Class JB2i_ZiSa9 RnnV .P n R <^ Ci]ffmiGHT DEPOSm THE BLOODY JEST A DRAMA IN FOUR ACTS BY ISRAEL EFROS THE GORHAM PRESS RICHARD G. BADGER BOSTON Copyright, 1922, by Israel Efros All Rights Reserved Made in the United States of America The Gorham Press, Boston, U. S. A. AUG -7 1922 ©CI.A681278 TO MY DEAR SISTER IDA FOREWORD The source of the plot is to be found in Gre- gorio Leti's "Life of Sixtus V," where Seche — in this play, Antonio — claims a pound of flesh from a Roman Jew, named Samson Cenada, as the re- sult of a wager. This is elaborated in Wolf Pascheles' "Sippurim," a German collection of Jewish tales, part IV, pp. 202-210, and was thence rendered into English by Claud Field in his "Jewish Legends of the Middle Ages." Pascheles naively remarks : "Dieser Sage entnahm Eng- land's grosses Dichter Shakespeare den StoflF zu seinem 'Kaufmann von Venedig'." THE BLOODY JEST PERSONS Samson Rosaline, his daughter Uriel, her fiance Nerissa, maid in the house of Samson Antonio Martha, his maid Beggar-Pope, Pope Sixtus V clad as a beggar Monsignor Sangaletto, secret cameriere to the Pope Tailors and Tailoresses Cook Nahum., the rhymester Band of musicians Doctor BEPPO ) rrr , Cecco [W'"'-*'"^" Chief Auditor Senator Mob of men and women Time: i^8y A.D. Place: Rome. THE BLOODY JEST ACT I Scene I A drawing room in the house of Samson. A candelabrum hangs down from the ceiling. In the background, large windows screened with embroidery curtains. It is Saturday evening at sunset. Red rays enter through the curtained windows and play on the floor. Nerissa, an elderly maid, sits and doses. From an adjoining room to the right, Rosaline is heard singing softly: God of Abraham, Isaac and Jacob, Father of our ancient race, Holy Sabbath bids us farewell, And a new week comes apace. May the new week bring us tidings That will comfort and console, Bring a healing to the body, And a healing to the soul. May it bring us many blessings. And a shield against all ill; And thy sheep that stray and wander, Lord, bring back to Zion's hill. II 12 THE BLOODY JEST Martha, a servant girl to Antonio, enters through the left door. Martha Nerissa ! Nerissa (Starts.) Martha! Why how is my dearest Martha? And is it time to make a Hght? Martha It is dark enough, Nerissa. You cannot see two inches from, your nose. Nerissa But you forget this is a Jewish house. At the house of Samson no Hght is to be kindled until the holy Sabbath is all gone, all gone. But you are gentile, Martha. How can you understand? Martha And you, Nerissa? Nerissa I have been long enough here to be one of the family. (Goes to the window.) Why, you are right, Martha. It's time to light the lamp. I see stars. Martha Does not your Jewish master ever make you see stars by day? Nerissa Why no, Martha. (Hurries off to light the candelabrum,) ACT I 13 Martha Well, I wouldn't have such a master for all the Jewish ducats in Rome. (Rosaline is heard again singing while Nerissa lights the candela- brum.) Why, who is it singing this dirge? Nerissa It's Rosaline, my master's daughter. Martha Oh, Rosaline! Antonio, has mentioned that name many a time. I'd love to see her, Nerissa. Is she fair? Nerissa Fair like all Jewish daughters. But she is fairer, and good too. And yet in her childhood, soon after the death of her mother, she was a stubborn little thing. I taught her how a Jewess must behave and she wouldn't be taught. I taught her the Jewish morning prayers, grace after meal, and all that a good Jewess, a daughter of Samson, should do, but she just giggled and tittered. Oh, how I grieved and pleaded : "Rosaline dear, say your prayers. Woe is me, you will grow up to be a gentile, woe is me." But she just giggled and giggled and said, "Nerissa, time for you to become a preacher in the synagogue." But now, — here she is coming, Martha. Rosaline (Enters.) Good Nerissa, is it not strange that father and Uriel haven't yet returned from the Synagogue? 14 THE BLOODY JEST Nerissa They went to the Castilian Synagogue to hear a Rabbi from Turkey preach, and that's a mile or two from here. Be calm, they will be here by and by. But, Rosaline, do you know my friend Martha? Rosaline No, I do not, but I am happy to meet a friend of my Nerissa. Martha My master often speaks of you, sweet lady. Rosaline Who is your master? Martha Antonio. Rosaline Oh, Count Antonio Zavello ! He is a good friend of our family, and a frequent visitor. Father owes the Count countless thanks. But forgive me. I hear them coming. (Nerissa and Martha withdraw through the left door. Samson and Uriel enter through the right. ) Good evening, father dear; good evening, Uriel. How did the Rabbi preach? Samson So wonderful ; He made my blood race swiftly in my veins. And made my heart beat faster to a music Of golden days unborn, but sure to come. He spoke of the Messiah, David's scion, ACT I 15 Who dwells with beggars at the gate of Rome, Rags covering his body full of pains; And ever and anon he shields his eyes And strains his ears to hear approaching steps. Ah, yet a day will dawn, a wondrous day, Elijah's feet will stand on Mount Zion, Clear silver blasts will cleave the morning air And shout redemption and awakening. Messiah from the ashes will arise And sit on David's throne, and all the nations Will come and kiss the fringes of his garment. And weep and beg forgiveness ; and blessed love Will sing and wave white wings in every heart. Rosaline You speak, good father, like a young-eyed dreamer. Samson Aye, Rosaline, when at our past I gaze, I age, the wrinkles in my forehead deepen, The heart in me turns indolent and loses Its will to beat ; but turning f utureward Age melts like Samson's binding ropes. And youth sits in a corner in my soul And dreams the brightest dreams that youth can dream. But ah, Uriel, why so sad and pensive? Have not the Rabbi's visions thrilled your spirit ? Or is it true that to discern the future One must have known the past; and only age Can be acutely young? i6 THE BLOODY JEST . Uriel The future cheers you, But inapproachably the future Hes In the ever receding country called To-morrow. What of To-day, the only land we breathe in? Samson What ails To-day? Uriel Oh, father, do you see No sombre cloud hung o'er our firmament? Samson Clouds make the heavens beautiful and drive The luminous monotony away. I tell you this, Uriel, and no more: God's in his heaven, and Messiah sits Among the beggars at the gate of Rome. Whom do we fear, my boy? But I must haste To make my weekly reckoning wherein Colossal debit will look down in scorn Upon my pigmy credit. (Goes toward the door at the right, humming:) Behold He doth not slumber, And He doth not sleep, The guardian of Israel. (Calls out from the adjoining room.) If Count Antonio Zavello comes, Pray call me in, dear Rosaline. ACT I 17 Rosaline I shall, I shall, dear father. (Pause. Humming continues.) What think you now, Uriel? Uriel I think your father Is much to be admired. Rosaline He is, indeed. So full of trust, so full of confidence. Uriel What would I not so gladly give away For blissful blindness to the sordid present. And cloudless vision of a dreamed hereafter. Alas, I see too clearly our condition. We are confined into a squalid ghetto. Like loathsome and contaminating lepers, To writhe, to molder, and to perish slowly. A badge of shame they hung upon our back As if we were the convicts of the world, The God-condemned, the fratricidal Cains. Believe me, dear, I ne'er forget the badge That burns me like a burning coal of fire. Rosaline But think, Uriel, all this notwithstanding. In spite of badges, ghettoes, persecutions. That would have hacked to death the soul and body Of any people, Israel still lives. i8 THE BLOODY JEST Uriel You call it "life", 'tis but a slow decay. (Pause. Samson's humming is heard.) Rosaline You have not always harbored such dread thoughts. What altered you, Uriel? Uriel Since my childhood When I was left a lorn and lonely orphan, And your kind father took me in his care, I hearkened to his stories of Messiah, Who sits with beggars at the gate of Rome, And I believed and waited patiently. Of late, I know not why, a change came o'er me; I'll tell you, dearest Rosaline. Last year, — It was the fast day of the month of Ab, The day when fifteen centuries ago Rome vanquished us and hurled a torch which set Our glorious Jerusalem on fire. The day was hot and through the Lateran I walked to seek the river's cooling breath. And when I passed St. John's basilica, I saw the two bronze columns of our Temple Engraved: "King Solomon, the son of David." I kneeled before the relics of our glory. But suddenly I noticed drops of tears, Small globules gliding on their cheeks of bronze. My heart was moved, and I embraced them warmly And