Chapter VI: Act III: SCENE.--Same as first scene. Evening

(_PAULINE seated, with some bit of embroidery, or other fancy
work. AUNT P. is seated, also, as curtain rises, but during the
conversation moves about a good deal, rather nervously._)

PAULINE. What’s the matter, Aunt Polly? What makes you so restless? Don’t you feel well?

AUNT P. Yes, I think so. I--I’m nervous, I think.

PAULINE. I didn’t know you were ever nervous, Auntie.

AUNT P. Why, I’m not, as a rule, Pauline. I don’t know what is the matter, I’m sure.

PAULINE. Hadn’t you better go to bed, Auntie, and sleep it off?

AUNT P. No, I couldn’t sleep, I’m sure.

PAULINE. You haven’t had bad news, have you?

AUNT P. Why, no, dear, not exactly.

PAULINE. Not exactly? You’ve had some news then that disturbs you?

AUNT P. Yes, my dear, it is disturbing news, really. It’s almost as if some one had risen from the dead; and I don’t understand it, and I don’t know what to do or say.

PAULINE. Could I help you any, Auntie dear?

AUNT P. No, I think not, dearie. I must think it out alone.

PAULINE. Do you mind if I run over to Grace’s a few minutes?

AUNT P. Oh, don’t, dear, don’t. Stay with me. Some one might come in.

PAULINE. Are you expecting any one?

AUNT P. N-no, not exactly. That is--no, of course not.

PAULINE. Why, Auntie dear, if you were a young girl, I should say you were expecting a visit from your young man.

AUNT P. But as I’m not, but an old woman of fifty-eight, you know it can’t be any nonsense of that sort. Remember, my dear Pauline, I am your great-aunt.

PAULINE. Not so very great, either; just the dearest little auntie in the world. And you don’t seem a bit old. Why, your hair isn’t hardly a bit gray. Besides, there was Mrs. Atherton, in our home town, was married just before I came here, and she was sixty-three.

AUNT P. She was a widow, dear.

PAULINE. What difference did that make? They said that Mr. Buffinton was her first lover, but that her father had separated them, and every one was glad to see her married.

AUNT P. Very nice and romantic, dear, but, as I said before, she was a widow, and that makes a great deal of difference. If she had been a maiden lady, every one would have called her silly, and laughed at her.

PAULINE. I don’t see why.

AUNT P. Nor I, dear, truly, but the fact remains that they do. It would take quite a strong-minded woman to face it. I couldn’t, I’m sure.

PAULINE. But, Auntie----

(_Stops abruptly, as bell rings._)

AUNT P. Some one is coming! I----

(_Rises, but sits down hastily, as she hears steps._)

AMOS (_entering_). Well, Polly, I’ve come for the answer to that letter.

(_PAULINE slips out._)

AUNT P. Why, Amos, aren’t you a stranger? How do you do?

AMOS. I’ll tell you how I’m going to do. I’m going to have an answer to that letter.

AUNT P. What letter? Do sit down, Amos! You make me nervous.

AMOS (_seating himself_). Well, I’ve sat down. Now how about the answer to that letter?

AUNT P. That letter?

AMOS. Yes, that letter. It’s no use to fence for time, Polly. I’m going to have an answer. Didn’t you get a valentine letter from me to-day?

AUNT P. Amos, you never sent that letter to-day. It was old. It looked old, and it had a three-cent stamp. Three-cent stamps have been out of use thirty years and more.

AMOS. Then you did get it?

AUNT P. Yes, but I don’t understand it, and I’m all upset about it. It was like a voice from the dead.

AMOS. It was, Polly, a voice from the dead past. That letter should have reached you forty years ago.

AUNT P. Did you write that forty years ago, Amos? And why didn’t you send it? Why send it now, after all these years?

AMOS. I did send it, dear heart. There’s a mystery about that letter that we will talk about later. Just now I want my answer.

AUNT P. Your answer, now?

AMOS. Yes, now. Polly, dear, I’ve waited forty years for my answer. Isn’t that long enough to keep a man waiting?

AUNT P. But, Amos, forty years changes things.

