Chapter XXII: Part 22

ANNE. Come here. [_He obeys. She sits in a big chair, but avoids looking at him. There is a delicate imitation of a tragic actress in the way she tells her story._] I wonder if I can make you understand? It means so much to me that you should--so much! Harold, you know how dull life is here in this little town. You were glad enough to get away after a year of it, weren't you? Well, it's worse for a girl, with nothing to do but sit at home--and dream--of you. Yes, that's what I did, until, at last, when I couldn't stand it any longer, I wrote you.

HAROLD [_quickly_]. I never got the letter, Miss Carey. Honor bright, I didn't.

ANNE. Perhaps not, but you answered it.

HAROLD. Answered it? What are you talking about?

ANNE. Would you like to see your answer? [_She goes to the desk, takes a packet of letters out of a drawer, selects one, and hands it to him._] Here it is--your answer. You see it's post-marked Rio Janeiro.

HAROLD [_taking it wonderingly_]. This does look like my writing. [_Reads._] "Anne, my darling--" I say, what does this mean?

ANNE. Go on.

HAROLD [_reading_]. "I have your wonderful letter. It came to me like rain in the desert. Can it be true, Anne, that you do care? I ask myself a hundred times what I have done to deserve this. A young girl seems to me as exquisite and frail as a flower--" Great Scott! You don't think _I_ could have written such stuff! What in the world!

ANNE [_handing over another letter_]. Here's the next letter you wrote me, from the mine. It's a beautiful one. Read it.

HAROLD [_tears it open angrily, and reads_]. "I have been out in the night under the stars. Oh, that you were here, my beloved! It is easy to stand the dust and the turmoil of the mine without you, but beauty that I cannot share with you hurts me like a pain--"

[_He throws the letter on the table and turns toward her,
speechless._]

ANNE [_inexorably_]. Yes, that's an exceptionally beautiful one. But there are more--lots more. Would you like to see them?

HAROLD. But I tell you, I never wrote them. These aren't my letters.

ANNE. Whose are they, then?

HAROLD [_walking up and down furiously_]. God knows! This is some outrageous trick. You've been duped, you poor child. But we'll get to the bottom of this. Just leave it to me. I'll get detectives. I'll find out who's back of it! I'll--

[_He comes face to face with her and finds her looking quietly at
him with something akin to critical interest._]

HAROLD. Good Lord. What's the matter with me! You don't believe those letters. You couldn't think I wrote them, or you wouldn't have met me as you did, quite naturally, as an old friend. _You understand!_ For heaven's sake, make it clear to me!

ANNE. I am trying to.... I told you there had to be ... answers.... I was afraid to send my letters to you, but there had to be answers. [_Harold stares at her._] So I wrote them myself.

HAROLD. You wrote them yourself?!?

ANNE. Yes.

HAROLD. These? These very letters?

ANNE. Yes. I had to.

HAROLD. Good God! [_He gazes at the litter of letters on the desk in stupefied silence._] But the handwriting.

ANNE. Oh, that was easy. I had the letter you wrote to Mother.

HAROLD. And you learned to imitate my handwriting?

ANNE [_politely_]. It was very good writing.

HAROLD [_in sudden apprehension_]. No one has seen these things,--have they?

ANNE. They arrived by mail.

HAROLD. You mean people saw the envelopes. Yes, that's bad enough.... But you haven't shown them to any one? [_At her silence he turns furiously upon her._] Have you?... Have you?

ANNE [_who enjoys her answer and its effect upon him_]. Only parts--never a whole letter. But it was such a pleasure to be able to talk about you to some one. My only pleasure.

HAROLD. Good heavens! You told people I wrote these letters? That we were engaged?

ANNE. I didn't mean to, Harold. Really, I didn't. But I couldn't keep it dark. There were your telegrams.

HAROLD. My telegrams?!?

[_She goes to desk and produces a bundle of dispatches._]

ANNE [_brazen in her sincerity_]. You used to wire me every time you changed your address. You were very thoughtful, Harold. But, of course, I couldn't keep those secret like your letters.

HAROLD [_standing helplessly, with the telegrams loose in his fingers_]. My telegrams! Good Lord! [_He opens one and reads_.] "Leaving Rio for fortnight of inspection in interior. Address care Senor Miguel--" _My_ telegrams!

[_He flings the packet violently on the table, thereby almost
upsetting a bowl of roses which he hastens to preserve._]

ANNE. And then there were your flowers. I see you are admiring them.

[_Harold withdraws as if the flowers were charged with
electricity._]

HAROLD. What flowers?

ANNE. These--these--all of them. You sent me flowers every week while you were gone.

HAROLD [_overcome_]. Good God!

[_He has now reached the apex of his amazement and becomes
sardonic._]

ANNE. Yes. You were extravagant with flowers, Harold. Of course I love them, but I had to scold you about spending so much money.

HAROLD. Spending so much money? And what did I say when you scolded me?

ANNE [_taken aback only for a moment by his changed attitude_]. You sent me a bigger bunch than ever before--and--wait a minute--here's the card you put in it.

[_She goes to the same fatal desk and produces a package of
florists' cards._]

HAROLD. Are all those my cards too?

ANNE. Yes.

HAROLD [_laughing a bit wildly_]. I'm afraid I was a bit extravagant!

ANNE. Here's the one! You wrote: "If all that I have, and all that I am, is too little to lay before you, how can these poor flowers be much?"

HAROLD. I wrote that? Very pretty--very. I'd forgotten I had any such knack at sentiments.

ANNE. And then, right away, you sent me the ring.

HAROLD [_jumps, startled out of his sardonic pose_]. Ring! What ring?

ANNE. My engagement ring. You really were very extravagant that time, Harold.

HAROLD [_looking fearfully at her hands_]. But I don't see.... You're not wearing...?

ANNE. Not there--here, next to my heart. [_She takes out a ring which hangs on a chain inside her frock and presses it to her lips. Looking at him deeply._] I adore sapphires, Harold.

[_A new fear comes into Harold's eyes. He begins to humor her._]

HAROLD. Yes. Yes. Of course. Everyone likes sapphires, Anne. It is a beauty. Yes. [_He comes very close to her, and speaks very gently, as if to a child._] You haven't shown your ring to any one, have you, Anne?

ANNE. Only to a few people--One or two.

HAROLD. A few people! Good heavens! [_Then he controls himself, takes her hands gently in his, and continues speaking, as if to a child._] Sit down, Anne; we must talk this over a little,--very quietly, you understand, very quietly. Now to begin with, when did you first--

ANNE [_breaks away from him with a little laugh_]. No, I'm not crazy. Don't be worried. I'm perfectly sane. I had to tell you all this to show how serious it was. Now you know. What are you going to do?

