drive me crazy. 
 PHYLLIS — Then follow me and you shall fiiu"r 
 
 what you desire. 
 GUSTAYE — And where am I going thus fasting? 
 PHYLLIS — To the Olympus, to the Parnassus. 
 GUSTAYE — Really? Do you hear, Richard? I 
 
 have already what I was lacking. But what arc? 
 
 you doing? Are you asleep (He shakes him to 
 
 wake him up). I am going to the Olympus' 
 
 Wake up! 
 RICHARD — (Rises. Dreams aloud) What are you, 
 
 saying, my friend? 
 GUSTAYE — That Phyllis, my muse, is here. Thar 
 
 the Muse is already here. 
 RICHARD — (half as'eep) What do you say? That 
 
 the mass is over? let us go, let us go to break- 
 fast! 
 PHYLLIS — Wake up, because I came to seek 
 
 thee also. 
 RICHARD — (Arises and remains dumbfounded > 
 
 By Jove! What is this pretty lady doing here? 
 PHYLLIS — I am your Muse. 
 RICHARD — One Muse for both of us? 
 PHYLLIS — Thou needest also a subject for * 
 
 painting to give thee a place amongst the great 
 
 masters. 
 
RICHARD — Certainly; but?.... 
 PHYLLIS — Obey and follow me. 
 RICHARD — Where are we going? 
 PHYLLIS — To the Olympus r 
 
 RICHARD — We follow, even shoulds't thou lead 
 us to hades. 
 
 SECOND TABLEAU 
 
 SCENERY 
 
 AUREOLA 
 
 Everything, background of stage, clouds, pedestals, 
 ^capitals, etc., according to taste of the stage de- 
 corator. When the curtain rises, all the personages 
 appear, except Phyllis, Gustave and Richard. All 
 together they form a plastic group, while each 
 personage retains the classic pose attributed to 
 them in famous masterpieces. That is to say: Bac- 
 chtts on a barrel, in tights, with a red cloak, the 
 head crowned with grapeleaves and bunches of 
 grapes. In his right hand a bottle of champagne 
 and in his left hand a drinking cup. To his right, 
 'Venus, with her arms crossed behind her back. 
 Grecian hairdress and cloak. (A few cupids around 
 her, these with bow and arrows, aiming at Adonis, 
 who shall be at the right of Venus.) At the left of 
 Bacchus, Diana who shall be represented releasing 
 her dogs; at her left, Apollo with his fiddle and his 
 goat skin. Mercury with his winged helmet on his 
 head, stretched on the soil, below Bacchus The 
 tableau is completed with the Chorus, at selection. 
 .oi the stage manager. 
 
 | No. 2 MUSIC (according to parts) 
 
 Venus comes to th.e front to sing: 
 
 CHOIR 
 
 Mid summer's light and shady trees 
 fill all my thoughts with fairy dreams 
 Grecian scenes pervade my spirit 
 with great delight. 
 
 VENUS 
 
 Mid summer's night 
 with fauns and nymphs 
 through the moonbright woods 
 in homeward flight 
 Visions of the graceful maids 
 
i5 
 
 and suitors merry prattle 
 "moving in majestic moods 
 like eolian brides 
 I love to dream of ancient thi 
 sad tales of love of queens and kings 
 When I awoke I longed for you 
 you must love me I cherish you. 
 In winter sad birds fly away 
 to come again some springtime day- 
 wabbling songs of praise and beauty 
 with bounds of joy. 
 
 CHOIR 
 
 Nature revives 
 
 hills and fields are clad 
 
 anew with bands 
 
 of flowers and green. 
 
 VENUS 
 
 Nature proclaims eternal peace 
 on earth 'tis but a dream. 
 Apollo plays his magic flute 
 to the wondrous scene 
 The golden age has long gone by 
 Adonis weeps my parting sigh. 
 When I awoke I cherished you 
 you must love me as I love you. 
 Music No. 2 B. — Bacchanal trance of Faims and 
 Nymphs. 
 
 CONVERSATION 
 
 The same and Phyllis who enters from the right. 
 PHYLLIS — Hail! Gods of the Olympus! Hail! 
 BACCHUS — Welcome among us. Phyllis! What 
 
 is thy desire? 
 PHYLLIS — Two men of genius, two artists who 
 
 are as yet unknown, have pretentions to enter 
 
 the Olympus. 
 BACCHUS — What do they desire? 
 PHYLLIS — That you take them under your aegis 
 
 They are my protegees and I desire that you 
 
 grant them the favor they seek. 
 BACCHUS — Let them come! 
 PHYLLIS — (Calling at the door through which 
 
 she came) Come in! (Richard and Gustave come 
 RICHARD — Hail, Immortal Gods! Hail and 
 
 greetings! (He bows). 
 GUSTAVE — My Boy! How many beauties! 
 PHYLLIS — You are in the Olympus. Those are 
 *the Gods of the Mythology, so often quoted by 
 
 sculptors, poets and artists. See what a differ- 
 
i6 
 
 ence. You (to Richard) you have now a good 
 chance to study them thoroughly and copy them 
 with all their perfections; and, when you shall 
 return on earth, you will be able to refute the 
 false conceptions of the inhabitants of the world 
 Here is Bacchus, the God of the drunkards; 
 there, Diana, goddess of the hunters; here, Ve- 
 nus, goddess of beauty. There, stretched on the 
 ground, is Mercury, god of commerce; this one 
 is Adonis; this other is Apollo. 
 
 GUST AVE — (Interrupting) And Comedy? 
 
 RICHARD — She was burned, don't you remember? 
 
 GUSTAVE — What are you talking about! What I 
 ask is about MY comedy, a subject for it, be- 
 cause I don't find anything for the purpose here. 
 You have of course, some fine subjects for your 
 paintings; you can make, beautifully, from the 
 original, the portrait of Apollo, of Bacchus... but 
 as for me.... 
 