AMOS. It hasn’t changed my love for you any. I’ve tried to down it for forty years because I thought I’d got my answer. But have that answer I must and will.

AUNT P. But, Amos----

AMOS. Let’s go back a bit, Polly. You used to like me when we were little playmates, now didn’t you?

AUNT P. Yes, of course. You were the nicest boy I knew.

AMOS. And when we went to the old Academy together. You liked me then?

AUNT P. Why, yes, of course, Amos.

AMOS. And if you’d got that letter when you were meant to get it, you’d have said yes; now, wouldn’t you?

AUNT P. Why----

AMOS. You would, Polly, now wouldn’t you? Come, own up; it’s forty years past.

AUNT P. Why, yes.

AMOS. Then you’ll say it now. You’ve just got it, and I’ve come for my answer, as I said I should. Isn’t it yes, Polly dearest?

AUNT P. But, Amos, I’m an old woman now.

AMOS. And I’m an old man. I’m sixty.

AUNT P. I’m sure that isn’t old! For a man, I mean.

AMOS. Then fifty-eight isn’t old--for a woman. Polly, I’ve everything but the thing I want most. I’ve no real home. I’m lonesome, dear. I’ve been lonesome for forty years--forty years that the locusts have eaten. Must I always be lonely, Polly?

AUNT P. But think what people would say, Amos.

AMOS. I don’t care what people say, Polly. I only care for you, and to know that you care. And you do care, Polly, I know. Else why have you kept single all these years? Besides, if you didn’t care, you’d have said no and you haven’t said it. You’ve fenced. Polly, you did care. Don’t you care any longer? Tell me!

AUNT P. Y-yes, Amos, I did care.

AMOS. And you’ve got over it? You no longer care? Ah, you can’t say no. Say yes, Polly. Forty years is a long while to wait for an answer.

AUNT P. That’s it, Amos, those forty years. It looks so ridiculous.

AMOS. Ridiculous, nothing! I’m waiting to hear that yes, Polly. And I shan’t go home till I hear it.

AUNT P. Well--yes, then.

AMOS. Oh, Polly, my girl, to think I didn’t hear that forty years ago! We’ve lots of time to make up.

(_Kisses her._)

AUNT P. Do stop, Amos; Pauline will be coming in! What will she think?

AMOS. Well, as she is chief-conspirator, she won’t be surprised, so cheer up, my dear. Pauline ran out to the post-office. I hear her coming now. (_Calls._) Come here, you little niece of mine, and congratulate me.

PAULINE (_coming in_). Is it true, really? Oh, Auntie dear, I am so glad! (_Kisses her, then goes to AMOS and kisses him._) Thank you, Uncle Amos that is to be, for my lovely valentine. And I’m glad you got the right answer.

AUNT P. Pauline! Did you know?

AMOS. Didn’t I tell you she was chief conspirator? She brought it all about. You shall be bridesmaid, Polly girl, and choose what you please for a gift.

PAULINE. That will be lovely. When is it to be?

AMOS. Soon.

AUNT P. Oh, no, not very soon.

AMOS. Yes, soon, very soon. Good land, Polly, isn’t forty years long enough?

AUNT P. But what had you to do with this, Pauline? And where has that letter been all these years?

PAULINE. Why, you see, Auntie, when I put the old valentines away I dropped one, and when I tried to open the drawer it stuck. I jerked it hard, to open it, and when it opened---- (_Opens drawer._) Look! That’s what I saw, and the letter was on top.

AUNT P. Why, how did that box come there? It looks like a drawer.

AMOS (_pulling the drawer out, and looking in_). It was, Polly, a secret drawer, just above this one. Evidently this had to be taken entirely out to reach it, but one support has come loose, so it dropped into the other drawer.

AUNT P. (_taking secret drawer in her lap_). I never knew there was a secret drawer in this table. Why, Amos! They’re Grandmother’s things! The ones we never could find! Here’s her gold beads, and her gold thimble, and Grandpa’s watch, and--this was Uncle Robert’s little shoe--he died, you know, when he was a year old--and this box is full of hair--Father’s curls, I do believe! That’s all. No. (_Lifts paper in bottom of drawer._) This is her marriage certificate! We knew there was a secret drawer in the desk, where she kept money. She showed that to Father about a year before she died. But this--and how did my valentine get there? How did Grandma get it before it was mailed?