HAROLD. Do? [_He slowly straightens up as if the knowledge of her sanity had relieved him of a heavy load._] I'm going to take the next train back to New York.

ANNE. And leave me to get out of this before people all alone?

HAROLD. You got into it without my assistance, didn't you? Great Scott, you forged those letters in cold blood--

ANNE. Not in cold blood, Harold. Remember, I cared.

HAROLD. I don't believe it. [_Accusingly._] You enjoyed writing those letters!

ANNE. Of course I enjoyed it. It meant thinking of you, talking of--

HAROLD. Rot! Not of me, really. You didn't think I am really the sort of person who could write that--that drivel!

ANNE [_hurt_]. Oh, I don't know. After a while I suppose you and my dream got confused.

HAROLD. But it was the rankest--

ANNE. Oh, I'm not so different from other girls. We're all like that. [_Repeating Ruth's phrase reminiscently._] We must have some one to dream about--to talk about. I suppose it's because we haven't enough to do. And then we don't have any--any real adventures like--shop girls.

HAROLD [_surprised at this bit of reality_]. That's a funny thing to say!

ANNE. Well, it's true. I know I went rather far. After I got started I couldn't stop. I didn't want to, either. It took hold of me. So I went on and on and let people think whatever they wanted. But if you go now and people find out what I've done, they'll think I'm really mad--or something worse. Life will be impossible for me here, don't you see--impossible. [_Harold is silent._] But if you stay, it will be so easy. Just a day or two. Then you will have to go to India. Is that much to ask? [_Acting._] And you save me from disgrace, from ruin!

[_Harold remains silent, troubled._]

ANNE [_becoming impassioned_]. You must help me. You _must_. After I've been so frank with you, you can't go back on me now. I've never in my life talked to any one like this--so openly. You _can't_ go back on me! If you leave me here to be laughed at, mocked at by every one, I don't know what I shall do. I shan't be responsible. If you have any kindness, any chivalry.... Oh, for God's sake, Harold, help me, help me!

[_Kneels at his feet._]

HAROLD. I don't know.... I'm horribly muddled.... All right, I'll stay!

ANNE. Good! Good! Oh, you are fine! I knew you would be. Now everything will be so simple. [_The vista opens before her._] We will be very quiet here for a couple of days. We won't see many people, for of course it isn't announced. And then you will go ... and I will write you a letter....

HAROLD [_disagreeably struck by the phrase_]. Write me a letter? What for?

ANNE [_ingenuously_]. Telling you that I have been mistaken. Releasing you from the engagement ... and you will write me an answer ... sad but manly ... reluctantly accepting my decision....

HAROLD. Oh, I am to write an answer, sad but manly--Good God! Suppose you don't release me after all.

ANNE. Don't be silly, Harold. I promise. Can't you trust me?

HAROLD. Trust you? [_His eyes travel quickly from the table littered with letters and dispatches to the flowers that ornament the room, back to the table and finally to the ring that now hangs conspicuously on her breast. She follows the look and instinctively puts her hand to the ring._] Trust you? By Jove, no, I don't trust you! This is absurd, I don't stay another moment. Say what you will to people. I'm off. This is final.

ANNE [_who has stepped to the window_]. You can't go now. I hear Mother and Ruth coming.

HAROLD. All the more reason. [_He finds his hat._] I bolt.

ANNE [_blocking the door_]. You can't go, Harold! Don't corner me. I'll fight like a wildcat if you do.

HAROLD. Fight?

ANNE. Yes. A pretty figure you'll cut if you bolt now. They'll think you a cad--an out and out cad! Haven't they seen your letters come week by week, and your presents? And you have written to Mother, too--I have your letter. There won't be anything bad enough to say about you. They'll say you jilted me for that English girl in Brazil. It will be true, too. And it will get about. She'll hear of it, I'll see to that--and then--

HAROLD. But it's a complete lie! I can explain--

ANNE. You'll have a hard time explaining your letters and your presents--and your ring. There's a deal of evidence against you--

HAROLD. See here, are you trying to blackmail me? Oh, this is too ridiculous!

ANNE. They're coming! I hear them on the stairs! What are you going to tell them?

HAROLD. The truth. I must get clear of all this. I tell you--

ANNE [_suddenly clinging to him_]. No, no, Harold! Forgive me, I was just testing you. I will get you out of this. Leave it to me.

HAROLD [_struggling with her_]. No, I won't leave anything to you, _ever_.

ANNE [_still clinging tightly_]. Harold, remember I am a woman--and I love you.

[_This brings him up short a moment to wonder, and in this moment
there is a knock at the door._]

ANNE [_abandoning Harold_]. Come in. [_There is a discreet pause._]

MRS. CAREY'S VOICE [_off stage_]. May we come in?

ANNE [_angrily_]. Yes!

[_Harold, who has moved toward the door, meets Mrs. Carey as she
enters. She throws her arms about his neck and kisses him warmly.
She is followed by Ruth._]

MRS. CAREY. Harold! My door boy!

RUTH [_clutching his arm_]. Hello, Harold. I am so glad.

[_Harold, temporarily overwhelmed by the onslaught of the two
women, is about to speak, when Anne interrupts dramatically._]

ANNE. Wait a moment, Mother. Before you say anything more I must tell you that Harold and I are no longer engaged!

[_Mrs. Carey and Ruth draw away from Harold in horror-struck
surprise._]

MRS. CAREY. No longer engaged? Why.... What...?

HAROLD. Really, Mrs. Carey, I--

ANNE [_interrupts, going to her mother_]. Mother, dear, be patient with me, trust me, I beg of you--and please, please don't ask me any questions. Harold and I have had a very hard--a very painful hour together. I don't think I can stand any more.

[_She is visibly very much exhausted, gasping for breath._]

MRS. CAREY. Oh, my poor child, what is it? What has he done?

[_She supports Anne on one side while Ruth hurries to the other._]

HAROLD. Really, Mrs. Carey, I think I can explain.

ANNE. No, Harold, there's no use trying to explain. There are some things a woman feels, about which she cannot reason. I know I am doing right.

HAROLD [_desperately_]. Mrs. Carey, I assure you--

ANNE [_as if on the verge of a nervous crisis_]. Oh, please, _please_, Harold, don't protest any more. I am not blaming you. Understand, Mother, I am not blaming him. But my decision is irrevocable. I thought you understood. I beg you to go away. You have just time to catch the afternoon express.

