Chapter II: Part 2

SAKARA (_walking forward, keeping face from MIMOSA_). It is a very little thing, O Mimosa. You have come with courteous words to Sakara. Thy heart is not all folly, for the magnet can attract iron, but not stone. Do as I bid, beloved Japan shall venerate thee. Be honorable friend of wise, powerful Sakara, and you shall be protected by exalted gods, and the name of O Mimosa San shall _live_ when all else perishes. (_Crosses R._)

MIMOSA (_follows, bowing_). Tell me, venerated will. Great is the good you promise, O powerful Sakara, when I do thy bidding. (_Kneels._) Hear one humble little prayer.

SAKARA (_turning, seizes MIMOSA’s hands_). Bring for one little day the charm of life from the Princess Kiku’s girdle.

MIMOSA. I to bring the charm of life from august Princess’s girdle?

SAKARA (_drops MIMOSA’s hand, speaking quietly_). Deign to see it is a very little thing.

MIMOSA. Verily, you hide the sword with a smile. What would you with venerated charm? Nay (_SAKARA prepares to speak_), nay, purse lips now, for you have spoken loud. (_Lowering voice._) Hold the powerful charm, and exalted lady’s life is yours.

SAKARA (_placidly_). Fallen blossom does not return to the twig. All powerful Son of Heaven will forget her foolish fancies, and in beloved Japan all will excellently remain as it did in the days of honorable fathers--and--Mimosa----

MIMOSA (_kneeling_). Condescend to kill me, and spare her!

SAKARA. Never!

MIMOSA. Then the gods will shield, O most wicked! (_SAKARA listens with amazement._) Mimosa will walk barefoot to every shrine. She will not do your bidding. (_SAKARA folds arms._) Nay, I fear not. Prophets know nothing of themselves. Is there no one who would work you evil? no god whom you have angered?

SAKARA (_raising hand_). Peace, O most foolish. I am Sakara the wise. In my own house evil words? (_Stands over MIMOSA._) Would the evil curse light on you, too? Thy mistress sent thee with tears and humble prayers. (_Contemptuously._) As well cut a stick after the fight. Listen, O Mimosa! I, Sakara, speak these words. The curse of her fathers, the fathers of Japan, rests upon her. Those she loves (_MIMOSA throws out arms_) shall wither, those she touches shall fail--when she wishes good evil shall come! I, Sakara----

MIMOSA (_passionately_). She shall not hear evil words. I shall not repeat.

SAKARA (_contemptuously_). Hearken, O very foolish little one--while you speak here her eyes _read_ the words--the curse I have spoken. (_MIMOSA cries out._) The all-powerful spirits commanded their willing servant Sakara to honorably write. Fear-giving words _were_ written, carried by excellently swift messenger! _Thou_, (_pointing_), _thou_ shalt see her fade and die--_thou_, thyself.

MIMOSA. See, I hold between me and thee my girdle of charms. I fear thee not. The gods will judge.

SAKARA (_scornfully_). Judge for _thee_?

MIMOSA. I will not buy happiness at the cost of another’s. Nay (_SAKARA steps toward her_) thou shalt not touch me or my charms! I am Mimosa, the swift-footed. (_Springs back to door R._) Remember, O most wise, wicked one (_stands with outstretched hand_), he who curses must look out for two graves!

CURTAIN.

SCENE V.--_A room made with screens in a Japanese house, opening, if possible, on to a veranda, up stage C. L. 1 E. and R. 1 E. Plenty of cushions, rugs and little low stools about the room. YUKI (down L.), TOTMAI (R. of entrance to veranda), HARU (L. of entrance to veranda), recline lazily._

TOTMAI. O Haru, a bird flew past the window--a visitor comes; let us adorn our hair.

YUKI. Is not the word of the Princess known? None may enter the gate. Watchful sentries would not even allow honorable dog to pass!

TOTMAI (_sinking back on cushions_). Truly, O Yuki, I had forgotten. O Haru, deign with honorable kindness to tell excellent tale? (_HARU shakes head._) I would like one with a great, powerful and noble Prince who sends away trouble with swift sword! There, O Yuki, rapid one flew past again. Excellent message of its honorable flight I have never known to fail! (_Sits upright._) Then, O most wise Yuki, in honorable cup of tea there was a tea leaf that stood upright. O Haru, come! (HARU _sits before TOTMAI, who arranges pins._)

YUKI. I had foolishly forgotten. Here come the Princess and O Mimosa San. Smile gaily, O Totmai and O Haru. Exalted lady is sad enough. (_All bow._)

ENTER _PRINCESS R., MIMOSA following._

PRINCESS. O poor maidens, has terrible evil come to you yet? You would come with me, foolish yet excellently loving hearts. Your honorable hands, brightly seeing eyes, excellent hearing, is all well? (_Comes C. and looks eagerly from one to another._)

TOTMAI (_coming down R. C. with flowers in her hand_). O most august Princess.