AMOS. That’s plain enough. She ran in that morning to show Mother a new patch-work pattern. The letter lay on the desk, and she chaffed me about it. Then she offered to play Cupid, and put it into your own hand. Thinking you would get it earlier that way, I consented. So when I called that night, and you were not at home, I thought it was a kind way of saying no, and went away to get over it. I couldn’t, though, and came back a year later, as you know. But why your grandmother didn’t give it to you, I don’t see. She was always a woman to trust.

AUNT P. I understand that part of it. When she got home I had gone with Tim, and it was that night she had a shock, Amos. She never spoke again, and died a week later.

AMOS. And if I hadn’t run away on the first train the next morning I would have known it, and might have mistrusted that you didn’t get it! Oh, the years that the locusts have eaten! That was one of her own expressions, you remember.

AUNT P. But why didn’t you bring the letter to me, Pauline, instead of to Amos?

PAULINE. I didn’t give it to either, Auntie. I mailed it. If I’d given it to you, you’d have read it, and cried over it, and treasured it, but you’d never have let--Uncle Amos--see it or know of it, now would you?

AUNT P. Not at this late day. It would have been equivalent to a proposal from me. But I would always have treasured the thought that he did love me, after all. That I had not given my love unsought, something which has shamed me to myself all these years.

PAULINE. And if I had given it to you, Mr. Hill----

AMOS. Uncle Amos is good enough, Polly girl.

PAULINE. If I had given it to you, Uncle Amos, would you have mailed it?

AMOS. No, I should have thought it too late.

PAULINE. So you see I did the best possible thing, and the letter reached the right one, and the result is all I hoped for.

AUNT P. But how did you know about it, Amos?

AMOS. Oh, the mischievous Cupid came and told me after she had mailed it, so----

AUNT P. So you thought I’d expect you?

AMOS. No, I didn’t. But the chance was too good to let slide. I’d never had an answer after all, and I came for it, as I said I would. I got it, too, just the answer I wanted. ’Tisn’t every man who has to wait forty years for his answer. And now, Pauline, what is the shortest time required to rig up a wedding gown? A week?

AUNT P. A week! The idea!

AMOS. I’m talking to little Polly. Isn’t a week long enough?

PAULINE. I think you’d better give her two.

AMOS. Two it is, then, and not a minute longer. Order your rig out, little girl, the nicest and prettiest you can find, and I’ll pay for it. You deserve it. And you’re to be our adopted daughter, and spend every minute your parents can spare you with us. We’ll have a motor, childie, and anything else we want, and Polly and I will do our best to make up the forty years we have lost.

PAULINE. Oh, I’m so glad I did it! I didn’t hardly dare! It sounds like a romance.

AUNT P. It is! To think of a lost valentine turning up after forty years!

CURTAIN

The Queen of Hearts

The Queen of Hearts

CHARACTERS

THE QUEEN OF HEARTS.
HER MAIDENS, _eight girls_.
ST. VALENTINE.
HIS ATTENDANTS, _eight boys_.
LITTLE SIR CUPID.
THE FAIRY.
THE QUEEN’S PAGES, _two small girls_.
ST. VALENTINE’S PAGES, _two small boys_.

COSTUMES

Dress the QUEEN in a white robe, cut like a Grecian robe, with flowing sleeves. It has a border of golden hearts, cut from gold paper. She has a girdle of heavy gold cord, with a heart at each end, also a tiara of lighter gold cord, surmounted by a heart of gold. She carries a sceptre of gold, surmounted by a heart. Choose a pretty girl for the part.

