,v , %''^'\o'> *^^*^.V/ 'o^'-.T.-^o- "ov^ iPv. HO^ ;., -^^^^^^^ /i^fe*'. -^^^ .^^ ,>^^a:». «. .^ .^ v^' o ^^^^' : .^^"^^. «. <^ '''TIT* ,0 0" t*''lJ!* 'o^ A^ &°JL"**^ • r ^^ ^~ tt v*\'^>.V /.-i^^^ y\.^>X /,'-• .4<5^ . \ "^0^ 0_ -*-''^^Jsis:5-^• "^ *:'^i^«-^^* ^ A9^ *J i*^' '0/ -^-^ '*'^. ♦ A- THE DAIMIO'S HEAD & OTHER MASaUES BY THOMAS WOOD STEVENS & KENNETH SAWYER GOODMAN THE DAIMIOS HEAD MONTEZUMA QUETZAL'S BOWL THE STAGE GUILD CHICAGO 7 5^^^:^ 3 t^-n-^, -^ (\\^ Copyright, 1912, by Kenneth Sawyer Goodman and Thomas Wood Stevens. All rights reserved. Notice. Application for permission to per- form these plays should be made to The Stage Guild, 1527 Railway Exchange Building, Chi- cago ; no performance of them may take place without consent of the owners of the acting rights. Q01.D 29728 ^ \ The Daimio's Head CHARACTERS Buchi, A Badger-Man, a good goblin. ShimfcTzt' } Gentlemen tea-drinkers. ?Isu } Dancing Girls. Funakoshi, a young Samurai. O Toyo San, a Princess. Q- 1 . r Counsellors of the Daimio of Sendai. Matsudaira Mutsa No Kami, Daimio of Sendai. An Attendant. A Fox Woman, a wicked goblin. Hokusai, an Artist. His pupil. A Magistrate. ZIYfIL } At '^- T«-P'« of ^'toji. ' The Abbot of the Temple. The stage is set with a great screen representing the sacred mountain ; paper screens are shifted to represent the various places in which the action occurs. Before the opening of the play, a line of screens extends across the front of the stage. When the audience is seated, a gong is struck and the "Director of the Theater" parts the center screens, and stepping forward addresses the audience. He is dressed in the costume which he will wear as Buchi in the play and carries the false head representing a badger-goblin under his arm. The Director — Most honorable people, I salute you ! I have made a play. It is a play of Old Japan. It is a play of filial piety and just revenge. It will instruct the young in the courtesy due to an honorable enemy, 3 And the old will renew from it their sympathy for the loves of youth. Give me your honorable attention. I celebrate the sacred Pilgrimage of a young and dutiful princess. I rehearse for you how she meets and binds to her service a young Samurai, How together they take the life of a powerful prince, her father's foe, How they bear his head with humility and reverence to the grave of her father, And how they are guarded on their journey by a Badger-man, a good goblin — An unseen spirit in the service of her father's honor- able ghost. The lady is O Toyo San, daughter of the Daimio Sugihara of Kitoji. The young man is Funakoshi. The Daimio, whom they kill, is Matsudaira Mutsa No Kami, Prince of Sendai. The Goblin, the Badger-man, is one Buchi. When the screens part, you will honorably imagine a tea garden in the Spring. You will imagine the floating cherry petals. You will see Funakoshi, loitering with dancing girls. Presently will come O Toyo San, led by the invisible Buchi. Funakoshi will befriend her. At first she will look upon him with contempt. But hold ! I must not tell you everything. With your honorable permission, the play shall begin. i^He claps his hands. The porters take away the screens and he withdraws with them?) SCENE I The scene is a lea garden. Kobayashi and Shimidzu are seated together at the extreme left. Funakoshi is reclining on his elbow at the extreme right. Uta sits beside him with a stringed musical instrument in her hands. Yasu kneels up- right beside him. The other tea house girls, dancers, etc. kneel or stand behind Funakoshi and are giving their entire attention to him to the complete exclusion of the other guests. Kobayashi — This is shameful service. {Claps his hands.) Hi, Hi, Bring us some tea at least. Shimidzu — They flutter about like little foolish butterflies. Kobayashi — Tush, don't you see the flower that draws them ? I^ook over there. {Points to Funakoshi.) Shimidzu — He has a noble look. Is he a young prince ? Kobayashi — Poof. He's a Ronin, a swash-buckler, a bravo out of service. {Claps his hands.) Hi, hi, Bring us some wine and cakes. {They are served at last and subside?) Yasu — {To Funakoshi?) The dance pleasures you no longer ? Shall I sit down beside you, Master? Funakoshi— Sit down beside me, little flower. {Yasu sits down?) Yasu — You are sad. I would blow your sadness away with the breath of my fan! What shall I do to blow your sadness away ? Funakoshi — Dance for me the Dance of the I^ast Snows of Spring. Uta — We have danced it twice and you have not even smiled. 5 FuNAKOSHi — Sing for me the Song of the First Snows of Autumn. Yasu — It is a sad song. I will not sing it. Uta — I think he is in love! Ali. thk Girls {clapping their hands) — Yes, yes ; he is certainly in love. FuNAKOSHi— Yes, I am in love. Yasu — With whom are you in love ? (O Toyo enters. No one notices her.) Uta — She must be very cruel! Funakoshi — I love you all. I fear I love you too well; I love your wine; I love your dances; I love your soft arms about my neck. Yasu — If you love us, you should not be sad. Funakoshi {catching sight of O Toyo) — Who is that ? Who is that standing by the gateway? All the Girls —Oh! Oh! Oh! See! See! ( They run to O Toyo and crowd around her. ) Toyo (timidly) — I have trodden the road for a day, Nay, for two days, and have tasted food but once. 1 pray you give me food. Yasu {approaching O Toyo) — Your clothes are soiled with walking, but they were once very fine. They are the clothes of a lady, the daughter of a lord or a prince. Uta — I think she must have stolen them. O Toyo — I go upon a holy pilgrimage. I pray you feed me. Uta — Listen to her order us about! She is a dancing girl run away from her master. We will get into trouble if we take her in. 6 O ToYO— I will sit down. Bring me some rice and tea. Yasu— My fine lady, you shall go into the kitchen and eat with scullery maids, And when you have eaten you shall dance. FuNAKOSHi — Be quiet! {To O r^j^)— Honorable lady, I beg you to accept the service and protection of an humble gentleman. Here are some cakes and wine and rice. O ToYO — I thank you. {She seats herself) Uta— (r^ Fiinakoshi)—h. moment ago you loved us, unfaithful one, and now you take up a draggled runaway. An Kta, for all we know! FuNAKOSHi — Peace! Look at her! Can you not see that she is well-born? Yasu— Does a well-born lady go running about the country without attendants ? Beware, my lord Funakoshi, she is a goblin or a Fox- Woman, come to bewitch you. If I had my way, she should be pitched out again into the road. Funakoshi— Be quiet! Leave the lady in peace. O ToYO {coldly)— \ thank you for your kindness. Funakoshi— Your voice is like a chilly little wind speaking among the stalks of frozen flowers. Have I angered you with my presumption? ToYO — I can but thank you . Funakoshi — You honor me with your thanks. But I am not a common man. 1 am a Samurai, the cadet of a great house. You do not demean yourself in talking with me. O To YD— I am weary. I must beg you to let me eat in silence. {Buchi, who has entered with O Toyo, has remained by the gate. He is sicpposed to be invisible. He now 7 steals up behijid O Toyo, strikes a grotesque attitude^ and speaks over her head.) BuCHi — They do not see me. I am a spirit — a goblin. No one sees me. I am a puff of wind. I pass unseen, unheard. I can do all things. But I am kind. I shall guard the little Lady. Her father was my friend. I shall guard her well. Already this young man loves her. Her image trembles already in his sight like a young moon trembling in a mirror of steel. I have led her to him that he may do her service. I shall bind him to her service. I shall bind him to her as a wise armorer binds armor upon the body of his lord. Hist! FuNAKOSHi — Will you not tell me your name? Even your name would seem a chime of bells, A chime of gentle, golden, twilight bells, Rung from a scarlet shrine. {O Toy o shakes her head, looking from him to the da?ici7ig girls.) At least I may look upon you. Even if you will not speak, I may look upon your face. The pleasure of looking upon your face is like the pleasure of looking upon a pool of lotus in the gar- den of the Tycoon. ToYO {jnore ge7itly) — Sir, I have been discourteous; 1 humbly beg that you forgive me. FuNAKOSHi — Again she has spoken and it is like the tinkling of silver rain in a basin of water-lilies. O ToYO — Your face is kind, your voice is gentle. Can it be that your face is only a mask, Your voice only a samisen ? FuNAKOSHi — I know not what you mean, but speak to me again. O ToYO — Just now when I came in, these dancing girls, these butterflies, 8 spoke to you as one speaks to a familiar, One who has loitered often with such as they. FuNAKOSHi — Lady, you shame me. ToYO — Is there no service for your sword, No splendid vengeance which you brood upon, Waiting your time ? FuNAKOSHi — Listen ! That you may know me not so base as I appear. My hand is held from a bloody deed of the most hon- orable nature. Only by most unfortunate circumstances . 1 pray you to believe me an honorable gentleman. Because — forgive me — I love you. ToYO — Honorable Sir, 1 appreciate your courtesy. You have not inquired into my present circumstances. Alas, they must seem to you strange, if not un- maidenly. I go upon a most imperative mission ; I go upon a pilgrimage of filial piety. I must not think of love. FuNAKOSHi — Lady, I am the dust of the road under your little sandals. Yet, I am presumptuous. I pray you let me go with you. ToYO — I go to seek the life of my father's slayer. The spirit of my father cannot rest. 1 am the last of his house. There is no hand but mine to avenge him. No hand but this pale little hand. Which can hardly lift a dirk, Yet, he shall be avenged. And I shall carry the head of Matsudaira, Of Matsudaira Mutsa No Kami, Daimio of Sendai, to the Temple of Kitoji. FuNAKOSHi — But this Daimio of Sendai, he is a great lord. 9 O ToYO— I shall carry it, all the way in mine own hands, And I shall place it with fitting ceremony upon the grave of my honored father, And his spirit shall be at peace. FuNAKOSHi — He will be guarded close. ToYO — He will not fear a woman — FuNAKOSHi— Now the high gods and the spirits of my ancestors be praised 1 have found worthy service. I may go with you, Little Lady of Heaven ? Say that I may go with you. O ToYO — You may go with me. {They join hands) BuCHi — You see she has taken his hand, O Toyo San has taken the hand of Funakoshi, And his heart trembles at the touch of her little hand. It is shaken as the leaves of a fortunate tree are shaken by the wings of the happy birds. While he walks beside her, the land will swim with sunshine. But as yet she, the little lady, thinks only of her pil- grimage. The road is long which leads to the castle of the Daimio of Sendai A march of days and days, But they are already upon the road. Poof ! Behold ! I have blown the days away, And O Toyo San and Funakoshi are come already to the castle of my master's foe. When the screens are taken away, you will see a room in the castle ; You will see the Daimio of Sendai ; You will see him with his counsellors. You will hear wise words and pious regret for an evil act. Presently will come O Toyo San demanding justice. But I must not tell all the story. Attend — {He claps his hayids and the porters withdraw the screens) 10 SCENE II When the screens part, Matsudaira, Asano and Oishi are seated in the center of the stage. The Diamio faces the audi- ence and the counsellors are on either side of him facing each other. AsANO — My lord, we are men of little wit. In what shall we offer counsel to Matsudaira Mutsa No Kami, Daimio of Sendai. The Daimio — Age comes upon me in stealth. He gnaws my heart like a rat. And I may not strike him down. Oishi — Age is a well of wisdom. Your people shall drink wisdom at the well of your old age. ThK Daimio — It may be true, Oishi, But of late I have come to feel that my ancestors are displeased with me. Asano — How may that be ? My lord has been most scrupulous to do them all fitting honor. The Daimio— That is true; I have built them no less than five temples and forty- two shrines. I have let no enemy of my house escape. Yet, my sleep is crowded with the most terrible dreams. Oishi — It may be that my lord is bewitched by some goblin. The Daimio— It may be as you speak it, Oishi, For I have, indeed, been dutiful to my ancestors. I have lived a life upright beyond that of most men. The gods have small cause for anger against me. Yet, I am minded of one act in which I was not with- out blame. Asano— My lord, we cannot imagine it. The Daimio— Thirty enemies of my house have I put to death, 11 And in no case, save one, have I failed in any point of consideration due their rank. In this one case, I did a grevious and discourteous thing. OiSHi — My lord, we cannot imagine it. The Diamio— Yet it is true. And the anger it hath made must be very terrible, for now that I have grown old, it shakes my sleep from me. Listen to my speaking. I did have just cause to require of one Sugihara of Kitoji That he render up his life. He was brought before me and did honorably ac- knowledge my right to his head. He was a brave man. I should have done him honor. I should have hired a shrine and provided mattings of fine straw, But I was drunken with the fighting, I was bewitched by discourteous demons, I forced the dirk into his noble hand. He slew himself by the roadside And his august head fell and was soiled by the dust of the road. Wherefore, I am harried in my age and am a shaken old man. {Enter an attendant from the right?) Attendant — Most exalted and honorable Daimio. The Daimio— Speak. Attendant — A Lady of the military class begs speech with my lord, that she may obtain justice. The Daimio — Let the Lady enter. {The attendant withdraws. Enter O Toyo, Funakoshi and Buchi. Oishi and Osano at a sigyi from the Daimio withdraw to the sides of the stage. Funakoshi and O Toyo take exactly the positions formerly occu- pied by the counsellors . Buchi remains by the entrance?) O Toyo — Most exalted and honorable Daimio of Sen- dai, 12 Men speak in far countries of your justice and wisdom. I have come far to obtain justice. The Daimio — Honorable Lady, my ears are open. Do you desire the death of an enemy ? O ToYO — I desire the death of an enemy. The Daimio — It is well. O ToYO — I desire that you hear me, And that you bear witness to the justice of my require- ment. The Daimio — It is well. I will judge your plea And if your requirement be of a just and honorable nature You shall seek vengeance under my protection. Speak. ToYO — I present to your august Lordship my most humble and dutiful thanks. 