HAROLD. Nonsense, Anne, you must let me--

ANNE [_wildly_]. No, no, Harold, it is finished! Don't you understand? Finished! [_She abandons the support of her mother and Ruth and goes to the table._] See, here are your letters. I am going to burn them. [_She throws the packet into the fire._] All your letters--[_She throws the dispatches into the fire._] Don't, please, continue this unendurable situation any longer. Go, I beg of you, go!

[_She is almost hysterical._]

HAROLD. But I tell you I must--

ANNE [_falling back in her mother's arms_]. Make him go, Mother! Make him go!

MRS. CAREY. Yes, go! Go, sir! Don't you see you are torturing the child. I insist upon your going.

RUTH. Yes, she is in a dreadful state.

[_Here Mrs. Carey and Ruth fall into simultaneous urgings._]

HAROLD [_who has tried in vain to make himself heard_]. All right, I'm going, I give up!

[_He seizes his hat and rushes out, banging the door behind him.
Anne breaks away from her mother and sister, totters rapidly to
the door and calls down gently._]

ANNE. Not in anger, I beg of you, Harold! I am not blaming you. Good-by.

[_The street door is heard to bang. Anne collapses in approved
tragedy style._]

ANNE [_gasping_]. Get some water, Ruth. I shall be all right in a moment.

[_Ruth rushes into the bedroom._]

MRS. CAREY. Oh, my dear child, calm yourself. Mother is here, dear. She will take care of you. Tell me, dear, tell me.

[_Ruth returns with the water. Anne sips a little._]

ANNE. I will, Mother--I will ... everything ... later. [_She drinks._] But now I must be alone. Please, dear, go away ... for a little while. I must be alone [_Rising and moving to the fire._] with the ruin of my dreams.

[_She puts her arms on the chimney shelf and drops her head on
them._]

RUTH. Come, Mother! Come away!

MRS. CAREY. Yes, I am coming. We shall be in the next room, Annie, when you want us. Right here.

ANNE [_as they go out, raises her head and murmurs_]. Dust and ashes! Dust and ashes!

[_As soon as they have gone, Anne straightens up slowly. She pulls
herself together after the physical strain of her acting. Then she
looks at the watch on her wrist and sighs a long triumphant sigh.
Her eye falls on the desk and she sees the package of florists'
cards still there. She picks them up, returns with them to the
fire and is about to throw them in, when her eye is caught by the
writing on one. She takes it out and reads it. Then she takes
another--and another. She stops and looks away dreamily. Then
slowly, she moves back to the desk, drops the cards into a drawer
and locks it. She sits brooding at the desk and the open paper
before her seems to fascinate her. As if in a dream she picks up a
pencil. A creative look comes into her eyes. Resting her chin on
her left arm, she begins slowly to write, murmuring to herself._]

ANNE [_reading as she writes_]. "Anne, my dearest.... I am on the train ... broken, shattered.... Why have you done this to me ... why have you darkened the sun ... and put out the stars ... put out the stars?... Give me another chance, Anne.... I will make good.... I promise you.... For God's sake, Anne, don't shut me out of your life utterly.... I cannot bear it.... I...."

[_The Curtain
has fallen slowly as she writes._]

THE SHEPHERD IN THE DISTANCE

A PANTOMIME

BY HOLLAND HUDSON

Copyright, 1920, by Frank Shay.
All rights reserved.

THE SHEPHERD IN THE DISTANCE was first produced by the Washington
Square Players, at the Bandbox Theatre, New York City, on the night
of March 26, 1915, with the following cast:

THE PRINCESS _Frances Paine_.
THE ATTENDANT _Beatrice Savelli_.
THE SHEPHERD _Robert Locher_.
THE WAZIR _Arvid Paulson_.
THE VIZIER _John Alan Houghton_.
GHURRI-WURRI [_the Beggar_} _Harry Day_.
THE GOAT _E. J. Ballantine_.
SLAVES OF THE PRINCESS { _Josephine Niveson_.
{ _Edwina Behre_.
THE MAKER OF SOUNDS _Robert Edwards_.

Produced under the direction of William Pennington. Scenes and
costumes designed by Robert Locker.

PROGRAM

THE PERSONS:

THE PRINCESS.
THE ATTENDANT.
THE SLAVES.
THE WAZIR [_her guardian_].
THE VIZIER.
THE NUBIAN.
THE SHEPHERD.
THE GOAT.
GHURRI-WURRI.
THE MAKER OF SOUNDS.

THE SHEPHERD IN THE DISTANCE is published for the first time. The
editors are indebted to Mr. Holland Hudson for permission to include
it in this volume. The professional and amateur stage rights on this
pantomime are strictly reserved by the author. Applications for
permission to produce the pantomime should be made to Frank Shay,
Care Stewart & Kidd Company, Cincinnati, Ohio.

THE ACTION:

I. The Princess beholds The Shepherd in the Distance and goes in
quest of him.
II. Ghurri-Wurri, enraged by the Princess' meager alms, swears
vengeance.
III. He reveals her destination to the Wazir.
IV. Pursuit ensues.
V. The Princess meets The Shepherd in the Distance. Her capture is
averted by the faithful Goat.
VI. The Goat's long head evolves a means of rescuing The Shepherd
from the cruel Wazir.
VII. The Princess joins The Shepherd in the Distance.

THE STORY.[1]

Of the Princess, we know only that she was fair and slender as the lily, that somehow the fat and stupid Wazir became her guardian, and that he neglected her utterly and played chess eternally in the garden with his almost-equally-stupid Vizier. Is it any wonder she was bored?

One afternoon the Princess called for her ivory telescope, and, placing it to her eye, sought relief from the deadly ennui which her guardian caused. In the Distance she discerned a Shepherd, playing upon his pipe for the dancing of his favorite Goat. While he played the Princess marveled at his comeliness. She had never seen before a man so pleasing in face and person. At the end of his tune it seemed to her that the Shepherd turned and beckoned to her. She dared watch him no longer, lest her guardian observe her.

When the Wazir, the Vizier and the Nubian were deep in their afternoon siesta, the Princess stole out of the garden with her personal retinue and her small, but precious hope chests, and set forth toward the Distance.

Now on the highway between the foreground and the Distance lived a wretched and worthless beggar who had even lost his name and was called Ghurri-Wurri because he looked absolutely as miserable as that. He pretended to be blind and wore dark spectacles. The greatest affliction of his life was that his dark spectacles prevented him from inspecting the coins that fell in his palm, and he received more than his share of leaden counterfeits.