 PHYLLIS — Be patient, for you shall find what 
 you are looking for < Well, now, I am going; I 
 leave you here; when you shall need me, you 
 will find me at your side. (She goes) 
 
 SCENE II. 
 The same, except Phyllis 
 
 RICHARD — O Gods! You cannot imagine the 
 honor we feel in this moment for having been re- 
 ceived thus, without the least objection. In return, 
 you cannot complain of the honor given you everj 7 - 
 where by our brothers, the inhabitants of earth. 
 On our planet, you are represented in every place 
 by statues, paintings and monuments; the most 
 gallant of our poets have dedicated to you verses. 
 ballads, and sonnets which have immortalized their 
 names. Thou (to Bacchus) thou art one of the gods 
 who count the most devotees. Velasquez, the fa- 
 mous painter, made thee a tableau; and for this 
 bronze statues have been erected in his honor. 
 Without thee, genius does not shine; without thee 
 joy is impossible. Thou art, O great drunkard, the 
 inspirator who gives to the most timid a flow of 
 eloquence. When devoted to thy cult, the poet 
 finds inspiration, the painter attains glory. .. 
 
 GUSTAVE — (Aside) ..Or the cooler 
 
 RICHARD — O great and phenomenal drunk- 
 ard, protect us! 
 
 BACCHUS — (Comes down from his barrel) I 
 have heard your eloquent little speech with great 
 pleasure. You can't deny that you are a Yankee. 
 
17 
 
 Thanks for the hymn of praises you sang in my 
 honor and you can depend on my protection and 
 that of my colleagues of the Olympus. You were 
 seeking on earth the subjects for your works, hop- 
 ing therewith to gain fame; and Phyllis, my friend, 
 brought you here in the hope you would find the 
 magic stone. Phyllis does not know that we are al- 
 most like you. The smallest inconvenient disturbs 
 us, and we make terrible rackets. Here, now is 
 Diana who wants to leave us; she is in revolt and 
 wants to forsake the Olympus. 
 
 GUSTAVE — Oh!... Then it is you, Diana? 
 
 DIANA — In person. Do I please you? (She 
 leans coquettishly on Gustave). 
 
 GUSTAVE — (Takes her hands in his) I should 
 say! My word! That is SOME Diana! 
 
 BACCHUS — What are you doing, miserable?! 
 Here, you are permitted only to see and to hear. 
 
 GUSTAVE — Then we cannot touch? 
 
 Bx^CCHUS — No! and Diana especially! We have 
 had many disputes on that very point. Diana, by 
 nature, is voluptuous; only a short time ago, she 
 fell in love with Adonis. Venus, in a jealous rage, 
 grabbed her hair, and you cannot imagine the time 
 we had to put them apart. Both came out of the 
 fight rather damaged and battered; and it is only 
 thanks to Mercury that the matter did not end 
 more tragically. 
 
 RICHARD — I see! It is perhaps in that battle 
 that Venus lost her arms. 
 
 VENUS — (Coming near to Richard) That, my 
 boy, it is a greek story. 
 
 BACCHUS — Venus has lost nothing. Adonla, 
 though, has shot his bolt 
 
 GUSTAVE — His... what? (Those of the chorus 
 take their positions to form a half-circle.) 
 
 RICHARD — His bolt. 
 
 GUSTAVE (To Diana) So that this little heart... 
 
 DIANA — Is sighing for love. 
 
 GUSTAVE — Have you never, in your hunting 
 adventures, caught any handsome boy or audacious 
 hunter who aimed his darts at your beauty? 
 
 DIANA — None ever touched me. 
 
 GUSTAVE — Probably because their aim was 
 poor 
 
 RICHARD (To Venus) In the world your beauty 
 reigns, and you, its goddess, would be welcomed 
 with enthusiasm. From the most powerful poten- 
 tate to the most abject of mortals, all would be 
 your willing slaves. 
 
 VENUS — Why don't you take me with you? 
 
 RICHARD — With this dress?.. My dear, you 
 don 't know what you are saying. 
 
 BACCHUS — (Aside and watching Richard and 
 
i3 
 
 Gustave) These fellows are planning some trick. 
 
 It will be a miracle if what I think does not occur. 
 
 GUSTAVE You really want to leave the Olympus? 
 
 DIANA — Yes, take me with you in the world. 
 
 GUSTAVE — You will have to get modernized. 
 
 DIANA — All right; I will do so 
 
 VENUS — What is it you call modern? 
 
 GUSTAVE — * Modernism? Weil? all things that 
 are the latest: socialism, free love... Listen. (This 
 last word is omitted if No. 3 is not sung). 
 
 No. 3 MUSIC (according to parts) 
 
 GUSTAVE 
 
 There's quite a progress of feminism 
 
 in which they're making enormous display 
 
 and it's true they're well to do 
 
 striving hard to make their rights prevail. 
 
 Many are leaving husband and family 
 
 to fight the laws and attain public note 
 
 haughtily imposing their dilemma 
 
 pretending to be free from tutorship 
 
 Give them a hearing before repealing 
 
 to organize human things as they wish 
 
 then you'll see our ladies vote 
 
 for control of equal rights for both, 
 
 Delightful joys of emancipation 
 
 happy the one who receives their caress 
 
 home sweet home may bring then to confession 
 
 'tis preferable to reign a family throne. 
 
 May we propose to take a trip 
 
 and fly direct to Monaco 
 
 A world's resort for modern sport 
 
 Where fashion reigns in pleasure dreams 
 
 We '11 take that in to make the best of life. 
 
 CONVERSATION 
 
 GUSTAVE — (To Richard) What are we going 
 to do with these masterpieces? 
 
 RICHARD — We shall put them in exhibition, 
 old boy. Varieties are the rage of the hour. We 
 will make a fortune. 
 
 GUSTAVE — And my subject? 
 
 RICHARD — What other subject do you want 
 but that of being rich? 
 
 GUSTAVE — You are right. (To Diana) Can 
 you sing? 
 
 DIANA — Like the birds in the forest. You will 
 hear. 
 
"9 
 
 GUSTAVE — What are ycu going to sing me? 
 DIANA — The ballad of the huntsman. 
 
 No. 4 MUSIC (According to parts) 
 
 DIANA 
 
 Heavens bright, Sunny skies and country 
 with surrounding woods and foliage 
 at the hillsides in the distance 
 cast in scenery full of charm. 
 The men while hunting game 
 make good lovers all the same 
 explore the woods to find us 
 by some hidden country lane. 
 They go hunting as it were 
 for the sake recreation, 
 when they miss a passing hare 
 'tis sure to make a great sensation, 
 Down the valley come the gamesters 
 riding swiftly to the forest 
 with the hounds and trumpets sounding 
 in pursuit of stag surrounding. 
 Take aim and fire, bang! they've shot it! 
 a young deer the hounds have got it 
 whether partridge hare or rabbit 
 'tis a prize the hunters covet. 
 