1 am the daughter of a once powerful prince. I am the last of a ruined house. No man of my family lives to bear sword or spear. My honorable father was put to death and his lands and houses and goods were confiscated. Hear me, my lord. I do acknowledge the justice which required the life of my father. But the spirit of my father will not sleep- He walks abroad and cries out to me from the shadows of my dreams For when he had made ready to die, My father was denied the rights and ceremonials pro- vided by the sacred law, And being dead, his honorable body received not the consideration due his noble rank. The Daimio — This is a terrible thing. I pray you make known to me the circumstances. O ToYO — My father's enemy, a powerful Daimio, With archers and bowmen and spear bearers, did come upon my father's people and slay them. Then was my father brought before the Daimio and did honorably prepare to die, 13 Asking that a shrine be prepared, And that mattings of fine straw be provided. But the Daimio was bitter with hatred. He was bewitched by the demons of anger and dis- courtesy. He would not listen. My father gave up his life like a common man in a ditch, And his head was soiled by the dust of the road. Therefore, the spirit of my father cannot rest, And the hatred will not die, And the gods must be appeased with the blood of Matsudaira Mutsa No Kami, Daimio of Sendai. His head must lie as a peace offering upon my father's grave. Most honorable prince, I have spoken. Thk Daimio — Aye, aye. {Nods.) Age comes upon me. I have lived at courts. I have seen and heard too much . I am weary with the aching of old wounds. Moreover, my ancestors are displeased with me. Honorable I^ady, I do acknowledge the justice of your purpose. FuNAKOSHi — And now, my lord, I do most humbly beseech your lordship to perform hara kiri. I, myself, shall have the honor to act as your second. I shall with all humility and reverence receive your head. And the honorable lady will bear it with her own hands to the Temple of Kitoji. Thk Daimio — Your desire is just and courteous; It pleases me to accede to your desire. {To the two counsellors ?) Oishi— Asano — You have heard. When the ceremony is done, the honorable lady may depart in peace. Thk C0UNSK1.1.ORS — We have heard 14 ThK Daimio— Most Honorable Lady, I commend your filial piety and evoke the protection of the gods for your pilgrimage. O ToYO — I most humbly thank your august lordship for your honorable condescension. {Asano and Oishi return with porters bearing a shrine a7id matting and everything needful for the ceremony. The Daimio performs hara-kiri, and his retainers then bear his body into the rear apartment. Fun- akoshi draws his sword and follows them. Buchi steps to the doorway and speaks?) Buchi— They treat his honorable body with con- sideration. Ha, ha, his honorable head falls upon the square of oiled paper. Funakoshi has struck a clean blow. Now Funakoshi has put the head in a box. Hist, he is coming out. {Eiiter Funakoshi followed by Asano and Oishi. Fun- akoshi bears a box which he presents to O Toyo. They go out, Oishi and Asano hieel beside the door of the rear cipartment. Buchi rtms to the front of the stage and the porters draw the screens?) You have seen the first task accomplished. My master's enemy is dead, but it is far to the Temple of Kitoji. The retainers of the Daimio of Sendai have allowed them to depart in peace. But they have exacted a receipt for the head of their master, And the head of the Daimio of Sendai must be re- turned with honor to his own people. It must be returned before the new moon. It must be returned safe that fitting rites may put his spirit at rest. That the anger may die and the house be at peace. Therefore, the pilgrimage must be made in haste. The way is beset with demons and Fox-women and strange foes. Now, O Toyo San and Funakoshi are upon the road. 15 They have trodden the road with little rest. But now we have come to a pavilion in a barren place; O Toyo San is weary and must sleep. Behold ! {^He claps his hands a7id the porters withdraw the screejis.) SCENE III The place, as Buchi has explained, is a barren spot by the roadside, in the night. A screen, called a pavilion, is on the stage. {Enter O Toyo, carrying the head of the Daimio in a box, and Fimakoshi.) Toyo — Funakoshi, my friend, I can go no further. Let us honorably rest ourselves. Funakoshi — Little pearl of Delight, it shall be so. But here is a barren moor. We are far from any house. You shall sleep and I shall guard you well. But I cannot let you sleep in the dust of the roadway. 1 will carry you further. O Toyo {looking about her) — Here is a pavilion. Let me set down my holy burden, and do you light me lights, That I may pray to my ancestors. Then I will sleep with my head on the box which holds the head of the Daimio, And when I am rested again, we may go our way to the Temple. {He sets up the screen, and lights small lamps on the box, before which she kneels and prays?) Oh, spirits of my father and my mother, And of all my thirty thousand ancestors, Do you guard me well, And guard well this box into which I have put the Daimio's head. And I will bring it faithfully to the Temple. But now I am weary and would sleep. Sayonara. {She curls up around the box aiid goes to sleep. Fun- akoshi puts out the lights ajid moves the screen to sur- round her.) 16 FuNAKOSHi — The night is black, and this moor is as bare as death. I would guard her whom I love, But I pray me no goblins nor unkind ghosts may come by us tonight {The Fox Woman appears, following their tracks.) And I pray all my fathers that no thief shall come, nor any evil men, Nor any Cat or Fox People to do us harm, For this is a holy pilgrimage that we make ; It were ill if anyone should hinder us, since our time is so brief . Thk Fox Woman {Behind the pavilion from Fun- akoshi.) I see that here is a place where I may work mischief, For I can lure away the young Samurai, Where the Fox People can torment him. Can make them lose the head of the Daimio, whereat there will be great anger and hatred in the land. Such as our people love more than everything, And afterward I can come back and eat up the little lady- But first I shall put on her likeness, to lure away the Samurai. {She goes behind the screen?) FuNAKOSHi — Did you speak, little lady of the flower- like hands ? Thb Fox Woman {putting oiit her head) — I pray thee be silent, mighty guardian. FuNAKOSHi — She is wearied beyond the gates of rest. My heart misgives me that I have let her come so far without pause or sleep. ( The Fox Woma7i comes ont, disguised as O Toyo.) Thk Fox Woman — Funakoshi, I am wearied of this journey, yet I cannot sleep. I w^ould have you take me away. Funakoshi — Whither, little flower of twilight ? The Fox Woman — I would go with you to some lonely teahouse, 17 That we may rest. I would have food, and see dancing, And forget this task of carrying the old Daimio's head. FuNAKOSHi — But what of your father's ghost, and of your pious revenge ? If you do not carry the head to the Temple, The feud will go on, and men will be killed, And the land will shake with hatred. The Fox Woman — It is plain that you do not love me. FuNAKOSHi — I swear it by the trooping souls of my forefathers, By my two swords. The Fox Woman — Then come with me. We will throw this accursed box into a well. That we may be free to take our way among the gar- dens and the flowers- Funakoshi — Little lady, this a strange saying, Yet your voice makes me as water that falls from mountain, trembling. {Buchi appears speaking from the air behiiid the pavilion. The Fox Woman has led Funakoshi away to the side of the stage.) Buchi — Beware, Funakoshi, beware. This is a goblin, a Fox Woman who lures you. This is not the little lady. If you follow the Fox Woman, your lady will perish. The Fox Woman — Why do you start so, Funakoshi? Funakoshi — I heard a voice that spoke to me. Tne Fox Woman — There is no one here to speak to us. Let us go on. I am afraid. Buchi — It is well she is afraid. Take your sword, Funakoshi, and strike off her head. You will find when you have done that, that she is a red fox, And not your lady at all. 18 The Fox Woman — Come away, Funakoshi. You hear nothing but the wind on the moor. Funakoshi — I hear the voice of a ghost who is faith- ful to my little lady. If you are a Fox Woman, I command you, before I slay you with my sword, to declare it to me. I command you by the River of the Dead. {^He seizes her ha7id, and looks in her face. She screams and struggles free?) Your hand is a paw with red fur upon it, I will slay you. (^As he draws his sword, she runs back to the pavilion. He follows her, sword uplifted. She runs behind the pavilion and out on the other side, her likeness to O Toyo gone, and her face again cha?iged to the face of a fox. Funakoshi loses her in her flight, and returns to the pavilion, which he takes away from its place. O Toyo is disclosed sleeping as before?) O Toyo {Wakening) Funakoshi, my friend, I have slept and am rested. But I have dreamed of a red Fox Woman. Did you slay her ? Funakoshi — She has run away into the night. Will you sleep longer, little flower ? Toyo — I will not sleep longer. We must hasten to the Temple. Let us go on, for the road is long before us. Funakoshi — The road is long to the gateway of the second Temple, where love dwells 1 am eager for the end of our pilgrimage. Let us set forward. {They go out?) BuCHi — You see, honorable people, how Love may triumph over deceit and witchcraft. You see how I, Buchi, have rescued the brave Samu- rai and the little lady. I have rescued them from hideous danger, From the Fox Women that bewitch the heart and de- vour the body, 19 And again they are upon the road. But there are hills to mount, and valleys to cross and villages to pass, And men of diverse sorts to be encountered. Poof, I have blown the hours away, And behold! They are come to a fair spot where they may rest themselves. When the screens part, you will see the sacred moun- tain, And you will honorably imagine fair shade trees and cooling wind. Presently will come an old man, a maker of pictures, And to him O Toyo San will unwisely dissemble as to the nature of her burden. Whereupon will follow a droll predicament drawing to a serious issue. But I must not tell all the story. Attend. (^He claps his hands and the porters set the scree?is.) SCENE IV A roadside shrine, looking toward Fuji. {Enter Funakoshi and O Toyo, with the box.) FuNAKOSHi — Honorable lady, we must pause for some refreshment. O Toyo — I am hungry, but the time of our pilgrimage is so brief. I must not stop. Funakoshi — You must rest for a moment, and eat these cakes; then we will go on to the Temple. O Toyo — I am filled with fear, lest the Daimio's peo- ple come for the head before I have laid it upon my father's tomb. The hour approaches when they may claim it again, and I must render it up. Funakoshi — That is true. But I will not have this pilgrimage in vain. You shall first place it on your father's grave. I have sworn it by my two swords. O Toyo — We have still three valleys to cross, and nine villages to pass. If no man stops us, we may arrive safely. 20 {Enter Hokusai and his pupil. They seem displeased to find O Toyo and Funakoshi.) FuNAKOSHi — Light of the morning, I have this to say. Let us tell no one of our destination. Let us dissemble this head, and speak no longer the truth about it until we are come to the Temple. Thus we shall escape from those who would delay us. O Toyo — I will do as you think well, Funakoshi, but I fear me we may deceive awkwardly, and may be the worse delayed. Funakoshi — Leave to me the dissembling. I am a master of lies. O ToYO — It shall be so, mighty guardian, HoKusAi — Most humbly I beseech you, lady with the box and my lord with the great swords. I am a poor man. I am an artist. I was drawing for a print of the sacred mountain, and you are sitting where I must sit. I pray you move. Funakoshi {assuming an aspect of great pride) — It were more fitting, old man, for you to wait till the honorable lady has eaten and rested. HoKusAi — What you say is true, but I fear me the mists may come up and conceal the mountain. I am unhappily compelled to pray your lordship august- ly to forgive my entreaty. Funakoshi — The high born and honorable lady is not accustomed to such demands. HoKusAi — My lord, anger conies upon me, with the fear that the mists may cloak the mountain. I am not myself accustomed to such contempt. Funakoshi — Little old man, it is nothing but con- tempt that one of your class may expect from us. HoKUSAi — I am not so sure of this. I do not know you, nor the lady, if you be honorable people. You are strangers, and it is not usual for great ladies to sit eating by the wayside. 