understood the reason why they wept : ACT I 19 Their own shrine Ues in ruins and desolation And they themselves must prop a church of Rome. Since then I often ask myself: How long? And I'm a prey to cruel questionings. Rosaline I wish I knew a word to soothe your spirit. Uriel Aye, dearest Rosaline, I know the word Which, when I utter, joy pervades my heart, A word so sweet, so musical, methinks When God so many million years ago Stood in the midst of grey and shapeless Nothing, He sang it and a lovely world was born. Rosaline What is this magic word? Uriel It's Rosaline. Rosaline You are jesting now and yet I'll pardon it If you assure you will not go to Padua. Uriel I must, my dear, I must. Rosaline Say not, you must; You go because you wish to go. I know There are in Padua heavy tomes of wisdom. And I'm a simple girl. I should not keep you. But I'm so lonely here. 20 THE BLOODY JEST Uriel You foolish child You think I leave you willingly. You know not How sick I am of their philosophy. They seek to learn what God is, what are angels, And I am still at sea concerning man. They scale the skies, I blindly walk the earth. They delve into the secrets of creation To make a man, a soulless man, a Golem. I think we have such Golems now galore, No need, it seems, to manufacture more. Rosaline If so, why leave me dear? You do not know The bitterness, the loneliness of longing, Uriel I do, I do, my darling. Rosaline Why then leave? Or maybe I should speak to father? Uriel No, I spoke to him already. Rosaline Did you, dear? And what did he reply ? Uriel That 'tis not seemly To be too much together with one's bride. It is not meet, he said. Well, let me go then. It's three months only. Time will quickly fly And then — oh, then! My Rosaline, my dear, — ACT I 21 (Nerissa enters and, having spied Rosaline and Uriel embracing, she hurries out. Now she enters after giving due notice with the clear- ing of her throat and stamping of her feet.) Nerissa The Count Antonio Zavello is here. Rosaline Oh, father, Count Antonio is there. (Nerissa withdraws. Samson enters.) Samson How is my Count Antonio Zavello? Antonio As usual, your warmest friend, my Samson. And how are you, Uriel ? Why so quick From Padua? Uriel IVe come to visit my good father And Rosaline. Tomorrow I depart. Antonio Sweet Rosaline will grieve at your departure, But I shall seek to make my visits frequent. For timid sorrow knocks not at the door When company is heard within. Uriel Good Count, For this you'll earn my deepest gratitude. 22 THE BLOODY JEST Antonio Well, Samson, what good news from your finances ? It seems you have become quite prosperous. You ask no longer for a little loan. Samson I thank you for the interest you take. Antonio I take both interest and capital. Samson I mean your interest in my affairs. Indeed, I wish to speak to you. Not here. Come down, amico, to our wine-shop. There A glass of reddish wine shall lubricate The joints of conversation. Antonio Well bethought. Fair Rosaline, your father takes me downwards And gladly do I go to his Inferno. Rosaline Oh, father, take a torch. It is so dark. And guard your steps. Antonio To land in the Inferno Is easier when we guard not our steps. Samson Well said, good friend. Come, come. I blaze the way. Antonio I follow. Fairest Rosaline, goodbye. Just for a little while, a tiny wihile. (Exeunt.) ACT I 23 Scene II Samson's Wine Shop. Antonio So this is whence the Uquid exultation, The fluid joy, for all the Romans flows. Samson Aye, so it did, but now a stranger comes And steals my bread away. But tell me first What wine, Antonio, you cherish most : Cicilian or French or Rhenish vintage? Antonio I'm catholic in taste. No wine is bad. Yet give me Rhenish wine. They say Rhine maidens Are beautiful. I'm sure young Jewesses Have greater grace, if only Rosaline Be taken as a sample. Samson Yes, she's fair, A perfect copy of her sainted mother. Her sable (hair, her big black eyes, her brow So white, so tender one can almost see The thoughts that walk within, all that and more She owes to her, to Rachael, my loved wife. Sometimes I see her sunk in meditation And feel like crying out : Rachel, Rachel ! She is my only treasure. Drink, my friend. Antonio Here is to your treasure! {Drinks.) 24 THE BLOODY JEST Samson Many, many thanks, Antonio But, Samson, why did you forget yourself? Samson Nay, nay, did you forget? I am a Jew And can not wine or dine with you. Antonio Indeed, I did forget. But pardon if I ask: Do you believe we Gentiles are so low That we contaminate? Samson Not low, not high, But diflPerent, good Antonio, just different. And different from each other let us stay. He has an untrained eye who can not see That many different colors make the rainbow; And he a callous ear that can not feel The ecstasy of rich and varied sounds. And thus the world would be the poorer if One people were to cease to sing its song In mankind's many throated symphony. You, live and worship God in your own way, Indeed, I love you more on that account. Antonio I'd be much happier, if some one else Would love me. Samson, here I raise my glass To mankind's symphony and Rosaline! (Drinks.) ACT I 25 Rosaline (From above.) Oh, father dear, the mendicant is here. Samson Why, send him down to us, sweet daughter. Antonio Who is that beggar whom you freely grant admittance? Samson He is a beggar, that is all I know, A Christian and yet learned in Jewish lore, A pauper and yet full of happiness. I like him. Oft I heard when yet a child That at the gate of Rome Messiah sits Clad as a mendicant ; and even now Whenever I see a beggar I suspect him Of being a Messiah or some saint. Rosaline Walk cautiously, old man. The steps are narrow. Beggar-Pope Mfany thanks, sweet girl. Til hold on to the balustrade and if the steps don't crack beneath my feet I shall not fall. So here I am. Pax vobiscum, friends. Or may be I intrude upon you; just tell me and I'll lift up my young legs and climb up as fast as the fastest snail. Samson No, you are welcome, dear brother. 26 THE BLOODY JEST ^ Antonio I raise my glass to Messiah and to Rosaline! (Drinks.) Beggar- Pope Who is this strange winebibber? Antonio I'm Count Antonio Zavello. Beggar- Pope And I am Beggar Vincenti Felitissimo. Antonio I'm highly honored to be vouchsafed the rare privilege of meeting Beggar Vincenti Felitissimo. Beggar- Pope Yes, beggars are highly honourable. True they have nothing, but they are something. Antonio And Counts? Beggar- Pope They have something but are nothing. Antonio Is it not possible to have and to be something? Beggar-Pope Hardly, hardly, mio amico. For the more one has, the less one is. Antonio You mean to say, beggar, you crave for no wealth, no money? ACT I 27 Beggar- Pope Money — 'tis the most damnable curse inflicted upon mankind by the Lord's adversary. Take the most tender, the most feehng, the most human man and give him wealth, and before long he will become as cold and hardened as the coins that tinkle in his pocket. No heart is so callous, so insensible to the woes and agonies of suffering humanity as the heart that is smugly encased in gold. 'Tis a damnable thing. Antonio I guess you are right. And so I drink to the most honorable people on earth, the beggars! (Drinks.) Samson, why not give your eminently noble guest a bumper of your richest wine? Beggar- Pope No, no, no. I drink no wine. Antonio Well, then, you quaff wine. All honorable people do. Beggar- Pope No, no. You see, there are three stages : no drinking, drinking a little and drinking much. In the first stage man is comparable to a lamb, so innocent, so tame. In the second stage man be- comes aware of a sudden strength and vigor and is comparable to a lion. In the third stage, that of drinking much, man loses all sense of modesty and seemliness and is comparable to the king of the mire, his majesty, the pig. I'm still in the lamb stage. 28 THE BLOODY JEST Antonio But, my dear lambkin, why not become just a lion? Beggar- Pope I fear the lure of the third degree. So tempt me not. But I see that my good friend, Samson, has something to negotiate with you. Count. Is it not so, Samson? Samson Yes, my good friend, something important. Beggar-Pope Well, then, I shall not disturb. I shall sit at a distance and eat my crusty bread which I chew with greater gusto than his Holiness, the Pope, eats his delicious viands in the Vatican. Here I'll sit. Samson Thank you heartily, good brother. And now, Antonio, I wish to tell you What fills my heart with gerat anxiety. Antonio With great impatience do I lend my ear To what good Samson has to say. Samson Oh, Count, You've been a most devoted friend to me And to my family. I owe you thanks Beyond expression for your many favors. I wish to ask another favor now. ACT I 29 Antonio Quick, Samson, let us hear. Samson You surely know My daughter to Uriel is affianced. The wedding day is fixed for three months hence. What deeper gladness than to see one's child In wedlock joined! My Rachel in her grave Awaits impatiently the nuptial day. Alas, I lack the wherewithal, the money, The damned money, but thrice damned when You have it not. Antonio, 1 need Two thousand ducats. Antonio Have I e'er refused you? Samson But, good Antonio, alas this time I have no pledge to give you. All my gold And jewels I have sold. 1 have no pledge, Antonio I need no pledge except yourself, yourself. Samson Oh, kind, devoted friend, Antonio. Antonio Why, you yourself are good security. Indeed, I do not need the whole of you. Samson What mean you, good Antonio? 