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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/5790-0.txt b/5790-0.txt new file mode 100644 index 0000000..8d51d7f --- /dev/null +++ b/5790-0.txt @@ -0,0 +1,1554 @@ +The Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Aria da Capo + +Author: Edna St. Vincent Millay + +Release Date: May, 2004 [EBook #5790] +Posting Date: May 31, 2009 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + + + + +Produced by David Starner + + + + + + + +ARIA DA CAPO + +A PLAY IN ONE ACT + +Copyright, 1920 + +By Edna St. Vincent Millay + +Printed in the U. S. A. + + + +PERSONS + +Pierrot + +Columbine + +Cothurnus, Masque of Tragedy + +Thyrsis -\ + Shepherds +Corydon -/ + + + [Scene: A stage] + + [The curtain rises on a stage set for a Harlequinade, a merry + black and white interior. Directly behind the footlights, and + running parallel with them, is a long table, covered with a gay + black and white cloth, on which is spread a banquet. At the + opposite ends of this table, seated on delicate thin‐legged + chairs with high backs, are Pierrot and Columbine, dressed + according to the tradition, excepting that Pierrot is in lilac, + and Columbine in pink. They are dining.] + +COLUMBINE: Pierrot, a macaroon! I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! . . . Is it Tuesday, Columbine?— +I’ll kiss you if it’s Tuesday. + +COLUMBINE: It is Wednesday, +If you must know . . . . Is this my artichoke, +Or yours? + +PIERROT: Ah, Columbine,—as if it mattered! +Wednesday . . . . Will it be Tuesday, then, to‐morrow, +By any chance? + +COLUMBINE: To‐morrow will be—Pierrot, +That isn’t funny! + +PIERROT: I thought it rather nice. +Well, let us drink some wine and lose our heads +And love each other. + +COLUMBINE: Pierrot, don’t you love +Me now? + +PIERROT: La, what a woman!—how should I know? +Pour me some wine: I’ll tell you presently. + +COLUMBINE: Pierrot, do you know, I think you drink too much. + +PIERROT: Yes, I dare say I do. . . . Or else too little. +It’s hard to tell. You see, I am always wanting +A little more than what I have,—or else +A little less. There’s something wrong. My dear, +How many fingers have you? + +COLUMBINE: La, indeed, +How should I know?—It always takes me one hand +To count the other with. It’s too confusing. +Why? + +PIERROT: Why?—I am a student, Columbine; +And search into all matters. + +COLUMBINE: La, indeed?— +Count them yourself, then! + +PIERROT: No. Or, rather, nay. +’Tis of no consequence. . . . I am become +A painter, suddenly,—and you impress me— +Ah, yes!—six orange bull’s‐eyes, four green pin‐wheels, +And one magenta jelly‐roll,—the title +As follows: Woman Taking in Cheese from Fire‐Escape. + +COLUMBINE: Well, I like that! So that is all I’ve meant +To you! + +PIERROT: Hush! All at once I am become +A pianist. I will image you in sound. . . . +On a new scale. . . , Without tonality. . . +Vivace senza tempo senza tutto. . . . +Title: Uptown Express at Six O’Clock. +Pour me a drink. + +COLUMBINE: Pierrot, you work too hard. +You need a rest. Come on out into the garden, +And sing me something sad. + +PIERROT: Don’t stand so near me! +I am become a socialist. I love +Humanity; but I hate people. Columbine, +Put on your mittens, child; your hands are cold. + +COLUMBINE: My hands are _not_ cold! + +PIERROT: Oh, I am sure they are. +And you must have a shawl to wrap about you, +And sit by the fire. + +COLUMBINE: Why, I’ll do no such thing! +I’m hot as a spoon in a teacup! + +PIERROT: Columbine, +I’m a philanthropist. I know I am, +Because I feel so restless. Do not scream, +Or it will be the worse for you! + +COLUMBINE: Pierrot, +My vinaigrette! I cannot _live_ without +My vinaigrette! + +PIERROT: My only love, you are +_So_ fundamental! . . . How would you like to be +An actress, Columbine?—I am become +Your manager. + +COLUMBINE: Why, Pierrot, _I_ can’t act. + +PIERROT: Can’t act! Can’t act! La, listen to the woman! +What’s that to do with the price of furs?—You’re blonde, +Are you not?—you have no education, have you?