When Ghurri-Wurri observed the approach of the Princess and her retinue he reasoned from the richness of their attire that alms would be plentiful and large and he fawned and groveled before them. The Princess was generous, but she was also in haste, so bade her attendant give him the first coin that came to hand, and hurried on.

Ghurri-Wurri's rage knew no bounds. He wept, he stamped, he shook his fists, he railed, and he cursed. Then, perceiving the Princess' destination, he made haste to notify her guardian. The Wazir would not believe him at first and the beggar would have lost his head if he had not happened on the Princess' telescope and placed it in the Wazir's hand.

Gazing toward the Distance, the Wazir saw the Princess and her retinue nearing their destination. He lost his temper and did all of the undignified things which Ghurri-Wurri had done. Then, with the Vizier and the Nubian, he set forth in pursuit, forcing the reluctant Ghurri-Wurri to guide them. They ran like the wind, till the beggar gasped and staggered, only to be jerked to his feet and forced on by the implacable Vizier, who was cruel as well as stupid.

Meanwhile the Princess arrived in the Distance. The Shepherd, who was as wise as he was comely, had proper regard for her rank and danced in her honor to his own piping. They had scarcely spoken to each other when the faithful Goat warned them of the furious approach of the raging Wazir. The Goat carried the Princess to a place of safety on his back while the Shepherd stayed to delay her pursuers. Of the Nubian he made short work indeed, but the Vizier overcame him with his great scimiter and they led him captive to the garden, leaving Ghurri-Wurri cursing on the sands.

Arrived at the garden, the Wazir ordered the Shepherd bound in chains and went on with his chess game. The Shepherd, in a gesture of despair, came upon the Princess' telescope and, seeking some ray of hope, gazed into the Distance. Here he saw the Princess and his faithful Goat, who, he perceived, had invented a plan for his deliverance.

Soon the Princess returned to the garden, disguised as a wandering dancer. She danced before the Wazir and pleased him so much that he bade her come nearer. She did so, and bound the Vizier's arms with a scarf, which so amused the Wazir that he laughed loud and long. Then she bound the Wazir's arms in the same manner and it was the Vizier's turn to laugh. Into their laughing mouths she thrust two poisoned pills so that in another instant they fell over, quite dead, amongst the chessmen.

The omnivorous Goat delivered the Shepherd from his chains with his strong teeth and they all returned to the Distance, where they still dwell in more-than-perfect bliss and may be discerned through an ivory telescope any fine afternoon.

[1] A synopsis for readers only.

CONCERNING THE SCENERY.

In the original production by The Washington Square Players, THE SHEPHERD IN THE DISTANCE was played in front of backgrounds of black velvet. The garden scene consisted of a black velvet drop about half-way between the curtain and back-wall, upon which a decorative white design merely suggesting the garden and its gate was appliqued. This drop was made in three sections, the middle one hung on a separate set of lines so that it could be raised to show the "Distance" (as seen through the telescope) without disturbing the rest of the scene.

The "Distance" consisted of a velvet drop hung slightly behind the middle section of the garden scene, on the middle of which two large, white concentric circles were appliqued around a circular opening about five feet in diameter. The bottom of the opening was about eighteen inches above the stage. Behind this stood a platform just large enough to hold four characters at one time. Black masking drapes were provided at both sides of the stage and behind the platform.

The Prologue, Scenes II, IV, V, the first part of Scene VII and the Epilogue were all played before a plain velvet drop hung a few feet upstage of the curtain line.

THE SHEPHERD IN THE DISTANCE has also been produced in colors very effectively by the Hollywood Community Theatre, at Hollywood, California. There is no reason why any highly decorative treatment of scenery and costuming will not enhance the production if it be well planned and consistent throughout.

IMPORTANT PROPERTIES.

The properties consist principally of a small chess table with most of the chessmen glued on, two stools, a telescope, a balloon and papier mache chain which are employed as a ball and chain, a very large Chinese crash cymbal for the stage manager's use, and such personal properties as occur in the text.

COSTUMES AND MAKE-UP.

Whatever scheme is selected for the scenery, the costumes and make-up should be consistent with it. In the original production, all of the characters but the Nubian were made up completely with clown white or "Plexo," the eyebrows and eyes outlined in black and mouths rouged but slightly. No unwhitened flesh was visible at all.

The Princess wore a white satin pseudo-Oriental costume with stiff ruffs at the collar, wrists and knees, the trousers not gathered at the ankles, a flat close-fitting turban with a number of ornaments and a hanging veil, and white slippers. In the dance in Scene VI she used a long black gauze scarf and a white one. Her attendant wore a similar costume of cheaper material, an unornamented turban and black slippers. Her slaves were also similarly garbed, in cotton, but with bulkier turbans, and baggy trousers, gathered at the ankles.

The Wazir, armed with a preposterous "corporation," wore baggy white trousers, gathered at the ankles, a sleeveless vest with wide, horizontal black-and-white stripes, a white cloak hanging from his shoulders which terminated in a large black tassel, a turban, a beard made of several lengths of black portiere cord sewed to white gauze, and white pointed shoes. His bare arms were whitened, his eyebrows were short, thick and high up on his forehead, and he carried a black snuff-box.

The Vizier's white trousers were not so full as the Wazir's; his tight white vest had tight white sleeves; his cloak was shorter and without a tassel. His white turban, however, was decorated with antennae of white milliner's wire. He affected high arching eyebrows, a long pointed nose, a drooping mustache, a disdainful mouth, carried a white wooden scimiter about four feet long with a black handle and wore bells on his pointed white shoes.

The Nubian wore black tights and shirt, black slippers and a white skull cap and breech-clout. The rest of him, excepting his eyes and mouth, which were whitened, was a symphony in burnt cork.

The Shepherd wore white, knee-length trunks, frayed at the ends, a little drapery about the upper man, slippers and a cap. His body was whitened profusely and he carried a tiny flute.

The Goat wore a white furry skin, horns, and foot and hand coverings resembling hoofs. His make-up approached the animal's face as nearly as possible.

Ghurri-Wurri wore tattered white baggy trousers, vest and cloak, a turban and black goggles.

The Maker of Sounds was garbed in an all-enveloping white burnous and a white skull cap.

A FEW STAGE DIRECTIONS.

Left and right, in this text, refer to the actor's, not the spectator's, point of view. The action of the piece is meant to be two-dimensional; the actors are to perform in profile as far as possible; except when registry of facial expression is important the action should be parallel with the back drop.