 GUSTAVE 
 
 The Goddess of the woods approaches 
 a figure full of charm and beauty 
 come here my friends and fill your pouches 
 with the game and bring the trophy. 
 
 DIANA 
 
 Let us feast in yonder plain 
 rejoicing to our hearts content 
 and spend the day in lovers lane 
 at my retreat in merriment. 
 
 CONVERSATION 
 
 RICHARD — Fine piece, worthy of an artist. 
 
 GUSTAVE — Fine! But, silence! and let us re- 
 turn to the world! You will create a revolution. 
 You, Venus, with your charms and Diana with her 
 sonnets and ballads, we shall be masters of the 
 universe. 
 
 ADONIS — (In a languorous, effiminate voice) 
 Tell me, mortal; do you think I would succeed too, 
 in the world? 
 
20 
 
 RICHARD — You certainly would, you darling! 
 
 MERCURY — And I? 
 
 GUSTAVE — You? We will need you immensely. 
 (He offers his arm to Diana.) Lean on my arm, 
 my dove. 
 
 RICHARD — Let us leave him now, (He takes 
 Venus and Mercury by the arm). 
 
 DIANA — Let us go! (Richard, Venus, Mercury, 
 Diana, Adonis and Gustave walk away. The others 
 shout, protesting loudly.) 
 
 BACCHUS — Eh! there! where are you going? 
 We don't go out of here! 
 
 GUSTAVE — (Pushing back Bacchus) Get out 
 of the way, you, drunken cur! 
 
 BACCHUS — Gods! We are robbed... 
 
 APOLLO — Be quiet, my friends! These two 
 miserables don't know what they are doing. They 
 won't be long in getting their punishment. They 
 are taking away the two worse goddesses of the 
 Olympus. From now on we shall have peace. 
 
 BACCHUS — But I won't allow.... 
 
 VOICES — Neither will I! Let us run after them. 
 
 3rd TABLEAU 
 
 SCENERY 
 
 A short curtain of clouds while the No. 5 is played. 
 Intermezzo, an aeroplane appears on the right, and 
 in it are painted Venus, Diana, Gustave and Ri- 
 chard. The aeroplane crosses the stage. 
 
It 
 
 SECOND ACT 
 
 FIRST TABLEAU 
 
 SCENERY 
 
 The stage represents a terrace facing a great 
 hotel, near the Casino at Monte Carlo. Here and 
 there, on the stage are tables with clothes spread. 
 When the curtain rises two or three chorus ladies 
 elegantly gowned, appear at the tables with two or 
 three gentlemen in frock or Prince Albert. Seated 
 at a table, on the right, is Mr. Clary, reading news- 
 papers. GUSTAVE et RICHARD come on the stage 
 from the right. On the left is a reception and danse 
 hall (diagonally placed) with views on the ter- 
 race, facing a small stage where gypsies are play- 
 ing. From the left PHILOMENE and RITA make 
 their entrance and sit in said reception room on 
 rocking-chairs or sofas. From the opposite side, 
 GUSTAVE and RICHARD go to meet them. 
 
 CONVERSATION 
 
 GUSTAVE (To Philomene) What a fortunate 
 meeting! (They appear to speak together) 
 
 RICHARD (To Rita) What a surprise! You at 
 Monte Carlo?! 
 
 MUSIC (The waltz no. 5 A begins.) 
 
 RITA — Yes, Miss Philomene has invited me 
 to accompany her when she decided to come here. 
 
 RICHARD — (To Rita) Don't you dance? 
 
 (As indicated by the prompter) 
 
 RITA 
 
 I cherish the country 
 
 when flowers grow wild 
 
 I fancy a spirited horse when I ride 
 
 through the park in the morning breeze, 
 
 GUSTAVE — (To Philomene) And you, don't 
 you love to dance? 
 PHILOMENE — If it pleases you.. (They dance) 
 
 PHILOMENE 
 
 A life with pleasant moments 
 A secret to impart 
 
 brings comfort to a maiden's heart 
 
 A sigh will make companions 
 
 A smile will cure a soul 
 
 A winning heart may covet both. 
 
22 
 
 SPECIALS 
 DUET: GUST AVE and F1L0MENE 
 
 Wearied and lonesome I wandered 
 Searching the valiies for you 
 Cheerless at times I would wonder 
 If we ever should meet anew. 
 
 Come to the valiies of Egypt 
 To live the romances of old 
 I will adore you like Eva 
 And love you for ever tenfold 
 
 Come to the garden of Eden 
 Where the stars shine brightest above 
 Among the wonders of nature 
 And dwell at the fountain of love 
 
 Come to the temple of Vestas 
 To write on its Altars of gold 
 Another page sweet and tender 
 Of a tale ten thousand years old, 
 
 Return to me sweet love 
 In godly splendour 
 My heart and soul to you 
 Gladly surrender. 
 
 Be my armshield 
 Be my shelter 
 Be welcome sweet 
 Return. . 
 
 DUET: RICHARD and RITA 
 
 The cap I dreamt he used to wear 
 In feathers bound with trim and lace 
 Beneath its rim his locks of hair 
 Where shading added whim and grace 
 His chastened smile so true and fair 
 His faultless nose and winning: face 
 In oval eyes so pretty where 
 Love's shadow found a resting place. 
 His build and bearing, soul of race 
 A cheerful heart which brings delight 
 His stateliness and manly grace 
 A feathered knight, a marvel quite. 
 
 He danced with me in love's embrace 
 His eyes in mine loomed bold and bright 
 While music whispered sweet lovelace 
 He loved me to my heart's delight. 
 
 RICHARD — What do you think of this, younfe 
 ladies? 
 
 GUSTAVE — Thai's the life! Here, one can 
 breathe. Look! What luxury! 
 
 PHILOMENE — What I am noticing is, that all 
 the waiters are bald. 
 
23 
 
 RITA — 'Tis true. Tlieso french people really do 
 know how to do things: the fastidious will not 
 find hair in the soup here. 
 
 RICHARD — Have you noticed how well Venus 
 has performed this afternoon, during the repetition 
 of the number you wrote for her debut? 
 
 GUSTAVE — I would be greatly pleased indeed 
 if it should prove a big success and establish my 
 reputation, 
 
 RICHARD — And as yo^u don't know what to 
 do with your songs, you scatter them everywhere. 
 