30 THE BLOODY JEST Antonio Will not a piece of you be worth the loan? Samson You price me highly, friend. You manifest Surprising trust and generosity. Antonio Then call a scribe and cause to set it down : You pawn a slice, let's say a pound of you, A pound of Samson's flesh and from his breast. Beggar- Pope Why, I congratulate the most worthy Count on becoming a butcher and a meat dealer. Now don a blood-soiled apron, take a long knife and learn many tales — yes, wild ones — to tell the women on meat market day, and you'll outdo all the butchers in Rome. Antonio Let the beggar cling to his abscure corner and not become too familiar. Beggar-Pope Yes, nobility. I did forget, I did forget. Well, I must take leave. The Holy Father begged me to sleep in the Vatican tonight. So farewell, Samson. Samson Fare you well, brother, and good night. Beggar- Pope And farewell, excellent highness! Farewell, farewell, farewell. (Exit.) ACT I 31 Antonio Deranged cur Samson Uriel, Uriel, come down and bring along some writing materials. — My Uriel will act as scribe. He has a neat and artistic hand. Many a Roman lad came to him to write their love epistles. Antonio Is this how he acquired the art of love making? Uriel (Enters with Rosaline.) Here I am, father, and here the material you desire. Samson Well, sit down here, my scribe, and I shall dictate to you. "With the help of heaven. This is to acknowledge that I borrowed two thousand ducats from Count Antonio Zavello. I am to return the aforesaid amount with ..." Antonio With thirty-two per cent interest. Samson Yes, "with thirty-two per cent interest within three months from this date. Furthermore, I pledge a pound of my flesh at my breast — " Rosaline You can not give such a pledge. It's unheard of and brutal. 32 THE BLOODY JEST Uriel It's savage and truculent and inhuman. I can not spell it. Samson Oh, offend not my good Antonio. See you not it is but a jest, a mock pledge showing the magnanimity of my devoted friend who lends me money without having any earthly security. Come, come, Uriel, write: "at my breast, for the payment of my debt, in default of which my pledge be forfeited. Signed on this day, July 19, 1587." Now ril affix my name. {He signs his name.) Here, good Antonio, here's your bond. Antonio And here are your two thousand ducats. Samson I thank you, good Antonio, I thank you. Your aid is gauged not by the sum of ducats But by the greatness of the need. Antonio The hour is late And I must hasten hence ; so good night, Samson. Good night, Uriel, and a happy journey. And farewell, sweet and lovely Rosaline. {Bows before Rosaline and departs.) Samson Farewell, farewell, my Count Antonio. ACT I 33 Uriel I like not this Antonio. Rosaline He has a vicious look. Samson Pray, think not evil of our benefactor. All windows of my heart fly open now, And happiness, like April winds, runs through them And fills with singing all my inner chambers. Tomorrow I shall call the best of tailors And buy the rarest silk and finest satin, And Rosaline shall have fair wedding garments. Ah, three months more and exquisite musicians Shall play that Rachel in her grave may hear And send you blessings. . Gome, my children. Come press yourselves to me, my dearest children. CURTAIN ACT II A drawing room as in the opening of the first act. A group of tailors and tailoresses work at the wedding garments of Rosaline. One tailor Well, let's sing. Begin. All Ply the needle, ply the needle. Stitch and baste and sew ; God made all, yet some are happy, Some are friends with woe. First tailoress Ply and ply the tailor's needle, How my fingers smart ; Wedding robes I make for others. Break my lonely heart. All Ply the needle, ply the needle. Stitch and baste and sew ; God made all, yet some are happy. Some are friends with woe. Second tailoress Fair the bride is, white and tender, Handsome is the groom; I have, too, a milk white skin, Alas, for whom, for whom? 34 ACT II 35 All Ply the needle, etc. Third tailoress See the silk is skyey azure, Soft as love's warm breath; But for me there are long white shrouds. And the kiss of death. All Ply the needle, etc. Fourth tailoress She will don this nuptial garment. She will beam with bliss ; We who gladness make for others, Know not what it is. All Ply the needle, etc. 'One tailoress Ouch, ouch! I stuck a whole needle into my finger. This damned stuff ! A TAILOR Quickly take it out. It's an expensive needle. Second tailor (Bursts into loud laughter.) Ha, ha, ha! Third tailor What now, Sartor? Second tailor Ha, ha, ha ! I sewed up the sleeve. Ha, ha, ha ! 36 THE BLOODY JEST A TAILORESS He must have thought the bride was Venus of Milo, without arms. A TAILOR Indeed a woman needs no arms to conquer. A TAILORESS Nowadays a woman needs both arms and brains. A TAILOR And a good-looking face besides. And here comes a perfect blending of the three necessities : arms, face and apartments to let ! Hail to your corpulent majesty! What's news in Kitchenland? {Enter the cook, obese and short.) Cook I'm so busy. Everything is fine, thank heavens. The broth is like Uquid gold, the chicken is so soft and so sweet that it just dissolves on the tongue and the fish, well, who in Rome can outdo Samson's cook in making fish? Small wonder that the paupers, for whom special feasts are now daily prepared, eat like hungry wolves, fish, fork and plate. But detain me not. I'm too busy. Nerissa, buy me some sugar. Did you ever see anything like it? I was going to put in some sugar into the apple sauce and by mistake I poured in a glass of salt. You see, I'm so dread- fully busy. A TAILOR But madam cook — ACT II 37 Cook No, no, no, detain me not. (Runs to the door.) A TAILOR Oh, lady cook — Cook No, no, no! Nerissa, some sugar! (Runs out.) A TAILORESS I don't think I'd Hke that apple-sauce. A TAILOR Well, after all, do we not do with our lives precisely what she did with the apple sauce? How many growing youths, favored by the fates, endowed with talents, with life before them royally seasoned with hopes and dreams, suddenly with their own hands — give me my shears, broth- er, — yes, with their own hands fling a glass of salt or do something else and lo ! their lives turn so vapid that their own palate revolts against it and their own soul sickens. Another tailor Cease your culinary philosophy or you'll sew up another sleeve, sartor. Hush, here is Samson coming with a whole gang. Let's sing. All Ply the needle, ply the needle. Stitch and baste and sew ; God made all, yet some are happy, Some are friends with woe. 38 THE BLOODY JEST {Enter Samson and Nahum, the Rhymester with a small hand of musicians, talking noisily.) Nahum I take it this is Samson's residence And Samson is a Jew of prominence. . {A flourish of music.) And Samson's daughter, RosaUne by name Is Rome's most beautiful, most lovely dame. {A flourish of music.) And at her wedding all the girls are glad, And every lad but one is deeply sad. {A flourish of music.) So let us drink and drinking wish to you The friendliest "Good Luck" and then — adieu! {A long flourish of music.) Samson You show wonderful skill, Nahum. — Nerissa, oh, Nerissa ! Some wine for these good friends. Nahum Well, what is the matter, Samson? You appear to me rather downcast. Samson No, no, I am very happy. Nahum No, you are not. For shame, doleful and de- jected a few days before your daughter's wedding. Think of it! Your daughter's wed- ding! Think of it! You are getting rid of a daughter! Dance and jump and be happy, Samson. ACT II 39 A TAILOR Who taught you to rhyme? Nahum The art of rhyming is a talent Of greatest worth; ^ It comes not with excessive learning, It comes with birth. It is the art of seeing Hkeness In word and thing; It is the art of wedding sounds To make them sing. ReHgion is but earth arhyming With skies above; And when two hearts in tune are chiming, We call it love. A TAILOR Well, if you are a rhyme adept, what rhymes with Rosaline? Uriel, sir. But