21 . FuNAKOSHi — Old man, I may not endure this pre- sumption O ToYO (interrupting) — I pray you, Funakoshi, dis- semble. Do not quarrel with him. HoKUSAi — Since you are strangers, I have some right to question you. Who are you, and what have you in that box ? O ToYO — Now let me hear you, if you can honorably dissemble. Funakoshi — I admit your right, old man. It is not usual in these villages perhaps, that honorable ladies go w4th only one attendant. But in our own place, in Kitoji, it is an every-day matter. HoKUSAi — Ah! It is common in Kitoji. Funakoshi — It is the universal practice — in Kitoji. HoKUSAi — That is very strange. I lived in Kitoji for nine and twenty years and I never once observed it, Funakoshi — Honorable sir, you are very olid. This must have been many years ago. The cherry trees in Kitoji do not now remember your face. Customs change. Hokusai — It may be so, in Kitoji. But you do not answer me when I question you. What has the lady in that box ? Funakoshi — The honorable lady has in that box — though I do not admit that it is necessary that I an- swer you at all — she has in that box a — a — teapot. Hokusai — (Claps his hands and calls his pupil to him, zvhispers an errand and sends the pupil away.) O ToYO (to Funakoshi) — Now you have angered him. It is not a fortunate thing honorably to have said we carried — a teapot. Funakoshi — The honorable lady carries a teapot to her grandparents for a gift that their souls may hold her in loving memory when they are dead. 22 HoKUSAi — And what are the names of her grandpar- ents? FuNAKOSHi — It is not for you insolently to inquire; it is not seemly; for her grandparents are both of them old and feeble — older even than yourself. HoKusAi — I will cease from questioning you for a moment. I am not so old, and I have a great deal still to learn about my art, so I pray that I may for many years be spared. For I have set myself to make six and thirty prints of the sacred mountain. {He looks off stage impatiently.) And I would not have my hand nor my eyes fail me. O ToYO — Let us set forward, Funakoshi. HoKUSAi — Wait. I have still much to tell you. I have to tell you of my art, and all that I know about it; and of many other matters. Funakoshi — We cannot wait. HoKUSAi — The venerable grandparents will live a lit- tle longer. Let me speak. Funakoshi — We cannot pause to listen. (Enter the pupil with a magistrate, follozved by guards.) The Pupil — Here are the two, august magistrate, and my master believes they are the ones who are guilty. Though I think rather that the man only is guilty, and that the lady is held in distress by the man, who is plainly a fellow of little consequence. The Magistrate — These are the two, old Hokusai? HoKusAi — These are the two. The Magistrate — Of what do you accuse them? HoKusAi — I accuse them, my lord, because they have as good as admitted the possession of it, and be- cause they are vagrant people and strangers, and be- cause they are even now sitting on the very spot 23 where I must sit to make my picture of the sacred mountain. I accuse them of stealing my blue tea- pot. FuNAKOSHi — This is most outrageous and insult- ing The Magistrate — The man defends himself unwise- ly- O ToYO — Have a care, Funakoshi. The Magistrate — Did you not admit that you have in that box a blue teapot? Funakoshi — Not a blue teapot, my lord. The thing we have in this box is white and red — not blue. The Magistrate — This man is an artist. He should surely know if the pot is blue. Funakoshi — But my lord, what we have here The Magistrate — Be silent. I have decided the point. Hokusai, you can prove that you had a teapot stolen ? Hokusai — Very easily. My apprentice knows it well. The Magistrate (to the apprentice) — You testify to the truth of what your master says? For if I am ■ to punish this man and this lady, it m.ust be with full justice. The Pupil (hesitatingly) — Surely my master's tea- pot has vanished, my lord. The Magistrate — The case is a clear one, but I shall not myself pronounce sentence. The Daimio of this province will be in our village twenty days or so from today, and it would please him better if these matters be left to him. Therefore, I will lock up these two until he comes, and the case may then be tried fully. Take them away and lock them up. Funakoshi — My lord, this is not to be endured. There is nothing against the honorable little lady. You cannot lock her up for nothing. 24 The Magistrate — Oh, yes. I can lock her up till the Dahnio comes ; then if she has done nothing wrong, he will give her full justice. FuNAKOSHi — But she is on a holy pilgrimage. HoKusAi — A holy pilgrimage — taking my teapot to her grandfather. The Magistrate — I have heard enough of this tea- pot. Lock them up. O To YD — Tell them the truth, Funakoshi. The Magistrate — Do not let them speak together. (The guards part them.) Funakoshi — Hear me, most excellent and august highness. We have not told the truth. This lady has in the box not a teapot, but the head of the ven- erable Daimio of Sendai, and she is bearing it to the Temple at Kitoji that it may lie on her honor- able father's grave. Her time is brief and the Daimio's people will hold it a heavy shame if the head be not brought back, for we have given them a receipt for the head, and have bound ourselves to return it. The Magistrate — This is quite another matter. But how are we to know which is truth? Funakoshi — We will open the box, and you shall see the head. And then we must go on at once, for we have tarried here too long. The Magistrate — Open the box. O ToYO — This is not possible, most exalted one. It were most discourteous to the Daimio to bring out his head by the wayside, to show it to curious vil- lagers. I will not open the box. The Magistrate — In that case, the box contains a blue teapot, and I must hold both till the Daimio comes. 25 O ToYO — Most exalted one, I throw myself at your feet. I take upon me the dust of the roadway. I prostrate my soul before you. This is a most ruin- ous sentence, and my ancestors will be terrible in their anger against me. Let me go on to the Tem- ple. I will pay this man the value of ten tea- pots. I will pay your exalted highness the value of a hundred. Only let me go on to the Temple. The Magistrate — This is an affront to me — this of- fer of money. I can have no pity upon you. FuNAKOSHi — Arise, O Toyo San, and go on. I will clear you the way with my sword. {The magistrate makes a gesture, and Fimakoshi is caught from behind by the guards.) The Magistrate — Take this fellow away, and shut him in the cavern, where he may be silent. O Toyo — This comes of our dissembling. FuNAKOSHi — I alone am to blame, honorable lady. O Toyo — I forget the blame, Funakoshi, my friend, Sayonara. FuNAKOSHi — Sayonara. O ToYO — Now am I indeed forsaken. The Pupil — Oh, exalted judge, hear me now, for I have come to confess my guilt. It was I who broke the master's teapot, and hid the pieces in a well. HoKusAi — Ah, woe is me — it is broken? The Magistrate — Why do you tell me this now ? It confuses my judgment of this case. The Pupil — I could not bear it that the honorable lady be unhappy. The Magistrate — Let him go. (Funakoshi is re- leased.) This is quite another matter. Honorable Lady, go on with the head of your father's enemy to the Temple, for surely this is a pious and a holy mission. Hokusai, I do not find cause for com- plaint here between you and these august person- ages, but I advise that you beat this apprentice soundly. Hokusai— It shall be done, exalted sir— soundly. The Magistrate— Honorable Lady and my lord Funakoshi, I counsel haste. Sayonara. O ToYO AND Funakoshi — Sayonara. (They go out.) BucHi— Ha ! Ha ! You see ! Our story moves ! The way has been a long way. The snares and the mishaps have been many. But to Funakoshi the hard road has seemed a meadow of sweet grass, To the feet of Funakoshi it has been as a soft carpet of Spring flowers. He could journey thus to the place where the light winds kiss the green edges of the world. Yet, in honor, he may not delay the hours He may not stay their feet vv^ith lingering words of love And the hours are swift. They are swifter than the little feet of O Toyo San, And already the day approaches when she must hon- orably fulfill her promise, When she must render back the head of the Prince of Sendai to his own people. These have been hours of haste and struggle and fear. Poof ! I blow them away. They are over. When the screens part you will behold the sacred court of the Temple at Kitoji But now, alas, the hours have run out, The retainers of the Daimio of Sendai are already in the courtyard. They demand the head of their master. Hold, I must not tell all my story. For the last time, I crave your honorable attention. 27 SCENE V. A courtyard of the Temple, at Kitoji. A great image of of Buddha ; priests with incense, etc. First Priest — It is an evil thing for our Temple That the soul of Sugihara the Daimio cannot rest in it. Second Priest — There is a knocking at the Temple gate. Do you go and see who comes. {The Second Priest goes out, and returns zvith Asano and Oishi, imth some of their retainers.) Asano — Is this the Temple of Kitoji? (The priests how.) OiSHi — We are honorably come for the head of our master, Matsudaira Mutsa No Kami, Prince of Sendai. First Priest — We regret it most bitterly We have not in our keeping the head of the Prince of Sendai. OiSHi — This is incredible, that you have not the head. Our venerable master performed hara kiri several days ago. His head was courteously taken by O Toyo San, daughter of the Daimio Sugihara. It was to be brought to this Temple. It was to be this day returned to us. We have here the receipt for the head. {He brings out a paper, which the priests examine.) First Priest — It may be that the princess is still on her way hither, And that she will come soon. Will you honorably rest yourselves? Asano — We will wait. {They seat themselves; there is a long pause.) It may be that we have done evil in not guarding the Httle lady on her journey. It is a dark thought that she may have lost the head. OiSHi — If she does not come, what shall we do then? AsANO — She will come. Do you remember how she faced our master? She will come. OiSHi — Still, she is late. Her revenge will be in vain. We cannot allow her to keep the head longer. AsANO — We have her bond. We may take the head at once. (Enter O Toyo and Funakoshi.) Little Lady, we regret that your pilgrimage is in vain. You have too late arrived at the Temple. We demand that you give us at once The head of our master, Matsudaira Mutsa No Kami. OiSHi — We are filled with sorrow for your father's restless soul, Little Lady, but we cannot wait longer. Toyo — My lords, I have traveled far, and am wearied out. 1 have kept this head by me most reverently. I ask of you only a little time. OiSHi — It is impossible, little Lady. O Toyo — Only a moment, because I have come so far, And have faced such strange matters. A moment, that my father's spirit may be at peace. OiSHi — It is impossible. (She turns to Asano.) O Toyo — My lord, if there is anything I might offer; If there is anything I might give OiSHi — Only the head of my venerable master, in- stantly. 29 O ToYO — I only ask that it may lie for a moment on his tomb, That I may call my father's spirit to see it, And then the hatred will be appeased. OiSHi — The one hatred might slacken, But another would be enkindled. Give me the head. FuNAKOSHi — {Seising the tzvo counsellors from de- hind. ) Go quickly, little lady. Pray your prayer. These shall not stay you. {She runs out zvith the box. The tzuo men struggle zvith Funakoshi, and at last break azvay from him; they draw szvords and attack him, zvith two of their retainers, and he is forced back against the Buddha. The First Priest comes in.) First Priest — Cease, and be silent. You shall now await the coming of the most ancient Abbot of this Temple. Since you have defiled this courtyard with swords. OiSHi — Fall back. He cannot escape us. AsANO — His life is ours. Let him rest. {Enter O Toyo, a rapt expression on her face. She sees the swords, and Funakoshi in a posture of de- fence. She runs over to him.) O Toyo — Ah, Funakoshi, my lord, my light! Funakoshi — Rest here, flower of the dawn. It is but a little while we shall be troubled. Toyo — Do they seek vengeance upon you? Funakoshi — They will do what they will. But our holy pilgrimage is done, little lady. 1 have performed my service to you, And I do not complain. ToYO — You have been my guide, my guardian. My tower of bright steel, The armor of my spirit. 