HER MAIDENS are in pale blue and silver. The dresses are made from crepe paper, with double skirts, full waists, and large sashes. The waists have Dutch necks and short puffed sleeves. Trim the neck, sleeves and both skirts with silver tinsel. The stockings may be blue or white, the slippers white or black. The hair should be flowing, held back from the face with a band of blue, edged with the silver, tied in a bow at the side, little silver hearts dangling from the ends of the bow. On the upper skirt, or tunic, is a row of silver hearts. Each carries a scarf or ribbon about two yards long, and four or five inches wide. These may be of some sheeny lining material. Point the ends, and hang a silver heart from each end, and from the centre. When the scarfs are not in use, they are thrown over the head, and hang down, in front, over the shoulders. They may be blue, to match the costume, or pink, of a shade that will harmonize with the blue.

ST. VALENTINE wears a long, white robe, girded with red and decorated with red hearts. He has a long white beard, easily removable, also a red cap or hood, to which is sewed long white hair. He carries a large, handsome valentine.

HIS ATTENDANTS wear long red robes, girded with white. Each carries a valentine.

HIS PAGES are two tiny boys, in white robes, with red girdles. All these robes should be so fashioned that they may be quickly and easily thrown off. Underneath all are dressed in court costumes, of red and white--long hose, puffed trunks, doublet or tunic, belted in, and puffed sleeves.

THE QUEEN’S PAGES are tiny girls in white, fluffy dresses. One has a big sash and hair ribbon of pink, also stockings to match. The other has them of blue. They have also bows at the shoulders, with short loops, and long ends. The blue ribbon has golden hearts attached to the ends; the pink one has silver hearts.

THE FAIRY is all in fluffy white. Her dress is made of mosquito netting, very short and full, with a full empire waist. White ribbons of varying lengths hang from the folded girdle, also from a band which encircles the low, round neck. To each of these ribbons is fastened a tiny silver bell. The sleeves are merely deep ruffles, cut in points, to each of which is sewed a bell. The slippers have rosettes, with the bells. Around the head is a white band, to the lower side of which the little bells are fastened. To the centre of this, in front, is fastened a silver star. Her wand is white, with a silver star at the end. Below the star are several streamers, with the bells.

CUPID is a tiny boy, in a short, scant slip of pale pink, over very short white trousers or trunks--short enough not to show. The slip is cut straight, with low neck and no sleeves. A drapery of white mosquito netting, passing over left shoulder, and under right arm, nearly covering slip, gives a fleecy, cloud-like effect. He has little wings of pale pink, and wears no shoes nor stockings. He carries a little silver bow and a golden arrow. A quiver holding two or three more arrows may be slung from his right shoulder, and hang at his left side.

SCENE.--_The Palace of Hearts. The throne, in the centre
background, is a chair, set upon a raised dais, the whole
draped with purple. Upon the floor, in the centre of the space
left before the throne, draw a large circle. Divide it into
eight parts, by lines crossing at centre. Draw a smaller circle
inside the other, having for a radius one-third the radius of
the larger circle. The little drill or dance by the QUEEN’S
MAIDENS is done on this diagram. Deck background with gold
hearts._

(_Curtain rises on MAIDENS, standing at either side of throne,
baskets of flowers in their hands._)

FIRST MAIDEN.

Oh, where is the Queen? Why so long delay?
She should not be late on her natal day.

SECOND MAIDEN.

Hark! She is coming! We ready must be
To join the procession, and bow the knee.

(_MAIDENS pass to entrance, form double line, between which
the QUEEN, her PAGES holding up the court train, passes. The
MAIDENS then fall into line, two and two, behind them. The
procession should pass entirely around platform, and to C.
back. Then, while the QUEEN and PAGES pass down one side, to C.
front, the MAIDENS pass down C. and form aisle to throne, up
which the QUEEN passes. When she reaches the throne, she seats
herself, the little PAGES seating themselves on the dais, on
either side. MAIDENS arrange themselves on either side, and
sing “Hail to the Queen.” The music is that of “Little Stars”
in “Festive Songs for Little Singers.”_)

HAIL TO THE QUEEN

All hail[1 to her, our lovely Queen, the fairest in the land.
We joy to be her Maidens true, before her throne to stand.
We welcome[2 her with glad accord, to her we bow[3 the knee.
Our hearts[4 are hers in love and truth, and evermore shall be.