PRINCESS. Totmai, you forget. I will not be called Princess any longer. I am Kiku, the chrysanthemum, a fading flower!

TOTMAI. O beloved lady, in sweet, health-giving country air all will be excellently well. We can dance, sing, honorably eat.

PRINCESS. Who can tell when the terrible curse falls?

TOTMAI (_bowing_). All-powerful gods are good. From one excellently sweet as thou art no evil comes, O most worthily loved.

PRINCESS. My august uncle would know, O Mimosa, how long I tarry here with you for refreshment of sweet-smelling air full of the scent of fragrant flowers. Do you think the fair chrysanthemums at the Palace will fade without our loving care? O trouble-bringing--I forgot--they wither at my touch!

MIMOSA (_taking flowers from TOTMAI_). Deign to hold honorable blossoms in venerated hands----

PRINCESS (_moving away up stage on L._). Nay, I would not have dear ones die.

MIMOSA (_crossing, TOTMAI follows PRINCESS_). Condescend to listen to humble Mimosa--take them, O dear lady--deign to see I lay them against you.

PRINCESS (_hesitatingly_). They, the beautiful ones, die not now, but watch in an hour, before dark night comes--_they will be dead_!

MIMOSA (_cheerfully_). We will set honorable blooms in water (HARU and YUKI arrange in vases on stool at L.), we will watch; deign to believe they will not fade. The people in the village hold happy festival. They pray humbly for august presence.

PRINCESS. O Mimosa--_I_ go among them? _I?_ (_Moving down R._) I hear again the cry, the terrible cry of the little child! “O Amairu, mercy--mercy--I see not, I am blind--blind!”

TOTMAI (_coming up to her R. C._). O Princess, my honorable father often excellently said: “Live under your own hat. Do well. Deign not to think what worthy neighbors say!”

YUKI (L.). O Princess, the bird that flies upward does not ruffle water. The gods are good and merciful, excellent charms are safe. O lady, forget!

MIMOSA (C.). Condescend to return to the Palace.

PRINCESS. Are these wise words, O Yuki, “Return to the Palace?” O Mimosa, heart would break if my touch brought evil to the august Son of Heaven. I will not weep. O kind ones, I will write words to my exalted uncle. Would that _you_ returned to the gay Palace.

ALL (_bowing_). With you, O most excellently loved!

[_PRINCESS EXITS R., MIMOSA follows._

YUKI. If I had my way the whole trouble-bringing story should be laid before the august Emperor and truth threshed forth.

TOTMAI. How, O Yuki?

YUKI. The police, if I were Emperor, should bind Sakara!

HARU (_by curtain C._). The bird again!

TOTMAI (_back to first place_). It must speak honorable truth; let us adorn our hair better. Sit here, O Haru. I will arrange beautiful fans.

YUKI (_crosses to veranda_). Friends come not in the wilderness. The great white mountain, sacred though it be, I weary of it! Much would I give to hear the sound of feet on honorable path. (_Steps onto veranda._)

TOTMAI. Do excellent eyes see honorable visitors, O Yuki?

YUKI. From the threshold I see only great lofty head of Fuzi--from the village there are sounds of music. O Totmai and O Haru (_takes Japanese umbrella_), let us forth to the spreading garden to hear honorable laughter. There is no need to be gloomy and sad, for the sun shines--and the gods hear prayers! Come! [EXEUNT _all by veranda._

ENTER _LADY CECIL L., followed by MISS PRENDERGAST._

MISS P. (_gasping_). Cecil, how can you be so lamentably, foolishly rash? People have been thrown into prison for bribing sentries. You walk in here as if you were the Mikado-ess of Japan! I knew that we should not escape without some grievous trouble. Come away! (_Pulls CECIL, who looks around inquisitively._) Come away before they see us and it is _too late_!

CECIL. Dear G., don’t you like exploring expeditions? No? I remember, you prefer excavations. Didn’t Professor Anstruther discourse eternally on the excavation of antiquities? Think what a lovely day we have had! I contemplate taking my dear little rickshaw man and his carriage back to London to be the sensation when we go home.

MISS P. (_sighing_). To England? We shall never see our native land again--and you promised that we should be at home in time for the Sales!

CECIL. So I did, but you wouldn’t like to leave poor Arthur lamenting alone, searching for the lost heiress? The Princess has left the Palace. She would have interested the Emperor for him. I must know if the villagers speak the truth and she is here. G., don’t you think things assume a darkly tragic air?