 GUSTAVE — Exactly; I have only now the end 
 of my comedy. 
 
 RICHARD — (He calls the waiter clapping his 
 hands twice.) Do you know that, with all these 
 emotions, I am as hungry as a wolf. 
 
 GUSTAVE — I have good appetite, too. 
 
 RITA — The sport is my delight! 
 
 RICHARD — You told me so when we were 
 dancing. 
 
 PHILOMENE — For my part, I love poetry, art 
 and music! 
 
 GUSTAVE — And I love all that which the hu- 
 man imagination has created of beautiful. I love 
 Greece for the purety of the lines and for poetry; 
 Egypt, for the faint, far-aw3y remembrances of the 
 pagan legend and the cradle of religions; India, 
 for the mystic, essence of life that the soul con- 
 tains, mysteriously agitating the mind to make us 
 feel pleasure, admiration, unfathomable desires, il- 
 lusions and love. 
 
 PHILOMENE — It is a desire of that kind I am 
 having now; it is the star that guides my hopes. 
 
 GUSTAVE — And what guides me is a star of 
 infinite magnitude. 
 
 RICHARD — It is perhaps the star that once 
 guided the Wise Men employing now its time in 
 Leading toward pure love. Don't let your stars col- 
 lide, with us underneath at the time of the explo- 
 sion... your bethrotal would be off... 
 
 WAITER — Que voulez-vous? Vouat dou you 
 leik? Che cosa volete? Quio vi deciras? 
 
 RICHARD — Well, old boy! It is wonderful! the 
 waiters speak four languages.., 
 
 GUSTAVE — Yes, except Spanish... Everybody 
 has forgotten it. 
 
 WAITER — I speak it, too. What do you desire? 
 
 RICHARD — The list, the menu. 
 
 WAITER — (Makes a deep bow, remaining in 
 that position) Here it Is! 
 
 RICHARD — He takes us for two Russian prin- 
 ces. Eh? my friend (Aside) Even with all his lan- 
 guages, this fellow did not understand me. (Aloud) 
 The bill of fare, la lista de la comida. 
 
24 
 
 WAITER — Points with his finger to his ivory 
 dome.) Here it is. 
 
 RICHARD — Keep still... it is true. (Looks 
 fixedly) What a funny idea! 
 
 GUSTAVE — Original assuredly. 
 
 WAITER — And hygienic besides. 
 
 RICHARD — My friend, don't bend, I pray you; 
 it gives me a pain to see you in that posture. 
 
 WAITER — Oh, I am used to it. 
 
 RICHARD — All right, then! (He takes his 
 head and reads.) Menu: Consomme\ fish a la Ge- 
 noese, partridges; Desserts, melon. Wines, etc 
 (without reading) What do you think of it? (The 
 waiter goes.) 
 
 GUSTAVE — The bill of fare suits me. I won- 
 der if he will forget some course? 
 
 RICHARD — How could he forget anything, 
 when he has it all in his head? (The sound of a 
 tam-tam is heard and Clary appears on the scene. 
 
 CLARY — Finally, we begin the programme; 
 it has good appearance. Gentlemen, the represen- 
 tation is about to begin. First part: Venus' debut, 
 with her oriental sons:. Great success. (Moves.) 
 (The waiter serves PHILO., RITA, GUSTAVE and 
 RICHARD. ) 
 
 (The BARONET and the MARQUIS arrive and 
 sit at another table.) 
 
 No. 6 MUSIC (according to parts.) 
 
 Venus attired as the Sultan's favorite (a blond 
 
 Circassian; she sings.) The orchestra of Gypsies 
 
 makes a pretense to play. 
 
 VENUS 
 
 Sultan Ali in a mood 
 
 quite so rude, very rude 
 
 Had us guarded in his Palace 
 
 to be good, very good. 
 
 When I laugh when I sing 
 
 palace chimes gleefully ring 
 
 Pretty maid stay all day 
 
 lounging at the fountain spray. 
 
 With laces waving gay 
 
 I love to dance 
 
 like flowers that bend and sway 
 
 in loving trance. 
 
 My Lord is pleased to day 
 
one tender glance, 
 
 treasures and realm he 'd pay 
 
 to see me dance. 
 
 A rose of oriental beauty 
 
 sought to fascinate a Prince 
 
 smiling deplets, lips of ruby 
 
 made him turn to sorrow since. 
 
 Pearls and chatels, gems of beauty 
 
 may I covet to convince 
 
 your Grace to love me 'tis your duty 
 
 come and kiss me haughty Prince 
 
 Crescent Princess of my love dream 
 
 shines most clearly 
 
 sunlight of my soul, my sunbeam 
 
 Loves me dearly. 
 
 (General motion. All applaud and VENUS goes.} 
 
 CONVERSATION 
 
 BARON — Oh! the fairest of women! 
 
 MARQUIS — The manager of the show, Mr. 
 Clary, affirms that she is a goddess who ran away 
 from the Olympus. 
 
 BARON — In fact, one would think she is an 
 Arabian Venus. 
 
 MARQUIS — Are you on good terms with the 
 manager? 
 
 BARON — The same as I am with you. Why? 
 
 MARQUIS — Because.... , my friend, that wo- 
 man pleases me immensely. (They keep on talking 
 for a while, then they move away.) 
 
 No. 7 MUSIC (according to parts.) 
 
 DIANA sings in fancy dress, as that of a fal- 
 coner of the Middle ages or la Gioconda, or For- 
 narine, .with an helmet and a red cloak, bordered 
 with ermine, 
 
 DIANA 
 
 My heart was born In freedom bound 
 a forest queen with lance and steed 
 to break the spell of tyrants creed 
 to rove the fields with coursing hound 
 at my commanding trumpet sound, 
 The thrilling hunters scene 
 and driving of the game, 
 the struggle for fame 
 and display of youth 
 in reaching the booth 
 
26 
 
 in the forest by the sea. 
 Temple of truth plead for me 
 0, fountain of youth and liberty 
 
 Invite the maids to welcome me 
 
 in the forest near by the sea. 
 
 (She makes motions. All applaud Diana.) 
 
 CONVERSATION 
 
 CLARY — (With pronounced french accent) 
 Perfectly. It works as fine as silk. The debuts of 
 Venus and Diana will be the hits of the show. We 
 only need another "tableau vivant' 7 to have a com- 
 plete success.. .. 
 