CHORUS

Hail[5 to our fair Queen! Hail to our fair Queen!
Hail[6 to our fair Queen! The lovely Queen of Hearts.

(_Rise during interlude._)

On this, our Queen’s own natal day, we’ve sought in fairest bow’rs,
And bring,[7 as birthday offerings, these baskets of fair flow’rs.
We’re bound to her with links of love--with Love’s own silver chain.
Yes, we are hers in love and truth. Long[8 may she live and reign.

CHORUS

(_Motions_)

1--Baskets in left hands. Raise right hand high. 2--Right
hand out, toward Queen. 3--Sink on one knee. 4--Right hand on
heart. 5--Wave right hand high, through line. 6--Raise right
hand high as possible, hold through line. 7--Hold baskets, in
right hands, out toward Queen. 8--Raise baskets high, in right
hand. In singing second chorus, they do not kneel. At 5, swing
baskets, high, through line. At 6, raise them high to right.
Hold to end of line. At close of song, they march in front of
throne, and lay baskets on lower step of dais, leaving room for
Queen to step from throne.

QUEEN.

Thank you, my maids. They are offerings rare.
Never were blossoms more sweet and fair.
But I somehow am sad on my natal day.

THIRD MAIDEN.

We will dance, to drive dull care away.

DANCE OF THE MAIDENS

(_The music should be joyous and rather quick, the step a
light, tripping one. Refer to diagram._)

FIG. 1. Meet in front of throne, and form single line. March
down to A. First girl passes down line to E. Next girl passes
to O, then to D; third girl to O, then to F, others to C, G, B
and H, all first passing to O. Last girl remains at A. During
this figure they hold scarfs above head in both hands.

FIG. 2. Each girl tosses end of scarf to next girl. March
entirely around circle.

FIG. 3. Face centre, raise scarfs high, still held as in fig.
2, trip sidewise around circle.

FIG. 4. Recover scarfs. Hold them in both hands, right hand
high, left low, and march in, along lines, to inner circle.
March around inner circle, scarfs in right hands nearly
meeting, high in centre, like spokes of a wheel, march back
lines to places again.

FIG. 5. Hold strips high over head, turn around in places, once
and a half times, bringing faces to centre again.

FIG. 6. Girls at A and E march up lines to meet at O, cross
scarfs, march around, then march up to J and N, where each
raises scarf above head, turns completely around, and then
marches on to A and E. Girls at C and G repeat this figure,
then those at B and F, and lastly those at H and D.

FIG. 7. All march completely around circle, swinging scarfs.

FIG. 8. Girls at A, E, C and G march to inner circle, then
around it, then halt on J, N, Q and L, and toss ends of scarfs
to each other. Raise them high. Remaining girls march down
lines, pass between girls, and march in tiny circle inside.
They then pass through, between J and L, and march in circle
outside them, then pass in again, between J and L, and wind
in and out. Repeat this winding, but first girl stop when
she reaches R, next one on P, third on M and last on K. Toss
scarfs, and raise.

FIG. 9. Scarfs so held, all sidestep around this inner circle,
then lower arms and recover scarfs. Step backward to places on
large circle.

FIG. 10. Hold scarfs in both hands, dropped easily at sides.
Turn as if to march around circle. First girl marches down to
J, along inner circle to K, up line to B, along outer circle
to C, in on line to L, along to M, and so on, till she reaches
A again. As she passes down first line, second girl moves from
H to A, next girl from G to H, and so on, all moving up one
place. As first girl moves up second line, girl now at A moves
up first line, all others moving on one place. As second girl
passes up second line, third girl moves down first line, and so
on. Each girl performs the whole figure, which is much easier
than would appear from description, as each simply follows the
one ahead of her, keeping the proper distance between them.

FIG. 11. March completely around circle. Then, led by girls at
A and E, half turning each way, march on circle, and up E O and
down A O, to centre. Here, leaders cross scarfs, march around,
then on to C and G. Next ones do the same, and so on.

FIG. 12. March on, on circle, to B and H, marking time, to
allow all to complete fig. 11; then march down lines to F and
D, crossing at centre, then on, to places on circle.

