Tuesday 11 June 2024

Tuesday's Serial: “Lavengro” by George Borrow (in English) - XVIII

 

Chapter 35

francis ardry—certain sharpers—brave and eloquent—opposites—flinging the bones—strange places—a batch of dogs—redoubled application

 

One evening I was visited by the tall young gentleman, Francis Ardry, whose acquaintance I had formed at the coffee-house. As it is necessary that the reader should know something more about this young man, who will frequently appear in the course of these pages, I will state in a few words who and what he was. He was born of an ancient Roman Catholic family in Ireland; his parents, whose only child he was, had long been dead. His father, who had survived his mother several years, had been a spendthrift, and at his death had left the family property considerably embarrassed. Happily, however, the son and the estate fell into the hands of careful guardians, near relations of the family, by whom the property was managed to the best advantage, and every means taken to educate the young man in a manner suitable to his expectations. At the age of sixteen he was taken from a celebrated school in England at which he had been placed, and sent to a small French university, in order that he might form an intimate and accurate acquaintance with the grand language of the continent. There he continued three years, at the end of which he went under the care of a French abbé to Germany and Italy. It was in this latter country that he first began to cause his guardians serious uneasiness. He was in the heyday of youth when he visited Italy, and he entered wildly into the various delights of that fascinating region, and, what was worse, falling into the hands of certain sharpers, not Italian, but English, he was fleeced of considerable sums of money. The abbé, who, it seems, was an excellent individual of the old French school, remonstrated with his pupil on his dissipation and extravagance; but, finding his remonstrances vain, very properly informed the guardians of the manner of life of his charge. They were not slow in commanding Francis Ardry home; and, as he was entirely in their power, he was forced to comply. He had been about three months in London when I met him in the coffee-room, and the two elderly gentlemen in his company were his guardians. At this time they were very solicitous that he should choose for himself a profession, offering to his choice either the army or law—he was calculated to shine in either of these professions—for, like many others of his countrymen, he was brave and eloquent; but he did not wish to shackle himself with a profession. As, however, his minority did not terminate till he was three-and-twenty, of which age he wanted nearly two years during which he would be entirely dependent on his guardians, he deemed it expedient to conceal, to a certain degree, his sentiments, temporising with the old gentlemen, with whom, notwithstanding his many irregularities, he was a great favourite, and at whose death he expected to come into a yet greater property than that which he inherited from his parents.

Such is a brief account of Francis Ardry—of my friend Francis Ardry; for the acquaintance, commenced in the singular manner with which the reader is acquainted, speedily ripened into a friendship which endured through many long years of separation, and which still endures certainly on my part, and on his—if he lives; but it is many years since I have heard from Francis Ardry.

And yet many people would have thought it impossible for our friendship to have lasted a week—for in many respects no two people could be more dissimilar. He was an Irishman—I, an Englishman;—he, fiery, enthusiastic, and open-hearted; I, neither fiery, enthusiastic, nor open-hearted;—he, fond of pleasure and dissipation; I, of study and reflection. Yet it is of such dissimilar elements that the most lasting friendships are formed: we do not like counterparts of ourselves. 'Two great talkers will not travel far together,' is a Spanish saying; I will add, 'Nor two silent people'; we naturally love our opposites.

So Francis Ardry came to see me, and right glad I was to see him, for I had just flung my books and papers aside, and was wishing for a little social converse; and when we had conversed for some little time together, Francis Ardry proposed that we should go to the play to see Kean; so we went to the play, and saw—not Kean, who at that time was ashamed to show himself, but—a man who was not ashamed to show himself, and who people said was a much better man than Kean—as I have no doubt he was—though whether he was a better actor I cannot say, for I never saw Kean.

Two or three evenings after Francis Ardry came to see me again, and again we went out together, and Francis Ardry took me to—shall I say?—why not?—a gaming-house, where I saw people playing, and where I saw Francis Ardry play and lose five guineas, and where I lost nothing, because I did not play, though I felt somewhat inclined; for a man with a white hat and a sparkling eye held up a box which contained something which rattled, and asked me to fling the bones. 'There is nothing like flinging the bones!' said he, and then I thought I should like to know what kind of thing flinging the bones was; I, however, restrained myself. 'There is nothing like flinging the bones!' shouted the man, as my friend and myself left the room.

Long life and prosperity to Francis Ardry! but for him I should not have obtained knowledge which I did of the strange and eccentric places of London. Some of the places to which he took me were very strange places indeed; but, however strange the places were, I observed that the inhabitants thought there were no places like their several places, and no occupations like their several occupations; and among other strange places to which Francis Ardry conducted me was a place not far from the abbey church of Westminster.

Before we entered this place our ears were greeted by a confused hubbub of human voices, squealing of rats, barking of dogs, and the cries of various other animals. Here we beheld a kind of cock-pit, around which a great many people, seeming of all ranks, but chiefly of the lower, were gathered, and in it we saw a dog destroy a great many rats in a very small period; and when the dog had destroyed the rats, we saw a fight between a dog and a bear, then a fight between two dogs, then . . .

After the diversions of the day were over, my friend introduced me to the genius of the place, a small man of about five feet high, with a very sharp countenance, and dressed in a brown jockey coat and top-boots. 'Joey,' said he, 'this is a friend of mine.' Joey nodded to me with a patronising air. 'Glad to see you, sir!—want a dog?'

'No,' said I.