 1st WAITER (Coming to Clary) Mr. Clary.... 
 
 CLARY — What is it? 
 
 WAITER — A gentleman who claims he is a 
 genius desires to speak with the manager of the 
 show. 
 
 CLARY — Show him in (The waiter goes.) It 
 would be funny if I were to find exactly what I 
 am looking for. 
 
 WAITER — (going out with Octave Ranilla.) 
 Here is Mr. Clary. 
 
 RANILLA — Thanks. (He approaches Clary. The 
 waiter remains on the stage to adjust some tables) 
 Have I the honor to speak to the manager of the 
 spectacle of Monte Carlo? 
 
 CLARY — Precisely, sir. Please take a seat 
 (Aside.) What a funny fellow! (Sits down.) 
 
 RANILLA — I wonder if you have the honor to 
 know me? 
 
 CLARY — No, sir; it is the first time... 
 
 RANILLA — It often occurs thus; great men 
 like me remain frequently ignored; but it is only 
 fair that they should, at times, put themselves in 
 evidence. 
 
 CLARY — Perfectly^ (Aside) There must be 
 some wheel loose in his head. 
 
 RANILLA — I am a modernist poet and I am 
 giving myself to the writing of historical panto- 
 mimes. 
 
 CLARY — Pantomimes are not new; but if they 
 are original.... 
 
 RANILLA — Original? Even too much so! Well, 
 I am bringing you one here that is bound to please 
 you. 
 
 CLARY — Let us see.... 
 
 RANILLA — (Digs in his pockets and brings 
 forth a greasy writing tablet.) You see what I have 
 here? (Clary nods assent.) Well, I first had to take 
 it out of here. (Indicates his head.) Could you 
 
27 
 
 order for me a jug of iced beer? You see, my 
 throat gets parched and dry, while reading. 
 
 CLARY — (Claps his hand twice; a waiter ap- 
 proaches.) A jug of iced beer for this gentleman. 
 
 RANILLA — If you don't pay it!.. 
 
 CLARY — By Jove!... (The waiter brings the 
 beer and goes. Ranilla drinks it at a single draught 
 and opens his copy-book.) 
 
 RANILLA — (Reading) "The capture of Gre- 
 nada" historical pantomime in ten acts, one lapse 
 and one collapse. (NOTE 4, V end of book. There 
 is another supplementary scene which can be used 
 instead of this) 
 
 CLARY — Oh! Dear me! 
 
 RANILLA — Mimic and music by Octave Ranil- 
 la, yours truly. 
 
 CLARY — At your service, Sir. 
 
 RANILLA — Scenery of 1st Tableau: In the 
 background, at the farthest end, we see the Sierra- 
 Nevada; white snow; on the left, another moun- 
 tain, some hills and ondulations. An interval re- 
 presents the Alhambra. In front of this a wall and 
 some moresque dwellings. The scenery is completed 
 by trees during the falling of the leaves and a 
 green pine; on the ground, some stones, pebbles 
 and rubbish. (Stops reading) What do you think 
 of this scenery? 
 
 CLARY — That there is no lack of rubbish. 
 
 RANILLA — (Reads) Personages of first ta- 
 bleau: Boabdil called "shorty; mahommedans, 
 mahometan women, mores, slaves. The king Fer- 
 dinand, Isabelle the Catholic, Philip the Handsome 
 Madame Jeanne the Crazy, the great captain and 
 captain Grant. Some holsters, ladies and gentlemen 
 pages and straws. Ah! there are also two heralds 
 going out. 
 
 CLARY — No others. 
 
 RANILLA — No others. 
 
 CLARY — Go ahead, then. 
 
 RANILLA — Boabdil or Shorty walks on the 
 stage, his head bent as in meditation, a paper in 
 his hand; and, by signs, he makes it understood 
 that this paper is a letter of the tribunal to order 
 him to leave Grenada within 24 hours, after con- 
 signing the keys and he declaims as follows: 
 
 I called Mahomet and he heard me not. 
 
 The keys of this door 
 
 I must consign them, oh! 
 
 Mahomet must answer for it. I won't. 
 
 (He whimpers with all his might, and sighs.) 
 
 CLARY — And why does he sigh? 
 
 RANILLA — To justify "the Moor's Sigh". (He 
 reads.) He removes his helmet, arranges his hair 
 with his fingers and disappears behind the green 
 
28 
 
 pine. What do you think of that for a beginning? 
 
 CLARY *** — Finally, Mr. Ranilla, if there 
 was any possible chance for extravagances to suc- 
 ceed, your pantomime would obtain a phenomenal 
 success. As far as I can judge, you will have big 
 expenses for scenery, vestments, apparel, etc., etc. 
 
 RANILLA — Clothing?., very little; besides, if 
 you so desire, I offer to play myself the role.... 
 
 CLARY — And you would be admirable, indeed! 
 ....but... 
 
 RANILLA — Then, what do you mean? 
 
 CLARY — All right, then; I engage you and all 
 your troup, to play this pantomime immediately. 
 
 RANILLA — Just as you say, and thank you, 
 (He makes a ridiculous courtesy and goes.) 
 
 Pantomime : The CAPTURE OF GRENADA 
 
 No. 7 (bis). MUSIC (according to parts) 
 CAPTURE OF GRENADA or PARADISE LOST 
 
 Fantastic Dance and Pantomime 
 
 MUSIC No. 7 (bis). 
 
 The stage is in darkness. While the tables and 
 chairs are removed, the curtain is risen, showing 
 another curtain; the space between the two cur- 
 tains is made to represent the entrance to a great 
 theatre, with combined scenery. A court-yard of 
 the Alhambra. On the right, at the back, a door 
 through which is seen a great yard. Above the door 
 two windows, with shades; below, in the centre, 
 two twin windows giving a view of the gardens. 
 At the left, a large door with draw-bridge, through 
 which are seen fields and hills covered with the 
 field-tents of the besieging army visible in the far 
 distance and who shall appear at dawn, a quarter 
 of an hour after the beginning of the orchestra. It 
 is night, feeble lamp lights are seen by the win- 
 dows of oriental style opening on the stage. As the 
 curtain rises, Boabdil and Zulema are on the stage. 
 
 PERSONAGES: 
 
 BOABDIL, a dancer dressed as a Moorish king, 
 (the same who impersonated Diana). 
 