1 will not have it that they shall take your life. Funakoshi — Let it be as it is, O Toyo San. 30 I have walked beside you. I have heard your voice when it was Hke the bells in the temples of the thousandth paradise. I have loved you. It was for this I was destined by my ancestors. I love you, O Toyo San. I am content. Toyo — I cannot give you into the river of death, For mine eyes are blinded with tears. 1 cannot follow you. FuNAKOSHi — I shall die honorably and in your serv- ice. Lay your hand in mine. Look forward. I shall wait for you by the river. O Toyo — You shall not wait long. Oh my strength! AsANO — Funakoshi, we demand of you that you now perform hara kiri. Funakoshi — I am obedient to you, my lord. Let a proper mat be spread, and do you act as my second, my lord Oishi. {They start the preparations as in Scene II. Funa- koshi and O Toyo cling to each other.) ToYO — My lord Oishi, 1 pray you, let the sacred dirk be given quickly to me. When my lord — (She breaks off, sobbing. Oishi offers Funakoshi the knife on a tray.) (Enter the Abbot of the temple, a very old and rev- erend priest, follozved by a procession of other priests. ) The Abbot — I command you, stay. A mighty miracle has been done here in our temple. Lo, I tell you of a miracle. The spirit of the Daimio Sugihara could not sleep. The spirit could not rest. His daughter, the honorable lady O Toyo San, has brought hither the head of his enemy, the Daimio of Sendai. 31 She has placed it upon the tomb of her father. OiSHi — Revered and venerable one, we are his peo- ple. We have come for the head of the Daimio of Sendai. The Abbot — You have not come in vain. The hatred between the houses is blown away forever. The head w^as placed upon the tomb. The spirit of Sugihara took up the sacred knife and struck the head, This I have with mine old eyes here witnessed. So is the hate blown away, And the world and this province are at peace. OiSHi — Then is our quarrel at an end? The Abbot — Even so. I give you back the head of the Daimio of Sendai. OiSHi — I give you back the receipt we took from the honorable lady, O Toyo San. AsANO — We congratulate the honorable lady upon her piety and virtue. OiSHi — We humbly and considerately take leave of you. Sayonara. (They turn and go out with their men. The Abbot and his priests go out on the other side, leaving O Toyo and Funakoshi at the foot of the Buddha. Buchi enters , clapping his hands. The screens are joined, and Buchi steps forward to speak the epi- logue.) BucHi — Honorable people, The sacred mission is accomplished. The spirit of my master is at peace. The Hatred is dead. My Little Lady has given her hand to the Lord Funa- koshi. It is well with them. (Takes off his mask.) You have heard, you have seen — Most honorable patrons, my play is done. Sayonara ! 32 STAGE GUILD MASQUES ' MONTEZUMA ^ THE MASQUE OF MONTEZUMA This masque was written for, and first produced by, the Art Student's League, at the Art Institute, Chicago, February 20, igi2. The original musical setting was written by George A . Colburn. The book of words is published for the occasion by The Stage Guild, under the editorship of Wallace Rice. The setting for the production was designed by Allen E. Philbrick and A. N. Rebori, and painted under their direction. Dramatis Person^ Huitzil, the War God - - - Thomas W. Stevens High Priest of Huitzil .... Frederick J. Cowley Second Priest of Huitzil Roy Tyrrell Cuitlahautzin, Montezuma's brother - Frank J. McNellis Guatomotzin, nephew to Montezuma - Roy Hambleton Montezuma B. Roslyn Kirkbride High Priest of Quetzal Francis Samms First Priestess of Quetzal ... - Elaine Hyman Second Priestess of Quetzal . - - - Florence Levy A Messenger Harry L. Gage Montezuma's Envoy Milton Newman An Aztec Warrior Charles Mullen First Aztec Woman .... Luvena Buchanan Second Aztec Woman .... Frances Thorp Cortez D. M. Stebbins Marina, Interpreter for Cortez - - - Nouart Seron Alvarado E. M. Sincere Padre Olmedo A. D. Gibbs Bernal Diaz CD. Faulkner Groups representing Montezuma's court, the priests and priest- esses of the Aztec gods, singers, dancers, artificers, Aztec war. riors following Cuitlahautzin; Spaniards and Tlascalans follow- ing Cortez. ARGUMENT OF THE MASQUE The masque begins with the prologue spoken by the war god, Huitzil, who is angered by the election of Montezuma to the kingship. In the first scene, Montezuma is invested with the sacred beak-crown of Huitzil ; his warlike brother, Cuitlahaut- zin, acknowledges his allegiance ; and news comes of the land- ing of the white strangers on the coast. The priest of Quetzal declares that the strangers come in accordance with the prophe- cy that Quetzal, the sun -god of the Aztecs, would one day return to Tenochtitlan. In the second scene Montezuma's envoy returns with word that the strangers, in spite of the royal command, are on the march to Mexico. Montezuma is then persuaded to invite them to come, in spite of the warnings of the High Priest of Huitzil. In the third scene the action shifts to the great causeway, where Montezuma meets and welcomes Cortez. The Spaniard, through his interpreter, Marina, half-persuades, half compels the King to lodge him and his men in the royal palace. The fourth scene opens with the capture of a Spanish sentinel, and his sacrifice upon the war-god's altar. Cortez fights his way to the altar, and his followers tear down the image of Huitzil, setting up the Cross. Cortez refuses to overthrow Quetzal. Cuitlahautzin now appears and demands an interview with Montezuma, which is granted him; he forces the King to give up his crown, the Beak of Huitzil, and Montezuma returns to his captivity. Cuitlahautzin is immediately crowned by the priests and people, and declares war upon the Spaniards. Cor- tez, thinking Montezuma still retains his authority, sends him out on the palace roof to quiet the people, and the dethroned King is slain by the missiles of his former subjects. Huitzil, triumphant at the final outbreak of war, crushes the image of Quetzal by bis magic, and the masque closes, after the war-god's epilogue, with a tableaux of the battle on the causeway. La Noche Triste, into which the entire audience is drawn in the final carnival. The masque follows the general outline of the Conquest, but does not pretend to historical accuracy. THE MASQUE OF MONTEZUMA. SCENE I. [The scene is the City of Tenochtitlan, looking over the roofs of the great palace of the King. On the left and right are two broad stairways. At the top of the left flight is the shrine of Huitzil, the God of War. On the opposite side is the shrine of Quetzal. There is a statue in each shrine. When the scene opens it is dim moonlight. A procession of priests, led by the High Priest of Huitzil, mounts the stairs and halts before his shrine. The High Priest makes a silent in- vocation and, as the priests kneel, the statue comes alive and speaks over their heads.] HUITZIL. The skulls, the white skulls are fallen. I, Huitzilopotchli, I, the gleaner of battles Am ashamed, and my temple is naked beneath the moon. I, the War God, am thirsty and ashamed. The land of Tenochtitlan rots in the warm rains of peace. The people worship in the market places and my shrines are forlorn. They have rejected my chosen sons, They have put by the warriors whose locks I have anointed with flame. They have made a king of one who loves me not — A King of Montezuma ! They have forgotten me ! I have feasted long years in the caverns of Death and Silence ; Feasted with the ghosts of my own indomitable chil- dren; Feasted and sung in the gloom of sweet underworld meadows. We have drunk the warm blood. We have devoured the red hearts of our captives. We have been filled and our wrath has been comforted. Where now are the captives? Where now the new ghosts of swift warriors dying? Our feasting is lonely and my meadows are dry with the hateful dust of peace. I am choked with the dusty blowing of winds across my bloodless altars. I breathe on Tenochtitlan the white mist of my wrath. Lo, the east wind awakes. The east wind fawns like a hungry wolf before me. Tenochtitlan, I and the east wind, we two are singing together and our song is filled with the music of soaring arrows. Tenochtitlan sleeps, but I and the east wind have con- spired together. I have thirsted and slept in the shame of my hunger. Lo, now I awake. Lo, now I drink the scent of salt blood on the east wind. I awake to the new harvest. I awake to feast on the flowing ruin of the world. (The light fades from the shrine of Huitzil and the god again becomes a statue.) {A festival procession now mounts the north stairway and crosses to the shrine of Quetzal, hearing gar- lands of flowers.) PRIEST OF QUETZAL. Serpent of Light — Bird of the Dawn, Lord of the Clouds, Thou who makest fertile the small blind seeds of the world. Take these my gifts ! I bring thee flowers and ropes of fragrant vine. I sweeten thy house with song and a thousand prayers. I gladden thy courts with the dancing feet of girls. Keeper of the harvest, warder of the far hills, build- er of walls ! I bring thee flowers. Rise thou and return from the blue margin of the windy east. Lift thy face again above the pale barriers of the world ! Oh, thou Dweller in the Sun, Accept my gifts ! THE PRIESTS AND PEOPLE. Oh, thou Dweller in the Sun ! Thy people call thee. (Another procession also bearing flowers and led by the Second Priest of Huitsil, mounts the south stair and approaches the altar of Huitzil. Guatamotsin and Cuitlahautzin follow this procession.) SECOND PRIEST OF HUITZIL. Huitzil, Lord of Spears! Keeper of the Iron Halls of Death ! Thou who walkest among warriors as a strong man trampleth the grass of the hills, Accept my gifts. I bring thee fruits of the high orchards of Tallon. I brighten thy house with songs and the drums of war. I gird thy feet with circlets of golden grain. I bring thee crimson flowers ! THE HIGH PRIEST OF HUITZIL. {Stepping out from beside the shrine.) Hold ! Ye have wrought a sacrilege ! Ye have cast flowers upon the black altars of Huitzil. SECOND PRIEST. It is the will of the council. It is the will of the newly chosen King. HIGH PRIEST OF HUITZIL. Are they mad with pride that they dare to mock a hungry god! Would they feed an ocelot of the hills with bruised petals ! A vulture of the high air with scented grain ! Have they no slaves? SECOND PRIEST. It is forbidden that we make a sacrifice of blood. The harvests are heavy. We have need of slaves. The granaries are full. They must build walls. HIGH PRIEST OF HUITZIL. Have they no captives taken in war, No princes of tall cities, No alien priests, snatched from the golden shrines of the south? SECOND PRIEST. Master, the land is at rest. Our enemies are cast down. We dip our hands in the treasures of the houses of kings And no man says us nay. HIGH PRIEST OF HUITZIL. Shame to the strong lords of Tenochtitlan ! Shame to the sluggard princes that feast and grow fat! Shame to the miserly priests that hoard their gold and deny blood to the gods ! SECOND PRIEST. Master, there is no blood but our own to offer. HIGH PRIEST OF HUITZIL. Can ye dare this speaking! What of the warriors of Cholula ! Of the rebel spearmen flouting us from the roofs of Tlascala ! Are these cast down and conquered? Do ye dip your hands in treasure caskets of theirs? Blood of your own? Milk in the veins of men ! Water from a stagnant marsh! GUATAMOTZIN. The Master of the black altars speaketh in wisdom. We are slack in the honour due to the God of War. I am weary of peace and these fingers ache for the joy of strangling a foe. HIGH PRIEST OF QUETZAL. I command ye all to silence! I command ye in the name of the high council of chiefs ! The High Council of the city of Tenochtitlan. GUATAMOTZIN. Priest of Quetzal, I deny thy powers ! I will not be silenced ! I am no servant of thine indolent god. I am no man of peace, no tiller of gardens, no builder of walls ! The seeds of my sowing are the skulls of slain men ! The harvest of my hands, sheaves of spears. I am weary of peace. (There is a flare of music.) HIGH PRIEST OF QUETZAL. Make way ! Make way for the coming of Montezuma ! Make way for the ruler of men ! Make way for the chosen of the Gods ! (Immediately there is another flare of mmsic and all kneel except the two high priests, the Second Priest of Huitzil, Guatamotzin, and Cuitlahautzin, A pro- cession of priests and lords enter from the House of Montezuma, followed by Montezuma and the eldest chief of the council, who mount the throne in the center of the stage. Guatamotzin keeps his attitude of defiance until Cuitlahautzin puts his hand on his shoulder and leads him to Montezuma. Cuitlahaut- zin does homage, hut Guatamotzin remains standing. The mu^ic has continued to this point and only ceases when the eldest Chief raises his hand for si- lence.) THE OLD CHIEF. Men of Tenochtitlan, Warders of the Cactus Rock, Children of the Snake and the Eagle! Hear these my words ! The Tlacopan, council of chiefs, readers of omens, makers of law, wise among men. Speak with my mouth. It was decreed of the gods of air and water Whispered in the hearts of our chiefs. Cried in the secret ears of our priests. Lo ! They have heard ! They have chosen ! Through them I show ye the will of the gods. Stand