FIG. 13. March completely around circle, face centre, march in
to inner circle. Girls at J and N raise scarfs, step to centre,
back around each other and to place again. Girls at Q and L
repeat this; then girls at R and M; and lastly, those at K and
P. March backward to large circle.

FIG. 14. Run in to inner circle, waving scarfs, then around
inner circle, still waving.

FIG. 15. Girl at J stands still. Girls at R and K run up to
B and H, followed by those at Q and L, while one at J steps
to centre, and those at P and M move up, and follow, J and N,
stepping to P and M. As each reaches B or H, she runs to her
place at side of throne, till all are in place.

QUEEN.

’Twas very pretty, my maidens fair.

(_A knock is heard._)

Bluebell, go and see who’s there.

(_PAGE with blue ribbons goes out and steps quickly back
again._)

BLUEBELL.

I think it’s a boy, but he’s got wings.

QUEEN.

A fairy, or one of those elfish things?

BLUEBELL.

I really don’t know. He’s pretty and pink,
Too little to do any harm, I think.

QUEEN.

Well, say he may enter, but not to stay.

(_BLUEBELL goes to entrance again, and CUPID skips in._)

Well, well, little fellow! Who are you, pray?

CUPID (_bowing low_).

May I tell my tale in song?
It will not take me very long.

QUEEN.

Ay, sing. But tell us who you are,
And if you’ve journeyed from afar.

(_CUPID sings. Tune: “The Rill” from “Festive Songs for Little
Singers.”_)

CUPID’S SONG

I’m Cupid, brave and wild,
Half fairy and half child,
I’m dancing here
And dancing there,
To greet me, earth has smiled.
I’ve wings, on which I fly,
Up to the sweet blue sky,
I travel far
To many a star,
When no one else is nigh.

CHORUS

Winging, winging,
Swift o’er land and sea,
Singing little songs of love
Where’er I be.

With silver bow so true,
And golden arrow, too,
I aim my darts
At people’s hearts.
Look out! I may shoot you!
In earth or worlds above,
Where’er I may rove,
The heart, you see,
Once hit by me,
Will surely fall in love.

CHORUS

QUEEN.

Methinks you’re a mischievous child, indeed.
Of you, in this court, we have no need,
For mankind never enters here,
So none can fall in love, ’tis clear.

CUPID.

The fair Queen of Hearts should find her a mate.
To die an old maid is a dreadful fate.

QUEEN.

Not so, Sir Cupid. A virgin to stay,
Is the fate I wish for, now and alway.
Besides, I have no mate, you see,
For no mere man is worthy me.

CUPID (_sings to the tune: “Campbells Are Coming”_).

He’s coming, he’s coming, ha, ha, ho, ho!
He’s coming, although you may not think so.
On Valentine’s Day there’s a mate for each lassie,
And one for the fair Queen of Hearts, ho, ho!

QUEEN.

Now, wee Sir Cupid, please depart.
Although so small, yet you are male,
And none of that sex is allowed
To stay within my kingdom’s pale.

MAIDENS.

Oh, he’s so pretty and so pink,
Please, dear Queen, let him stay!
He’s just a darling baby!
With him we’d like to play.

CUPID.

Yes, let me stay a while, and rest!
I promise to behave my best.

QUEEN.

Well, stay, child. You have winning ways;
And with no men-folks here,
You cannot do much mischief
With your arrows, that is clear.
Hark! Hear that silvery, tinkling sound,
And that rap, so light and fair,
It sounds like the touch of a fairy’s wand.
Rosebud, see who is there.

(_PAGE with pink ribbons goes to door, and returns._)

ROSEBUD.

It is no boy this time, fair Queen,
But the dearest fairy. May she come in?

QUEEN.

Yes, bid her enter.

(_ROSEBUD goes to door, and FAIRY flits in._)

Lovely fay,
What seek you in my courts to-day?

FAIRY (_sings to the tune: “The Fairies,” in “Festive Songs for Little Singers”_).

I’m the dainty little fairy
That’s called Tinkle Bell.
To your court, fair Queen, I flitted
Just to wish you well.
It was whispered ’mong the fairies,
’Twas your natal day,
So our queen, with happy greetings
Bade me haste away.