— +Can’t act! You underrate yourself, my dear! + +COLUMBINE: Yes, I suppose I do. + +PIERROT: As for the rest, +I’ll teach you how to cry, and how to die, +And other little tricks; and the house will love you. +You’ll be a star by five o’clock . . . that is, +If you will let me pay for your apartment. + +COLUMBINE: _Let_ you?—well, that’s a good one! +Ha! Ha! Ha! +But why? + +PIERROT: But why?—well, as to that, my dear, +I cannot say. It’s just a matter of form. + +COLUMBINE: Pierrot, I’m getting tired of caviar +And peacocks’ livers. Isn’t there something else +That people eat?—some humble vegetable, +That grows in the ground? + +PIERROT: Well, there are mushrooms. + +COLUMBINE: Mushrooms! +That’s so! I had forgotten . . . mushrooms . . . mushrooms. . . . +I cannot _live_ with . . . How do you like this gown? + +PIERROT: Not much. I’m tired of gowns that have the waist‐line +About the waist, and the hem around the bottom,— +And women with their breasts in front of them!— +Zut and ehè! Where does one go from here! + +COLUMBINE: Here’s a persimmon, love. You always liked them. + +PIERROT: I am become a critic; there is nothing +I can enjoy. . . . However, set it aside; +I’ll eat it between meals. + +COLUMBINE: Pierrot, do you know, +Sometimes I think you’re making fun of me. + +PIERROT: My love, by yon black moon, you wrong us both. + +COLUMBINE: There isn’t a sign of a moon, Pierrot. + +PIERROT: Of course not. +There never was. “Moon’s” just a word to swear by. +“Mutton!”—now _there’s_ a thing you can lay the hands on, +And set the tooth in! Listen, Columbine: +I always lied about the moon and you. +Food is my only lust. + +COLUMBINE: Well, eat it, then, +For Heaven’s sake, and stop your silly noise! +I haven’t heard the clock tick for an hour. + +PIERROT: It’s ticking all the same. If you were a fly, +You would be dead by now. And if I were a parrot, +I could be talking for a thousand years! + + [Enter COTHURNUS.] + +PIERROT: Hello, what’s this, for God’s sake?— +What’s the matter? +Say, whadda you mean?—get off the stage, my friend, +And pinch yourself,—you’re walking in your sleep! + +COTHURNUS: I never sleep. + +PIERROT: Well, anyhow, clear out. +You don’t belong on here. Wait for your own scene! +Whadda you think this is,—a dress‐rehearsal? + +COTHURNUS: Sir, I am tired of waiting. I will wait +No longer. + +PIERROT: Well, but whadda you going to do? +The scene is set for me! + +COTHURNUS: True, sir; yet I +Can play the scene. + +PIERROT: Your scene is down for later! + +COTHURNUS: That, too, is true, sir; but I play it now. + +PIERROT: Oh, very well!—Anyway, I am tired +Of black and white. At least, I think I am. + + [Exit COLUMBINE.] + +Yes, I am sure I am. I know what I’ll do!— +I’ll go and strum the moon, that’s what I’ll do. . . . +Unless, perhaps . . . you never can tell . . . I may be, +You know, tired of the moon. Well, anyway, +I’ll go find Columbine. . . . And when I find her, +I will address her thus: “Ehè, Pierrette!”— +There’s something in that. + + [Exit PIERROT.] + +COTHURNUS: You, Thyrsis! Corydon! +Where are you? + +THYRSIS: [Off stage.] Sir, we are in our dressing‐room! + +COTHURNUS: Come out and do the scene. + +CORYDON: [Off stage.] You are mocking us!— +The scene is down for later. + +COTHURNUS: That is true; +But we will play it now. I am the scene. +[Seats himself on high place in back of stage.] + + [Enter CORYDON and THYRSIS.] + +CORYDON: Sir, we are counting on this little hour. +We said, “Here is an hour,—in which to think +A mighty thought, and sing a trifling song, +And look at nothing.”—And, behold! the hour, +Even as we spoke, was over, and the act begun, +Under our feet! + +THYRSIS: Sir, we are not in the fancy +To play the play. We had thought to play it later. + +CORYDON: Besides, this is the setting for a farce. +Our scene requires a wall; we cannot build +A wall of tissue‐paper! + +THYRSIS: We cannot act +A tragedy with comic properties! + +COTHURNUS: Try it and see. I think you’ll find you can. +One wall is like another. And regarding +The matter of your insufficient mood, +The important thing is that you speak the lines, +And make the gestures. Wherefore I shall remain +Throughout, and hold the prompt‐book. Are you ready? + +CORYDON‐THYRSIS: [Sorrowfully.] Sir, we are always ready. + +COTHURNUS: Play the play! + + [CORYDON and THYRSIS move the table and chairs to one side out + of the way, and seat themselves in a half‐reclining position + on the floor.] + +THYRSIS: How gently in the silence, Corydon, +Our sheep go up the bank. They crop a grass +That’s yellow where the sun is out, and black +Where the clouds drag their shadows. Have you noticed +How steadily, yet with what a slanting eye +They graze? + +CORYDON: As if they thought of other things. +What say you, Thyrsis, do they only question +Where next to pull?