MISS P. Dark and tragic, indeed! _It is exactly what I have predicted!_ Ar--his lordship has offended, I feel sure he has offended innocently, and those horrid little policemen, looking as if they had come out of a pantomime or a box of toys, will take him off to prison. Then (_tearfully_) it will be your turn, through your headstrong folly. Cecil, I implore you not to look out from there--and I--in my old--ahem!--in the prime of life, will have to accompany you!

CECIL (_at veranda_). G., dear, do come and look at this delicious view!

MISS P. (_remaining L._). I shall not stir from this spot!

CECIL (_running up to her_). Nothing will happen, so don’t draw gloomy pictures about Arthur. Fancy, roped by these policemen, would one come for him, or two, or six? They are so painfully polite; one could not hurt their feelings by refusing. Think what pictures for _Punch_, what headlines for newspapers. (_Puts an arm around MISS P._) Wouldn’t you like to be in history?

MISS P. (_emphatically_). Certainly not, my dear! All gunpowder, conspiracies and plots! Do come away, Cecil, do!

CECIL. There, you have moved and no catastrophe occurs. (_MISS P. starts and returns to original position._) So sit down. Well, if you are so in love with that spot, move just an inch or two. I will put three or four of these charming cushions together. You will be so comfortable! (_MISS P. sits reluctantly._) Do be a darling and like explorations as much as excavations. If it is the Princess, think what news for Arthur!

MISS P. If the gossip Fuyijama tells us correctly, the Princess is a dangerous young woman.

CECIL (_sitting_). I shall sit real Japanese fashion. Fancy, an enlightened, highly educated English lady listening to such superstitious tales!

MISS P. It is all very well, but once you land yourself in prison nothing can be done to save you. I believe you would quite enjoy steeping Europe in bloodshed.

CECIL (_laughing_). Europe? Oh, G., when I think of the geography you made me learn! There, I won’t tease any more. I want to see this poor little Princess. She is not a bit real Japanesy, you know she isn’t; and I will tell you a secret, and that is Arthur admires her very much.

MISS P. (_lifting hands in horror_). Poor, innocent, misguided boy!

CECIL. He is not going to ask a Japanese to marry him, but he gave me to understand he wished she had been English.

MISS P. Beg him instantly to leave the country--tell him you are ill--the climate is affecting your reason, and we will start to-night!

CECIL. In a little open boat? There is no mail steamer. Think how ill you were. Would you brave even an open boat for that boy? You need not be afraid of any terrible _contretemps_. We Cavendishes have a little common-sense. Listen! what merry laughter. (_Jumps up, helps MISS P. to her feet._)

TOTMAI (_without_). O Haru, did your eyes ever see the rickshaw tumble over and the man go sprawling on his face?

ENTER _Japanese girls from veranda, bow profoundly. CECIL also bows. MISS P. nods stiffly._

THREE GIRLS (_coming down R._). Welcome--honorable welcome!

CECIL (_aside_). Oh, G., I wish I had an elastic backbone! (_Advances._) The most exalted Princess, can I, ah--G., what is the right expression? Is it kiss her foot? No, it has something to do with eyes. I’ll try this--can I salute her eyelids?

YUKI (_bowing_). The most exalted Princess would be honorably pleased to worship your eyebrow----

CECIL. There, why didn’t I get it right?

YUKI. She will not, O most distinguished, see any one.

CECIL. I hope the--ah--the ah--shadow of the Princess has not grown less?

ALL. Shadow? The most venerated is not a ghost.

CECIL (_sighing_). Wrong again! G., do help me.

MISS P. (_clearly and emphatically_). Tell the Princess a very great lady wishes to see her.

HARU (_bowing_). She would wish to see one so very honorably old----

MISS P. Cecil, my dear----

TOTMAI (_bowing_). In our land we venerate the aged.

YUKI (_bowing_). Thy head, O Most Ancient, resembles the snows of Fuzi----

MISS P. (_looking from one to the other_). Cecil! (_Gasps._)

CECIL (_smiling_). In our land the people have white hair when they are--quite--young.

TOTMAI. Oh, they are funny in your land--jolly little things! (_Laughs._)

CECIL. Now, I wonder who taught you that?

HARU. O most worshipful, the great barbarian Englishman.

CECIL. There, G., that’s your beloved Arthur. Do you mean the very tall Englishman, my brother?

TOTMAI. The Princess has spoken of you, O most excellent. You are the lady who came with the most worshipful foreigner to the Palace. O Yuki will run instantly and tell O Mimosa San that you are here with the most venerated Ancient One.

MISS P. (_turning away_). They are very ignorant, poor little things!

CECIL (_to TOTMAI_). Would you tell me your name?

TOTMAI (_bowing_). Totmai.

CECIL. What do you find to do all day?

TOTMAI. We dance, laugh, sing and care for honorable flowers, we read and work.

CECIL. Quite like English girls! What do you read?