'You have got one, then—want to match him?'

'We have a dog at home,' said I, 'in the country; but I can't say I should like to match him. Indeed, I do not like dog-fighting.'

'Not like dog-fighting!' said the man, staring.

'The truth is, Joe, that he is just come to town.'

'So I should think; he looks rather green—not like dog-fighting!'

'Nothing like it, is there, Joey?'

'I should think not; what is like it? A time will come, and that speedily, when folks will give up everything else, and follow dog-fighting.'

'Do you think so?' said I.

'Think so? Let me ask what there is that a man wouldn't give up for it?'

'Why,' said I modestly, 'there's religion.'

'Religion! How you talk. Why, there's myself, bred and born an Independent, and intended to be a preacher, didn't I give up religion for dog-fighting? Religion, indeed! If it were not for the rascally law, my pit would fill better on Sundays than any other time. Who would go to church when they could come to my pit? Religion! why, the parsons themselves come to my pit; and I have now a letter in my pocket from one of them, asking me to send him a dog.'

'Well, then, politics,' said I.

'Politics! Why, the gemmen in the House would leave Pitt himself, if he were alive, to come to my pit. There were three of the best of them here to-night, all great horators.—Get on with you, what comes next?'

'Why, there's learning and letters.'

'Pretty things, truly, to keep people from dog-fighting. Why, there's the young gentlemen from the Abbey School comes here in shoals, leaving books, and letters, and masters too. To tell you the truth, I rather wish they would mind their letters, for a more precious set of young blackguards I never seed. It was only the other day I was thinking of calling in a constable for my own protection, for I thought my pit would have been torn down by them.'

Scarcely knowing what to say, I made an observation at random. 'You show, by your own conduct,' said I, 'that there are other things worth following besides dog-fighting. You practise rat-catching and badger-baiting as well.'

The dog-fancier eyed me with supreme contempt.

'Your friend here,' said he, 'might well call you a new one. When I talks of dog-fighting, I of course means rat-catching, and badger-baiting, ay, and bull-baiting too, just as when I speaks religiously, when I says one I means not one but three. And talking of religion puts me in mind that I have something else to do besides chaffing here, having a batch of dogs to send off by this night's packet to the Pope of Rome.'

But at last I had seen enough of what London had to show, whether strange or commonplace, so at least I thought, and I ceased to accompany my friend in his rambles about town, and to partake of his adventures. Our friendship, however, still continued unabated, though I saw, in consequence, less of him. I reflected that time was passing on—that the little money I had brought to town was fast consuming, and that I had nothing to depend upon but my own exertions for a fresh supply; and I returned with redoubled application to my pursuits.

 

 

Chapter 36

occupations—traduttore traditore—ode to the mist—apple and pear—reviewing—current literature—oxford-like manner—a plain story—ill-regulated mind—unsnuffed candle—dreams

 

I compiled the Chronicles of Newgate; I reviewed books for the Review established on an entirely new principle; and I occasionally tried my best to translate into German portions of the publisher's philosophy. In this last task I experienced more than one difficulty. I was a tolerable German scholar, it is true, and I had long been able to translate from German into English with considerable facility; but to translate from a foreign language into your own is a widely different thing from translating from your own into a foreign language; and, in my first attempt to render the publisher into German, I was conscious of making miserable failures, from pure ignorance of German grammar; however, by the assistance of grammars and dictionaries, and by extreme perseverance, I at length overcame all the difficulties connected with the German language. But, alas! another difficulty remained, far greater than any connected with German—a difficulty connected with the language of the publisher—the language which the great man employed in his writings was very hard to understand; I say in his writings—for his colloquial English was plain enough. Though not professing to be a scholar, he was much addicted, when writing, to the use of Greek and Latin terms, not as other people used them, but in a manner of his own, which set the authority of dictionaries at defiance; the consequence was that I was sometimes utterly at a loss to understand the meaning of the publisher. Many a quarter of an hour did I pass at this period, staring at periods of the publisher, and wondering what he could mean, but in vain, till at last, with a shake of the head, I would snatch up the pen, and render the publisher literally into German. Sometimes I was almost tempted to substitute something of my own for what the publisher had written, but my conscience interposed; the awful words, Traduttore traditore, commenced ringing in my ears, and I asked myself whether I should be acting honourably towards the publisher, who had committed to me the delicate task of translating him into German; should I be acting honourably towards him, in making him speak in German in a manner different from that in which he expressed himself in English? No, I could not reconcile such conduct with any principle of honour; by substituting something of my own in lieu of these mysterious passages of the publisher, I might be giving a fatal blow to his whole system of philosophy. Besides, when translating into English, had I treated foreign authors in this manner? Had I treated the minstrels of the Kæmpe Viser in this manner?—No. Had I treated Ab Gwilym in this manner? Even when translating his Ode to the Mist, in which he is misty enough, had I attempted to make Ab Gwilym less misty? No; on referring to my translation, I found that Ab Gwilym in my hands was quite as misty as in his own. Then, seeing that I had not ventured to take liberties with people who had never put themselves into my hands for the purpose of being rendered, how could I venture to substitute my own thoughts and ideas for the publisher's, who had put himself into my hands for that purpose? Forbid it every proper feeling—so I told the Germans, in the publisher's own way, the publisher's tale of an apple and a pear.