—Or do their far minds draw them +Thus vaguely north of west and south of east? + +THYRSIS: One cannot say. . . . The black lamb wears its burdocks +As if they were a garland,—have you noticed? +Purple and white—and drinks the bitten grass +As if it were a wine. + +CORYDON: I’ve noticed that. +What say you, Thyrsis, shall we make a song +About a lamb that thought himself a shepherd? + +THYRSIS: Why, yes!—that is, why,—no. (I have forgotten my line.) + +COTHURNUS: [Prompting.] “I know a game worth two of that!” + +THYRSIS: Oh, yes. . . . I know a game worth two of that! +Let’s gather rocks, and build a wall between us; +And say that over there belongs to me, +And over here to you! + +CORYDON: Why,—very well. +And say you may not come upon my side +Unless I say you may! + +THYRSIS: Nor you on mine! +And if you should, ’twould be the worse for you! + + [They weave a wall of colored crêpe paper ribbons from the + centre front to the centre back of the stage, fastening the + ends to COLUMBINE’S chair in front and to PIERROT’S chair in + the back.] + +CORYDON: Now there’s a wall a man may see across, +But not attempt to scale. + +THYRSIS: An excellent wall. + +CORYDON: Come, let us separate, and sit alone +A little while, and lay a plot whereby +We may outdo each other. +[They seat themselves on opposite sides of the wall.] + +PIERROT: [Off stage.] Ehè, Pierrette! + +COLUMBINE: [Off stage.] My name is Columbine! +Leave me alone! + +THYRSIS: [Coming up to the wall.] +Corydon, after all, and in spite of the fact +I started it myself, I do not like this +So very much. What is the sense of saying +I do not want you on my side the wall? +It is a silly game. I’d much prefer +Making the little song you spoke of making, +About the lamb, you know, that thought himself +A shepherd!—what do you say? + +[Pause.] + +CORYDON: [At wall.] (I have forgotten the line.) + +COTHURNUS: [Prompting.] “How do I know this isn’t a trick?” + +CORYDON: Oh, yes. . . . How do I know this isn’t a trick +To get upon my land? + +THYRSIS: Oh, Corydon, +You _know_ it’s not a trick. I do not like +The game, that’s all. Come over here, or let me +Come over there. + +CORYDON: It is a clever trick +To get upon my land. [Seats himself as before.] + +THYRSIS: Oh, very well! [Seats himself as before.] +[To himself.] I think I never knew a sillier game. + +CORYDON: [Coming to wall.] +Oh, Thyrsis, just a minute!—all the water +Is on your side the wall, and the sheep are thirsty. +I hadn’t thought of that. + +THYRSIS: Oh, hadn’t you? + +CORYDON: Why, what do you mean? + +THYRSIS: What do I mean?—I mean +That I can play a game as well as you can. +And if the pool is on my side, it’s on +My side, that’s all. + +CORYDON: You mean you’d let the sheep +Go thirsty? + +THYRSIS: Well, they’re not my sheep. My sheep +Have water enough. + +CORYDON: _Your_ sheep! You are mad, to call them +Yours—mine—they are all one flock! Thyrsis, you can’t mean +To keep the water from them, just because +They happened to be grazing over here +Instead of over there, when we set the wall up? + +THYRSIS: Oh, can’t I?—wait and see!—and if you try +To lead them over here, you’ll wish you hadn’t! + +CORYDON: I wonder how it happens all the water +Is on your side. . . . I’ll say you had an eye out +For lots of little things, my innocent friend, +When I said, “Let us make a song,” and you said, +“I know a game worth two of that!” + +COLUMBINE: [Off stage.] Pierrot, +D’you know, I think you must be getting old, +Or fat, or something,—stupid, anyway!