TOTMAI (_proudly_). I have read the greater learning--the lesser learning--I know excellently the model letters--and there are many pleasure-giving stories about fairy princes and powerful soldiers.

CECIL. I am afraid I am too old to care for fairy princes, but tell me----

ENTER _MIMOSA R., followed by YUKI. Bows deeply._

MIMOSA. O great lady, the exalted Princess sleeps after much sorrow. We know not where her soul wanders. To call suddenly is evil-bringing.

CECIL. I will come again. Let me see (_triumphantly_), worship her most exalted eyelash--no, I mean eyebrow----

MIMOSA (_sorrowfully_). The Princess, O most honorable and venerated, will see no one. She has wiped sad eyes with her kimono sleeve; and we are laughter-loving in Japan.

CECIL (_kindly_). I hope--ah--happiness will return. We are leaving your beautiful country. (_Moving C._) Mimosa--may I call you Mimosa?

MIMOSA (_R. C., smiling_). It is my humble name. Leaving beautiful Japan?

CECIL. My brother, the barbarian, as you call him----

MIMOSA (_earnestly_). The most exalted stranger----

CECIL. Came here to find a girl shipwrecked off the coast of Japan years ago (_smiles at MISS P._), more than twenty years ago. The parents were drowned, but one of the sailors has always persisted that the baby was not drowned, but adopted by kind Japanese. All sorts of inquiries have been made. A great deal of money comes to her if she can be found, but my brother, who keeps it if no trace of her can be discovered, would not rest satisfied until he had visited Japan himself.

MIMOSA. Is it the treasure-flower of most worshipful Englishman that has been sadly lost?

CECIL. Treasure-flower? What a sweet name! No, Mimosa. The great barbarian has no little barbarians!

MISS P. Barbarian, indeed! One of the most enlightened and cultivated members of the powerful English aristocracy!

MIMOSA (_bowing_). We reverence your words, O Most Ancient. Treat an honorable old woman as thy mother (_bows_) we learn in our cradles. May you, O most venerated, grow more and more like the pine and the lobster!

MISS P. (_indignantly_). Cecil, I am insulted! A lobster, indeed! Is my face heated?

CECIL (_quickly_). No, no! Don’t look vexed. It means something immensely complimentary. See, they are bowing again.

MIMOSA. O most exalted, will you let honorable feet rest longer on unworthy floor while I see if most exalted Princess returns from the land of Sleep? Is it known to your powerful intelligence that the Princess fears a terrible curse?

CECIL. We heard it, Mimosa.

MIMOSA. Would you, O most excellent, fear the touch of the Princess?

CECIL. Fear? Not the least little scrap.

YUKI. And you, O most honorable Ancient?

MISS P. (_snappishly_). If you are addressing me, young woman, it is all nonsense. I shall be thankful to find myself safely out of this, and not in prison!

VOICE (_calls_). O Mimosa San!

GIRLS. The Princess!

ENTER PRINCESS R.

CECIL. I have a horrible feeling that I should bow to the earth--kiss her feet, or something. Poor child, how sad she looks! Now, for a very low bow.

PRINCESS (_seeing her, starts; she removes R._). Away, most exalted stranger--away, lest evil come--I am accursed! Away, O most venerable!

MISS P. Are they all mad or blind?

CECIL. We are not afraid--Princess--your Highness. (_Crosses stage._)

PRINCESS. You are brave to come, most honorable lady--come not nearer. I--am--accursed. (_Hides face._)

CECIL. Accursed? (_Advances impetuously._) Don’t look so sad, you poor little thing! (_MISS P. expresses horror by many gesticulations._) I must talk plain English, not high-flown sentiment. Princess or not, I take both your hands and look into your pretty eyes.

PRINCESS (_shrinking_). Nay, the curse will fall upon you--those I touch, even the flowers.

MIMOSA (_bowing_). See honorable blossoms, august lady, as fresh and sweet----

PRINCESS (_advancing slowly_). Is this venerated truth?

CECIL. Oh, don’t shrink like that. If you were in England I should give you a good hug--it is so comforting.

MISS P. (_crosses excitedly_). You will certainly be in prison before night. The German Emperor does not call himself Son of Heaven and you talk to this----

PRINCESS (_sadly_). Is this most exalted lady with excellent hair as white as Fuzi afraid? Afraid of the curse?

CECIL (_aside_). Now, G., be nice! If you are not I will tell Arthur.

MISS P. (_advancing hurriedly_). No, my dear, I’m not afraid. Give me your hand. (_Shakes heartily, then drops it hurriedly, glancing at CECIL._)

PRINCESS. The English ways are strange, yet I like them. Still, O kind ones, Kiku’s heart is breaking!

MIMOSA (_aside to CECIL_). Deign to beg august one to return to the Palace.