 ZULEMA, a dancer dressed as a sultana, (the 
 same who impersonated Venus). 
 
 A NOTABLE, dancer or chorus girl, dressed as 
 a moorish general, who has just won a partial vic- 
 tory 
 
2 9 
 
 Four dancers or chorus girls attired as warriors. 
 
 Two HERALDS, dancers or chorus girls dressed 
 as Christian heralds with an order to change posts. 
 
 Four dancers or chorus girls dressed as chris- 
 tian soldiers carrying swords. 
 
 ODALISQUES — 7 or 8 of the chorus, attired 
 in the oriental manner of the period. 
 
 THE COURT — 7 or 8 of the chorus, dressed 
 according to the custom of the period. 
 
 SONGS MUSIC 
 
 Dear wife, be happy A-8 compas. 
 
 The new dawn hails thee. 2-4 polka 
 
 I greet my lord, 
 And all is turned into joy. 
 
 (Boabdil and Zulema, happy in the Alhambra, ex- 
 change salutations, he, first and she, after.) 
 
 Let us dance joyously together B-8 compas, 
 
 Frolicking always gaily 2-4 animated polka. 
 
 Praising and singing 
 The great Allah, our creator. 
 
 (They exchange greetings full of love; they dance 
 and frolic. (The day begins with the sun appearing 
 
 How lovely! C-8 comas. 
 
 Look! how glorious! Moderate. 
 
 (Grenada charms Zulema and Boabdil shares her 
 emotion.) 
 
 Grenada is a garden D-7 compas, 
 
 Like an Oriental Parnassus 2-4 poika, 
 
 Grenada is an Eden 
 
 A terrestrial paradise (They dance together.) 
 
 You ever repulse me, E-8 compas. 
 
 Not for lack of love, 4-4 allegretto. 
 
 Your obstination, I fear, 
 Will bring us grief. 
 
 (She caresses him as if to persuade him. He is 
 preoccupied, but finally, he abandons himself ten- 
 derly.) 
 
 SCENE II. 
 
 MUSIC: F-8 compas. marche 2-4 4 compas more 
 moderate. 4-4. 
 
 (A Notable, four warriors and the court of oda- 
 lisques enter; these last, from the right; the first 
 by the draw-bridge, on the left. 
 
30 
 
 Silence! Listen! Glory! G-6 compas.. 
 
 The victor slowly comes. 4-4 majestuous. 
 
 (Boabdil and Zulema greet the Notable, and sit 
 on oriental divans.) 
 
 Hail, O great lord, H-10 compas 
 
 The triumphant warrior; Allegretto 4-4, 
 
 Greetings to his armies 
 Praises to their valor! 
 
 (The Court of Odalisques show their joy and greet 
 the Notable by dancing a ceremonious dance). 
 
 All graces to you, O Lord! 1-6 compas. 
 
 Immortal is your splendor! 4-4 majestuous. 
 
 (The Notable, in his turn, greets Boabdil, Zulema. 
 and then the court.) 
 
 Hail! Live the victor! J-10 compas. 
 
 And his triumphant army Allegretto 4-4.. 
 
 For the great service 
 
 The victory has vast import 
 
 For our redemption. 
 
 (The odalisques dance another figure with greater 
 enthusiasm, (or more motions) 
 
 Do please be seated, K-4 compas, 
 
 magnanimously we pray you. Moderate 4-4. 
 
 (Boabdil and Zulema rise to show their friendship 
 to the Notable, and invite him to sit in the Oriental 
 fashion). 
 
 (An honorable peace alone L-12 compas, 
 
 Can bring us happiness. Waltz lent. 3-4 
 
 (The odalisques dance with rythm and provokinly; 
 while they dance, the Notable rises to make a little 
 speech, pointing with his figure the place where 
 are the besiegers, as if to recommend great pru- 
 dence.) 
 
 (The odalisques dance). M-16 compas. 3-4 waits 
 (Inside, the big drum sounds 5 times in measure.) 
 
 N-8 compas. 3-4 waltz accelerated, 
 
 (The dancers are simulating the anxiety, the fear 
 of seeing the besiegers; they express the fear in- 
 dicated by the musical effects). 
 
 O serene, divine enchantress, 0-16 compas 
 
 An occult, compelling magic 3-4 waltz slower 
 
 Has awakened my curiosity. 
 
3i 
 
 (Zulema acts witch-like, like Cleopatra, as if she 
 were the prey of a mysterious preoccupation and 
 makes a dance with contortions. 
 
 You were ill-advised P-16 compas. 
 
 If you surrender 3-4 same measure 
 
 You are lost. but more whim 
 
 (All dance, except Boabdil, Zulema and the Not- 
 able with his warriors, making gestures of revenge. 
 
 O look! Look on! Q-8 compas. 
 
 They are warriors 2-4 polka. 
 
 Of Castille and Aragon. 
 Come to offer the fight 
 In the name of religion. 
 
 (The Notable indicates the troups of Castille 
 outside while the odalisques manifest bellicose in- 
 tentions and the 4 warriors dance a sort of galop 
 very animatedly.) 
 
 Very hard the chastiment R-16 compas. 
 
 And severe the besieger 2-4 polka, 
 
 For the offence unequalled 
 AVhat grief, what torment! 
 
 (The dance continue more animated with the 4 
 warriors taking part in it, and making threatening 
 gestures. ) 
 
 Sweet dreams, happy times! S-17 compas. 
 
 Paradise forever lost 3-4 waltz slowly, 
 
 For yieldings so easily 
 To a woman's too wily 
 capricious claims. 
 
 (Boabdil and Zulema simulate sentimental de- 
 monstrations) (The odalisques dance with a pro- 
 vocative rythm.) 
 
 S-2 waltz slow. 15 compas. 3-4.) 
 
 (Same melody; the others follow with the motions 
 of their bodies the compas of the music. 
 
 T-18 compas. 3-4 energically 
 
 (All shudder with horror) 
 
 U-24 compas. 3-4 energically 
 
 (A storm breaks out; they simulate fear with 
 distracted gestures.) 
 
 (The Notable and his warriors go by the right exit 
 
SCENE III 
 
 Our duty it is to expulse you V-3-4 16 compas 
 
 from this kingdom's oriental garden allegretto 
 Our duty is to chastise you 
 In the name of the general executioner. 
 