it does not. Nahum It does, sir, in love. (Nerissa brings in wine for all. They drink.) For life, Samson. May God help you to derive much joy from your children, May God help you to lead your grandchildren to the canopy, may . . . may . . . may . . . Nahum A tailor 40 THE BLOODY JEST All For life, for life! Samson For life and peace. May God help us all. Nahum And do you wish to see how well Nahum the Rhymster can execute the Halleluiah dance? A TAILOR I trust you will not execute it. Nahum This dance I inherited from my father, the wealthiest man of the city who was wont to dance at all weddings in order to cheer up the bride and groom. A TAILOR Too bad you did not inherit his wealth rather than his terpsichorean art. Nahum Indeed, sir, I did. Fifteen thousand ducats, but where are they ? I do not know. In my case, dances did not rhyme with finances. But really what need is there for ducats when one can be happy without them? Just see the Halleluiah dance. {He dances and concludes every turn with singing the word "Halleluiah." Suddenly, a number of masked hoys and girls appear^ the former with poles and the latter with festoons of roses and dance rhythmically and silently. Finally they how and with a shriek disappear. All look zvith rapture.) ACT II 41 Nahum I thought the rhymester could dance, but I see now I was all mistaken, all mistaken. Well, in former days, this thing was not tolerated, but these are new times. What do you call it, tailor? Yes, modernity. But it's pretty, nevertheless. It's pretty. Well, Samson, time to leave you alone. So good luck ! May God help you to live long enough to choose grooms and brides for your grandchildren. May God help all Jews and also Nahum the Rhymester. May . . . may . . . may . . . All Good night, Samson, good luck and good night ! Nahum Good night, good luck for evermore. May sorrow never know this door. (Nahum and the musicians go out.) A TAILOR He is a happy pauper, master. Samson All paupers are happy. (Nerissa comes in with a taper in her hand.) You wish to light the lamp, Nerissa? Yes, it is quite dark, now. In these early autumn days, the night falls sud- denly like a black veil. Time for you to quit work, I think. All tailors Thank you, master. Good night, good night. 42 THE BLOODY JEST ^ Samson Good night to you all. (All tailors leave hurriedly.) Nerissa, where is Rosaline? Nerissa She has gone out for a stroll. She will be back shortly. {She lights the lamp and goes out, looking with astonishment and fear at Samson who walks to and fro nervously and whose face assumes gradually an aspect of profound sadness.) Samson Yes, I must do it. There is no other way, no other way. Nerissa, oh, Nerissa! (Nerissa appears.) Call the tailor. Nerissa I shall, sir. (Nerissa goes out through the left and Samson through the right. Rosaline enters, sees the almost finished wedding-robe.) Rosaline Oh, how pretty ! Just the ribbon sash here and a few buttons and it will be done. I'll try it on and surprise Nerissa. {She puts it on, hides herself behind the door and then calls aloud.) Nerissa ! ACT II 43 Nerissa (Appears and looks around.) I thought I heard dear RosaUne calhng. My ear must have deceived me. (Goes out.) Rosaline (Again from her hiding place.) Nerissa! Oh, Nerissa! Nerissa (Reappears.) Ah, my big bride is playing like a little child, "Peek-a^boo." (Looks around for her and sud- denly Rosaline appears clad in her wedding gown.) Oh, Rosaline, you are as adorable as an angel. Rosaline Does it become me? Nerissa Most charmingly. If only Uriel were here! Rosaline I have a letter from him. Nerissa You have already told me once. Rosaline Do you wish to hear it ? Nerissa You have already read it to me once. Rosaline I'm angry with you, Nerissa. I'm angry. 44 THE BLOODY JEST Nerissa Come, little child. Be not angry with your Nerissa. You know the words carry enough of sweetness even for the tenth reading. Read it, Rosaline. Read, child. Rosaline (Reads.) To my little angel in Rome ! My lucubrations are reaching the hoped for end. In three days I shall be at home ready for the blissful ceremony which will bind our willing hearts in threads of hallowed gold. Time is a teasing, spiteful, cold-blooded creature: it runs swiftly when we wish to stay its course, and moves as slow as a snail when we are bound for great happiness ; but move it must. So until the end is reached, remember your ardently and eternally loving — Uriel. Now what say you, Nerissa? Nerissa The letter is like a deep-celled honeycomb filled with sweets. I'm happy, dear, happy in your happiness. Rosaline Yes, I'm happy. Yet a little ounce of sorrow lies heavily here upon the bottom of my heart. Nerissa This is the way, dear, all brides feel. Happi- ness always comes somewhat diluted, or else we could not endure it. — But I forgot. Your father will now be angry with me. ACT II 45 Rosaline Why, Nerissa? Nerissa He has sent me on an errand, to bring the tailor, and I forgot. Rosaline What does he need the tailor for? Nerissa Well, I imagine master Samson will order a new gown for you. So I must run. Adieu, dear ! (Goes out.) Rosaline {Alone.) A new gown ! It cannot be. (Samson appears, who upon spying Rosaline, makes a backward, evasive movement, when Rosaline notices him.) You called the tailor, father? Samson Yes. Rosaline But why? And why so dismal looking, father? What ails you? Samson Nothing ails me. Rosaline Have you heard anything from Uriel? Samson No. 46 THE BLOODY JEST Rosaline Then tell me, father, what's amiss. There is something in your face that cries of misery. Samson Sit down my child and I'll explain to you. I'll ask the tailor to take back the garments And work no more. Rosaline You are jesting, father? Samson I am in no facetious mood, my daughter. Rosaline What mean you then? Samson Do you recall I borrowed Two thousand ducats from Antonio And pledged to pay within three months? Today the period of time expires And still I cannot pay. I hoped and hoped, God will not in His kindness let you stand Beneath the canopy in robes unpaid. Oh, what a shame! Here gowns are made of goodly silk, And like small preludes to a feast of sound Sweet tones of music daily fill the house; And there at tables richly set, the paupers Regale themselves and bless me for my bounty, And Samson is not man enough to say: "Oh, thank not me, not me; I'm generous ACT II 47 With ducats not my own." We like the incense Although we may deserve it not. No, no ! I cannot bear the pretence and the sham. The cat becomes uneasy in the bag, I shall release her so that all may know That Samson's wealth is a fictitious tale. And poverty disgraces none, provided We play not being rich. I've hoped so long for The day when God would let me lead my daughter Beneath the canopy and Rome would see A wedding pleasing unto God and men. But God ordained not so. So let it be. And so a poorer wedding shall be yours, A garb of coarser yarn, and the one-eyed fiddler Shall do the music. Rosaline Father, is that all ? External pomp is scarcely worth a tear. And inner happiness can fully shine Through robes of poverty. Samson Your words of comfort And your unruffled spirit give me cheer, And teach me how to breast the brunt of fate. But listen more. Tomorrow I shall seek A buyer for our wineshop to repay My debt to Count Antonio. Rosaline But father, The wineshop gives us bread. 48 THE BLOODY JEST Samson It gave us more, But now — our debts come first. And after that? God feedeth all; He'll feed us too, niy daughter. Rosaline Oh, father, father— Samson Wait, here comes the tailor. Good evening, friend, you cannot guess the message I have for you. Tailor Indeed I cannot, sir. I trust you find no blemish in our work. Samson I find no blemish. See, it well becomes her. Her face emerges from the mass of draperies, A living lily gemmed with tears. Would that It might be hers. Tailor What mean you, master Samson ? Samson You take it back. I lack the wherewithal To pay you for your labor. Tailor Do not mock me. Samson Our sages say : "Grown rich — believe it not, Grown poor — ^believe." 