CECIL (_to PRINCESS_). Dear lady, do not sorrow so. We are leaving Japan. (_PRINCESS raises head._) Could you not return to the Palace? You promised graciously to show me your chrysanthemums, and my brother would be so grateful for your help--he is hunting for a lost heiress. Dear Princess, return. (_MISS P. sighs._)

PRINCESS. My honorable chrysanthemums would wither.

[_YUKI lays flowers at feet of PRINCESS, who looks down hesitatingly._

CECIL. Dearest Princess, return.

PRINCESS. It is the cry of the child, the dear little honorable child: “Oh, I am blind--blind!” It echoes in my heart, rings in my ears! A child! O lady--a little treasure-flower!

CECIL. It couldn’t be true, dear Princess. It couldn’t possibly be true. It might have been a touch of sunstroke, but not blindness from your touch. These dear little hands could not hurt a fly. Be comforted, return. Something tells me you will be glad if you do. Dear lady, return!

PRINCESS (_clasping hands_). I am--accursed. My touch brought evil to a child. O powerful gods, be merciful to Kiku! Worshipful lady, though it tears my heart, I will show you my chrysanthemum garden, and help if I can the exalted foreigner.

[_The girls crowd round the PRINCESS and CECIL, laughing excitedly and
joyously and clapping hands._

CURTAIN.

SCENE VI.--_The Chrysanthemum Garden, as before._

_MIMOSA up stage among flowers._

MIMOSA. O dear honorable ones, hold up exalted heads to comfort august lady with beauty! She comes hither with the kind, worshipful English lady who tells strange story of little lost one. (_Comes slowly down C._) The sun shines to-morrow, and the gods will send Mimosa wisdom! (_Turns to flowers._) O dear ones, beautiful and fresh, I would not the Princess saw one drooping head.

ENTER _ITO L., cautiously, without perceiving MIMOSA._

ITO. For many mornings I come here. The sentries smile at me, there is no one to see Ito’s play-acting, and I, the best play-actor in many honorable dwellings, did not my own play-acting, but that of wise Sakara, therefore beautiful lady liked not. Would she could see me play-act doctor or the funeral.

MIMOSA (_throws herself on her knees, half laughing, half crying_). O dear one, sent by the gods, thy eyes, honorable eyes?

ITO (_drawing back_). I will not play-act that again, most worshipful!

MIMOSA. _Play-act?_

ITO. It was not my play-acting. I would august lady saw my own excellent games. It was Sakara taught this to me. None liked; even the policemen said angry words!

MIMOSA. Come to me, O dear little one. Be not afraid, it is joy; honorable desire to see excellent play-acting.

ITO. The beautiful lady! I would she knew Ito is the most excellent play-actor. She did not like game of Sakara.

MIMOSA. Dear treasure-flower, beautiful lady will indeed love excellent play-acting. When the powerful sun travels higher in the sky, if little Ito returns to the garden he shall do excellent play-acting, the venerated Princess will like rarely.

ITO. Ito wants neither money nor books, but smiles from the beautiful, exalted lady.

MIMOSA. O dear kind one, the Princess will give smiles. All will love honorable, kind little Ito. Make leave-taking, and return, Ito, the comfort-bringing!

ITO. The lady _will_ smile?

MIMOSA. Truly, O little Ito.

ITO. Then I return. Shall I play-act the doctor or the funeral?

MIMOSA. All the play-acting. Only return. (_ITO bows. EXIT L._) O joy, joy! Shall I with haste fly to the Princess? Ah, she comes, with worshipful lady and venerated Ancient One!

ENTER _PRINCESS R. with LADY C. and MISS P., followed by three girls._

PRINCESS. This, O kind ones, is the Chrysanthemum Garden. See honorable blossoms, how fresh and sweet. They will be gathered for thee; deign to accept. I will not myself pluck, lest evil come.

CECIL (_briskly_). Dear Princess, you are very kind. May I tell you more about my brother’s search for the little one?

MIMOSA (_throws herself with a cry at feet of PRINCESS_). O dear lady, forgive, the gods have sent Mimosa wisdom. Deign to remember. (_PRINCESS starts._) Nay, O most beloved, it is not evil. Condescend to remember the words of the most worthy Yamen who sleeps with the gods. Did he not say the gods of the sea sent thee to cheer his house with honorable laughter?

PRINCESS (_with surprise_). I remember well, O Mimosa San. Sometimes when still a little one I heard in the dark the sound of angry waves and strange moanings, as of voices calling in the hours when sleep condescended not to rest on my eyelids. He told me to still childish fears.

CECIL (_aside to MISS P._). G., this is exciting. We are not only explorers, but discoverers, and that is more than your professor will ever be!

MISS P. (_to PRINCESS, speaking in loud voice_). Are your father and mother dead?