The entire action must be rhythmical and the rhythms should be used as definite themes, one for the Princess and her retinue, another for the Wazir, etc. The performance should be extremely rapid and must never drag. The cast should direct special attention to the comic features, and the director to the pictorial elements of the piece. The director may consider the performance as an animated poster which moves rapidly from design to design.

THE SHEPHERD IN THE DISTANCE

A PANTOMIME BY HOLLAND HUDSON

PROLOGUE.

[_The curtain rises on a plain drop curtain. The Maker of Sounds
enters with his arms full of instruments, crosses the scene and
sits with his back against one side of the proscenium, outside the
curtain line. He tries out all his instruments, wind, string,
percussion and "traps." He yawns. He becomes impatient and raps on
the stage._]

Cymbal Crash The lights go out
The drop is lifted in the darkness

Cymbal Crash The lights are turned on

SCENE I.

[_The Wazir's garden. Discovered left to right, the Nubian,
standing with folded arms, the Vizier, seated at the chess table,
playing with the Wazir. At the other side of the stage, the
Princess, her attendant, her two slaves. All stand motionless
until set in action by the Maker of Sounds._]

_The Music_ _The Pantomime, etc._

Tap--on Chinese wood _Nubian_ unfolds his arms
block

Tap He salaams

Tap Resumes original pose

Tap _Vizier_ moves a chessman

Tap _Wazir_ moves a chessman

Tap _Vizier_ moves a chessman

Tap _Wazir_ picks up snuff-box

Tap Opens it

Tap Offers Vizier snuff

Tap _Vizier_ takes a pinch

Sand blocks Sniffs it

Drum crash _Vizier_ sneezes

Drum crash Sneezes again

No sound Sneezes again
_Nubian_ sneezes synchronously with Vizier's
paroxysms

Tap _Vizier_ returns snuff-box

Tap _Wazir_ puts it away

Bell _Princess_ yawns

Tap Signals her attendant

Tap _Attendant_ picks up telescope

Tap Hands it to Princess

Wind instrument _Princess_ uses telescope
[The middle portion of the back drop is
lifted to show the "Distance" in which
the _Shepherd_ is discovered piping
for the _Goat's_ dancing.]

Stringed instrument _The Shepherd_ sees the Princess, stops
piping, and declares his adoration across
the distance. He beckons her to join him.
_Princess_ promises to do so.
[The lifted portion of the drop is
lowered again. The "Distance"
vanishes.]

Tap _Princess_ signals to her retinue

Tap _Attendant_ relays the signal

Tap _Slaves_ stoop.

Tap Lift the hope chests to their shoulders

Bass chord on _Princess and retinue_ take one step
stringed instrument downstage

Treble chord All lean forward, watching Wazir

Drum crash _Wazir_ and _Vizier_ stand up

Drum crash They glare at Princess

Tap on wood block They sit

Bass chord _Vizier_ yawns

Bass chord _Wazir_ yawns

Bass chord _Nubian_ yawns

Bass chord _Vizier_ nods

Bass chord _Wazir_ nods

Bass chord _Nubian_ drops on one knee

Treble chord _Princess and retinue_ lean forward

Bass chord They take one step
[A continuation of this business takes
them off at the left]
The lights go out

Cymbal crash [In the darkness. _Princess and retinue_
cross to right of stage, ready for
Scene II]
The plain drop is lowered

Cymbal crash The lights come up

SCENE II.

_The Music_ _The Pantomime, etc._

Tambourine jingles _Ghurri-Wurri_ discovered above at center,
with his dark glasses pushed up on his
forehead, counting his money.

Tap on piece He finds a bad coin
of crockery

Sand blocks Bites it

Tap crockery Throws it away

Begins the Princess Hears the _Princess and retinue_ approaching
rhythms on Chinese
wood block

[Telegraphically He pulls glasses over his eyes
expressed it is ... ...
... ... Musically,
accented triplets,
common time, _presto_] He grovels

Princess rhythm _Princess and retinue_ enter from the right
continues They pass by Ghurri-Wurri without pause

Drum crash _Ghurri-Wurri_ runs ahead and prostrates
himself before the Princess

Tap _Princess' retinue_ halts

Tap _Princess_ signals to attendant

Tap _Attendant_ signals to nearest slave

Tap _Slave_ proffers chest

Tap, Tap, Tap _Attendant_ opens it, takes coin, closes it

Tap Gives coin to Princess

Tap on crockery _Princess_ drops coin in beggar's hand

Princess rhythm _Princess and retinue_ exit at the left

Begin drum roll _Ghurri-Wurri_ looks at coin, scrambles to
_pp. cresc. to ff._ his feet, looks after Princess, shakes
his fists, starts to the right, turns,
shakes his fist again, exits at right,
raging

Cymbal crash Lights out
In the darkness Ghurri-Wurri crosses to
left of stage, ready for Scene III
The drop is lifted

Cymbal crash Lights up

SCENE III.

[The Wazir's Garden as in Scene I]

_The Music_ _The Pantomime, etc._

Bass chords _Wazir_, _Vizier_ and _Nubian_ asleep as
before

Tap on drum _Ghurri-Wurri_ enters at the left

Tap on drum Prostrates himself before Wazir

Bass chord _Wazir and court_ sleep on

Tap on drum _Ghurri-Wurri_ again prostrates himself

Bass chord _The Court_ sleeps on

Drum crash _Ghurri-Wurri_ slams himself down hard

Drum crash _Wazir_, _Vizier_, _Nubian_ awake

Drum roll _Wazir_ shakes his fist at the beggar

Wood-block tap Signals Vizier

Sand blocks _Vizier_ runs thumb along his scimiter
blade

Tap _Ghurri-Wurri_ retreats to the right

Tap He stumbles over the telescope

Tap, tap He picks it up and hands it to the Wazir

Tap _Ghurri-Wurri_ points to the "Distance."

Tap _The Wazir_ uses the telescope

Princess rhythm The "Distance" is revealed as in Scene I
_Princess and retinue_ are seen traveling
[across the platform from right to left]

Tap _The Wazir_ lowers the telescope
The "Distance" vanishes as in Scene I

Drum crash _Wazir_ stamps his foot

Drum roll He shakes his fists, first at the distance,
then off left

Tap Points at Ghurri-Wurri

Tap _Vizier_ seizes Ghurri-Wurri by the scruff
of the neck

Tap _Vizier_ points off left with his scimiter

Wazir rhythm on _The Court_ _and_ _Ghurri-Wurri_ begin to
wood-drum run, _Nubian_ first, then _Ghurri-Wurri_,
[Telegraphically then _Vizier_, then _Wazir_. The running
stated ... ... etc. is entirely vertical in movement, no
ground being covered at all.
Musically, accented Lights out
eighth notes in 2/4 [In the darkness, the runners move downstage
time, _presto_] without losing step. A plain drop is lowered
behind them]

Cymbal crash

Cymbal crash Lights on

SCENE IV.