'Tis a rotating wheel, It elevates us to the very top ACT II 49 And blindly crushes us beneath its weight. Times were when Rachel was among the living, The portals of our wine shop never closed, And Samson was the leading Jew of Rome And happiness in every corner beamed. My wife deceased. I said: God gave, God took. I transferred my affection to my daughter, My dying Rachel's dearest gift to me. But then my wealth began to crumble slowly. And now I cannot pay you for your raiment. So take it back. Plain garments will suffice. It's good she is a valiant Jewish daughter. She understands, and Rachel will not blame me. God grant that worse than this may not befall. Tailor But I ask no money, sir. Samson And I ask no alms. Tailor But keep the secret of your straits awhile, And let the Jews of Rome participate In Samson's daughter's wedding as behooves The name of Samson. Samson I scatter to the winds The fragments of a name outworn, outlived. Go, friend, I am determined. Rosaline Go, give him back his robes. The Count is coming. I wish to be alone with him. (Rosaline and the tailor go out. Antonio comes in.) 50 THE BLOODY JEST Good Count, you come in the nick of time, you had been in my mind before you overstepped the threshold. Antonio Thanks for entertaining me in so commodious and vacant an apartment. But you appear dis- traught, Samson. I suppose it's the wedding that all Rome talks about. Say, Samson, are you a Biblical scholar? Samson I've learned a little in my youth. Antonio The Bible relates about Jacob's waiting seven years for Rachel, and when the last night arrived, lo and behold it was Leah. Does the Holy Book anywhere relate about a Rachel's waiting seven years for Jacob and when the last night came, lo and behold it was someone else? Samson I gather not the meaning of your words. Be- sides, my ear is not attuned to jesting. Let us talk money matters. Antonio My ear is not now attuned to money matters. Better call the pretty bride and she will show me her silk and satin gowns you had made for her wedding. Samson I pray you, good friend, desist. I wish to talk to you about the debt. ACT II 51 Antonio Well then let's hear about the debt. Samson Today the time expires in which I pledged to pay you the sum you were kind enough to lend me, two thousand ducats. Antonio And thirty-two per cent interest. Samson Yes, and thirty-two per cent interest. Alas I cannot pay. Tm in dire straits. Antonio That's good, exceedingly good ! Samson Why good? Antonio Well then it's bad, yes exceedingly bad. What will my Samson do? Samson I'll sell my wine shop tomorrow, or the day after, and I'll meet my obligation in full. Antonio The obligation matures today. Samson I had hoped against hope until the eleventh hour that God would not let me part with that which gave me and mine bread and butter, but if 52 THE BLOODY JEST this is His will, I shall do so gladly. Surely my good friend who has been ever so many times kind to me in the past will allow me a few days to dispose of my wine shop. Antonio In Roman law, today does not mean tomorrow. Samson It may not mean in Roman law, but it does in compassion and fellow-feeling and elementary humanity. Antonio Roman law understands not soft femininities. Samson (After a pause, becoming harsher.) What then do you want me to do? Antonio To give me your daughter. Samson My daughter, Rosaline? Cease your pleasant- ries. They fall like smarting salt upon my lacerated heart. My daughter is betrothed to Uriel and the wedding is to take place in three days. Besides God made her a Jewess and you a Christian and the two bloods can never mingle. I pray you, jest not. Antonio I jest not, Samson. Did you forget the pledge you gave me for the payment of the debt? ACT II S3 Samson You mean a pound of my flesh? Antonio Yes, and from your breast. Samson Can it be you were in earnest? Antonio How innocent you are, Samson ! You Jews according to common repute are as sly as a fox but really you are guileless as a child, as a little child. To be sure I was in earnest. Grant me your daughter and I tear this bond into little shreds and give you in addition two thousand ducats as dowry. But if you refuse me, if you prefer this Jewish pennyless commoner to a Gentile Count — Samson (In excitement.) Then what? Antonio Then this bond is filed tomorrow in the Rota. Samson I do refuse! Antonio And the twelve prelates will grant me posses- sion of my pledge which is a pound of your flesh. Samson No court of justice can grant it. It is not justice, 54 THE BLOODY JEST Antonio It need not be. The chief auditor of the Rota is my uncle. And on the following day your breast will be ripped on a public scaffold. Do you refuse, Samson? \ Samson I refuse, I refuse! You may excise ten pounds of my flesh yet no unworthy hand shall touch the innocence of my daughter. Get out, you bloody cannibal, you blot upon God's noblest work, you pitiable specimen of inhumanity ! Begone, before my wrath reaches my fists and does you wrong. Go tell your courts of justice: ten pounds of Samson but not a hair of Samson's daughter. You heartless murderer! (Antonio disappears. Samson slams the door.) God, my God, help me! (Faints.) CURTAIN ACT III The Janiculum before the convent of St. Peter. A dense crowd of beggars, sick ones and cripples of all sorts is assembled at the con- vent door, each provided with a tin bowl for soup. At the left side of the stage, the gate of the Ghetto. From the right, Pope Sixtus V disguised as a beggar enters accompanied by his secret cameriere Monsignor Sanga- LETTo. They step to the front of the stage. Beggar-Pope Can you tell me, Monsignor, the meaning of this generous display of loving kindness to the Lord's afflicted ones ? Sangaletto Nay, Your Holiness. Beggar-Pope Call me not Holiness here, you will betray me. Besides I have left my white vestments behind me in the Vatican. Here I am as I look, one of Christ's friends, a beggar. Sangaletto Most people find it difficult to play their own God-given part well, and yet you play two parts so wondrously, so truthfully. 55 56 THE BLOODY JEST Beggar-Pope Take me not as a Pope that plays the beggar, but rather as a beggar that plays the Pope. The coarse blood of common folks, of shepherds and gardeners, flows in my veins and I share in their little joys and sorrows. See, Sangaletto, see how happy these paupers are, with what relish they gulp down their solicited soup, and having emp- tied their tin bowls how piously they thank the Lord! It's only the crowned head of majesty that's most wretched and woebegone. I tell you there are two treasures in heaven, one is happi- ness, the other is royalty, and before the child is born, the soul is asked which it chooses ; for no one can have both. Wise souls choose happiness and silly souls take royalty. But leave me now, Sangaletto, I wish to join these my brothers. Sangaletto I would kiss the hems of your tattered garment, but you forbid and thus I must show my rever- ence by not showing it. So farewell, farewell, a smothered farewell. Beggar- Pope Farewell, my good Monsignor. (Sagaletto leaves through the right. The Beggar-Pope bends his back even more, steps to the Convent door and obtains a bowl of soup, sits down in the shadow of a tree and eats with gusto.) ACT III 57 Beggar-Pope That was a delicious soup indeed, thank the Lord. Beggar (From the other side of the tree.) Delicious you call it? Well you seem to know as much about broth as a fish about smgmg. You make me laugh, mumper. Beggar-Pope It tastes good to me. Beggar Maybe it does. I don't say it doesn't. But it could taste better for the twenty-five scudi which the good Count Antonio has paid for us. I tell you it's the monks and the sisters that take away the meat and the fat broth and leave for us only boiled water. I know these holy sponges. Beggar-Pope Is Count Antonio always so generous? Beggar Nay, nay. But he has won a law suit against a Jew,' Samson by name. But you seem to be a newcommer here. Whence do you hail, mumper? Beggar-Pope Why, I arrived today from Civita Castellana. Beggar You might have stayed where you were. Too many pigs spoil the pig-sty here. 58 THE BLOODY JEST Beggar-Pope Life in Civita Castellana was very dull, people are too tight. Around the Vatican I thought people give alms more liberally. Beggar (Laughs.) You make me laugh, mumper. The Pope him- self likes to take and keep. Have you not heard of the millions of ducats he keeps in Fort St. Angelo? I'll tell you something. They say the Pope sometimes disguises himself as a beggar, puts a crutch under his arm and comes here to take a bowl of soup. Beggar-Pope I can't believe it. But tell me, brother, about the law case good Antonio won against the Jew. Beggar They say it was this way. Samson the Jew was going to the dogs, financially I mean. So he went to Count Antonio and borrowed money and promised to forfeit a pound of his flesh at his heart in default of payment. Beggar-Pope A pound of flesh! A strange pledge indeed. How much was the debt? Beggar They say two thousand ducats, quite a prohibi- tive price for a pound of Jewish flesh when a pound of bacon can be obtained for six baiocchi. ACT III 59 Good Antonio should be punished for that; for now all bacon dealers will raise their prices, too. Well, the day is declining, so I must go. You see this crutch? At home I throw it away and run on my legs like an urchin of twelve, but out of doors I always keep it by my side, and it makes me a fortune, it makes me a fortune. You should have crutches, too. Well, adios! (Exit.) Beggar-Pope Adios ! A pound of flesh and at the heart — how cruel ! The heart recoils e'en at the thought of it. It is the acme of brutality. Two years I swayed a mighty iron arm, And every day some bandit hanged in public. No malefactor high or low escaped. At last I thought Rome was a Christian city, But now I see Rome is ten thousand miles Behind Christianity. 