PRINCESS. The noble Yamen and the exalted lady sleep with the gods.

MIMOSA. Deign, O most august, to remember the little bag they gave--the bag worn round venerated neck.

PRINCESS. The bag, O Mimosa San?

MIMOSA. The little honorable silk bag--the gracious Princess has told Mimosa of it, and the bidding of the powerful Yamen to open it if trouble dwelt on thy threshold. And we, O most foolish, have forgotten it.

PRINCESS. The bag? I have worn it so long that, indeed, I had forgotten honorable words, O wise Mimosa. See, here it is.

CECIL (_excitedly_). Open it, Princess.

MISS P. If you are the young person to whom the money belongs, Ar--his lordship--will lose £5000 a year.

CECIL (_laughing_). G., you forget. You have called a Princess a young person. What about the prison?

PRINCESS (_hesitating_). O Mimosa, I cannot! Fear has come to me--my fingers tremble. It may be I shall learn more evil!

YUKI. Open it, most worshipful. It is only the putting-off man who sharpens his arrows when he sees the lion. This may be an arrow to pierce the heart of wicked Sakara!

MIMOSA. Give it to me, beloved Princess. If it be evil-bringing, let the grief come to me and not to thee.

PRINCESS. Nay, I will not fear. It was here the little one, the treasure-flower, cried out the cry that has broken my heart. I have brought sorrow to a child--what else matters? See--I--open! (_Draws out paper and reads._) “The Princess Kiku has been to the unworthy Yamen the light of life. The gods of the sea sent her to cheer a threshold brightened by no treasure-flowers--from a wreck the little one was saved. The deep secret is known only to the august Son of Heaven.”

CECIL. O you dear little thing! But I suppose £5000 a year is nothing to a Princess.

MISS P. I am thankful it isn’t one of those solemn Japanese babies.

MIMOSA. O beloved. (_Bows._) Exalted! (_Bows._) August. (_Bows._) There is no curse. Sakara said the curse of the fathers of Japan. You, O most gracious, are a barbarian baby.

ALL JAPANESE GIRLS. Comfort-bringing, there is no curse.

PRINCESS. If this is so, I do not mind being a barbarian baby.

MISS P. I should think not, indeed. A most fortunate young woman.

PRINCESS. It is the cry of the child--that terrible cry! (_MIMOSA claps hands, runs L., returns with ITO. General astonishment._) The little one! MIMOSA (_excitedly_) his eyes--his eyes!

ITO (_solemnly_). I grieve, most excellent, that play-acting gave not happiness. It was play-acting of Sakara. Those who are too grave and wise cannot play-act. I will be----

PRINCESS. O joy too great! O little treasure-flower, my touch harmed thee not?

ITO. It was play-acting--but it was grief-bringing that play-acting brought no honorable hand-clapping. I----

PRINCESS (_caressing_). Thou shalt be Princess Kiku’s play-actor. Nay (_turns to CECIL_), I forgot, most worshipful, I am no Princess, only a very happy girl (_holds ITO_). Is the excellent Englishman now my brother?

CECIL. No, your cousin. Do you have cousins in Japan? I will instantly send to him to come.

YUKI. Let us dance our joy!

TOTMAI. Jolly little things!

HARU. Oh, I say!

ITO. When shall excellent play-acting be?

CECIL. I hope you notice, G., the impression that the most enlightened member of the powerful British aristocracy has produced. However (_Japanese girls dance forward_), this is only the beginning. What will be the end of this Japanese Romance?

[_Kneels by PRINCESS, taking her hand._

CURTAIN.

* * * * *

A BUNCH OF ROSES

A BURLESQUE MUSICAL ENTERTAINMENT, BY W. D. FELTER

_PRICE, 15 CENTS_

CAST OF CHARACTERS

MRS. PHŒBE ANN ROSE _from Kalamazoo_
PRUDENCE LOBELIA }
POLLY CLORINDA }
PRISCILLA } _the Bunch of Roses_
PAMELIA }
PATIENCE }
PENELOPE }
LILLY }
PANSY }
VIOLET } _the Rose-buds_
DAISY }
SALLY SPARKS _who only “thinks so.”_
MATILDA JANE _the Hired Girl_
MELVIN MELROSE _the Only Young Man on the Spot_

A burlesque musical entertainment in 1 act, by W. D. Felter (author of “The Sweet Family,” etc.), 1 male, 13 female characters. Time of performance about 1½ hours. This is a miscellaneous programme rendered for the benefit of “The Free Ice Fund for the Philippine Islanders.” It includes various “specialties,” living pictures, Mother-Goose chorus, etc., and concludes with a burlesque operetta entitled “JOHNNY JONES.” The Roses, the Rosebuds and the Only Young Man on the Spot make up an entertainment that cannot fail to excite continuous mirth for the better part of an evening. The author has produced this burlesque at church entertainments in many parts of the country, with unvarying success.