To the Queen of Hearts a message;
Little Tinkle Bell,
You must carry very swiftly.
’Tis a gift as well.
Tell her that to her I’m sending
My best gift to-day--
The best gift in earth or heaven;
And it’s on its way.

QUEEN.

What can it be?

CUPID.

I think I know.

FAIRY (_frowning at him, and raising finger in warning_).

Nay, impertinent child!
How can you think so?

(_FAIRY flits about, tinkling bells. She flits up to CUPID, and
remains by him. While the attention of the court is taken up
with the next admittance, he aims at the heart of the QUEEN. It
is not necessary to shoot, in fact, he had better not. In each
case, throughout the play, he merely aims. Whenever there is
opportunity the FAIRY and Cupid whisper together, unnoticed by
the rest, and CUPID aims at every girl in turn, even the little
PAGES._)

QUEEN.

Another knock! Who this time?
Go see, my pages fair.

(_Both BLUEBELL and ROSEBUD go, but come running back._)

BOTH.

It’s boys! It’s boys! And an old, old man!

QUEEN.

Tell them to go away, quick as they can.

(_PAGES go to door again, remain a minute or two, then return._)

BLUEBELL.

He says his name’s St. Valentine.

ROSEBUD.

He claims this natal day of thine.

BLUEBELL.

He says he of this day is King.

ROSEBUD.

And that he’s come a gift to bring.

QUEEN.

Well, bid him enter, but alone,
Since he this day claims for his own.

(_They go to door again, and return._)

BLUEBELL.

He says his attendants must come, too.
He will not enter, unless they do.

QUEEN.

Then tell him he outside must stay.

(_They go to door and return._)

ROSEBUD.

The old man will not go away.
He says a gift so fair he brings,
It’s worthy of the wisest Kings
Or fairest Queens.

QUEEN.

Are they young and fair,
The attendants that are waiting there?

BLUEBELL.

They look sad and sober. Their robes are queer.

QUEEN.

For a brief space of time they may enter here.

(_PAGES go to door again, and return, followed by ST.
VALENTINE, his PAGES holding the train of his robe. The
ATTENDANTS follow, two and two. He stands before throne, his
ATTENDANTS on either side._)

QUEEN.

I hear you claim to be a King;
And that a gift to me you bring.

ST. VAL.

E’en so, fair Queen. St. Valentine
Am I. This day is surely mine.

QUEEN.

But ’tis my natal day as well.

ST. VAL.

Much happiness doth that foretell.

QUEEN.

But where is the gift you bring to-day?

ST. VAL.

’Tis my heart I bring. Accept it, pray.
’Tis a gift most rare--this that I bring.
You’re Queen of Hearts, but I am King.

QUEEN.

St. Valentine is ages old.
Though Love’s a great gift, I’ve been told.
I am too young to mate with thee,
Though thou best King on earth might be.

ST. VAL.

And if I were not? Were I young and gay,
Fair Queen, would you say “no” to-day?

QUEEN.

Why, really, I like thee passing well,
Though the reason why I could not tell.
Why, yes. It’s a safe little word to say,
Since you are so old, good saint, to-day.

ST. VAL.

Love can make the heart grow young, and make the face grow fair.
And the Fairy Love stands in thy court with Cupid, over there.

QUEEN.

Love? Why, her name is Tinkle Bell.

FAIRY.

Fair Queen, my name is Love, as well.
So, Valentine, shed all disguise,
And stand forth, young, before her eyes.

(_As she speaks, she touches ST. VAL., then the PAGES, then she
flits to either side, and touches all the ATTENDANTS. As each
is touched, he throws off his robe, ST. VAL. shedding cap and
whiskers, also. These are carried out by the PAGES. Have some
one at entrance to take them._)

QUEEN.

Why, can this be St. Valentine?
Young, handsome, gallant, straight and fine?

ST. VAL.

It is, indeed; and now, fair Queen,
Thy promise true thou must redeem.

QUEEN.

’Twas won by fraud. Thou wast not true,
And so I cannot wed with you.