_The Music_ _The Pantomime, etc._

Wazir rhythm, The runners increase their speed throughout the
_crescendo_ and scene
_acceleramento_ _Ghurri-Wurri_ slips to his knees,
_Vizier_, without losing a step, jerks him back on
his feet
_Ghurri-Wurri_, pointing left, resumes running
_Wazir_ points left
When the runners have reached their maximum speed

Cymbal crash The lights go out
In the darkness the _Wazir's court_ and
_Ghurri-Wurri_ exit and take their places
at the right ready for Scene V
_The Shepherd_ and _Goat_ take their places

Cymbal crash Lights up

SCENE V.

_The Music_ _The Pantomime, etc._

Wind instrument [A plain drop]
_The Shepherd_ is discovered well to the left,
piping for the Goat
_Goat_ is dancing

Begin Princess _Goat_ stops to listen, looks off to the right
rhythm _Shepherd_ looks to the right
_Goat_ crosses to extreme right, bows
_Princess and retinue_ enter

Tap They halt

Tap _The Shepherd_ kneels to the Princess, then dances
for her

Stringed instrument

Drum roll _pp. _The Goat_ becomes alarmed
crescendo_ _All_ turn and look to the right
_Goat_, on all fours, offers his back to the
Princess
_Shepherd_ induces
_Princess_ to sit on Goat's back

Princess rhythm _Goat_ exits, followed by Princess and retinue

Tap _Shepherd_ folds his arms

Wazir rhythm _Wazir's Court_ and _Ghurri-Wurri_ enter from the
right

Tap They halt

Tap _Wazir_ points to Shepherd

Tap _Vizier_ brandishes his scimiter

Drum roll _Nubian_ approaches Shepherd

Drum crash _Nubian_ falls

Drum roll _Wazir_ shakes his fists
_Crescendo_ Points at Shepherd
to _Vizier_ attacks Shepherd with scimiter
_Shepherd_ grasps scimiter
They struggle, conventionally, one, two, three,
four, five, six

Drum crash _The Shepherd_ falls

Drum roll _The Vizier_ waves his scimiter aloft

Drum roll _Wazir_ exults

Tap _Nubian_ rises

Tap _Wazir_ points to the right

Tap _Vizier_ points at Shepherd with scimiter

Tap _Nubian_ seizes the Shepherd

Wazir rhythm _Wazir's Court_ and _Shepherd_ exit at the right,
ignoring Ghurri-Wurri, Nubian and Shepherd
first, then Vizier, then Wazir. [All cross
behind the drop to left of stage ready for
Scene VI]

Drum crash _Ghurri-Wurri_ stamps his foot

Drum roll Shakes his fists after them

Drum roll Runs to left and shakes his fists at the Princess

Drum roll Runs to right and shakes them at the Wazir
Runs to center and shakes them at the audience

Cymbal crash Lights out
_Ghurri-Wurri_ exits
The drop is raised

Cymbal crash Lights on

SCENE VI.

[The Wazir's garden. No characters on scene]

_The Music_ _The Pantomime, etc._

Wazir rhythm _Nubian_ enters from left, holding the Shepherd
The _Wazir_ and _Vizier_ follow

Tap _Wazir_ takes his seat, smirking

Tap _Wazir_ orders Shepherd thrown down at the right

Drum crash _Nubian_ complies

Tap _Vizier_ orders Nubian off right

Wazir rhythm, fast _Nubian_ hurries out

Wazir rhythm, slow Reenters, staggering under a ball and chain [the
chain of papier mache and the ball a balloon]

Drum crash Drops these beside the Shepherd

Clank, clank Rivets chain to Shepherd's leg

Tap Rises

Tap _Vizier_ orders Nubian off, left

Wazir rhythm _Nubian_ exits left

Tap _Vizier_ sits

Tap _Wazir_ moves a chessman

Tap _Vizier_ moves a chessman

Tap _Shepherd_, in a gesture of despair, finds the
telescope
He looks into the "Distance"
[The "Distance" is shown as in Scene I]

Stringed music _Princess_ and _Goat_ discovered in conference.
Goat has an idea. He points to the Shepherd,
then to the Wazir, then to the Princess and
executes an ancient dance movement which is
contemporaneously described as the "shimmy"
_The Princess_ claps her hands and exits,
followed by the Goat

Tap _Shepherd_ lowers the telescope
[The "Distance" vanishes]

Tap _Shepherd_ is puzzled

Stringed music _Princess_ enters from the left, veiled and
carrying a scarf in her hands
_Goat_ enters with her, goes at once to the
Shepherd
_Princess_ poses at center
_Wazir_ and _Vizier_ turn, smirking
_Princess_ dances
_Wazir_ leers and strokes his beard
_Princess_ ends dance beside Vizier

Chords, agitato She ties his arms with her scarf

Sand blocks _Wazir_ is convulsed with laughter

Chords _Princess_ binds Wazir's arms with her veil

Sand blocks _Vizier_ is convulsed with laughter

Princess rhythm on _The Attendant_ enters from the left with a box
wood drum on which a skull and cross-bones are conspicuous

Tap _Princess_ takes two pills from the box

Tap She pops them into her prisoners' open mouths

Princess rhythm _The Attendant_ exits as she came

Sand blocks _Wazir_ and _Vizier_ swallow vigorously

Drum crash They lay their heads upon the chess table and die

Tap _Princess_ beckons to the Shepherd

Tap _Shepherd_ points to his fetters

Tap _Goat_ attacks the ball and chain

Drum crash He "bites" the ball [bursts the balloon]

Tap He "bites" the chain.

String music _Princess_, _Shepherd_ and _Goat_ dance in a
circle

Cymbal crash Lights out
_Princess_ and _Shepherd_ and _Goat_ ready at left
for next scene
The drop is lowered

Cymbal crash Lights up

SCENE VII.