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GERTRUDE MASON, M.D.
Or, THE LADY DOCTOR

A FARCE IN ONE ACT, FOR FEMALE CHARACTERS, BY L. M. C. ARMSTRONG

_PRICE, 15 CENTS_

CAST OF CHARACTERS

GERTRUDE MASON. M.D. _a young Physician_
BERTHA LAWRENCE }
ELLA GRAY } _her Friends_
MISS JANE SIMPKINS _a Spinster of Uncertain Age_
MRS. VAN STYLE _one of the “400”_
NORAH _Dr. Mason’s Cook_
MARIE _a Lady’s Maid_

TIME.--The Present. PLACE.--New York.
TIME OF REPRESENTATION.--Thirty Minutes.

An exceedingly bright piece for young ladies, in which young Dr. Gertrude, already a victim of circumstances, is made the victim of a practical joke. The scenes with _Mrs. Van Style_, who mistakes the doctor for a pawnbroker, and _Miss Jane Simpkins_, who brings a sick dog to be cured, are hilarious, while _Norah_, an Irish cook, is deliciously droll. The cook is the star of the piece, but all the personages are vivacious and every situation bristles with fun.

DICK & FITZGERALD, PUBLISHERS, 18 ANN STREET, NEW YORK

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COMEDIES AND DRAMAS

15 CENTS EACH

M. F.

=MY AWFUL DAD.= Comedy that always makes a brilliant hit;
3 acts; 2 hours 6 6

=NIGHT IN TAPPAN, A.= Farce comedy; excessively funny and sure
to take; 1 act; ½ hour 2 3

=NOT SO BAD AFTER ALL.= Comedy; sometimes plays as “Is Marriage
a Failure?” 3 acts; 1¾ hours 6 5

=NOT SUCH A FOOL AS HE LOOKS.= Comedy; one of the best examples
of modern farcical comedy ever written; 3 acts; 2½ hours 5 4

=OUR BOYS.= Comedy; always succeeds; 3 acts; 2 hours 6 4

=OUT IN THE STREETS.= Drama. Wherever this play is presented it
is received with the greatest enthusiasm; 3 acts; 1 hour 6 4

=PAIR OF IDIOTS, A.= Up-to-date society comedy, with bright and
witty dialogue and telling situations; 2 acts; 2 hours 3 3

=PICKING UP THE PIECES.= Effective comedy either as a parlor
play or curtain raiser; 1 act; 30 minutes 1 1

=ROBERT EMMET.= (New version.) A new, actable version of this
great historical drama; 3 acts; 2 hours 10 2

=SAVED FROM THE WRECK.= Drama; serio-comic; 3 acts; 2 hours 8 3

=SCRAP OF PAPER, A.= Comedy of the present time, full of healthy
laughter; 3 acts; 2 hours 6 6

=SHAKESPEARE WATER CURE.= Burlesque comedy; each character a
star; 3 acts; 2 hours 5 4

=SINGLE LIFE.= Comedy; the characters are all comic and all
“Stars”; 3 acts; 2 hours 5 5

=SNOWBALL, THE.= Farcical comedy; the popularity of this comedy
is unexcelled; 3 acts; 2 hours 4 3

=SOLON SHINGLE.= Yankee comedy; 2 acts; 1½ hours 7 2

=STRIFE. (Master and Men.)= Great labor drama; a play for the
masses; 4 acts; 2¼ hours 9 4

=SUNSET.= Comedy; requires some acting with reserve force in both
comedy and pathos; 1 act; 50 minutes 3 3

=SWEETHEARTS.= Comedy combining fun and pathos; 2 acts; 1 hour 2 2

=TEN NIGHTS IN A BARROOM.= New and simplified version of an old
favorite that will draw hundreds where other plays draw dozens;
5 acts; 2 hours 7 4

=THREE HATS.= Farcical comedy; one of the greatest favorites;
cannot fail to be a success; 3 acts; 2 hours 5 4

=TIMOTHY DELANO’S COURTSHIP.= Yankee comedy full of laughable
incidents; 2 acts; 1 hour 2 3

=TRIED AND TRUE.= Stirring play of city life, full of brisk
action and lively dialogue; 3 acts; 2¼ hours 8 3

=TRIPLE WEDDING.= Short excellent drama of home life by the
author of “The County Fair”; 3 acts; 1¼ hours 4 4

=UNCLE JACK.= Drama; comic, with a good moral; 1 act; 1¼ hours 3 4

=UNCLE TOM’S CABIN.= New version. An old favorite rewritten so
that it can be played in any hall; 5 acts; 2¼ hours 7 5

=UNDER A CLOUD.= Comedy drama; bright, breezy, full of snap and
go; 2 acts; 1½ hours 5 2