 (Two heralds and four females of the avant-guard 
 of the invaders come from the left; they insult 
 Boabdil and Zulema with their unsheathed swords, 
 and their dances, stamping with their feet to the 
 compas of the music to terrorize them.) 
 
 (W-4-4 8 compas. allegretto.) 
 
 (They press Boabdil and his followers to aban- 
 don Grenada and simulate between them some at- 
 tacks and defensives with their swords, coming 3 
 steps ahead each couple face to face; going back, 3 
 steps, then 3 short steps to place themselves in 
 guard and knocking three times with their sword 
 their opponent, at the compas of the music. If the 
 swords are provided with electric current, an elec- 
 tric spark shall come out at each blow. 
 
 X Same time. 4-4 4 compas. 
 
 (The four are mocking with their mimicry Boabdil 
 and Zulema who simulate that they are weeping.) 
 
 Resignation is by far Y-2-4 polka. 
 
 Preferable to hatred. 12 compas. 
 
 Be cheerful and forget 
 The happy past. 
 
 (The four, with eloquent gestures, try to per- 
 suade them to leave.) 
 
 They seem unwilling to depart. Z-2-4 polka. 
 
 Yet they are convinced, 8 compas. 
 
 They lament their sad fate 
 Knowing they must be resigned. 
 
 (With their gestures, they persuade them to go.) 
 
 Oh! Elyseum! happy dwelling, 
 
 That forever, unfortunates 
 
 We must leave, Final Duo 3-4 waltz 
 
 You shall be dead for me slow. 34 compas. 
 
 Oh! paradise of my love 
 
 I shall ever remember thee 
 
 Always, in my tears I will 
 
 Remember what I was. 
 
 (Sung by Boabdil and Zulema while they all go 
 out slowly toward the draw-bridge, at the left.) 
 
CONVERSATION 
 
 CLARY — (Who comes, greatly disturbed, to 
 call Richard) Mr. Richard! Mr. Gustave! 
 
 RICH. & GUST. — Mr. Clary! What can be the 
 matter? 
 
 CLARY — A terrible misfortune! 
 
 GUSTAVE — Misfortune? Speak! Hurry! 
 
 CLARY — The gods, under the direction of 
 Mars, have invaded Monte Carlo, and the Misses 
 Venus and Diana have eclipsed. 
 
 RICHARD — What story are you saying? (They 
 stand, visibly alarmed). 
 
 GUSTAVE — They eclipsed, did they? 
 
 CLARY — Yes, in automobile, with two noble- 
 men. 
 
 RICHARD — (Raving) Is that true? Ah! the 
 infamous deceivers! 
 
 GUSTAVE — Trust to goddesses to do you brown. 
 
 CLARY — Ah! dear me! 
 
 RICHARD — Phyllis, come to the rescue! 
 
 GUSTAVE — Gendarmes! Policemen! Guards! 
 Phyllis! (Great confusion and Gustave and Ri- 
 chard run out. The waiter follows them and Clary 
 remains desperate.) 
 
 VARIATION 
 No. 8. INTERMEZZO 
 
 FINAL TABLEAU 
 
 The tableau is the same as the first. — At- the rise 
 of the curtain, Gustave and Richard are seen oh 
 the stage in the sarnie manner as they were before 
 the appearance of Phyllis. — Rita and a waiter, 
 who carries a tray, with covers, dishes and napkins 
 
 RITA — (Calling Gustave) Mercy! what load 
 they have taken! Halloah! friend! 
 
 RICHARD — (rising) Eh? who is it? 
 
 RITA — I have been calling you for half an 
 hour. 
 
 WAITER — Here are the covers; where do you 
 want me to lay them? 
 
 RICHARD — What a stupidity! What a disgust- 
 ing spree! (He reels unsteadily.) 
 
 RITA — Mr. Gustave has taken a famous one, 
 also. 
 
 RICHARD — Gustave! Eh, my boy! the waiter 
 and Rita are here 
 
34 
 
 GUST AVE — (Still sleeping) Diana! Diana! 
 
 RICHARD — Leave Diana alone! Dinner is here! 
 
 GUST AVE — (Wakes up, rises, looks at the 
 waiter, takes his head and looks at it.) And the 
 bill of fare? And Diana? I had a marvelous dream! 
 I am just returning from the Olympus. Where is 
 Phyllis? (Phyllis appears, but in realty with the 
 name of Philomene, a young lady elegantly dressed 
 with the skirt-pantalettes or in the latest style). 
 
 PHILOMENE — I am not Phyllis. I am Philo- 
 mene, your unknown sweetheart and opposite 
 neighbor; the self same who had a bottle of cham- 
 pagne prepared with an oriental liquor that pro- 
 vokes sleep, so that you would dream of me, as it 
 happens to all those who smoke opiums and find 
 the inspiration they desire in the dream of their 
 illusions; and Mr. Judas served as a go-between 
 to put in execution my ingenuous idea to get an 
 excuse to speak to you. The three receipts and the 
 five dollars, I paid myself. I am rich and I offer to 
 take you under my protection. (The waiter places 
 the service on the table). 
 
 WAITER — Gentlemen, all is ready. 
 
 RICHARD — Then that rascal of Mr. Judas has 
 deceived us. I am going to paint his face like a 
 monkey, and put his portrait in the pawn-shop. 
 
 RITA — I told you that I did not trust Mr. Judas. 
 
 GUST AVE — (To Philomene) And you will be 
 my Muse really, and forever? 
 
 PHILOMENE — Yes, and right now, we could 
 celebrate with a betrothal banquet. 
 
 RICHARD — (To Rita) And you, will you be 
 my fiancee? 
 
 RITA — Yes, and forever. 
 
 No # 8 (bis) MUSIC (According to parts 
 
 Waltz the 8 first lines of which are sung by GUS- 
 TAVE, PHILOMENE, RITA and RICHARD altern- 
 atively. The following 8 are sung by RITA and 
 PHILOMENE together, while GUSTAVE and RI- 
 CHARD, simulate dancing behind them according 
 to the music and making gambols to embrace them 
 The 8 last lines are sung by GUSTAVE and RI- 
 CHARD together, while the girls dance together 
 and make jests; The final is sung by all four tog- 
 ether. 
 
 GUSTAVE 
 
 A figure to admire 
 
 a gentle step in marking pace. 
 