forth Montezuma, Son of Axayacatl, Stand forth chosen of the council, Stand forth. Ruler of men. (Turning to the High Priest of Huitsil.) Priest of the winged Death! Watcher at the red doors of Doom ! Servant of the crying flame ! Stand forth! I speak the will of our chiefs. I speak the will of the Masters of the stonehills of Anahuac. It is the law. Place thou upon the head of Montezuma the beaked crown of Huitzil ! (The High Priest of Huitzil advances to the foot of the throne holding the crown in his hands. Monte- zuma takes the crown from him hut does not yet put it on his own head. He stands looking off over the city.) MONTEZUMA. Chosen of the Gods, Montezuma, Ruler of Men! Thus it was spoken. So I feel the heavy gold between my hands. Mine eyes are burnt with the shining of it. The splendour of the city shakes below me like the splendour of a mad sea under a golden moon. My pulses beat with dreams. My shoulders ache with the weight of flowers. I place the token of terror upon my brow. And, behold, I am the Law. HIGH PRIEST OF HUITZIL. Aye, thou shalt be the Law. It is spoken. Whosoever lifteth his hand against thy hand, Him shall the ravens of the stonehills take for their feasting. But hear me, O king — Me, the Prophet of Huitzil, He who starveth the gods must surely fall. MONTEZUMA. I revere thy god. I shall build him towers of black stone. I shall lift his altars, and they shall smite the silver bosom of the moon by night, And the fire of them dazzle the red sun by day. In his house shall be the continuous sound of bells. His floor shall run with wine. HIGH PRIEST OF HUITZIL. It is not enough. HIGH PRIEST OF QUETZAL. Montezuma shall not forget, He shall not forget his oath to Quetzal. The sacrifice of blood is forbidden. HIGH PRIEST OF HUITZIL. Montezuma, I warn thee. Huitzil hath slept too long. He is awake and thirsty. MONTEZUMA. Old Priest, I will not be crowned with menace. Hear me now ! I take this beaked diadem of thy god ! This sign that I am ruler and war chief ! I take it not as a token of blood. As a sign that I rule by the strength of spears alone. {He places the croivn upon his own head.) Behold! I am War Chief of Tenochtitlan, Ruler of Men. My heel is upon the neck of Princes, but I slay not in anger, I slay not to appease thee or thy importunate God. My land shall grow fat within the circle of my spear- men. I will feast upon the splendour of the West ; But I deny thee blood ! {A messenger has hurriedly mounted the stairs and now kneels before Montezuma.) MESSENGER. Three days have I run, and three nights ! I come from the far shores to eastward, From the margin of the sea whereof no man knoweth the end. I have seen a miracle. I and my brother drew nets at sunrise to honor the god of fishes. Suddenly out of the mist Over the face of the sea Rode towers of black wood with wings of silver. We saw them and were afraid. We were afraid and fell down upon the sand. Lo, when we arose, came living men in a canoe of wood, Men with beards upon their faces And their faces were pale as white stone. They spoke with strange words and had upon their bodies raiment of hammered silver. MONTEZUMA. Whence came these strangers? MESSENGER. I know not! I have run for three days and three nights to bear thee word. I have spoken! HIGH PRIEST OF QUETZAL. Bow down your faces, O lords of Tenochtitlan. A prophecy is fulfilled, but fear ye not ! It was written on the walls of the inner temple In the secret chambers of the great pyramid : / shall return out of the east. Behold, he hath come. Quetzal returneth to Anahuac. The God of Peace returneth to bless the crowning of his chosen! MONTEZUMA. Now am I indeed a king ! HIGH PRIEST OF HUITZIL. Nay, Montezuma. Lift not thy voice in pride. The vultures of Huitzil are black against the sun. [Montezuma and his follozvers go hack into the house; Guatamotzin goes with the priests of Huitzil to the temple.'] SCENE TWO. SAME AS SCENE ONE. Montezuma enters, followed by the High Priest of Quetzal, the Priest of Huitzil, Cuitlahautzin, and Gua- tamotzin. Montezuma and the High Priest of Quetzal stand nearest the parapet and look off over the roofs of the city. Four months are supposed to have elapsed. MONTEZUMA. The faces of my captains are dark in council, O Priest ! Men threaten me with a strange doom. HIGH PRIEST OF QUETZAL. They have read the stars amiss ; The white strangers came not in anger against the be- loved of Quetzal. MONTEZUMA. Nay, I fear them not! < I have sent them an embassy ; • I have sent them the richest fabrics of my looms; Soft gold and gleanings of precious gems. Mine envoys have met them in peace, But I have forbidden them to cross the stone hills. I have forbidden them to look upon the sacred city and the houses of the gods. I have barred their way with my word. HIGH PRIEST OF QUETZAL. The word of Montezuma is a wall of basalt. MONTEZUMA. Thou hast spoken in wisdom. Behold that which lieth at our feet ! I am the Master of it! Master of the shining roofs ! Master of the lifting towers, the floating gardens of Chales and the stone gates of Tlaloc. The torches of my house are as splendid and as num- berless as the eyes of Night. They are shaken continually with the sound of golden bells. The naked air does me homage with the scent of per- fumed fire and bruised flowers. My courts are bright with the plumes of Kings. Their lips are warm upon the jewelled lashings of my sandals. CUITLAHAUTZIN. Brother and Lord! These men with the white faces and beards of gold; Perchance they walk the land heedless of thine author- ity! Perchance they may even pass the barrier of thy word I GUATAMOTZIN. It were better that they should learn the sound of thine arrows ! MONTEZUMA. Who hath not heard the name of Montezuma? Doth a man dare to look upon the sun with naked eyes ? Nay, Brother, if they come, it shall be as men won- dering and afraid. As men walking in the splendour of mad dreams. Their eyes shall be scorched with the blowing of scar- let banners, They shall wade to my throne ankle deep in flakes of beaten gold. [There is a sound of trumpets. The envoy of Monte- zuma zvith his attendants mounts the lower stairs and speaks from the landing. He bears in his hands the helmet of Cortes.] ENVOY. I bring thee words of the white captain, O Montezu- ma! I bring thee rich gifts and courteous replies, Fair speech and proffered friendship, Worthy to appease the wrath of the Ruler of Men. MONTEZUMA. Speak, bearer of my word and seal ! ENVOY. I have been as the wind to do thy bidding. I have seen for thee with mine eyes. I have spoken thy will with my lips. These are men of strength and beauty, O King! Men powerful in War! They have stormed the high walls of Tlascala. They have taken tribute of those that have denied tri- bute even unto thee. The Totonacs have made submission, and they have feasted in the halls of Cempoala. No man hath slain them in battle. They are sheathed in coats of thin silver and ride upon the backs of terrible beasts. Yet were we not afraid, since we bore the word of the Ruler of Men. MONTEZUMA. In what manner was mine embassy received? ENVOY. We came before their captain and chiefs. We spoke, as kings that speak in peace with a king ! We gave him thy gifts and the speaking of thy mouth, O Montezuma, And behold, it availed us nothing. These are his words, The words of the high captain of the East : "Take to Montezuma these conquests of Spain. "Take to him this helmet of carved silver, and say to him: " 'Hernando Cortez of Spain will seek audience at the foot of the altars of Quetzal. " 'He will see with his own eyes the face of the Ruler of the West.' " MONTEZUMA. And didst thou not forbid them the paths of my hills, the highways of my kingdom? ENVOY. These be men of a far land and tongue, O King! They know not thy glory or thy strength. They come despite thy command. HIGH PRIEST OF QUETZAL. Now is the time of the fulfilment of Prophecy. Surely these are gods since they deny the word of Montezuma ! CUITLAHAUTZIN. Yet do I mistrust their coming. Thy gifts have kindled their greed and greed maketh strong the arm of a foe. GUATAMOTZIN. I beseech thee, O my cousin and King, Let it be granted me to bar their way with spears. Let me shear the plumes of their crests with arrows. HIGH PRIEST OF HUITZIL. Yea, once again I warn thee, O child of the Clouded Sun, The wrath of Huitzil flares red on the eastern foam of the sea! His altars cry for the savour of blood ! Make sacrifice ere his last anger be launched upon thee and thy people. MONTEZUMA. {Turning upon him.) And must I still hear thy croaking, Raven of Doom! Upon my brow burns the sign of the Snake and the Eagle. Mine is the beaked crown and the highest favor of thy god! I am War Chief in Mictlan, High Priest of slumbering and of watchful Gods; Into my ears alone are whispered their warnings and behests. Wisdom of Day and Darkness lieth in the shallow cup of my hand, Take heed ! Speak to me no more wrath. Speak to me no more lest thine own blood be given to slake his drowsy thirst ! {He points to the statue of Huitzil, then turns to the Envoy.) Go ! Fill this helmet with quills of gold. Let the brim of it run over with rubies. Think you that Montezuma fears to tempt the greed of men. Am I a miser, shaking in the midst of an unguarded treasure house? Bear my words again to this stranger. Tell him the way is open. He shall feast in splendour with the Ruler of Men in the Courts of the Gods. Let him dare to pass the gates of Tlaloc. And he shall be struck blind with glory. ENVOY. I go with thy word, O beloved of the Sun. HIGH PRIEST OF HUITZIL. Now, in truth, is the Doom of Huitzil upon thee, O Montezuma. Thy words are as flying sparks to a dry moor. Thou hast balked the hunger of a god and raised the greed of a foe. Look well upon that which is thine, for to-morrow it will be thine no longer. Thou hast sent this stranger the keys of thy kingdom. I feel upon my brow the hot blowing of Fate, And in mine ears the roaring of black waters under the world. SCENE III. [The Causezvay. The Aztecs, priests and people, watching for the coming of the Spaniards.'] FIRST AZTEC WOMAN. Think you these pale gods will come over the cause- way? Shall we see them here? AN AZTEC WARRIOR. Aye, the divine Montezuma has bidden them come. They will not tarry. SECOND AZTEC WOMAN. Why not, think you ? If these be gods, Born of the Sun and the Sea, they are surely greater than the King. THE WARRIOR. If these be gods, they will lodge in the heart of Tenochtitlan, They will sleep where the bells of the temples will comfort them. If they be not gods — FIRST AZTEC WOMAN. See, see ! The priestesses from the temple of Quetzal ; They are bringing flowers and sweet grain. THE WARRIOR. It were better if they remained in their temple. Better, I fear me, if the black priests from the house of Huitzil came with their war drums. HIGH PRIEST OF HUITZIL. (Meeting the procession of priestesses.) What bear ye, dancers from the pyramid of Quetzal? FIRST PRIESTESS. Gifts to the gods. Aloes and grain and flowers. HIGH PRIEST OF HUITZIL. And think you these are gods, these strangers? FIRST PRIESTESS. These are the children of Quetzal, Pale sons of his glory. Risen out of the sea, messengers from the Star of the Morning, lords of our temple and all its mysteries. HIGH PRIEST OF HUITZIL. These are children of the wolves in Mictlan, Sent hither to break our pride, and to cleanse our tem- ples. Sent to restore the implacable gods. The flowing blood and the hot hearts between the lips of Huitzil. FIRST PRIESTESS. Our oracles have spoken. Our dancers have tasted the fire and the glory of morning has come upon us. We know these gods, that they are sons of Quetzal. HIGH PRIEST OF QUETZAL. (Entering along the causeway with priests.) Way, make way for the Child of the Sun. Way for the Ruler of Men, Way for the Divine Montezuma. (Guards enter and clear a space along the centre of the causeway; then slaves who lay down bright rugs; the priestesses of Quetzal strew the place with flow- ers. Enter Montezuma, home in a litter, Cuitla- hautzin walking beside him, and Guatomotzin behind him. At the centre of the causeway the procession stops, and Montezuma alights. After a pause, the trumpets sound and the Spaniards appear, space be- ing cleared for Cortez and Marina, who stop before the King, bowing low. MONTEZUMA. Welcome to the Island of the Snake and the Eagle, Welcome to Tenochtitlan. We have awaited your coming with long watches in the night, With searching of the stars, with flowers and flame before the gods. We have made ready a house which is a temple also; The sign of the four winds has been set before your doorway. And the serpents have been loosed that you may not again depart from us. CORTEZ. What means all this? MARINA. My lord, the King oflfers you for a palace the old tem- ple of Quetzal. CORTEZ. Show me, Marina, where the temple stands. MARINA. Yonder, my lord, between the war-god's pyramid and the blue lake. CORTEZ. A place where death leans close on either side. ALVARADO. This heathen, Captain, must be taught to fear, Or we shall never hear again the bells Of Spain. CORTEZ. I will not march into a trap. Marina, tell the King the tale I bade you. MARINA. Great Montezuma, Descendant of the Sun, lord of the stone hills of Ana- huac, My master, the lord Cortez, whose slave I am, bids