'Tis strange indeed. The human mind has made unmeasured strides. High up in space unbounded it ascends, And from its lofty station it observes The many bright and swiftly spinning worlds; Into the smallest particle of matter. So small as to elude the fleshy eye, It delves and spies a thousand things colliding And so man opens wide shrine after shrine, And with the lamp of reason held aloft He enters deeper, deeper into nature ; And yet the heart is still a cannibal. The human heart still lives in ancient caves. 6o THE BLOODY JEST I've been a swineherd early in my youth, And now men have made me their pastor ; But leading swines is easier than men. Hush, Count Antonio! He looks so sly And wily like a serpent. Let him fear The Pontiff's crushing heel. I'll hide myself. (The gates of the Ghetto open. Antonio and Martha enter.) Antonio Well, have you seen Rosaline? Martha Yes, I saw her. Antonio And have you spoken to her? Martha Yes, I spoke to her. Antonio And what was the reply? Tell me quickly, Martha. Martha None too gratifying, Count. Antonio You mean she refused me? Martha Yes, Count. Antonio That cannot be. How could she prefer that common, impecunious, pale ghost, to me? ACT III 6i Martha All this I explained to her. I described to her how fair my master is, how tall and muscular in arms — Antonio Yes, yes, and what did she say? ' Martha His heart how full of passion, a veritable King Solomon that can feed a thousand women with his love — Antonio And what did she reply? Martha How wealthy, how noble, a Count ! Antonio Enough now. What did she say? Martha At first she said nothing, but kept her big, black eyes, red from weeping, fixed upon me and I let loose the reins upon my words, for had I stopped a moment the woman in me would have burst in tears. So full of sorrow were her eyes. And thein she embraced me, kissing me, saying, "Martha, have you a father? Pity my father, my poor father. Martha, you are a woman too ; why can you not feel with me?" Something began to choke me and to bar the escape of my words. But I ceased not speaking. I spoke of your manly charm and loveliness and of the only way she 62 THE BLOODY JEST can save her father's life, and suddenly, like a beast mortally wounded in its breast, she uttered a wild shriek and jumped with clinched fists upon me, and I ran out to save my life. Antonio It's a stubborn, silly people. Give them a good lashing on their hunches and they will kiss your feet, but give them gold, happiness and a name and they will bury their teeth in your hands. Martha I fear you will not have her. Antonio Fear not. The golden fish may wriggle in my grasp, but escape it can not. The pound of flesh will steal her proud obstinacy. Tomorrow, at the Bocca della Verita, Samson must uncover his breast to me ; and until then Rosaline, I wager, will change her mind. Come, Martha, come. (They betake themselves to the exit on the right of the stage, when the Beggar-Pope steps out, accosting them.) Beggar-Pope Good gentry, have you seen the Holy Father, the Pope, here? Antonio I have not, Lazarus. Beggar- Pope I am sure His Holiness is here. Aye, there He is. See you him not yonder among the trees? ACT III 63 Antonio Yonder among the trees? No, I see him not. Beggar- Pope Well, see now, yonder on the road. Antonio Yonder on the road ? Indeed, I see him not. Beggar-Pope Good Count, your optical instruments must he terribly foggy. To be sure I can not see him, but you can. Martha This mendicant seems to be slightly moon- struck. Antonio Get you gone, Bedlamite, or you may lose a costly rib or two. Get you off. (Exeunt.) Beggar-Pope (Hops away.) Not so angry, merciful Count. Well, farewell, I am sure you will meet the Pope by and by. Farewell, my gold, my happiness. Farewell, you bloody, bestial soul, making unholy the human form in which you hide your blackness. How has your clay been touched by God! Plot, plot, Antonio, tomorrow the snake you feed in your heart will fling itself around your neck and send its poison back into your veins. Farewell, fare- well, you'll meet the Pontiff by and by. Hush, what a noise and hulabaloo ! Let me see. 64 THE BLOODY JEST (A great confusion and uproar. The stage be- comes filled with people, shouting, wailing, screaming, "a doctor, a doctor." One man carries a girl, her wet hair hanging down and water dripping from her. She is laid on a rough wooden bench.) One man And have you called the doctor? Second man Yes, yes, I have. Third man Call her father ! Fourth man Who is her father? Fifth man Samson, Samson. Fourth man Is this Rosaline? I'll call him at once. A WOMAN Is this the sweet bride, Rosaline? Woe is me. Another woman She was such a lovely little girl. Why did she do it? A MAN Make way ! The doctor ! the doctor ! Move back, woman. ACT III 65 Second man Move back, oh, move back ! (Hush. The doctor approaches and attends to her. All look with bated breath.) Third man How is she, doctor, hov^r is she? The doctor It's nothing alarming. Let her he still for a little while. Apparently she was pulled out of the water immediately. A WOMAN Yes, yes, I pu'lled her out but not so quickly. I was washing and beating my linen at the brink of the river. Suddenly I see a girl climbing upon the promontory that overhangs the dreaded whirl- pool where they say two evil spirits of the water combat and make the water all around roar and boil, and where many a young bather sank and never came out again. I shouted to her, "Be careful, girl. Climb not further. You'll fall." But she heard me not, and having reached the highest peak she raised her two arms — thus — and dashed headlong into the seething whirlpool. I tarried not a moment. I've been a swimmer since I was a girl. And so I quickly plunged and made my way to her. I overtook her and seized her hand, but she with fierce might grasped me with her other arm by my neck and wished to pull me down, down. I struggled with her, I know not how long, until I clutched at her fore- locks and saved her. 66 THE BLOODY JEST Second woman And did you not fear? They say bad things will happen to any one who saves some one else from drowning. First, woman Who thinks of what they say when there is such a pretty little lady drowning? The doctor You are a valiant woman. Her father is much beholden to you. A man Make way, make way. Samson is here. Samson (Rushes in.) Oh, Rosaline, my Rosaline, my dearest Rosa- line, soul of my life, speak to your father, speak? The doctor Let her be, foolish man. It's nothing alarming. She was quickly taken out of the water. But she must have rest, quiet. Let all this multitude dis- perse. Let them go home. One man Go home, go home ! Second man Let's leave them in peace. All Peace, peace. (All withdraw except the Beggar-Pope.) ■7 ACT III 67 The doctor Worry not, old man. She will feel better anon. I bid you good night. (IVithdraws.) Samson Good night. , . , j -^ (He paces to and fro and wrings his hands tn despair.) Beggar-Pope Is your distress so very great Samson Yes, my friend, it is. Beggar-Pope Then have faith in the Lord, Samson. Samson I have, my friend. But you know not the greatness of my suffering. Beggar-Pope I do know, Samson, I know all. But teU me why have you given him so brutal a pledge. Have you not brought with your own hands this mis- fortune upon you? Samson He suggested the pledge jestingly, and I laughed. Of what good is a pound of human flesh ^ I thanked him for his trust in me and for lending me money without any earthly security, and had it so stipulated in the bond. But now he is turning the jest into a bloody reality. 