— +Can’t you put on some other kind of collar? + +THYRSIS: You know as well as I do, Corydon, +I never thought anything of the kind. +_Don’t_ you? + +CORYDON: I _do_ not. + +THYRSIS: Don’t you? + +CORYDON: Oh, I suppose so. +Thyrsis, let’s drop this,—what do you say?—it’s only +A game, you know . . . we seem to be forgetting +It’s only a game ... a pretty serious game +It’s getting to be, when one of us is willing +To let the sheep go thirsty for the sake of it. + +THYRSIS: I know it, Corydon. + + [They reach out their arms to each other across the wall.] + +COTHURNUS: [Prompting.] “But how do I know—” + +THYRSIS: Oh, yes. . . . But how do I know this isn’t a trick +To water your sheep, and get the laugh on me? + +CORYDON: You can’t know, that’s the difficult thing about it, +Of course,—you can’t be sure. You have to take +My word for it. And I know just how you feel. +But one of us has to take a risk, or else, +Why, don’t you see?—the game goes on forever! . . . +It’s terrible, when you stop to think of it. . . . +Oh, Thyrsis, now for the first time I feel +This wall is actually a wall, a thing +Come up between us, shutting you away +From me. . . . I do not know you any more! + +THYRSIS: No, don’t say that! Oh, Corydon, I’m willing +To drop it all, if you will! Come on over +And water your sheep! It is an ugly game. +I hated it from the first. . . . How did it start? + +CORYDON: I do not know . . . I do not know . . . I think +I am afraid of you!—you are a stranger! +I never set eyes on you before! “Come over +And water my sheep,” indeed!—They’ll be more thirsty +Than they are now before I bring them over +Into your land, and have you mixing them up +With yours, and calling them yours, and trying to +keep them! + + [Enter COLUMBINE] + +COLUMBINE: [To COTHURNUS.] Glummy, I want my hat. + +THYRSIS: Take it, and go. + +COLUMBINE: Take it and go, indeed. Is it my hat, +Or isn’t it? Is this my scene, or not? +Take it and go! Really, you know, you two +Are awfully funny! + + [Exit COLUMBINE] + +THYRSIS: Corydon, my friend, +I’m going to leave you now, and whittle me +A pipe, or sing a song, or go to sleep. +When you have come to your senses, let me know. +[Goes back to where he has been sitting, lies down and sleeps.] + + [CORYDON, in going back to where he has been sitting, stumbles + over bowl of colored confetti and colored paper ribbons.] + +CORYDON: Why, what is this?—Red stones—and purple stones— +And stones stuck full of gold!—The ground is full +Of gold and colored stones! . . . I’m glad the wall +Was up before I found them!—Otherwise, +I should have had to share them. As it is, +They all belong to me. . . . Unless— + + [He goes to wall and digs up and down the length of it, + to see if there are jewels on the other side.] + +None here— +None here—none here—They all belong to me! +[Sits.] + +THYRSIS: [Awakening.] How curious! I thought the little black lamb +Came up and licked my hair; I saw the wool +About its neck as plain as anything! +It must have been a dream. The little black lamb +Is on the other side of the wall, I’m sure. + + [Goes to wall and looks over. CORYDON is seated on the ground, + tossing the confetti up into the air and catching it.] + +Hello, what’s that you’ve got there, Corydon? + +CORYDON: Jewels. + +THYRSIS: Jewels?—And where did you ever get them? + +CORYDON: Oh, over here. + +THYRSIS: You mean to say you found them, +By digging around in the ground for them? + +CORYDON: [Unpleasantly.] No, Thyrsis, +By digging down for water for my sheep. + +THYRSIS: Corydon, come to the wall a minute, will you? +I want to talk to you. + +CORYDON: I haven’t time. +I’m making me a necklace of red stones. + +THYRSIS: I’ll give you all the water that you want, +For one of those red stones,—if it’s a good one. + +CORYDON: Water?—what for?—what do I want of water? + +THYRSIS: Why, for your sheep! + +CORYDON: My sheep?—I’m not a shepherd! + +THYRSIS: Your sheep are dying of thirst. + +CORYDON: Man, haven’t I told you +I can’t be bothered with a few untidy +Brown sheep all full of burdocks?—I’m a merchant. +That’s what I am!—And if I set my mind to it +I dare say I could be an emperor! +[To himself.] Wouldn’t I be a fool to spend my time +Watching a flock of sheep go up a hill, +When I have these to play with?