me speak. He bids me say that there are birds of evil rumour, And that the crying of these black birds is against his heart, and arouseth his anger. He has ever believed in thy greatness and thy love. But in Cholula the people knew him not, and set snares for him, and would have destroyed him ; Whereat he arose and laid waste their city as a god in his anger would lay it waste. MONTEZUMA. I have forgiven Malinche the deaths of my false serv- ants, and the ruin of my city of Cholula. MARINA. My lord has closed his ears to the birds of evil report, He has called his four winds to blow them away. But still they clamour about him. MONTEZUMA. What of their clamour? Kings heed it not, and gods know the truth, surely. MARINA. Gods ask for flowers and praise in their temples, O King. And these evil tongues make mischief with thy sacred name. They say thou hast barred the way of my lord, They say thou hast set thy warriors to harry his march. That thou didst command the snares he broke down at Cholula — (Montezuma raises his hand in angry protest.) CORTEZ. Anger him not. Say I am filled with mercy. But I must lodge in his house. MARINA. My lord would still these dark rumours that cloud his friendship. He bids me say that he is but the messenger of one greater than he ; But it is forbidden that he lodge in the temple of Quet- zal. MONTEZUMA. I have appointed his place in my city. MARINA. There is a way, most glorious king, to slay these lies and to make them silent forever. Do thou take my lord and his pale men into thy house, Into the very palace of the Sun. CUITLAHAUTZIN. My brother, this were the ruin of thy kingdom. MARINA. Is not the palace of Montezuma spacious? Is it not rich? Are not its walls strong and its courts pleasant? Has it not meat and bread enough for a great king's guests? CORTEZ. Thus only will I enter his city. To lodge with him in his own house. CUITLAHAUTZIN. What new rumours will take wing, my brother. If thou lead into thy house the enemies of Huitzil, Thou, who wearest the crown of the god? MARINA. My lord believes nothing against the divine Montezu- ma, Else he would not enter his city, but would shatter it into dust with the wind of his wrath. MONTEZUMA. I do not rule over the birds of ill omen. MARINA. If thou lovest my lord, great King, or if thou fearest the gods, Or if thou hast pride in the palace of thy fathers, Thou wilt heed what I have spoken for my lord Cortez. THE PRIEST OF QUETZAL. Does the Child of the Sun hesitate? Then is the Star of the Morning gone down in scorn. MONTEZUMA. Nay, my people. I have chosen my guests. Shall I not lodge them as becomes a king? Say to thy master, He shall enter by the door of the eagle and the embattled serpent. MARINA. He yields, my lord. He takes thee and thy spearmen to his own palace. (Cortes makes a deep obeisance to Montezuma, then draws his sword and holds it before him.) CORTEZ. Forward ! Into the city. (Montezuma steps into his litter and is borne back the way he came, the Spaniards and Aztecs following in procession.) SCENE IV. It is dawn on the palace roof. A Spanish sentinel stands on the south landing of the great stairway. A party of Aztec warriors and priests creep up the lower flight, seize him and drag him across and up the north stairway to the altar of Huitzil, where they sacrifice him. Two Spanish soldiers, sleeping beside the door of Montezuma's house, are awakened and give the alarm. Alvarado rushes out zinth a few soldiers and is met by the Aztecs in the centre of the upper platform. Cortez, with his troops, rushes down the stairway, crosses and fights his ivay up to the altar. The Aztecs are killed or driven into the house of Huitzil behind the shrine. Father Olmedo enters from the house of Montezuma, follozved by Diaz bearing a wooden cross. OLMEDO. Mary have pity on this broken flesh. This tortured thing that had no priestly shrift, On black and hideous altar. Hear ye all! I charge ye in the names of God and Spain, Hurl down this grinning demon, raise the cross To cleanse this breathing horror and make pure The- red pollution of this bloody house. {The soldiers tear down the statue of Huitzil; Diaz sets up the Cross in its place, then points to the stat- ue of Quetzal.) DIAZ. There leers another of their cursed gods, With mocking mouth athirst for Spanish blood, And crooked fingers itching for our throats. OLMEDO. Crush him to dust beneath your angry feet, Break him to pieces in the name of Christ And end this horror. CORTEZ. Father, stay thy hand. This other image hath a kindlier mien And gentler Priesthood. Him I choose to spare, Because his rites are bloodless as our own. His sign the cross. (To Alvarado and the others.) You, Pedro, guard the stairs, And look to all defenses! {Father Olmedo and Diaz with several soldiers go into the House of Montezuma. Alvarado stations guards at the head of both stairways, while Cortes stands alone in the centre of the platform where he is joined by Marina. Cuitlahautzin mounts the stairs from below followed by GuatamotBin, the Old Councillor, the High Priest of Huitzil and several spearmen. They stop at the middle landing and Cuitlahautzin faces Cortez.) CUITLAHAUTZIN. The hands of my warriors are dipped in blood. There is no voice in Tenochtitlan to stay them, No sacrifice great enough to appease the gods. Where is Montezuma, my brother? Where is the child of the Sun ? MARINA. Master, it is the Prince Cuitlahautzin. He would speak with Montezuma. CORTEZ. Say to him that the King is my guest. Say that he sleepeth soundly beneath my roof. CUITLAHAUTZIN. Malinche, we have trusted in the blind prophecy of fools. We have opened our gates in peace. Our warriors have been as babes in thy hands. Our captains have been as women to do thee service. We have spread thee a great feast and the wine has turned to bitter blood. Behold, we are babes and women no longer. Thy house is girt with a sea of angry spears. The city rocks beneath thee. I must speak with Montezuma ! The Ruler of Men must hear my voice. He must lift his hand that the Kingdom may know he lives. CORTEZ (To Alvarado). Bring forth the King that he may still this rage. MARINA. Nay, Master, I fear some craft. I fear the cunning of the black priests. I beg of thee, let them not speak with Montezuma. (Alvarado goes into the house and brings out Monte- zuma, who descends the south stairway, closely fol- lowed by a guard of Spanish soldiers. He and' Cuitlahaiitzin face each other on the centre landing. The Spaniards remain a short distance from him, the other Aztecs withdrawing to an equal distance,- Cuitlahautzin kneels, and Montezuma lifts his hand as if in blessing.) MONTEZUMA. Speak, Cuitlahautzin ! Speak, my brother! CUITLAHAUTZIN. I come to thee in the name of the High Council and the Priests of thy Gods. I come to ask of thee a token of thine authority. Thou hast feasted and slept in the house of the Stranger. Thou hast feasted and the roots of the world are loosened by the pale rains of fear. Thou hast slept and no man knoweth the keeper of thy kingdom. MONTEZUMA. I am the keeper of my kingdom! I am the Law ! CUITLAHAUTZIN. Then give me a sign that the council may hear me speak thy will. (Montezuma takes a bracelet from his arm and offers it to Cuitlahautzin, who makes no move to take it.) MONTEZUMA. Take back to my chiefs this armlet of beaten silver. Say to the high lords and priests of Tenochtitlan that I, Montezuma, speak with the mouth of my brother. Seeking the safety of my people and the favour of the gods. These are my words ! I make a friend of Malinche, the Pale Captain, that rrty people may not perish. For I tell thee, a god walketh at his shoulder. We are as children to go against him with spears. We are as babes to go against him with craft and the cunning of lies. Bid all men to be silent. Bid them await my will. By this token I charge them to obey thy word. CUITLAHAUTZIN. Brother, it is not enough. They will make a mockery of my speaking. They will deny my word! I must bear them a graver token. MONTEZUMA. What graver token wouldst thou ask? CUITLAHAUTZIN. The beaked crown. MONTEZUMA. No! CUITLAHAUTZIN. I demand of thee the sacred sign of Huitzil. (Montezuma and Cuitlahautzin gaze at each other fixedly for a moment. Then Montezuma wavers, puts up his hands and removes the crown which he hands to Cuitlahautzin.) MONTEZUMA. My priesthood, my kingdom, my city ! (He turns and goes slowly up the south stairs, fol- lowed by the Spanish guard. Cuitlahautzin stands with the crown in his hands until Montezuma has entered the house.) CUITLAHAUTZIN. Thy city moans behind me like a storm-beaten sea. (To the High Priest of Huitzil, who stands behind hiM.) Warder of the dread and silent altars, Watcher at the gate through which no king returns, Stand forth and hear me. I was the chosen of thy unforgiving God! In my heart burned the kingly fire of his veins. On my brow, alone, flamed the bright sear of his lips. I was the child of Huitzil and they passed me by. They passed me by and the sowing of their hands hath brought the ruin of the world ! HIGH PRIEST OF HUITZIL. Thou hast spoken in truth, O Prince. CUITLAHAUTZIN. Behold this kingdom which I ask is a shattered thing. Yet am I not afraid. The strength of mine arms shall make it whole. The hills shall be firm again beneath the feet of mine armies. (He gives the crown to the Hi^h Priest of Huitzil and kneels before him with bowed head.) HIGH PRIEST OF HUITZIL {To his Companions), Is it your will that this man be King? Is it your will, or dare ye again outface the anger of the Princes of Death? Speak, that I may know your will. OLD COUNCILOR. The council hath spoken. Place thou the crown upon the head of this Prince. {The High Priest of Huitzil places the croivn upon the head of Cuitlahautzin, who rises to his feet and menaces Cortez with his clenched fist.) CUITLAHAUTZIN. Hear me now ! Hear me and beware my wrath ! I am King and Captain in Mictlan. I am Master of Spears! I am Ruler of Men! Thy craft and the strength of thy gods aflfright me not! Thy heart shall melt in the black jaws of Huitzil. Thy blood shall foam about his brazen anklets. I will rend thee limb from limb, that the blind vul- tures may strip thy bones, That the wolves may know thee under the white hor- ror of the frozen moon. Behold, I lift my hand and thine ears are smitten with the baying of the hounds of Death. (Cuitlahaut^in lifts his hand and there is a terrible roar from the Aztecs. The spearmen crowd up the stairway, hut Cuitlahautzin stands motionless. The Spaniards form for the defense of the roof. Cortes points to the house of Montezuma. Alva- rado rushes in and brings out the King. They lead him to the centre of the platform, where he stands covering his face with his hands. The Aztecs be- come silent.) MARINA. My master bids thee speak and quiet thy people. He bids thee speak as war chief. ALVARADO (Fiercely to Marina.) Tell him to send these dogs of hell to their reeking kennels. (Montezuma draws himself up with dignity and ad- vances to the edge of the platform^ He lifts his hand, but before he can speak there is a terrible, shout and the Aztecs attack him from below with a storm of stones and javelins; he falls back wounded among the Spaniards. Cortez, seeing that the dethroned king is dead, points to the street below and the soldiers hurl the body over the parapet. Lights out. The god Huitzil appears in a glow before the image of Quetzal.) HUITZIL. Now is my crown returned unto my chosen. The Beak of Flame to the eagle. Mine image is cast down, but mine altars stand, and my madness is upon my people. Cry thy four winds to avenge thee, O Quetzal, Cry to thy girls and bid them bind me with flowers, Cry to thy strangers, if they be mighty. For I am come to my feasting ; My hand is heavy upon thine images. Lo, now I smite thee, and thou shalt break and topple before me ; Lo, now I launch against thee my wrath, and thou shalt fall unto dust beneath the fire of it. {The image of Quetzal falls from its pedestal.) The strangers shall go out along the causeways, and the skies shall be darkened with arrows ; They shall tremble at the thunder of my war drums; They shall be drenched in a storm of spears. Behold, here I make a magic, the magic of the tem- pest of Huitzil. I call from the world of the dead mine invincible armies, From the caverns of darkness the troops of my daunt- less implacable children; They shall rise and their shields shall make bright the mountains and the lakes shall foam beneath their whirling feet; They shall sweep across the strangers as a wave. And when the flood falls and the dawn breaks I shall feed full, and mine altars shall redden, and my war drums shall sound my victories Even to my temple beside the meadows of death. SCENE V. LA NOCHE TRISTE. {The causeway. Night time lighted by moon and torches. The Spaniards are seen in procession, fighting their way across the causeway. The Az- tecs fight from below. Into this battle picture the entire audience is drawn and the Masque ends in a carnival. THE MASQUE OF QUETZAL'S BOWL THE MASQUE OF QUETZAL^S BOWL WRITTEN FOR THE SECOND ANNIVERSARY OF THE HOUSE WARMING OF THE CLIFF-DWELLERS BY Thomas Wood Stevens and Kenneth Sawyer Goodman CHARACTERS IN THE WORK SHOP AN ARTIFICER Hart Conway AN ANTIQUARIAN . . Donald Robertson CHARACTERS IN THE VISION COCIJO-EZA— M^ Old King . Robert R. Jarvie COCIJO-PIJ— M^ Young King . K. S. Goodman \Jl]A-TAO- High Priest of Mitla Thos. W. Stevens AN AZTEC COUNCILOR . Charles E. Nixon A COPA Allen E. Philbrick Scene I~An Artificer's Work Shop Scene II— The Artificer's Vision— A Temple at Mitla Scene III— The Work Shop Scenery by ALLEN E. PHILBRICK t 41 tl THE MASQUE OF QUETZAL'S BOWL In the Workshop. The Scene is the workroom of the Artificer. He is an elderly man, very dry and matter- of-fact, and is engaged in restoring small pieces of metal-work and pottery for the Mu- seum, The center of the stage is occupied by a plain deal table, upon which is a collection of small cups, terra-cotta figures, bottles of cement, pots of paint, brushes, etc. The Arti- ficer is zvorking at one end of this table. He faces the right of the stage. At the opposite end of the table, covered with a piece of black cloth, is the Bowl, There is only one door to the room; this is at the right, near the back. Entire back wall is occupied by a large case with shelves. To the left, behind the Arti- ficer, is a safe, upon which stands a small lunch basket. As the curtain rises, the Arti- ficer IS holding one of the figurines in his hand and putting the last touches on it with a long- handled brush. ARTIFICER O ! NOW ! One more little dab and you'll look quite as if you had never been broken. There ! No ! Just a bit more and perhaps a touch of black lips. How's that? Ha, ha! Perfect! Perfect! Ha, ha! Perfect! Stand over there. Nothing for them to do now but print you a label. {To the other objects on the table) Come, step up. Who's next? Who's next, I say. Oh, you, eh? Well, what's the trouble with you? {A timid rap on the door to which the Artificer pays no attention) A serious wound, eh? A bad fracture, eh? Been in poor health for three thousand years ? Pshaw ! that's nothing. I've had patients come to me in far worse shape. Cement will fix you. That's it — So. You're not more than a five minute job. {A louder tap on the door) When I've done with you and they get you under glass, people will hardly believe you ever saw the inside of a tomb. {The door opens and the Antiquarian enters. He stands, listening.) Why, I've seen the Arabs selling thousands like you, fresh from Birmingham by the last boat. It takes a sixth sense to tell the genuine. ANTIQUARIAN I beg your pardon. ARTIFICER Good evening! Have you been here long? ANTIQUARIAN Only a moment. You didn't hear when I knocked, so I took the liberty of coming in. I say, you didn't hear me when I knocked. ARTIFICER Oh, yes, I heard you knock. You knocked three times, ANTIQUARIAN Twice. ARTIFICER If you had knocked four times, I should have said "Come in." That's a system of mine. It's very clever, I think. You see, if people just knock out of curiosity, they never knock more than three times, then they go away. ANTIQUARIAN But, doesn't it annoy you to have people knock- ing so long? ARTIFICER Not so much as to have people come in while I am at work. ANTIQUARIAN I'm very sorry. ARTIFICER Pray don't apply the remark. Can I serve you? ANTIQUARIAN Possibly. Yes — in fact, I think you might be of service to me. But, may I ask what you are do- ing, and why you are doing it ? ARTIFICER I am a doctor for sick antiquities — a surgeon for broken pottery and battered metal ware. You see my patients. I put them in good health for the Museums and Collectors. Have you any- thing to mend? Did the Director of the Museum send you? ANTIQUARIAN No one sent me, and I have nothing to mend. ARTIFICER That's curious. Very few people come in here unless someone sends them. I failed to catch your name. ANTIQUARIAN I did not give you my name. You would not know me by reputation. I believe I happened in merely by instinct. May I look at your pa- tients? I feel that you have something here which I would very much like to examine. ARTIFICER It is an interesting group, tonight. This is an Osiris from Thebes. Here is a splendid bit of Memphian goldwork, — a queen's amulet; a cano- pic jar; — a nice Etruscan necklace, very nearly perfect — and several other things, I've barely had time to look them over myself. ANTIQUARIAN (with intention) Yes, yes, I see. But do you happen to have any drinking cups — any bowls that were ever used for making libations — any urns or vases or jars that ever held wine of any description? ARTIFICER You will find excellent collections of such things at the Museum. I believe there are some in the Egyptian section, a great many in the gold room, Tyrian, Phoenician, Assyrian, Roman, and, of course, more recent pieces, Florentine, Venetian and the like. You are familiar with our Mu- seum? ANTIQUARIAN I think I can claim to be familiar with your Mu- seum — and with a great many others. Yours is very wonderful. ARTIFICER I'm glad to hear you say so. We take a great deal of pride in it. It is wonderfully instructive — wonderfully instructive. ANTIQUARIAN It is full of beautiful things. It is like a great illustrated book of history. It is very instruc- tive, as you say — a treasure house, where the treasure belongs to anyone who cares to go and look at it. Your city is very fortunate. ARTIFICER I am glad to hear you say so. Our Director would be glad to hear you say so. ANTIQUARIAN There is much to enjoy in your Museum, — much to wonder at and dream over — but the cases which contain drinking cups and wine jars, — they depress me. ARTIFICER I do not understand you. ANTIQUARIAN In a wine cup the material is nothing, the work- manship is nothing. I do not stop to look or listen because nothing moves or sings. The Dream is locked up as securely as the clay or the gold or the jade or the crystal. ARTIFICER But, just now you were asking to see drinking cups and wine jars. I think you said you were particularly interested in such things. ANTIQUARIAN Not when they are under glass. When a wine cup is once labeled and under glass it is dead, pitiful, dry forever, — utterly uninteresting. Un- less you can take it out, wet its thirsty lips and bring it to Hfe, it has nothing to tell you. I care only for the cups which have not yet been ranged along your terrible galleries or tortured in the neat cabinets of your dry collections. Poor, an- cient, thirsty, living cups which I can take in my own hands, rescue to kindlier use, fill and keep filled with wine. ARTIFICER This is very curious. Are you a collector or only a literary man? ANTIQUARIAN I am a Hunter of Lost Visions. Every act was born of a vision. All the finished dramas, the chiseled and polished marbles, the canvases and fabrics of granite and bronze, all the feastings and revels and wars -of kings, all the amours of queens and courtesans, the creeds, the here- sies, the terrors, the reformations of the world begin and end in visions which do not die. It is my profession to restore some of those which are lost. ARTIFICER This is most amazing ! ANTIQUARIAN I Specialize in such shadows and pictures as swim just beneath the surface of cool wine, when it lies in old goblets of any sort, provided, of course, that they were ever used for such a purpose — I can do nothing with water. You would be amazed to know how many of the sounding victories of the earth began at the bottom of a wine cup. ARTIFICER I cannot exactly follow you. Of what does your collection consist? To what use do you put it? ANTIQUARIAN I have many little things that would scarcely catch the eye of an ordinary antiquarian, they appear so common at first glance. ARTIFICER For example? ANTIQUARIAN Well, for example, two little black earthenware cups from the Necropolis of Tharros and Carolis from which Hamilcar drank native wine, when he rested in Sardinia on his way to the con- quest of Sicily. These hold wild visions splotched with the black shadows of Roman eagles. Then I have a bronze cup from which Menephta sucked the first long draughts after the defeat of the Shardana at the mouth of the Nile, years before they carved the Httle men with the two-horned helmets on the speos of Ipsamboul and the pylons of Medinet Abou. I also have the cup which touched the lips of Antony as the galleys swung into line at Actium. It holds only a faint rumor of surging water, the clear face of Cleopatra and voluptuous murmurings of stringed instruments. ARTIFICER But the use to which you put these ? ANTIQUARIAN Simple enough. For instance, not long ago I met a young friend, once a poet of great promise. For a year he had written nothing. The power, the urge, the whatever-you-wish-to-name-it, had left him. He told me his soul was dead. That night we dined in my house. He drank cham- pagne from a goblet out of which the divine Sapho had sipped fire in the shade of the myrtles of Mytilene. Today his is a name to conjure with. ARTIFICER This is very fanciful, very charming, to be sure, but as you see, I have only the figurines, the amu- lets and these others. I am afraid I can be of no service to you this evening. ANTIQUARIAN Are you sure you have nothing else? I am so rarely mistaken when I trust to my instinct. ARTIFICER There is nothing, I assure you, sir, except a piece of prehistoric western ware, which has been committed to me to be repaired and then placed in the American collection, unless — ANTIQUARIAN Unless ? COI.I.ECTOR Unless I should see overpowering reasons for be- stowing it elsewhere. ANTIQUARIAN May I see it ? ARTIFICER It is under that black cloth. {The Antiquarian raises the cloth and his eyes become greedy) ANTIQUARIAN Do you know the history of this piece ? ARTIFICER It is a household piece used only for storing grain. ANTIQUARIAN You are wrong. Man! Man! If this Bowl were filled with wine, the spirit of the old West would cry from it. We might even glimpse the dream of an Empire which failed. I have seen but one such Bowl in my life, and I could not touch it. You must let me have this — I say you must let me have this. I can put it to great use. ARTIFICER Pray, sir, be calm. Your enthusiasm has run away with your judgment. ANTIQUARIAN It has held the wine of Quetzal in some Aztec temple — ^the juice — ARTIFICER You are mistaken. It has held only corn, and later, possibly, a little dust. ANTIQUARIAN I am never mistaken. Do you think I cannot feel the vision throbbing to be set free ? I can almost hear the Zapotec war drums. Oh, Mitla, Mitla, your gate of death might be mirrored in this Bowl. Oh, Cozaana — Pitao — Cozaana, Oh, Hui- chaana. Oh, forgotten gods, what could you tell me from the new wine! You must let me have this Bowl — Its place is waiting. ARTIFICER I am sorry to disappoint you, sir, but I cannot do that without overpowering reasons. ANTIQUARIAN You do not know how much of the new world is built upon old visions. What is there in our art, our literature, our material grandeur which has not come, some way, some how — from the old, and to you the old means Egypt, Greece, Rome. The young men cry for the great Amer- ican spirit, but the new visions are so hard to win and the old so hard to restore, — when the blind and the careless insist upon locking them away. ARTIFICER Something in that, but — not sufficient. ANTIQUARIAN I will dedicate this Bowl to the uses of cheer and good fellowship. I will unprison its dreams for a circle of poets and artists and makers of music. You must let me take it with me. Its place is waiting. ARTIFICER It is quite impossible. ANTIQUARIAN Blind and deaf! ARTIFICER Possibly; but I must refuse you, sir, finally. ANTIQUARIAN It is not my first failure. I beg you to pardon my intrusion. ARTIFICER It has been a pleasure. ANTIQUARIAN Goodnight. (Exit) ARTIFICER Fantastic old party. (Yawns.) Jove, Vm more than tired! Hello! Why come to think of it I haven't taken time to eat my supper. Whew, well, I must eat, I suppose. Let me see what Martha has put in my basket this time. (He picks up the basket and takes out the cold supper.) Some chicken, a couple of lettuce sandwiches and a bottle of wine. {He holds up the bottle, looks at the label, glances at the Bowl, then at the door, then stands gazing into the Bowl, half fascinated.) I wonder! I wonder! I wonder! {Touches the Bowl.) There is nothing strange about it that I can see. The usual design, little figures, rather crude at that. The old gentleman must be just a trifle cracked. Pity I couldn't fix him up with some of my cement Ha, ha ! a pity ! {Looks more closely.) My eyes must be terribly tired. I wonder — I wonder — Why the thing seems to glow — posi- tively — there seems to be a little swirling mist at the bottom of it. I wonder — I wonder. {He looks at the bottle.) He said Wine! Well, well, I'll risk a few drops — just a very few drops on a chance. {He pours from the bottle, then as if his wrist were being held by an un- seen person, the bottle is tilted slowly and the entire contents flow into the Bowl.) How's this! I feel as though someone were holding my wrist with icy fingers. {The lights go down. There is a roll of drums and the curtain falls.) HBN the lights come on, the scene is the interior of the temple of the Zapotecs at Mitla. At one side, a door leading to the other parts of the temple; at the other, a stone which closes the gateway to the under world, the cave of Chalca- tongo. Beside this stone is a figure of Tlael- quani. The idols of the two great gods stand at the hack of the stage. The dead body of the last king, Cocijo-eza, lies