68 THE BLOODY JEST Beggar-Pope I shall seek to help you, Samson. Samson I know your heart is good, but no one can help me. He has won the case in the Rota and to- morrow I shall be flayed. No one can help me save God. Beggar-Pope And God sometimes chooses the humblest and the lowliest to bring His help. Samson Your words are a balm but can not heal. Rosaline (Faintly.) Father. Samson Sweet Rosaline, how feel you? Rosaline Better. But it were better if I did not feel better. Samson Speak not thus. It's a sin. It's as sinful to take one's own life as to take another man's life. All life is God's. Rosaline I wished to save your life. Antonio means me, and once I'm gone, he will leave you in peace. ACT III 69 Samson Your life is more important than mine. I have had my chance, my sunshine and my clouds, but you are a young flower just about to unfold your tender petals to the sky. No hand shall be laid on you. Rosaline Father, why do we suffer so much? Samson (Falls upon her breast.) I know not, I know not, daughter. Beggar- Pope If this is not a sin, I know not what is. Have you no faith or trust in God? For shame, old man, making his little daughter cry two days be- fore the wedding and making her sweet eyes red. What will Uriel say? And see, Samson, she is all 'wet and the cool evening breeze is blowing. What a merciless father! You must go home and warm yourself. You walk before, Samson, and I shall lead Rosaline. Come, come, thus. And tomorrow God will help. And then Samson will lead his little daughter beneath the canopy, and Uriel will stand by Rosaline's side and there will be music and candles and everybody will be so happy. I tell you tomorrow God will help. CURTAIN ACT IV A square named Bocca della Verita. Two workmen give the last finishing touches to a scaffold. An afternoon. Beppo {Sings.) One glass, one little glass of wine What wondrous magic in it lies ! All pain and sorrow melt away Like clouds afloat in summer skies. The little boy in us that fell asleep In some forgotten, far off day, Wakes up and rubs his dreamy eyes And starts to sing and shout and play. And then the heart is flooded o'er With singing, surging waves, it seems ; We take a silvery light canoe And paddle to an isle of dreams. One glass, a little glass of wine What magic, what good witchery ! All sorrow and all grief are gone The heart becomes so Ught, so free. {He raises a mug of wine and drinks. Cecco takes it from his hands and sings.) 70 ACT IV 71 Cecco Indeed so good a thing is wine, It makes us feel so glad. If seas were wine instead of brine, I'd choose to be a shad. If angels drink, I'm sure they drink The cherished drink of men. If ink were drink instead of ink, I'd choose to be a pen. (Drinks.) It's quite hot. The late summer sun is showing what it can do. Beppo Yes, indeed. {Sneezes.) Cecco God bless your heart, but I pity you. Beppo Why so, brother? Cecco Have you not heard that if you sneeze three times in succession you will be an old maid? Beppo That's pretty bad. To be a maid is bad, and to be old is bad, and to be an old maid is twice bad. So in order to be on sure ground I'll sneeze again and make it four times, y2 THE BLOODY JEST Cecco Why do you not look at the sun. You know that if you feel like sneezing it's good to look at the sun. Beppo Oh, I tried. It's only good at night. And here is a fellow with an ornament on his back. (Uriel enters, homeward from Padua, carrying some baggage.) Uriel What is it, friend, you are building? Cecco What do you think we build? Uriel Why answer a question with a question. If I knew I shouldn't have inquired. Cecco A synagogue, sir. Do you wish to be the cantor, the one that chants, thus? (Delivers a staccato.) Uriel No, this has no appearance of a house of worship. Tell me, friend, what will this be? Cecco Well, then a pig-market. Uriel Are there so many pigs in Rome that you must open a new market? ACT IV 73 Cecco But we will sell here Jewish pig. Uriel A pig is un-Jewish. Cecco Well, then, we will sell here Jewish un-Jewish pig. [Excitedly.) You muddle my wits, Jew. What do you want of me? Uriel Why irritated? Just tell a friend in intelligible prose what this is to be. Beppo I'll tell you, sirrah. This is to be a jolly junket. Uriel A jolly junket? Beppo Aye, aye, and all the Romans will be gathered here and a kind Jew will let his heart be excised for the diversion of the Romans. Uriel What devil hides in you that you talk about such cruelty in accents so calm and unruffled? Beppo But he can live without such a thing as a heart. I have heard many Jews do. Uriel Hold your tongue, ruffian. What human hand will do the excision? 74 THE BLOODY JEST Cecco The noble Count Antonio Zavello. Uriel Count Antonio ? . . . God ! who is the Jew ! Cecco Samson, his name is. Uriel God, it's the bond ! My father, Samson ! (Runs out.) Cecco Samson his father? And I thought he had no son. Beppo Samson is his future father-in-law and a father-in-law is in law a father. Cecco So this is Uriel who is to marry the pretty Rosaline. All Rome is agog and astir over this wedding. Beppo Yes, indeed, he is just returning from Padua, ready for his nuptials. Poor thing. Cecco No wonder my words struck him like a thun- derbolt. He seized my arms and clinched them with iron fingers and gave '^me such a jerk that I thought I would have to walk a mile around to pick up my little bones. ACT IV 75 Beppo I think you will not like to engage in a friendly chat with him again. Cecco I think not. We sometimes think the Jew a humble and timorous creature, a worm. Rail at him, if you please, spit upon him. Trample him. But, by the holy Virgin, there is something in him which, when hurt, will suddenly transform the creeping worm into a howling giant. Give me the mug, Beppo. (Drinks.) Beppo Say, Cecco, will you keep your eyes wide open when Antonio digs his scalpel into the Jew's breast ? Cecco Surely, and as wide as this. (Shows him with his hands.) Beppo And will blood flow? Cecco I'm not certain that this red wine flows in a Hebrew's internal aqueducts, but if it does, it will doubtless gush abundantly. Beppo I think I shall not look at that part of the scene. I'll close my eyes — thus — or I'll turn aside. You see, Cecco, I have a weak heart. y(i THE BLOODY JEST Cecco, There you are, Beppo, a week hearted old maid. No wonder you sneezed three times. You beetle- head, Count Antonio is giving a picnic to the Romans. Twill be a grand sight. Now tell me, nincompoop, is a sight for the seeing or for the blind? I, too, have a human heart. I never assassinated a spider. My mother-in-law, ever- lasting peace to her, (she is still awfully alive,) taught me that a Christian must not cause a spider to die. But this is a Jew, mooncalf. Twill be a grand scene. Beppo Maybe you're right. I guess you are right. But a Jew is a living thing. Cecco The Jew, my dear milkmaid, is the devil's apprentice. Know you this? {Both cross them- selves. ) i Beppo Indeed I have heard it full many a time. Cecco And he has horns and a tail, too. Know you this? Beppo I have heard that, too. Once I was employed at the ihouse of a Jew in the Ghetto. The master was gone, and I was alone with his little boy, a black-haired, clever-eyed little man. I wished to ACT IV ^7 see the horns and the tail of that little Jew, and so I spoke to him kindly and sweetly, until he trusted me and came over to me. Cecco Well, Beppo? Beppo I felt his head and his other place, but no horns, no tail. Cecco You beetlehead, those Jews have the power to draw in their horns and tails. And when you approach them, they look human, perfectly human, just like you and me. Beppo You are wise, Cecco, and well informed. So tell me, is it true what I have heard, that our Savior, the Lord Jesus Christ, was a Jew? Cecco Now you have sinned. Indeed you have sinned. And next Sunday you must mention it in your confession. Jesus, our Redeemer, was an Italian. Beppo Was He, Cecco? Thank you, Cecco. I am so glad. Cecco To be sure He was. I see His name in ever^^ Italian book. He lived in a town called Bethle- hem; it must be not far from Rome. 78 THE BLOODY JEST Beppo Thank you, thank you, Cecco. I am so happy, so happy. Cecco Hush now. We were so buried in the matter of our conversation, or in the conversation of the matter, that we noticed not what was going on. See, the square is filled and the scene begins anon. (During the foregoing a mass of people gradually fill the stage. Now the Chief Auditor, scribe and other officials clad in their regalia, enter and mount to their seats. Then Samson with Rosaline and Uriel and hal- berdiers. Behind them Antonio and Martha in the guise of a page.) Antonio There is something pressing on my heart. I walk As if I went to my doom, not to Samson's. Martha My count, when woman starts to play the man. Let man not take the part of woman. Antonio Martha, You know I meant not Samson, but his daughter. Alas, when acts miscarry, they create A train of acts which we perforce must play Until the bloody end. Come, Martha, follow. (They mount to their seats.) ACT IV 79 Chief Auditor I hope my fellow Romans, you know well The essence of the case. The Rota granted To Count Antonio a pound of flesh From Samson's breast, the nominated pledge Now forfeited by failing to repay The past due debt of twice a thousand ducats. We therefore gather here to execute The Rota's just decision and do justice. For justice means not just to see the right, But