I at first felt much inclined to be of the publisher's opinion with respect to the theory of the pear. After all, why should the earth be shaped like an apple, and not like a pear?—it would certainly gain in appearance by being shaped like a pear. A pear being a handsomer fruit than an apple, the publisher is probably right, thought I, and I will say that he is right on this point in the notice which I am about to write of his publication for the Review. And yet I don't know—said I, after a long fit of musing—I don't know but what there is more to be said for the Oxford theory. The world may be shaped like a pear, but I don't know that it is; but one thing I know, which is, that it does not taste like a pear; I have always liked pears, but I don't like the world. The world to me tastes much more like an apple, and I have never liked apples. I will uphold the Oxford theory—besides, I am writing in an Oxford Review, and am in duty bound to uphold the Oxford theory. So in my notice I asserted that the world was round; I quoted Scripture, and endeavoured to prove that the world was typified by the apple in Scripture, both as to shape and properties. 'An apple is round,' said I, 'and the world is round—the apple is a sour, disagreeable fruit; and who has tasted much of the world without having his teeth set on edge?' I, however, treated the publisher, upon the whole, in the most urbane and Oxford-like manner; complimenting him upon his style, acknowledging the general soundness of his views, and only differing with him in the affair of the apple and pear.

I did not like reviewing at all—it was not to my taste; it was not in my way; I liked it far less than translating the publisher's philosophy, for that was something in the line of one whom a competent judge had surnamed Lavengro. I never could understand why reviews were instituted; works of merit do not require to be reviewed, they can speak for themselves, and require no praising; works of no merit at all will die of themselves, they require no killing. The Review to which I was attached was, as has been already intimated, established on an entirely new plan; it professed to review all new publications, which certainly no Review had ever professed to do before, other Reviews never pretending to review more than one-tenth of the current literature of the day. When I say it professed to review all new publications, I should add, which should be sent to it; for, of course, the Review would not acknowledge the existence of publications, the authors of which did not acknowledge the existence of the Review. I don't think, however, that the Review had much cause to complain of being neglected; I have reason to believe that at least nine-tenths of the publications of the day were sent to the Review, and in due time reviewed. I had good opportunity of judging—I was connected with several departments of the Review, though more particularly with the poetical and philosophic ones. An English translation of Kant's philosophy made its appearance on my table the day before its publication. In my notice of this work I said that the English shortly hoped to give the Germans a quid pro quo. I believe at that time authors were much in the habit of publishing at their own expense. All the poetry which I reviewed appeared to be published at the expense of the authors. If I am asked how I comported myself, under all circumstances, as a reviewer—I answer,—I did not forget that I was connected with a Review established on Oxford principles, the editor of which had translated Quintilian. All the publications which fell under my notice I treated in a gentlemanly and Oxford-like manner, no personalities—no vituperation—no shabby insinuations; decorum, decorum was the order of the day. Occasionally a word of admonition, but gently expressed, as an Oxford undergraduate might have expressed it, or master of arts. How the authors whose publications were consigned to my colleagues were treated by them I know not; I suppose they were treated in an urbane and Oxford-like manner, but I cannot say; I did not read the reviewals of my colleagues, I did not read my own after they were printed. I did not like reviewing.

Of all my occupations at this period I am free to confess I liked that of compiling the Newgate Lives and Trials the best; that is, after I had surmounted a kind of prejudice which I originally entertained. The trials were entertaining enough; but the lives—how full were they of wild and racy adventures, and in what racy, genuine language were they told! What struck me most with respect to these lives was the art which the writers, whoever they were, possessed of telling a plain story. It is no easy thing to tell a story plainly and distinctly by mouth; but to tell one on paper is difficult indeed, so many snares lie in the way. People are afraid to put down what is common on paper, they seek to embellish their narratives, as they think, by philosophic speculations and reflections; they are anxious to shine, and people who are anxious to shine can never tell a plain story. 'So I went with them to a music booth, where they made me almost drunk with gin, and began to talk their flash language, which I did not understand,' says, or is made to say, Henry Simms, executed at Tyburn some seventy years before the time of which I am speaking. I have always looked upon this sentence as a masterpiece of the narrative style, it is so concise and yet so very clear. As I gazed on passages like this, and there were many nearly as good in the Newgate lives, I often sighed that it was not my fortune to have to render these lives into German rather than the publisher's philosophy—his tale of an apple and pear.

Mine was an ill-regulated mind at this period. As I read over the lives of these robbers and pickpockets, strange doubts began to arise in my mind about virtue and crime. Years before, when quite a boy, as in one of the early chapters I have hinted, I had been a necessitarian; I had even written an essay on crime (I have it now before me, penned in a round boyish hand), in which I attempted to prove that there is no such thing as crime or virtue, all our actions being the result of circumstances or necessity. These doubts were now again reviving in my mind; I could not, for the life of me, imagine how, taking all circumstances into consideration, these highwaymen, these pickpockets, should have been anything else than highwaymen and pickpockets; any more than how, taking all circumstances into consideration, Bishop Latimer (the reader is aware that I had read Foxe's Book of Martyrs) should have been anything else than Bishop Latimer. I had a very ill-regulated mind at that period.