—when I have these +To think about?—I can’t make up my mind +Whether to buy a city, and have a thousand +Beautiful girls to bathe me, and be happy +Until I die, or build a bridge, and name it +The Bridge of Corydon,—and be remembered +After I’m dead. + +THYRSIS: Corydon, come to the wall, +Won’t you?—I want to tell you something. + +CORYDON: Hush! +Be off! Be off! Go finish your nap, I tell you! + +THYRSIS: Corydon, listen: if you don’t want your sheep, +Give them to me. + +CORYDON: Be off! Go finish your nap. +A red one—and a blue one—and a red one— +And a purple one—give you my sheep, did you say?— +Come, come! What do you take me for, a fool? +I’ve a lot of thinking to do,—and while I’m thinking, +The sheep might just as well be over here +As over there. . . . A blue one—and a red one— + +THYRSIS: But they will die! + +CORYDON: And a green one—and a couple +Of white ones, for a change. + +THYRSIS: Maybe I have +Some jewels on my side. + +CORYDON: And another green one— +Maybe, but I don’t think so. You see, this rock +Isn’t so very wide. It stops before +It gets to the wall. It seems to go quite deep, +However. + +THYRSIS: [With hatred.] I see. + +COLUMBINE: [Off stage.] Look, Pierrot, there’s the moon. + +PIERROT: [Off stage.] Nonsense! + +THYRSIS: I see. + +COLUMBINE: [Off stage.] Sing me an old song, Pierrot,— +Something I can remember. + +PIERROT: [Off stage.] Columbine. +Your mind is made of crumbs,—like an escallop +Of oysters,—first a layer of crumbs, and then +An oystery taste, and then a layer of crumbs. + +THYRSIS: [Searching.] I find no jewels . . . but I wonder what +The root of this black weed would do to a man +If he should taste it. ... I have seen a sheep die, +With half the stalk still drooling from its mouth. +’Twould be a speedy remedy, I should think, +For a festered pride and a feverish ambition. +It has a curious root. I think I’ll hack it +In little pieces. . . . First I’ll get me a drink; +And then I’ll hack that root in little pieces +As small as dust, and see what the color is +Inside. [Goes to bowl on floor.] + +The pool is very clear. I see +A shepherd standing on the brink, with a red cloak +About him, and a black weed in his hand. . . . +’Tis I. [Kneels and drinks.] + +CORYDON: [Coming to wall.] Hello, what are you doing, Thyrsis? + +THYRSIS: Digging for gold. + +CORYDON: I’ll give you all the gold +You want, if you’ll give me a bowl of water. +If you don’t want too much, that is to say. + +THYRSIS: Ho, so you’ve changed your mind?—It’s different, +Isn’t it, when you want a drink yourself? + +CORYDON: Of course it is. + +THYRSIS: Well, let me see ... a bowl +Of water,—come back in an hour, Corydon. +I’m busy now. + +CORYDON: Oh, Thyrsis, give me a bowl +Of water!—and I’ll fill the bowl with jewels, +And bring it back! + +THYRSIS: Be off, I’m busy now. + +[He catches sight of the weed, picks it up and looks +at it, unseen by CORYDON.] + +Wait!—Pick me out the finest stones you have . . . +I’ll bring you a drink of water presently. + +CORYDON: [Goes back and sits down, with the jewels before him.] +A bowl of jewels is a lot of jewels. + +THYRSIS: [Chopping up the weed.] I wonder if it has a bitter taste. + +CORYDON: There’s sure to be a stone or two among them +I have grown fond of, pouring them from one hand +Into the other. + +THYRSIS: I hope it doesn’t taste +Too bitter, just at first. + +CORYDON: A bowl of jewels +Is far too many jewels to give away +And not get back again. + +THYRSIS: I don’t believe +He’ll notice. He’s too thirsty. He’ll gulp it down +And never notice. + +CORYDON: There ought to be some way +To get them back again. . . . I could give him a necklace, +And snatch it back, after I’d drunk the water, +I suppose. . . . Why, as for that, of course a _necklace_. . . . + + [He puts two or three of the colored tapes together and tries + their strength by pulling them, after which he puts them around + his neck and pulls them, gently, nodding to himself. He gets up + and goes to the wall, with the colored tapes in his hands.] + + [THYRSIS in the meantime has poured the powdered root—black + confetti—into the pot which contained the flower and filled + it up with wine from the punch‐bowl on the floor. He comes + to the wall at the same time, holding the bowl of poison.] + +THYRSIS: Come, get your bowl of water, Corydon. + +CORYDON: Ah, very good!