seeing it, to give it flesh and blood And cage the airy truth in solid facts. Oh, Samson, have you ought to say? Samson The earthly court already passed its judgment, I can only file my case in the court on high Where truth and justice speak a different language. I've nought to say, but, if the court is gracious, I shall exchange a word with these my children. Chief Auditor We gladly grant you, Samson, this request. Samson Come here, my daughter, God may help me yet. So cry not, child. Rosaline Oh, father, oh, my father! Uriel I can no longer, father, rival you In bearing on my face the mask of calm. 8o THE BLOODY JEST My stormy feelings break their chains asunder And cry Hke wounded wolves. How can you, father, How can you be so imperturbable? Samson Like water to the fish, so suffering Is to the Jew. It is our element. It is the air we breathe; and not to suffer It to be short of breath. Now, magistrate, I'm ready. Chief Auditor Have you scales, Antonio? Martha Aye, sir, and here it is, a truthful balance. Uriel Hold off a while, oh, Count Antonio, What profit is there in a pound of flesh? Man is the crown of all divine creations And yet his flesh won't fetch us one baiocco; Combine, I pray you, mercy with reflexion. Here is your capital and interest, And keep your hands unsoiled with human blood. Antonio The debt is now past due and Roman law Awarded me the pledge. Uriel There is a law God graved indelibly upon your heart. Why need you Roman law? ACT IV 8i Antonio I want the pledge. Mob The pledge, the pledge, Antonio, the pledge. Samson The rabble is athirst for Jewish blood. Uriel {To the mob.) Oh, many-headed, monstrous ignorance, Oh, pack of wolves, oh, heartless. Godless crea- tures. Why howl and clamor thus for Jewish blood ? What have we done, what crime have we com- mitted, Except to give a Prophet to the hounds And Holy Writings to a herd of swine? What have we done to you? I feel in me A weak and wordless cry of centuries Of casting our young sons to hungry lions In order to regale old Roman matrons And pampered Caesars, centuries of pyres And pillories and pious Inquisitions And wallowing in our blood. What have we done ? I know God's hidden purpose wills us suffer. But woe to them that deal us all this torture.. Mob The pledge, Antonio, the pound of flesh ! 82 THE BLOODY JEST Uriel I do not curse, I only pity you, You leprous hearts, you crippled sickly souls. You maddened rabble, you unfinished things Who have left the beast but have not reached the man. I pity you. Mob The pledge, the pledge, the pledge ! Chief Auditor The Romans are uneasy; hasten, Samson, And bare your breast. Samson Oh, grant me, magistrate. One fleeting moment more. Chief Auditor *Tis granted, Samson. Samson Uriel, hear. If God vouchsafed me not To lead my daughter to the canopy. Oh, let me see her now in your arms. Uriel, pray, embrace her. Rosaline Father, father! Uriel Hov^ ill a time and place for shows of love. Come, Rosaline. Let's take our father's blessings. ACT IV 83 Samson May God his blessings shower upon you, children, Remember Rachel and forget not me — Antonio, I'm ready now. I bare My heart. You seem to like a Jewish heart. Uriel Halt, 'halt. I can not see this bloody act. Halt, murderer, or I will turn your dirk Into your filthy entrails. Antonio Unhand me, Hebrew cur! Chief Auditor Oh, part them, halberdiers! Oh, quickly part them. Samson Uriel, cease, I pray you, cease, oh cease I Uriel, such a rage is not becoming A member of our race. We take not fate Into our own hands. Antonio, My breast awaits your knife. Pray, tarry not. God, in Thy hands my spirit I commit. Voices Make way. Oh, move aside ! Aside ! Make way. (A Senator, on a white mule, clad in black, with a golden chain across his hredst, enters and rides through the wonder-stricken crowd.) Senator The Holy Father sends me to exhort Antonio to pity the poor Samson. 84 THE BLOODY JEST Antonio Indeed, I pity him, but he must pay. Senator Can Samson pay his debt? Uriel Aye, sir, he can, And here's the capital, with interest. Antonio The debt is due no longer. 'Tis the pledge The law awarded me. Senator Once more I ask you. Antonio, just add an ounce of Christ To your too legal soul. Antonio I want the pledge. Senator Chief Auditor, a witness has been found Who has a word to say. I'll let him come. {He makes a signal. A royal lifeguard hurries to the Vatican, and before long a group of lifeguards arrive and make way. A flourish of trumpet is heard and the Pope, mounted on a mule, surrounded by several cardinals, comes in.) Pope I'm the witness. Count Antonio. These men here think Antonio demanded A pound of flesh as surety for his loan. ACT IV 85 What needs the Count a pound of Jewish flesh When pig is well digested in his paunch? Nay, nay, Antonio is passing sleek. The pledge he planned might be a crimson string To pull and bring the stubborn, lovely heifer. Alas, poor Count, the Jews think much of honor And innocence is not a coin outworn. The cord with which you would the heifer bring Thus tore and you may hang yourself therewith. You calculating scamp, you scoundrel, draff of mankind, You liked not Samson, but you liked his daug'hter. Could you have thought you might seduce a Jewess Or slay a guileless Jew and I would slumber? Could you forget so soon the many culprits That daily hung and swung upon that bridge? Nay, fear not. You may yet be spared the gibbet, And that for Samson's sake and not for yours. For little would he prize his rescued life If some one else would lose through him his own. So bend your knees before him, Christian eyesore, Perchance he'll let you breathe your filthy breath. Antonio (Kneels.) Oh, Samson, sin is an intoxication That casts a sleep upon the man in man. I knew not, Samson, what I willed to do. The Holy Father's words have sunk in me Like flaming iron bars. Oh, I recoil With shame from my unworthy, sinful self. Forgive me, Jew. My life is in your hands. 86 THE BLOODY JEST Samson I rub my eyes. O can all this be real ? Support me, Rosaline. ^ Rosaline Yes, father, real. 'Tis sudden and yet real. Uriel God has saved us. Antonio Indeed, God saved you. See you not He saved you. Now save your foe's life, too. Samson All life is God's And who am I to grant life or deny? Oh, rise, Antonio; with all my heart I'm ready to forgive and to forget. And pray accept the full amount I owe you. Pope Nay, nay. Let Samson keep the whole amount As his indemnity. Antonio, Run home now, glad that you escape alive. And when you pass that bridge, think 'twas a Jew Who robbed you of a chance to show your art Of dancing yonder in the windy air. And when you see a beggar, talk not loud Lest he report your plotting to the Pope. Run home. (Antonio kneels before the Pope and goes out through the crowd.) ACT IV 87 Samson Your Holiness, I am not gifted To make my gratefulness speak howso feebly, But in our silent prayers to our God I with my children shall remember you. (Bends and kisses the hem of his garment.) Pope Nay, nay. It is the Christian that must kiss The hems of Israel's robe and ask forgiveness. Now, farewell, Samson. Samson Farewell. God be with you. Pope And be not all too lavish with your heart In deaUng with your friends. Farewell, farewell. Voices Long live the Pope! Other voices Long live the Holy Father! Other voices Long live the Jew! {Flourish of trumpets. The Pope ascends his mule and leaves the stage together with his retinue of cardinals. The whole populace disperses after pressing the hands of Sam- son. The latter, Uriel and Rosaline are left alone.) 88 THE BLOODY JEST Uriel The riffraff's mind is mercurial, it changes. Samson The mercury of friendship always follows The sinking and the rising of our fortunes. But see, Uriel, this great Christian Father Is like a jewel, soUd and unshrinking. Oh, one sudh man puts honey into life And makes religions clasp and kiss each other. I'm very faint. Rosaline What is it? You're so pale. How feel you, father? Samson Truly like a ghost, Who from his grave returned. I'm very tired. Tomorrow is the day of happiness For me, for you my children and for Rachel. So let's go home and rest. But see, the dancers ! (A number of masked boys and girls appear, as in Act II. The former with poles and the latter with festoons of roses and myrtles, and dance rhythmically and silently. Finally they bow and disappear with a shriek.) Uriel They must have heard the news of our release And hied to greet us on this very spot Of tears and joy. ACT IV 89 Samson See how the west is blazing And every cloud that passes turns to gold. In moments of distress we noticed not How beautiful God's world around us was. Come, children, come. On either side a child. (Exeunt.) CURTAIN LIBRARY OF CONGRESS 015 937 062 8