My own peculiar ideas with respect to everything being a lying dream began also to revive. Sometimes at midnight, after having toiled for hours at my occupations, I would fling myself back on my chair, look about the poor apartment, dimly lighted by an unsnuffed candle, or upon the heaps of books and papers before me, and exclaim,—'Do I exist? Do these things, which I think I see about me, exist, or do they not? Is not everything a dream—a deceitful dream? Is not this apartment a dream—the furniture a dream? The publisher a dream—his philosophy a dream? Am I not myself a dream—dreaming about translating a dream? I can't see why all should not be a dream; what's the use of the reality?' And then I would pinch myself, and snuff the burdened smoky light. 'I can't see, for the life of me, the use of all this; therefore why should I think that it exists? If there was a chance, a probability, of all this tending to anything, I might believe; but—' and then I would stare and think, and after some time shake my head and return again to my occupations for an hour or two; and then I would perhaps shake, and shiver, and yawn, and look wistfully in the direction of my sleeping apartment; and then, but not wistfully, at the papers and books before me; and sometimes I would return to my papers and books; but oftener I would arise, and, after another yawn and shiver, take my light, and proceed to my sleeping chamber.

They say that light fare begets light dreams; my fare at that time was light enough; but I had anything but light dreams, for at that period I had all kind of strange and extravagant dreams, and amongst other things I dreamt that the whole world had taken to dog-fighting; and that I, myself, had taken to dog-fighting, and that in a vast circus I backed an English bulldog against the bloodhound of the Pope of Rome.

Saturday 8 June 2024

Good Reading: letter from Robert E. Howard to Robert H. Barlow (in English)

Dear Mr. Barlow:

Thank you very much for the copy of the Goblin Tower; a neat, attractive job of printing and binding which does credit to Long's splendid verse.

Robert E. Howard  

(17th December 1935.)

Friday 7 June 2024

Friday's Sung Word: "Renúncia em Prantos" by Cândido das Neves (in Portuguese)

 music by Juca Kalut.

Sim, disseste que chorei
Quando jurei no auge da dor
Buscar alento
No esquecimento
E o pensamento
Jamais envenenar com teu amor.
E assim os pobres olhos meus
Sem os teus,
Sentindo a inclemência
Da ausência,
Dor que eu não previ
Tiveram a covardia
De chorar por ti.

Foram-se os ais, mas nunca mais
Os versos meus que foram teus
Tu ouvirás,
Hei de sorver, todo o amargor
Mas o teu amor tudo farei
Para esquecer.
Meu coração,
Como um vulcão,
Extinto a tempos
Na algidez de tua mão,
Saudades tem,
Chora porém,
Já não palpita por ninguém.

Para o teu amor
Minha saudade é quase vã,
Quem sabe se amanhã
Eu já não pense em ti,
Diga que eu sofri
Se um dia alguém te perguntar
Se eu te soube amar
Diga que amando enlouqueci.

Mas que essa loucura
O nome teu fez-me olvidar,
Diga que a cantar
Qual doido corifeu,
Desfiz um verso meu
Em flores rubras e depus
Aos pés de um grande amor,
Junto a uma cruz.

 

You can listen "Renúncia em Prantos" sung by Vicente Celestino here.

Thursday 6 June 2024

Thursday's Serial: "Babes in Toyland" by Glen MacDonough (in English) - I

 

A Musical Comedy in three acts.

Book & Lyrics by Glen MacDonough

Music by Victor Herbert

Produced 13 Oct. 1903, at the Majestic Theatre in New York, but this is a later version [undated].

 

CAST


UNCLE BARNABY, A rich miser.

ALAN, His nephew.

JANE, His niece.

THE WIDOW PIPER, A lonely widow with fourteen children.

TOM TOM, Her eldest son.

CONTRARY MARY, Her eldest daughter.

HILDA, A maid of all work for the Piper family.

RODERIGO, a ruffian

GONZORGO, a ruffian

14 Widow Piper's Children

JILL

BOY BLUE

BO PEEP

MISS MUFFETT

SIMPLE SIMON

CURLY LOCKS

BOBBY SHAFTON

SALLIE WATERS

RED RIDING HOOD, and etc.

THE GIANT SPIDER

THE MASTER TOY MAKER

GRUMIO, His assistant.

INSPECTOR MARMADUKE, of the Toyland Police.


 

----------

 

ACT I

SCENE I: The scene shows the garden of Contrary Mary near the Widow Piper's home. A cask of ale and decorations and pennats and bunting suggest a fete. A party of peasants as the scene is revealed. No. 1. -- Country Dance and entrance of the Chorus. UNCLE BARNABY enters at the end of the dance, smirking and bowing right and left. The peasants snub him.

Barnaby - Enjoy yourselves, enjoy yourselves, my dear friends. I am delighted to see you so happy. Are the Piper children here - and especially Contrary Mary?

Jill - No, Master Barnaby, Mary didn't come to the Fete.

Barnaby -  That's strange, I'm giving it to please her -- and to make you all a little fonder of me.

Jill - Why, are you our host?

Barnaby -  Yes.

Jill - (To the crowd) - Only yesterday he seized poor old Mother Hubbard's house and turned her into the road, all for a debt of a few shillings! (Crowd jeer at Barnaby)

1st Girl (To the crowd) - Let's finish the afternoon by putting Barnaby under the town pump!

All - Hurrah! (Start to take Barnaby away. TOM TOM enters up R.)

Jill -  Hi! Tom Tom, just in time!

Tom (Coming down C.) - What for?

Barnaby (Rushing to Tom) - To save me from the town pump! Stop 'em, my boy, stop 'em, don't let 'em hurt your future brother-in-law!