35 
 
 PHILOMELA 
 
 Arrayed in rich attire 
 
 to dignify our native grace. 
 
 RITA 
 
 Distinguished conversation 
 Refinement above all doubt. 
 
 RICHARD 
 
 Congenial disposition 
 to perfection in and out. 
 
 PHILOMELA AND RITA 
 
 Therefor every maiden ought to know 
 
 what station may best suit her 
 
 and strive to win a dashing beau 
 
 or find another suitor 
 
 There's no more vexing undertow 
 
 with joys at our proposal 
 
 and love to make them overflow 
 
 with money at disposal. 
 
 GUSTAVE AND RICHARD 
 
 And they spend it fast to make you laugh 
 
 or sadden if you're foolish. 
 
 But you must love your better half 
 
 Instead of getting prudish 
 
 if women make us feel so shy 
 
 we come to the conclusion 
 
 We dare not harm a butterfly 
 
 nor break a heart's illusion. 
 
 CONVERSATION 
 
 GUSTAVE — I have already a subject for my 
 work; just like this one: I shall place it at the end. 
 
 RITA — The end, is what suits me best. 
 
 RICHARD — Noble enterprising soul! Live our 
 benefactress! 
 
 GUSTAVE (to the public) Generous and decided 
 she requests before taking her leave 
 
 RITA — A plaudit often repeated — 
 
 PHILOMENE — For Diana the Huntress. 
 
 FINAL MUSIC. — CURTAIN. 
 Conditional Supplement to the Scene of 
 
36 
 
 RANILLA, ADAM and EVA 
 
 (According to best judgement of Stage Director 
 
 RANILLA — (Reading) The scene represents a 
 virgin forest; plane-trees, medlar-trees, apple-trees 
 and cocoa-trees. The cocoa-tree and the apple-tree 
 must be very prominent. Plants of tomatoes in the 
 undergrowth. (Stops reading) What do you think 
 of the scenery? i 
 
 CLARY — That there will be an abundance of 
 rotten tomatoes. (Aside) What a silly thing! What 
 a funny fellow! 
 
 RANILLA — Personage's of first tableau: Adam 
 and Eva. 
 
 CLARY — How are Adam and Eve represented? 
 
 RANILLA — In the most sycalipsique manner 
 possible. Our first ancestors were undoubtedly, the 
 inventors of sycalipse. 
 
 CLARY — Yes, but.... 
 
 RANILLA — I understand what you want to tell 
 me. Well, they shall appear with their respective 
 grape leaves, held in place with suspenders. 
 
 CLARY — Go on! 
 
 RANILLA — (Reads) Jeovah, Lucifer, St. Mi- 
 chael, two guardian angels, a few persons and the 
 municipal music band. 
 
 CLARY — By Jove! 
 
 RANILLA — He also comes near the end. Scene 
 first. Adam, very lonely, is seated on a stone, and 
 plays with an apple and an orange. Eva, seated op- 
 posite him, on her heels, is making some crochet. 
 The orchestra plays a polka while they continue 
 their tricks, he with the fruits, she with the cro- 
 chet hook. 
 
 CLARY — Very amusing,... very. 
 
 RANILLA — As soon as the polka is ended, the 
 accords of the royal march are heard. From the 
 back. Jeovah enters with all his celestial court, 
 angels and seraphs. Adam and Eva stop their in- 
 nocent playing and courtesy. Jeovah sits in the 
 center of stage. His court is grouped around him» 
 and the seraphs perform a celestial dance. When It 
 is ended and the Creator looks at the apple used 
 by Adam In his play, he tells him that that fruit 
 must not be touched. Eva drops her head in confu- 
 sion and shame and there is great commotion. 
 There are several apple's peelings on the ground. 
 The proofs of the crime are evident: Adam and 
 Eva have eaten of the fruit to their heart content. 
 Jeovah gives orders for their expulsion from para- 
 
37 
 
 dise; Eva appeals to God; and so does Adam; but 
 all in vain; the crime, it seems, is much greater 
 than it does appear; and Adam and Eva are evict- 
 ed from Paradise with bag and baggage and the 
 peelings besides. A storm breaks and all the ce- 
 lestial court disappears. Here several thunderbolts 
 are heard at intervals. End of first act. (Stops 
 reading) What do you think of that? 
 *** (To that sign in the book). 
 
 No. 7 A According to parts. 
 (To be substituted to No. 7 Bis Pantomime) 
 
 Trio sung by 3 waiters, Tenor, Baritone and Basso, 
 who advance to sing, making grotesque motions 
 with their hands to accompany their song at the 
 beginning; then, they execute a cake-walk and 
 head a procession in which take part all the per- 
 sonages on the stage, who raise to carry between 
 them the tables ornamented of small figures simi- 
 lar to those generally carried around during the 
 cavalcade in Nice, and are followed by gypsies, by 
 actors and everybody else carrying chair and all, 
 take place in the procession, marching to the tune 
 of the music. 
 
 PANAMA STAR 
 TRIO 
 
 Ship aboard, for off we go 
 
 heading south of Mexico. 
 A water way, mid ocean lay 
 from Aspinwall to Panama 
 
 Hurra! 
 Three cheers, hurra! 
 from near and far. 
 
 See the water float the steamer 
 
 hi the basin like a feather. 
 
 Through the locks of mighty pressure 
 
 interocean onward bound 
 Moving slowly over mountains 
 on to the coast of either side 
 to engage with other ships 
 in the world's commercial tide. 
 Gliding slowly over mountains 
 into the ocean far and wide. 
 You enjoy a pretty trip 
 when you take an ocean ride. 
 
38 
 
 If Columbus were alive 
 
 we should like to meet him here 
 
 Just to see the enterprise 
 
 of this modern hemisphere. 
 
 See the water float the steamer 
 
 in the basin like a feather 
 
 through the locks with mighty pressure- 
 
 to the ocean safe and sound. 
 Merchants, travellers, 
 men of wisdom, all join our trip. 
 
 Welcome Nations of esteem 
 
 to inaugurate the scheme. 
 
 May your friendship be the prize 
 
 which will crown our enterprise^ 
 The Isthmus of Darien 
 to energetic men 
 surrendered like a giant 
 to a scientific pen 
 The Isthmus of Darien 
 was conquered by the 
 human effort to remove 
 a mountain in the way. 
 Success to all we say 
 In God We Trust. 
 
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