_The Music_ _The Pantomime, etc._

String music _Princess_ and _Shepherd_ dance across followed
by the _Goat_, who is playing on the Shepherd's
pipe
_Princess_ and _Shepherd_, behind the drop take
their places on the platform

Cymbal crash Lights out
[The drop is lifted]

Cymbal crash Lights on
[The Wazir's garden with the middle
section of the drop lifted to show
the "Distance"]

String music _Shepherd_ and _Princess_ discovered in the
"Distance" posed in a kiss

Cymbal crash Lights out
[The drop is lowered]

Cymbal crash Lights on
The Maker of Sounds rises, yawns cavernously,
bows very slightly and exits

[_Curtain._]

BOCCACCIO'S UNTOLD TALE

A PLAY

BY HARRY KEMP

Copyright, 1920, by Stewart & Kidd Co.
All rights reserved.

PERSONS OF THE DRAMA.

FLORIO [_a poet_].
OLIVIA [_Florio's mistress_].
VIOLANTE [_a Florentine noblewoman_].
LIZZIA [_Florio's serving-woman_].
DIONEO [_a member of Boccaccio's party_].
ONE VOICE.
ANOTHER VOICE.
VARIOUS PROCESSIONS BEARING THE DEAD.

TIME: _The year of the Great Plague, A. D. 1348_.
PLACE: _Florence_.

Published by permission of and special arrangement with Harry Kemp.
Applications for the right of performing BOCCACCIO'S UNTOLD TALE must
be made to Mr. Harry Kemp, in care of Brentano's, New York.

BOCCACCIO'S UNTOLD TALE

A PLAY BY HARRY KEMP

[SCENE: _A lower room in Florio's house. It is wide and simply
furnished._

_In the center, at back, is a large doorway, hung with great black
arras. In the right-hand extreme corner is a small altar to the
Virgin._

_In wall, at back, high up on left, a small window._

_A smaller doorway, hung with arras of black, is on the left, well
toward the front. This doorway gives on the study of the poet._

_At rise of curtain the stage is lit with the uncertain light of
tapers._

_Lizzia, the old servant, is discovered kneeling at the altar._

_Soon she rises, crossing herself devoutly._

_Demurringly and with deprecating shakes of the head, she begins
hanging wreaths about the walls of the room._

_After the hanging of each wreath she crosses herself, and, with
agitated piety verging on superstition, she bends the knee briefly
before altar._

_Now the wreaths are all in place.... Through the small window the
grayness that comes before dawn begins to glimmer in._

_One by one Lizzia snuffs out the tapers._

_For a moment everything is left in the gray half-darkness._

_But now Lizzia draws aside the large black arras in the back.
There is revealed a magnificent panoramic view of medieval
Florence, flushing gradually from pearl-gray to soft, delicate
rose, then to the full gold of accomplished sunrise._

_Again the old woman kneels at the altar._

_Enter, through the open doorway at back, Violante--rather tall,
good-looking, quite dark._

_Violante stands silent for a moment. One can see that it is in
her thought to wait till Lizzia finishes her devotions ... then
she becomes impatient and breaks in on them._]

VIOLANTE

Lizzia, where bides your master, Florio?
I sped a servant hither yesterday,
To bid him come to me, and now, this morning,
I come myself.

LIZZIA

For three days he has looked upon no one.
Even I, who wait upon him, have not seen him.

VIOLANTE

Where keeps he, then?

LIZZIA [_indicating the small doorway_].

Yonder, within that arras.

VIOLANTE

Summon him forth!
Say the Lady Violante waits his presence.

LIZZIA

He will grow wroth with me--nor will he greet you.

VIOLANTE

Fears he, then, the Plague so? Is he too such
As dare not walk abroad nor breathe the air
Lest he should drink infection?

LIZZIA

Not so, Lady, but he--

VIOLANTE

Tell him, then,
Our friend Boccaccio, the story-teller,
Has shaped a brave device against the Plague....
Before the sun climbs higher into day
And the night's Dead are heaped up in the streets
For buriers and priests to draw away,
A group of goodly ladies and gentlemen
Go forth to a sequestered country place
Remote from Florence and invisible Death.
There, in green gardens full of birds and leaves,
The blue, cloud-wandering heaven spread above,
We shall beguile the time with merriment,
Music and song and telling of many tales,
Trusting that Death, glutted with multitudes,
Will pass us by.... We need but Florio
To bring our perfect pleasure to the brim.

LIZZIA [_obstinately_]

But he will see no one, Lady, not even you.
He is--he is--

VIOLANTE

Not smitten by the Plague?

LIZZIA [_hesitating_]

Nay, he has taken a vow of close seclusion.

VIOLANTE [_confidently_]

But he knows not I am here--the Lady Violante! [_A pause_.]
[_Impetuously_] Go, tell him it is I,--
Nor take upon yourself such high command!

LIZZIA [_somewhat resentfully_]

I am a servant,
I only do as he commanded me....
[_Barring way_.]

VIOLANTE [_distractedly_]

Strange that he should so change in ten days' space.
[_With passionate abandonment_]
Old woman, go this instant--summon him!
I will abide your crabbed ways no longer.

LIZZIA [_stung to retaliation_]

Lady, he would not look upon your face
If you made him ruler of the world for it.

VIOLANTE [_flaming_]

What new freak of his is this?
He is as full of moods as any woman....
But I had never thought--
[_Determined_]
I will go to him!

LIZZIA [_again barring way_]

I could tell you many things,
But I would spare you.

VIOLANTE

Spare me!... you insolent, presumptuous old woman,
What have I,
I, the Lady Violante Ugolini,
To do with your good master, Florio,
Beyond a fostering friendship for his song!
Else he were nothing to me....
You are presuming on your age and service--
He shall rebuke you for this....

LIZZIA

Very well, Lady, if you must know--
He has sworn that he will look upon no one
Till he behold--Olivia!

VIOLANTE [_startled_]

Olivia!... who is Olivia?

LIZZIA

She is a girl who came from Padua
Hither, to flee the Plague ... and fled in vain.
He has loved her just ten days ... since first she came....
She came to him, a stranger, singing songs--
His songs!

VIOLANTE

And flattering him so--he loved her!

LIZZIA

Nay, she was beautiful, my noble lady,--
Surpassing wonderful.... "His shining dream
Of ivory and gold," he called her....

VIOLANTE [_coldly_]

What has all this to do with me?
[_Relapsing into forgetful eagerness._]
Tell me, where, then, is his Olivia now?

LIZZIA

The Plague! He gave her to a doctor's care,
Beggaring himself therefor, as one who loves!

VIOLANTE

And now he shuts himself away for grief
Because she died!... But, if she be dead,
Wherefore these garlands?--
Or does he think she will come back, alive?

LIZZIA

The learned doctor swears if she survives
Three days, she shall not die.