Tom (At C. laughing) - What you? Which of my sisters had caught your miserly eye?

Barnaby (Ecstatically) - It's Mary --willful, but entrancing Mary!

Tom (Derisively) - YOU want to marry Contrary Mary? You might as well try to turn off the sun and blow out the stars! (All laugh) But let him go, friends, as a favor to me! We may be relatives yet. (Goes down L.)

Barnaby (L.C.) - Ah! Then there's hope for me with Contrary Mary?

Tom Not a gleam, but some day, you may be my uncle-in-law!

Barnaby (With pretended grief) If you mean my niece Jane? She and Alan are at the bottom of the sea.

Tom - I don't believe it!

Barnaby (Mopping eyes with handkerchief) - They'll never come back to their broken-hearted Uncle Barnaby! (TOM TOM goes up stage)

Jill - And what's their broken-hearted Uncle Barnaby going to do with their fortune?

(CROWD again gathers around Barnaby)

Barnaby (Hypocritically) - I'm keeping it for them --the law forces me to do tat.

Jill -Trust you to take good care of money. You skinflint! But you'll be wise if you take better care to keep out of our way hereafter. Now go! (They all jeer and threaten him. BARNABY is chased off up R. He exits, followed by Jill & all. TOM picks up his staff and bundle from steps of house. HILDA enters from house left.)

Hilda - Master Tom Tom where are you going?

Tom - Hilda, I'm going to find the girl I'm in love with - Jane.

Hilda - Old Barnaby's niece? ---(Gonzorgo and Roderigo enter up right) But wasn't she lost at sea with her brother Alan?

Tom - Old Barnaby says so, and that's why I don't believe it.

Gonzorgo (Dropping down to him) - But me and my sad faced companion can prove it. We were the sole survivors of the wreck.

Tom - And who are you?

Gonzorgo - I was in charge of the ship, my name is Gonzorgo. (Pointing to Roderigo.) This is my mate and friend to boot.

Roderigo - Yes, friend to boot!

Gonzorgo - We swear by our right hands (They raise left hands) everyone was lost on the ship but us.

Hilda - I don't think they're telling the truth!

Tom - Nor do I! (Looking instantly at both of them) I remember seeing you two some place before, where was it?

Roderigo - You don't by any chance go in for the three B's do you?

Gonzorgo - Yes, the three B's. Bridge, Bank Nite and Bingo!

Tom (Pointing at Gonzorgo) - I saw you at the Village Fair. You were running the carasel. And you offered to wager you could pick the horse that would come in first.

Gonzorgo (Drawing sword) - You can't accuse us of cheating, it must have been two other scoundrels. Defend yourself! (Attacks TOM, who parries with his staff and knocks Gon's sword from his hand as WIDOW PIPER enters from the house L.)

Hilda (Running to her) - Oh, Mrs. Piper, you're just in time!

Widow (Coming down C.) - Tom, don't be rude to the gentleman!

Gonzorgo (Gallantly) - Madam, is he your little boy?

Widow - Yes, he is the black sheep of our family -- but I love him!

Gonzorgo - He can't be the white-haired boy and still a black sheep.

Roderigo - Maybe she's color blind.

Gonzorgo - Because of that, I spare him. (Picks up sword, Tom and Hilda go up stage)

Widow - Accept the blessings of a lonely widow!

Gonzorgo (Elbowing Roderigo away) - Have you been lonely long?

Widow - Two years.

Roderigo (Pointing to Tom) - And have you only the white-haired black sheep to love?

Widow - No, he has 13 sisters and brothers who need a father's care.

Roderigo - That's a lot of work for one caretaker.

Gonzorgo - Fourteen children! And - (Points to house) Is this where you call the Convention to order?

Widow - Yes, Mr. Piper left us very well off. And this is our cottage. (Gonzorgo and Roderigo look at each other)

Gonzorgo (Turns to Widow) - I adore the country, don't you?

Widow - I have to.

Roderigo - Why?

Widow - Did you ever try to rent an apartment in the City with 14 children?

Gonzorgo (Tenderly) - And when the nestlings have all flown away, have you ever thought of mating once again?

Widow - Well, of course I've had my moments. Will you gentlemen enter and partake of some refreshments?

Gonzorgo & Roderigo - Will we!? We will.

Widow - I married once for money. If I wed again, it will have to be an artist, a poet, or a hero.

Roderigo - I'm not an expert accountant, but did you say you had 14 children?

Widow - Yes, fourteen.

Gonzorgo - Your second husband would have to be a hero. (The three exeunt into house left)

Hilda (To Tom) - I'll look for the children, Master Tom, and tell them you're going away.

Tom - Thank you, Hilda. (Hilda exits up Left. Bo Peep enters right, dejectedly) Why, sister Bo Peep, you have the saddest face I've ever seen.

Bo Peep - I missed most of the party, because I lost my sheep.

Tom - That's nothing for you to feel sheepish about - don't cry, little Bo Peep, don't cry.

SONG #2: Tom, Bo Peep, Piper children & Chorus. During the song, Jill and other Piper children enter. After number.

Tom - I've just found out why old Barnaby is paying for this party.

All - Why?

Tom - He wants everybody on hand to hear his engagement announcement.

Bo Peep - Engagement? To whom?

Tom - Contrary Mary.

Bo Peep - Oh, Mary hasn't gone and done a dreadful thing like that?