—and for such a gift as that +I’ll give you more than a bowl of unset stones. +I’ll give you three long necklaces, my friend. +Come closer. Here they are. [Puts the ribbons +about THYRSIS’ neck.] + +THYRSIS: [Putting bowl to CORYDON’S mouth.] +I’ll hold the bowl +Until you’ve drunk it all. + +CORYDON: Then hold it steady. +For every drop you spill I’ll have a stone back +Out of this chain. + +THYRSIS: I shall not spill a drop. + + [CORYDON drinks, meanwhile beginning to strangle + THYRSIS.] + +THYRSIS: Don’t pull the string so tight. + +CORYDON: You’re spilling the water. + +THYRSIS: You’ve had enough—you’ve had enough—stop pulling +The string so tight! + +CORYDON: Why, that’s not tight at all ... +How’s this? + +THYRSIS: [Drops bowl.] You’re strangling me! Oh, Corydon! +It’s only a game!—and you are strangling me! + +CORYDON: It’s only a game, is it?—Yet I believe +You’ve poisoned me in earnest! [Writhes and +pulls the strings tighter, winding them about +THYRSIS’ neck.] + +THYRSIS: Corydon! [Dies.] + +CORYDON: You’ve poisoned me in earnest. . . . I feel so cold. . . . +So cold . . . this is a very silly game. . . . +Why do we play it?—let’s not play this game +A minute more . . . let’s make a little song +About a lamb. . . . I’m coming over the wall, +No matter what you say,—I want to be near you. . . . + + [Groping his way, with arms wide before him, he strides through + the frail papers of the wall without knowing it, and continues + seeking for the wall straight across the stage.] + +Where is the wall? + + [Gropes his way back, and stands very near THYRSIS without + seeing him; he speaks slowly.] + +There isn’t any wall, +I think. + + [Takes a step forward, his foot touches THYRSIS’ body, and he + falls down beside him.] + +Thyrsis, where is your cloak?—just give me +A little bit of your cloak! . . . + + [Draws corner of THYRSIS’ cloak over his shoulders, falls + across THYRSIS’ body, and dies.] + + [COTHURNUS closes the prompt‐book with a bang, arises + matter‐of‐factly, comes down stage, and places the table over + the two bodies, drawing down the cover so that they are hidden + from any actors on the stage, but visible to the audience, + pushing in their feet and hands with his boot. He then turns + his back to the audience, and claps his hands twice.] + +COTHURNUS: Strike the scene! [Exit COTHURNUS.] + + [Enter PIERROT and COLUMBINE.] + +PIERROT: Don’t puff so, Columbine! + +COLUMBINE: Lord, what a mess +This set is in! If there’s one thing I hate +Above everything else,—even more than getting my feet wet— +It’s clutter!—He might at least have left the scene +The way he found it ... don’t you say so, Pierrot? + + [She picks up punch bowl. They arrange chairs as before at ends + of table.] + +PIERROT: Well, I don’t know. I think it rather diverting +The way it is. + +[Yawns, picks up confetti bowl.] + +Shall we begin? + +COLUMBINE: [Screams.] My God! +What’s that there under the table? + +PIERROT: It is the bodies +Of the two shepherds from the other play. + +COLUMBINE: [Slowly.] How curious to strangle him like that, +With colored paper ribbons. + +PIERROT: Yes, and yet +I dare say he is just as dead. [Pauses. Calls.] +Cothurnus! +Come drag these bodies out of here! We can’t +Sit down and eat with two dead bodies lying +Under the table! . . . The audience wouldn’t stand for it! + +COTHURNUS: (Off stage.) What makes you think so?— +Pull down the tablecloth +On the other side, and hide them from the house, +And play the farce. The audience will forget. + +PIERROT: That’s so. Give me a hand there, +Columbine. + + [PIERROT and COLUMBINE pull down the table cover in such a way + that the two bodies are hidden from the house, then merrily set + their bowls back on the table, draw up their chairs, and begin + the play exactly as before.] + +COLUMBINE: Pierrot, a macaroon,—I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! ... Is it Tuesday, Columbine?