VIOLANTE

Not die, in sooth!
Who is this man who resurrects the Dead?
Why, folk whose nerves and sinews sing with life
Sicken, fall down, and seethe with death and worms
Within an hour, and they, the few who live,
Living, curse God because they did not die....
He would best think of the Living, and forget
The Dead.

LIZZIA

Half-crazed with love, he dreams she will return....
This is the morning after the third day--
This is the very hour she would return.
Suppose the learned doctor keep his word?--
Hence have I hung these garlands.

[_The sounds of a funeral procession heard approaching.... The
procession passes the large doorway, going by, along the street,
without. The people bear candles.... They pass slowly by the open
door ... bodies being carried in shrouds._]

ONE VOICE

We bore the son ... and now we bear the father....

ANOTHER VOICE

And I or you, mayhap, will be the next.

LIZZIA [_continuing_]

These wreaths, they seem a mockery of Heaven.
I pray that God will smite me not--I do
What I am bid!...

VIOLANTE [_half to herself_]

She will not come!...
[_To Lizzia_]
Is there nothing will cure his madness?

LIZZIA

Even if she die they are to bring her hither....

VIOLANTE

Hither? And all corrupt? Then Death will strike you both!

LIZZIA

Lady, I am so old I'd rather sleep
Than walk this sinful, weary world; and be--
He will unshroud her, kiss her lips, and die!

VIOLANTE [_with great bitterness_]

Fie, this our Florio--he has loved before,
And he will love again, and yet again....
Women's beauty he loves, not any woman!

LIZZIA

What you have said were true ten days ago--
Do I not know him, Lady?... But a change
Has come upon him that I marvel at--
So great a change in such a little while....
Ah, looked you on them when they were together,
Saw you how he is caught up in her face
And all the beauty of her, you would say
"Here is a love, at last, that climbs from earth to heaven!"

VIOLANTE [_laughing harshly_]

It is her beauty he loved; not she
The thing he loved! A poet, he!...
[_A pause._]
It were as well you tore these garlands down:
If, by a miracle, she should return,
The Plague will have marked her with such ugliness
That even you will shine like Helen of Troy beside her!
Much will he care, then, if she sing his songs!
Had she a voice like a garden of nightingales
He could not listen to her without loathing....

[_Sounds of approach of another funeral procession._]

VIOLANTE [_continuing_]

Pray draw the arras, Lizzia, and close out
The things that they bring by.... They have begun
To move the night's innumerable Dead.

[_Lizzia draws the large arras.... From now on, till the very
last, just before climax, sound and murmur of processions are
continually heard._]

VIOLANTE [_persistently_]

I think she will not come--
But, if she does, she should be spared the cruelty
Of his heart's change,
And he, her marred, plague-broken face!
Stand aside--let me pass....

LIZZIA [_barring way again_]

He took his oath
Before that altar, to the most high God!
You shall not break his vow....

VIOLANTE

Let me go to him--here are my jewels!

FLORIO [_calling from within_]

Who is it speaks without? Whose voice is this
Wrangling and breaking in upon my peace?

LIZZIA

The Lady Violante Ugolini!

FLORIO

To-day, of all days, must I be alone....

[_Florio pushes out arras from small doorway and stands before it,
so that he remains unseen to Violante and Lizzia._]

FLORIO [_to Lizzia_]

Go, Lizzia, I will speak with the Lady....
Have you the wreaths hung, Lizzia?

LIZZIA

Aye, master Florio!

FLORIO

Have you the table heaped with delicacies
In the green space by the fountain-shaken pool?

LIZZIA

I go to set the viands now, my master.

[_Lizzia goes out._]

FLORIO

Violante, if you would speak with me,
Stay where you are--I cannot look upon you.

VIOLANTE

Not look upon me?

FLORIO

Nor must you look on me.... I have vowed a vow!

VIOLANTE

How strange you are!...
I had thought to rush into your arms!...
Have you forgotten so soon the oaths you took?

[_She starts toward him._]

FLORIO [_hearing the rustle of her garment._]

Move one step further and I draw the arras!

VIOLANTE [_halting and hesitating_]

Have you forgotten the first time you saw my face
And sent a sonnet to me?... It seems but a day
Since you were awed by my nobility....
And when I let you press your burning lips
Against my hand, you swore it made you God!
[_Sadly_]
From that time it was not far to my mouth....
And, after that, what with the shining moon,
And nightingales beginning in the dusk,
And songs and music that you made for me--
In a little while I was entirely yours!...

FLORIO

Remember that young nobleman who died
For love of you?... I was your pastime, merely that!
And so I sipped what honey came my way.
But why do you come now?
Did you not leave me without a word?

VIOLANTE

My father....
[_Sombrely_] My father whom the Pestilence has smitten--

FLORIO [_quickly_]

You sent me no message.

VIOLANTE

Every door was watched ... he might have had you slain....
He bore me off to Rome....

FLORIO

You loved me, then?

VIOLANTE

And did not you love me?

FLORIO

I could have sworn I did.

VIOLANTE

O Florio!...
Where is my pride of rank, my woman's shame.
That I should come like this to you!

FLORIO

Speak not so, Violante--I pray you go!

VIOLANTE

You love another, then?

FLORIO [_ecstatically_]

I have loved beauty, beauty all my life!

VIOLANTE

We are not metaphors and pale abstractions,
We women ... nor would we be prized alone
For smooth perfections.... [_Low and intense_] Say that you loved a
woman
Smitten with the Plague, say, further, that she lived--
One among ten thousand--that she came back to you,
[The one thing sure] hideous and marred--

FLORIO

You try me sorely!
Violante, I pray you, go!

VIOLANTE [_persistently_]

I have come hither
To bid you come away with me.

FLORIO

It may not be.

VIOLANTE [_slowly_]

The other one--there is another one!--
I pity her!

FLORIO

You need not.

VIOLANTE

Ah, then, there is another?

FLORIO

Have you no pride, my Lady Violante?

VIOLANTE

That I have not,
For shameless is the heart that loves.

FLORIO

Then shamelessly I love
Another face, another heart and body,
Another soul, unto eternity--
She is all beauty to me, and all life--
So shall she be forever!

VIOLANTE

Forever? That is what you swore to me.

FLORIO

I have not sworn a single oath to her,
And yet she made earth heaven in a day,
And earth continues heaven.... Go, noble Lady!

VIOLANTE

You have no pity on me?...
You see
How humbly I've become....

FLORIO

To pity you, Lady, would be cruel to her!...
In a month you will be glad.

VIOLANTE

You have slain me, Florio!

FLORIO

Farewell, Violante!