in state at the left of the stage, the feet toward the door of the under- world. Acolytes {guardians and sacrificers) prostrate themselves beside the body, praying for the admittance of the dead king. The high priest, Uija-tao, stands motionless before the image. UIJA-TAO {To the Barth goddess.) Tlaelquani — Tlaelquani — Tlaelquani, Goddess of Earth and Night, Eater of Sin, Thou who devour est the black burdens of the drowned spirit of man. Be merciful. Open the stone gateway — Open the caverns of Night Open the Hunting grounds of Death. Tlaelquani — Tlaelquani — Tlaelquani. A dead king waits at thy gateway, A dead king waits here at the place of resting of the winds The spirit of the dead king waits. Open thy gateway, Tlaelquani. {He pauses.) THE KNEELING PRIESTS Open thy gateway, Tlaelquani. {There is a moment of stillness; then Uija-tao turns and dismisses the priests, going himself to the god Cozaana Pitao.) UIJA-TAO Cozaana — Pitao — Cozaana — Father of the lords of Dawn and Twilight, Father of the strong mighty wind Piji-taO; Creator of Beasts, illuminator of Earth, pro-cre- ator of Life. Thy prophet speaks. Is it bidden that this king shall wait outside the gateway till the stone rots down? Is it bidden that this king shall never find the peace of Darkness? Is it bidden that thy prophet shall cry before thee in vain forever? {He waits for an answer, then speaks again. ) I have brought thee the ropes of twisted grass, with the blood of thy priests sprinkled upon them; I have poured out to thee the rich juice of the agave, and the waters of Chalcatongo. I have filled for thee the sacred Bowl. Thou art silent. Be it so, Cozaana, Pitao. There are greater gods. I will carry my sacrifice away. I will pray no more to little gods who eat and are fat but speak not. {He takes the Bowl over to Hui- chaana.) Huichaana, mighty mother of Life, embracer of the white sun, Huichaana, goddess of the still and the sliding waters, mother of fishes, creatrix of men — Thy prophet calls thee. If thou hearest me, let there be in mine ears a roar of great white waters; Let there be a breaking of silver waves against thy golden anklets. (Watching the Bowl.) Huichaana, the dead king waits — Art thou silent ? (He backs azvay and looks at the great image.) These gods are cold to us. (He goes to the dead king and speaks to him.) Cocijo-eza, lord of Mitla, the gates are closed to thee, The gods will not speak, the earth mother will not eat thy sins. Thou shalt wander, and the slanting whips of the sunlight shall scourge thy naked spirit. I can do nothing. {He turns again to the Cozaana im- age, and speaks familiarly.) Little god, I am minded to smite thee on thy silent mouth. Ungrateful one. {To Huichaana.) Little fish lady, why art thou so scornful? I have fed thee well and thou hast drunk deep. I begin to think thou art none too virtuous, fish lady, in thy green waters. {Seats himself by the altar of the Cozaana, and speaks over his shoul- der to the dead king.) Old king, I have fed these gods well and they are snoring beasts, I like it not, for thou. King, hast fed me well. Thou hast sent me the richest sweetness of the land of Mitla. I have drunk the headiest wine of agave and spiced syrups. Thou hast sent me thy fairest, thy richest, the jewels of thy house, the crowns of thy kingdom. Thou hast built for me this palace, For me and these stubborn little gods; I am grateful. Take heed, Cozaana Pitao, thy seer is grateful. (A sound of steps is heard. Uija- tao throws himself into an attitude of prayer. Enter a Co pa, or Aco- lyte.) My son, what drives thee. What drives thee to break the speech of a prophet with his gods. THE COPA Cocijo-pij, the new King, waits at the door, O prophet. UIJA-TAO This Cocijo-pij — this king — he comes alone? THE COPA An Aztec comes with him — a man of Tenochtit- ^^^- UIJA-TAO The gods love not these Aztecs. THE COPA Is it the wish of the prophet that one watch ? UIJA-TAO The gods watch here. Open the door to this king. THE COPA It shall be done. UIJA-TAO Wait. Let thine eyes watch too. I would not have this Aztec come too near the gods. (The Copa goes out. Uija-tao waits by the Cozaana. Enter Cocijo-pij with an Aztec counselor. They salaam before the high priest.) Arise, young king. The gods welcome thee. COCIJO-PIJ I come to bring my sacrifices to the great temple. I come to ask of the gods luck in my kingdom. I have given the hair of the maize to Piji-tao. I have given my sins to Tlaelquani to devour. I come now to pledge the smoking hearts of my captives, The red hearts of my foes, to Cozaana Pitao, The cold hearts to Huichaana, to the mother of men and fishes. I have come to bow before thee, O Prophet. UIJA-TAO This is a wise coming. And how hast thou en- tered my temple? COCIJO-PIJ Through the little door — the little door that is for kings and war chiefs. UIJA-TAO This is good speaking, son of Cocijo-eza. Thou shalt rule long in Tehuantepec, And our Zapotec nation shall bow before thee While still thou reverest the gods, and feedest them well ; And the four Chacs, the rain gods, shall bless thee, And thy people shall prosper through the round years. I, Uija-tao, Prophet of the Shrines of Mitla, I bless thee, O King Cocijo-pij. COCIJO-PIJ O Seer, there is another speaking I must make: My cousin, Montezuma, the sun of the Aztecs, Shall he, too, prosper ? UIJA-TAO It is ill that the blood of thy mother is strong in thee For she was of the blood of Montezuma. THE AZTEC COUNSELOR king, this priest — he reviles us. COCIJO-PIJ He does not love the Aztecs, but he is a prophet, They love or do not love — it is one to me, 1 fear not. THE AZTEC COUNSELOR Then ask him for the Bowl thou didst promise. Let me hear thee ask him, that I may know thee for a king. COCIJO-PIJ He is a holy prophet. THE AZTECS He is a priest who reviles Montezuma. COCIJO-PIJ holy one, I lie down as a dog in delight of spring. Because thou hast prospered me. 1 am as water to cool the shadows for thee, I am as the bells of a dancer to pleasure thee, I am thy slave. My cousin, Montezuma, lord of Tenochtitlan, cometh to Mitla. He will rest under my roof and I shall make a feast for him. Is it well? UIJA-TAO It is a child's work to make a feast for a foe. It is a fool's feast, O King, that thou eatest with the Aztecs. COCIJO-PIJ Thou art wise. Thou art holy. Still, Montezuma cometh ; I must feast with him. UIJA-TAO It is a fool's feast. THE AZTEC COUNSELOR Ask him, O King, for the Bowl. He will wake his gods if you thou angerest him slowly. COCIJO-PIJ Holy one, my feast will be as dusty corn, It will be as salt water and dead fruits. If thou and thy gods favor not. Give me, great prophet, yon Bowl for our tables That our Zapotec nations may drink in splendour before Montezuma. UIJA-TAO This is a little thing thou askest. THE AZTEC COUNSELOR How have I told thee — ^be bold with thy priests, O King. UIJA-TAO It is a little thing — to profane the sacred Bowl, To deflower this temple, to reave away the gob- lets of the gods. It is a little thing thou askest. Not if Montezuma came through the little door on his knees. Not though he died with his forehead in the dust of this temple floor, Not though his spirit withered in the dry sun- light, Not though his heart of pride should smoke in the mouth of Cozaana, Should his Aztec lips touch the rim of this bowl. It is sacred. COCIJO-PIJ^ Holy one, I am reddened in mine eyes with anger : The great Montezuma is my brother. UIJA-TAO If thou wert Montezuma, it could not be other- ^1^^* THE AZTEC COUNSELOR Give him thy gold. These priests are greedy ^^^^; cocijo-pij I bring to thy gods this casket of quilled gold ; I bring them these flakes of turquoise; I bring them these draughts of quicksilver. Ask them to give me the Bowl. UIJA-TAO Dost thou command me, Httle King? COCIJO-PIJ There is an ancient right. Thou shalt pray for the King's desire: So runs the law. {Uija-tao turns to Cosaana in an at- titude of prayer. The Aztec points to the Bowl and makes signs that the king shall take it away. The King starts toward it. The Copa drops on his knees.) UIJA-TAO Let the hand wither, O Cozaana, The hand that touches the sacred Bowl, Let the heart break and the eyes be blinded. The heart and the eyes that impiously desire it. Let the spirit of the stealer be scathed with sun- light. Let the hand wither. COCIJO-PIJ No, no, Holy Prophet. Recall thy curse. Recall thy curse. THE AZTEC COUNSELOR He plays with thee. Be thou a king and a war chief? Take what is thine. COCIJO-PIJ He has put a sleep and a terror upon me. Lo, now I awake. Old priest, hear me now. I am master. I am King and Captain of Mitla. I am War Chief. This house of the gods is not so dark as to blind me, I am master of it. I am lord. My brother, The Aztec, is coming. I would drink in splen- dour. Old priest, I will take ^he Bowl. I revere the high gods. But not thee. Stand back, old priest, for my hands are hot for the rim And my throat is thirsty for the flame of it. Behold, the Bowl is mine. Here I claim it. UIJA-TAO Beware of the hate of the gods ! COCIJO-PIJ Beware of my hand that smites, and my arrows. I will go with the Bowl. UIJA-TAO Thou art Captain and King, but the gods — COCIJO-PIJ Call on thy gods. Let them stay me. UIJA-TAO Mighty King, hear me, thy prophet. THE AZTEC COUNSELOR The day of Montezuma's coming will be black for thee, And the thunder of his voice shall pierce thee. If thou offer him less than thy promise. I have sent him thy word, young King : He shall drink from this Bowl of the god's De- light. UIJA-TAO Thou wilt feast in splendours, thou child of the Aztec serpent. The lord of Tenochtitlan comes, and he feasts, and the beak of Huitzlil is on his brow. He will feast on thy kingdom. Stand back. Lo, I tell thee a mystery. I am the guardian of the Bowl. Thy father builded this temple to preserve it. The glory of our people shines in it. Long ago came the pale god, mighty Quetzal, And he made the earth to bloom and the streams to gleam with silver, and the skies to bless our nations. He was prophet and king and god. He was holy. He gathered the winds and the rains in his hand and he mastered them. He was a maker of gods. Then he vanished. He drank from this Bowl, and was drunken with love and delight and his vows were for- gotten. He awoke and the doom was upon him. He went down to the sea and sailed in a canoe of serpent skins into the sunrise. He arose as a star in the morning — withered and chilled to the star of the morning. Thou wouldst take for thy feastings his Bowl, for thine insolent feast with the Aztec King? Thou groveller, what are thy feasts to the kiss of his lips in the dawning? What are thy guests to the gods who feast here in this temple? Thou shalt bring us thy meats and thy fruits. We shall drink the dark wine of thy splen- dours. Thou shalt send me the riches of thy table, and thy daughters, thy maidens shall serve me: Thou, who art dust, who art sin, who art mortal. Go, King, with thy slaves, and bring in thy King- dom to appease the insulted gods. COCIJO-PIJ I go with the Bowl of Quetzal, O Prophet. {He steps forward and the priest leaps up by the altar.) UIJA-TAO Thy father's spirit leaps in the air, an ocelot in the night. Stand back. Thus I give thee the splendour of Quetzal. {He lifts the Bozvl above his head and hurls it dozvn upon the temple floor. The lights vanish zvith the crash. The sound falls away tinkling into silence. A knock is heard and re- peated. The lights come on and the scene is as in Scene I. The Ar- tificer wakes, groping above the Bowl.) ARTIFICER Cozaana — Pitao — Cozaana. Oh, Huichaana. (Enter the Antiquarian.) And yet it is not broken ! ANTIQUARIAN I beg your pardon ! ARTIFICER ^ Are you a priest sent from Mitla? ANTIQUARIAN I am an absent minded old fellow with a habit of leaving my only umbrella when I make calls. ARTIFICER You have come back. I knew you would come back. ANTIQUARIAN For the umbrella. Here it is. So sorry to have disturbed you a second time. Goodnight. ARTIFICER Wait, wait. ANTIQUARIAN Well? ARTIFICER You are going away without it. You are going away without it a second time. ANTIQUARIAN The umbrella? You see I have it in my hand. ARTIFICER No, no ! The Bowl ! The Bowl ! ANTIQUARIAN Ah. ARTIFICER The Bowl of Quetzal ! There has been wine in the Bowl. ANTIQUARIAN Ah, there has been wine in the Bowl? ARTIFICER I tell you, I have seen your forgotten gods with the terrible names. I have heard the drums and the cymbals. I have stood before the stone which bars the way to the place of the resting of the winds. You must take the Bowl. ANTIQUARIAN Have you forgotten that it is the property of your Museum, your wonderful, your instructive, your zealous Museum? ARTIFICER No! But I have been shown that it can be put to nobler use. You shall, as you desire, dedicate this Bowl to the uses of cheer and good fellow- ship; its imprisoned dreams shall inspire your circle of poets, painters, builders of temples and makers of music. Take it! Take it! ANTIQUARIAN You are wise; you are right! This bowl of Quetzal shall be the property of the Dreamers of the West. CURTAIN AS THE CURTAIN FALLS THE ANTIQUARIAN COMES BEFORE IT AND PRESENTS THE BOWL TO THE PRESIDENT OF THE CLUB. )C1 ,\^^'\ »; %.o« »' 4°, .-^''.>:;; ♦?5;t» a <^ 'o.*;* ,G^ ^ ♦TXT* A ^^ 3^. j^"-^*. A^-^* , -f ^ / V*^%°' \;^\/ v^-'^°' ^oV" vi°^