Tom - Not yet. But mother's set on the match, and is going to announce the engagement anyway. (All express anger)

Jill - Let Barnaby keep his old party! I'm going back to tidy up the stable! (Starts up L. to exit. Others stop her.)

Bo Peep - Party! He can't buy us with lemonade and chocolate eclaires, can he girls?

All - No! (Jill sits on stage down L.C.)

Tom - I hope all of you will keep out of trouble till I get back. (Starts up Right)

All - Where are you going?

Tom - Away this very hour to look for Jane!

Miss Moffett (One of the Piper children) - Do keep out of that awful forest! They say there's a veil in it filled with spiders.

Tom - I will, Little Miss Moffett, no spiders for you eh? I know how tough it was on the tuffet.

Miss Moffett - (Shuddering) I don't like to see spiders. When you've seen one of them you've seen them all.

Tom - Well I'm off on my hunt for Jane. Who'll go as far as the turn of the road with me? (Starts up right)

All - All of us!

(HILDA enters from house left, with small package in hand)

Hilda - Wait, Master Tom, you mustn't go around the world hungry. Here's a box of sandwiches with jelly and pickle.

Tom - Thank you, Hilda. And good-bye! Come along, boys and girls. (Exits with ALL except HILDA and Jill)

Hilda - (Waving to Tom) Goodbye! Goodbye! Just think, he's leaving his native home land. He'll be like a man without a country. What can be worse than that!

Jill - Nothing "except a country without a man".

Hilda - He's going around the world to find his sweetheart. (JANE ENTERS up L. in gypsy boy's costume)

Jill - And everybody knows that Jane is under the ocean.

Jane - Everybody except Jane!

Hilda - You? It isn't you, is it?

Jane - Hilda, it simply can't be anybody else!

Hilda - (Embracing her) Where's Alan?

Jane - He stopped to pin up a tear in his skirt.

Jill - Skirt?

Jane - After the shipwreck, our clothes were in tatters-- but we met a band of gypsies that gave us what clothing they could spare. And we had to arrange it thus. (Indicates costume)

Hilda - (Pointing off L.) And here's Alan, a regular gypsy!

(ALAN enters dressed as a gypsy girl with tambourine swinging from waist.)

Alan - Hilda and Jill! Would you know me?

Hilda - Never, Alan, if I hadn't been told.

Alan - I am Floretta - until further notice--Floretta, the Fawn of the Forest. (Pirouettes)

Jane - (To Hilda) How is our Uncle Barnaby?

Jill - (At C) Your Uncle Barnaby is well.

Alan - (Eagerly) And Contrary Mary?

Hilda - (With meaning) Still waiting for a certain young man to come back from being drowned.

Jane - Where's Tom Tom?

Hilda - (Goes up R) Just started to find you. Quick! If he hasn't gone too far, we can catch him! (Points off R)

Jane - Don't go away, Alan, and look out for the Widow Piper. Remember you're not too popular, with Mary's mother. Hilda and Jill, let's hurry! (HILDA, JILL & JANE EXEUNT quickly up right)

(THE WIDOW PIPER enters from house)

Alan - Ah. here you are now!...I mean, do you want your palm read?

Widow - A gypsy! Yes I will have my fortune told. Can you tell fortunes?

Alan - Better than an income tax collector. I peek into the future at 25 cents a peek. (WIDOW gives Alan money)

Widow - There, peek for me!

Alan - (Looks at her hand) Your name is Piper! You've had an unfortunate marriage.

Widow - Can you tell that by the lines in my hand?

Alan - No, by the lines under your eyes. Your husband is dead. He was not very handsome, he had A. & P. eyes. One eye faced the Atlantic and one eye faced the Pacific. You have a daughter named Mary. She should marry a young man whose name begins with A. He has a lovely character, is charming, gifted and attractive.

Widow - If you're talking about a wretched, no-account young fool named Alan, you're all wrong.

Alan - No, I am -- that is he is -a character every one could love. I'd even love him myself,-- that is, if I knew him.

Widow - I don't think this is such a very good reading.

Alan - I could do better with tea leaves....if you could bring me a cup of tea....and perhaps some hot biscuits...I also read the future by hot buttered biscuits.

Widow - Go ahead, Gypsy, and tell me more about myself. (Gonzorgo enters from house.)

I have two suitors - which shall I marry?

Alan - I must see them first. (Widow points to Gonzorgo)

Widow - There is one!

Alan - Well, if that is one, I'd advise you to take the other.

Gonzorgo - What have we here, a gypsy?

Widow - Yes. Let her read your hand.

Gonzorgo - (To Alan) I give you my hand, to find out if she- (Indicating widow) Will give me her hand.

Alan - But first you must take off your glove.

Gonzorgo - I'm not wearing gloves, my hands are sunburned.

Alan - (Examining his hand) Yes, expecially the palms. (Looks in hand) Oh, I can't go on! After you've had your hands read will your face be red!

Gonzorgo - I know you see there a mad love and devotion.

Alan - Yes, I can see you returning home at night and this lady with her fourteen children, waiting to greet you on the front porch.

Gonzorgo - Yes...

Alan - Yes, and your present wife and triplets waiting for you on the back porch!

Widow - Gonzorgo! You! You are married?

Gonzorgo - Well, yes, and no!

Widow - Make up your mind!

Alan - He has a wife. And his wife's feet are always so tired, her toes want to turn in!