=UNEXPECTED FARE, AN.= Comedy affording excellent scope for
amusing situations and by-play; 1 act; ½ hour 1 5

=WANDERER’S RETURN, THE. (Enoch Arden.)= Drama with strong
plot and effective characters; 4 acts; 2½ hours 6 4

=WOODCOCK’S LITTLE GAME.= Farce-comedy; funny; 2 acts; 1 hour 4 4

=WOVEN WEB, THE.= Strong and sparkling drama; has a military
flavor, and is frequently played under the title of “In Old
Virginia”; 4 acts; 2¼ hours 7 3

=DICK & FITZGERALD, Publishers, 18 Ann St., N. Y.=

* * * * *

COMEDIES AND DRAMAS

25 CENTS EACH

M. F.

=ALL THE COMFORTS OF HOME.= Comedy by William Gillette. Only
authorized edition of this famous play; 4 acts; 2½ hours 10 7

=BREAKING HIS BONDS.= Strong drama with comic underplay;
easily staged; 4 acts; 2 hours 6 3

=BUTTERNUT’S BRIDE; OR, SHE WOULD BE A WIDOW.= Farce comedy
for laughing purposes only; 3 acts; 2½ hours 11 6

=CAPTAIN DICK.= Effective drama, founded on an episode of
the Civil War; 3 acts; 2 hours 9 6

=DEACON, THE.= Comedy drama that is simply immense. Alvyn
Joslyn type, old man leading character; 5 acts; 2½ hours 6 6

=EDWARDS THE SPY.= Drama; a brilliant episode of the Civil
War; 5 acts; 2½ hours 10 4

=ERIN GO BRAGH.= Up-to-date Irish drama; both serious and
comic in scope, not sensational; 3 acts; 2 hours 5 4

=GOLDEN GULCH. (The Government Scout.)= Drama that combines
fun, sentiment, and exciting situations; 3 acts; 2¼ hours 11 3

=GYPSY QUEEN, THE.= Romantic drama with bright comedy parts;
4 acts; 2½ hours 5 3

=JAILBIRD, THE.= Drama of city life, containing a vivid plot
with well-diversified interest, together with a pretty
love-story; 5 acts; 2½ hours 6 3

=JOHN BRAG, DECEASED.= Farce comedy; one of the best farces
ever published; nothing slow in this piece; 4 acts; 2½ hours 8 5

=JOSIAH’S COURTSHIP.= Farcical comedy drama; uproarious comedy
features alternate with forceful, but not heavy pathos;
4 acts; 2 hours 7 4

=MAN FROM MAINE.= Comedy drama with a wide-awake hero from
“Down East”; 5 acts, 2¼ hours 9 3

=MISS MOSHER OF COLORADO.= Comedy drama with great “character”
parts; 4 acts, 2¼ hours 5 3

=MY LADY DARRELL.= Drama possessing all the elements of
success; powerful situations, effective stage pictures,
and grand climaxes; 4 acts; 2½ hours 9 6

=NIGHT OFF, A.= Comedy of Augustin Daly; printed from the
original prompt-copy; 4 acts; 2½ hours 6 5

=PRISONER OF ANDERSONVILLE.= Military comedy drama. An excellent
play for amateurs, as all the parts are good and evenly
divided; 4 acts; 2¼ hours 10 4

=REGULAR FLIRT, A.= Up-to-date comedy, especially recommended
to those who have produced the author’s “Just for Fun”;
3 acts; 2 hours 4 4

=SEVEN-TWENTY-EIGHT.= By Augustin Daly. There have been several
imitations of this comedy, but none of them approaches the
original; 4 acts; 2½ hours 7 4

=SHAUN AROON.= Stirring drama of home life in Ireland; a simple
real picture of country life in the Emerald Isle; 3 acts;
2 hours 7 3

=SQUIRE TOMPKINS’ DAUGHTER.= Strong comedy drama; 5 acts;
2½ hours 5 2

=STEEL KING, THE.= Comedy drama with brisk action; depicts the
struggle between labor and capital; 4 acts; 2½ hours 5 3

=WHAT’S NEXT?= Farce comedy; 3 acts; plays 150 minutes; raises
150 laughs 7 4

=WHITE LIE, A.= Comedy drama; abounds in laughable comedy
features and strong situations of serious interest; 4 acts;
2½ hours 4 3

=DICK & FITZGERALD, Publishers, 18 Ann St., N. Y.=

Transcriber’s Notes:

Changed =Prendargast= to =Prendergast= in “Miss Prendergast’s
solicitude for Arthur” on page 3.

=bp= changed to =by= in “sits on ground by summer-house” on page 11.

=Nora= changed to =Norah= to agree with list of characters in
“Gertrude Mason”.