ST. VAL.

It was no fraud, but the power of Love,
The fairy all other fays above.

FAIRY.

Fair Queen, he is truly worthy of you.
He is brave and noble, tender and true.

BOYS (_sing to the tune: “Autumn Leaves,” in “Festive Songs for Little Singers”_).

Noblest King in all the world, St. Valentine!
True and tender, brave and good--St. Valentine!
Faithful lover will he be,
True eternally to thee.
Take the gift he brings to thee. ’Tis divine.

Share thy royal throne with good St. Valentine.
Fortunate art thou to have his love as thine.
With him thou wilt happy be,
Sorrow never dwell with thee.
If you’re his, fair Queen, you see, and he’s thine.

QUEEN.

Truly thy courtiers love thee well,
And noble things of thee they tell.
Truly, my heart inclines to thee.

ST. VAL.

Then give that heart, fair Queen, to me.
I’ll guard it as my greatest treasure,
And make my trust to seek thy pleasure.

QUEEN.

I yield. Thou takest what is thine own.
There’s room for both upon my throne.

(_QUEEN moves aside, and ST. VAL. seats himself beside her.
His PAGES seat themselves by BLUEBELL and ROSEBUD, and the
ATTENDANTS move into place beside the MAIDENS, so that all are
in pairs._)

CUPID (_sings, tune as before. At beginning of sixth line, FAIRY joins in, and they sing rest of verse and chorus together_).

My aim was good and true!
Fair Queen, I aimed at you.
My golden dart
Has pierced your heart--
Those of your maidens, too.
In earth, or realms above,
Wherever you may rove,
Of gifts so fair,
Both rich and rare,
The best of all is love.

CHORUS

Winging, winging,
Swiftly on our way,
We brought you this fairest gift,
Thy natal day.

QUEEN.

Ah, Cupid, in mischief thou’rt bound to be!
’Twas the opening wedge--admitting thee.

CUPID.

Art thou not glad? Tell me, fair Queen.
Dost wish thou’dst banished me from the scene?

FAIRY.

And the little Fairy, Tinkle Bell?
Art sorry that she came, as well?
And all these visitors of thine,
Including brave St. Valentine?

QUEEN.

Nay, ye are welcome, every one,
As well as he who shares my throne.
Of all fair gifts, from east or west,
I’m very sure that love is best.

ALL (_sing to the tune: “Easter Day,” in “Festive Songs for Little Singers”_).

In all the world there’s naught so dear,
There’s naught so rich and rare,
As this fair gift her natal day
Brought to our Queen so fair.
For you may search the whole wide world,
North, south, or east, or west;
You ne’er can find a sweeter gift.
True love is surely best.

CHORUS

True love is best, ’tis surely best,
The heart’s most earnest call.
In north or south, in east or west,
The fairest gift of all!

’Tis love that makes the world go round,
That guides it on its way.
’Tis love that builds our homes so dear,
Love that shall live alway!
’Tis love that keeps the heart e’er young.
With us through life ’twill stay;
And last through all eternity,
For love must live for aye.

CURTAIN

(_The curtain should rise again, to show the wedding. The
CLERGYMAN, in the robes of the Episcopal church, waits at the
altar, where is also ST. VALENTINE, his ATTENDANTS near. The
bridal procession should enter at one side of the back, if
possible, pass down to the front, across to C. front, and up C.
to altar. CUPID and the FAIRY should precede the procession;
next should come one of the tiny PAGES, with the ring on a
velvet cushion. BLUEBELL and ROSEBUD follow, as flower girls,
then the QUEEN, followed by her MAIDENS, two by two. No change
is necessary in any of the costumes but to add a long veil of
mosquito netting to the QUEEN’S costume. At the altar, ST.
VALENTINE meets her, and they arrange themselves as for the
ceremony, the BRIDE and GROOM kneeling before the CLERGYMAN.
The curtain may fall on this tableau, or they may rise, and
march out, to the wedding march, if desired. Of course, in this
case, the order will be changed somewhat._)

CURTAIN

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End of Project Gutenberg's The Changed Valentines, by Elizabeth F. Guptill