Gonzorgo - It's false. (To Widow) Dost doubt Gonzorgo?

Widow - I dost.

Alan - (To Gonzorgo) She dosts, and the sooner you dust the better.

Widow - (To Alan) You don't know what a service you've done me, you've torn the mask from his face. Thank you so much, thank you so much, Floretta, the Fawn! (EXITS INTO HOUSE)

Gonzorgo - (Turning to Alan) So, you are the Fawn! --Well, there goes my deer and my doe! You are a gypsy with the accent on the gyp. (EXITS into house)

Alan - Not bad, for the Fawn of the forest. (Pirouettes)

(HILDA & JANE enter up R)

Jane - (To Alan) We couldn't find Tom Tom.

Hilda - If you need any clothes the children have plenty to spare. (Female chorus begins to enters)

(JANE remains on)

Alan - (to Hilda) Get me some boys togs. I feel it would be well for Floretta to vanish. (HILDA EXITS into house L.)

1st Girl - A gypsy!

2nd Girl - Perhaps a fortune-teller!

1st Girl - Do you tell fortunes?

Alan - Do I? It was destined by the stars that I was to be a fortune- teller. My father was born under the sign of the crab, and I was born under the sign of the bull. I can tell you everything except the size of the National debt.

SONG: #3. "FLORETTA" (ALAN and singing CHORUS all exeunt after song)

(EIGHT DANDIES enter right.)

1st Dandy - I don't see anything of her anywhere.

2nd Dandy - Contrary Mary always works at her garden at this house. (HILDA enters from house)

1st Dandy - Is Miss Mary at home?

Hilda - No, she's at school. She's taking a course in domestic silence.

2nd Dandy - You mean domestic science.

Hilda - No, she's going to cooking school.

1st Dandy - We merely dropped in to inquire about her garden.

Hilda - It's doing very well, thank you.

(BO PEEP and other piper children enter)

Bo Peep - Oh, look, aren't you Mary's Beaux?

All - We are!

Hilda - There's quite a crowd to see Mary.

(MARY enters)

Mary - And I just love crowds!

All the Beaux - Mary!

Mary - I'm glad to see you all collectively. Won't you make yourselves at home?

1st Beau - Mary, is it true that you are going to marry?

Mary - Of course I'm going to marry....

All - Oh!

Mary - That is - some day! I don't know when or to whom!

2nd Beau - Can't you make a choice now?

1st Beau - Yes, each one of us is proposing to you.

Mary - I'll consider your offer. But here's what I expect from the man I could really love.

SONG: #4. (Cho. of Dandies and Children, and Dance)

(All exeunt on number except MARY. Enter BARNABY up right with large bouquet.)

Barnaby - (Tendering bouquet) Here, pretty one, is a bunch of pretty blosoms, and I only wish they were as pretty as you.

Mary - (Takes bouquet indifferently) Thank you.

Barnaby - I've hidden a tender little note in that bouquet. I'll go away and let it speak for me. (Goes R)

Mary - Oh, say it yourelf, and have it over with!

Barnaby - (Pulling bench on R) Sit down. (They sit on bench) Don't be cruel, Mary. Won't you marry me? (Takes her hand) I know the bloom is no longer on my cheek---

Mary - (Withdrawing hand) Pardon me, but there's nothing wrong with your cheek.

Barnaby - (Angrily, rises) You may be treating me this way in the hopes that Alan will come back and marry you. Take my word for it, you'll never see him again.

Mary - (Throws bouquet away) How I wish I could say the same of you. (GONZORGO and RODERIGO enter from house)

Barnaby - Here's proof! The very men in whose tender care I placed my niece and nephew. Now do you believe me?

Mary - I'll neither believe you nor marry you! (Starts toward house) Not if you were the last man on earth! Not if you gave me steam yachts - castles, or the richest jewelry. My foot is down! That foot -- the other foot -- both feet! (Exits into house)

Gonzorgo - Well, are you ready to settle with your silent partners?

Barnaby - I don't understand you.

Gonzorgo - (To him) You can hear us, even if we are your silent partners. And here's what we want to broadcast to you. How about our contract to get rid of your niece and nephew?

Barnaby - What have you done with Jane and Alan?

Gonzorgo - They are now playing harps with Saint Pete and his golden Gaters. (Roderigo sobs) We chartered an old dilapidated schooner and we lured Alan and Jane on board, we told them it was the show boat. (Roderigo sobs) The boat was an old dilapidated wreck that we christened "Static". We knew the schooner would soon be under the foam. (Roderigo sobs) The weather bureau said it would be clear weather but we knew they were wrong as usual. Soon it began to rain - it rained cats and dogs, - I know because I stepped in several poodles. (Roderigo sobs) We knew if the storm struck -- the waves would strike -- and the crew would go on a sit-down strike. Well, IT did - - they did -- and we did. Down went the hull of the Ship. (Roderigo sobs)

Roderigo - You mean the whole of the ship.

Gonzorgo - Hull or whole- what is a little pronunciation among friends? The ship sank! And everyone but us two are now sleeping on the ocean bed with oysters as pillows. (Barnaby suddenly begins to sob) What are you crying for?

Barnaby - I've seen the last of my little charges.

Gonzorgo - And now you'll see the first of ours. (Presents bills)

Barnaby - A bill?

Gonzorgo - My little charges for disposing of your little charges. (Hands bill to Barnaby)

Barnaby - (Reading it) 500 dollars!?

Roderigo - For scuttling one ship.

Barnaby - What part of it did you do?

Roderigo - I was 1st vice-president in charge of the scuttle department.

Barnaby - Follow me down to my office, I am the manager of the T.C.N.P.U. --Finance Company. There is much money in my vault.

Gonzorgo - The T.C.N.P.U. finance company? What does the T.C.N.P.U. stand for?

Barnaby - They Can Never Pay Up! (All three exeunt right)

(JANE & ALAN enter in school children's dress, from house.)

Alan - Remember Jane, when we meet Mary, two is company, and three - is a conference.

Jane - Don't worry. I know when I'm not wanted. (Sees bouquet left by Barnaby. Picks it up) What a pretty bouquet! (Sniffs at it) M'm. How sweet! (Hands it to Alan)

Alan - (Sniffing bouquet) Wonder where it came from. What's this? (Takes card from heart of bouquet) A card. (Glances at it)

Jane - What is it?

Alan - (Throws bouquet away angrily, reads card) "To darling Mary". "From her future husband."

Jane - Oh, Alan! In your absence have you been jilted?

Alan - I'll never speak to her again!

Mary - (Backing in from house and calling off) I won't dress for the party, I won't! I won't!

Alan - (Signals to Jane, who exits) (Mary turns sees Alan)

Mary - Alan!

Alan - Oh Mary! (With a sudden change of manner) How do you do, Miss Piper?

Mary - (Stiffly) Very well, thank you. Don't you think we need rain?

Alan - Yes--a change. Some people can't get along with change. (Pointing to bench) Won't you sit down?

Mary - Thank you. (They sit stiffly)

Alan - I haven't seen you for some time.

Mary - You've been away, haven't you?

Alan - Have you really noticed it?

Mary - It just occurred to me.

Alan - It's a warm day.

Mary - What?

Alan - Chilly, isn't it?

Mary - Very. (Archly) I think I need something around me. (Repeats louder) I think I need something around me.

Alan - (Coldly) I heard what you said. (Slides to other end of bench)

Mary - Alan, I don't understand such behavior.

Alan - Better ask your future husband to explain it!

Mary - My future husband? Who is he?

Alan - Who is he? Is this a guessing contest?

Mary - What do you mean? (Rises - going L.C.)

Alan - You're somebody's darling, an old man's darling, perhaps a nice lovely old man with millions!

Mary - Oh, don't you think you're smart?

Alan - There's my reason. (Shows card he has taken from bouquet)

Mary - It isn't so! I don't know who wrote this, and you're just horrid to believe it!

Alan - I've got to believe my eyes.

Mary - You believe your eyes before you believe me? Then I've found you out in time. You never loved me--and--don't you dare to ever speak to me again!

Alan - Good-bye, forever!

Mary - Good-bye, forever! (Neither moves)

Alan - I heard what you said.

Mary - Oh, did you? Well, this time it is goodbye forever! And when I say forever I mean definitely! Goodbye! (Looks at Alan, exits into house.)

(JANE enters up L.)

Jane - What did Mary do to you, Alan?

Alan - She didn't do anything to me, but she loves somebody else. I'm going to take my part of the fortune Uncle Barnaby is keeping for us, and go far far away!

Jane - I'll get my money from him too, and I'll go with you.

Alan - Where?

Jane - I don't know, don't you?

Alan - Let's get a map and stick a pin in it, and whever the pin sticks, we'll go!

Jane - I've got a pin. (Producing one)

Alan - I have one too. (Produces another)

(BARNABY enters right; sees them, is startled)

Barnaby - What is this--why--?

Jane - We're glad to see you.

Alan - And we want our money.

Barnaby - (Recoiling) Ghosts, they can't be alive, ghosts!! Take them away!

Alan - Will you pay us our money?

Barnaby - No, no, you are dead. Go away! Ghosts!

Alan - We'll show you how alive we are. Present arms! (He and Jane draw pins.) Attack! (They start after Barnaby with pins and he runs in terror and exits)

(As they chase him off Black Out)

(As in original or Alan & Jane remain on as Barnaby rushes off)

Jane - We almost stuck him for the money. Are you still going to travel?

Alan - Yes. Although we'll be homeless rovers on the highway.

They sing - We're too little trailers

Trailing around

And no parking space any place have we found.

Without any definite home.

We're two birds of passage -

Where can we light?

And where is the nest - we can rest for the night?

But it's all right wherever we're bound

Two trailers just trailing around.

(lights dimmer down on them and Change to Scene II)

 

Wednesday 5 June 2024

Good Reading: "La vita del mie amor non è ’l cor mio" by Michelangelo Buonarroti (in Italian)

 La vita del mie amor non è ’l cor mio,
c’amor di quel ch’i’ t’amo è senza core;
dov’è cosa mortal, piena d’errore,
esser non può già ma’, nè pensier rio.
  Amor nel dipartir l’alma da Dio
me fe’ san occhio e te luc’ e splendore;
nè può non rivederlo in quel che more
di te, per nostro mal, mie gran desio.
  Come dal foco el caldo, esser diviso
non può dal bell’etterno ogni mie stima,
ch’exalta, ond’ella vien, chi più ’l somiglia.
  Poi che negli occhi ha’ tutto ’l paradiso,
per ritornar là dov’i’ t’ama’ prima,
ricorro ardendo sott’alle tuo ciglia.