— +I’ll kiss you if it’s Tuesday. + + [Curtains begin to close slowly.] + +COLUMBINE: It is Wednesday, +If you must know. ... Is this my artichoke +Or yours? + +PIERROT: Ah, Columbine, as if it mattered! +Wednesday. . . . Will it be Tuesday, then, to‐morrow, +By any chance? . . . + +[CURTAIN.] + + + + +AUTHOR’S NOTE + +ON THE PLAYING PO + +ARIA DA CAPO + + + +ORIGINAL CAST + +AS PLAYED BY THE PROVINCETOWN PLAYERS, NEW YORK CITY + +PIERROT HARRISON DOWD + +COLUMBINE NORMA MILLAY + +COTHURNUS HUGH FERRISS + +CORYDON CHARLES ELLIS + +THYRSIS JAMES LIGHT + + + +AUTHOR’S NOTE + +So great is my vexation always, when reading a play, to find its +progress constantly being halted and its structure loosened by +elaborate explanatory parentheses, that I resolved when I should +publish Aria da Capo to incorporate into its text only those +explanations the omission of which might confuse the reader or lend +a wrong interpretation to the lines. Since, however, Aria da Capo +was written not only to be read but also to be acted, and being +conscious that the exclusion of the usual directions, while +clarifying the play to the reader, may make it bare of suggestions +and somewhat baffling to the producer, I am adding here some remarks +which have been found of value in preparing it for presentation on +the stage. + +Since the production of Aria da Capo by the Provincetown Players, I +have received a great many letters from the directors of little +theatres, asking for copies of it with a view to producing it. Very +often, after I send the play, I receive a letter in reply asking for +some suggestions for its presentation, and enclosing direct +questions on points that have been difficult. It occurred to me +finally that it would be reasonable to make up a sort of informal +prompt‐book to send about with the play; and it is that which is +printed below. It will be found incomplete and uneven, in some +instances unnecessarily detailed, in others not sufficiently so; all +of which is due to the fact that it was put together loosely, from +answers to chance questions, rather than logically, as an entity in +itself. + + + + +SUGGESTIONS FOR THE PRODUCTION OF “ARIA DA CAPO” + +SETTING: + +The setting required is simple:—a grey curtain, a long black table, +two slender black high‐backed chairs, and a raised platform. + +Instead of wings and back‐drop the Provincetown Players cleverly +utilized painted screens, the heights varying from 6 to 10 feet, +these being set right and left of the stage in such manner as to +give the effect of depth and distance. + +The table, six feet long and two feet wide, has thin legs and is +painted black. + +When Pierrot and Columbine enter in the final scene, it is not +necessary that the table which Cothurnus has replaced shall entirely +conceal the bodies of Thyrsis and Corydon. Pierrot and Columbine +must ignore them until the lines indicate their discovery, no matter +how they may have fallen. + +Particular attention must be given to the chairs in this set. They +are used to construct the tissue‐paper wall, and, although +delicate, should be heavy enough to remain solid and steady, up and +down stage, without the possibility of an upset when Corydon strides +through the wall. + +Near the footlights (actors’ left) are two sofa pillows, used to +represent the rocks against which the shepherds lean. On the left of +the stage have another pillow, which Thyrsis places under his head +when he lies down to sleep. Use cloth or crêpe paper for these +pillows, and have them of spotted black and white material, or of +any gay color except red or blue. + +Cothurnus occupies a chair upon a platform, up‐stage, centre, with +two or three steps surrounding it on three sides. Drape this with +plain heavy black cloth. + +The table covering is important. Its width is equal to that of the +added height and width of the table. As it must be moved to cover +the bodies of Thyrsis and Corydon, it should be of sufficient weight +to prevent slipping. It will be well to experiment with this, to +ensure proper performance. + +The cover should have black and white spots and striped ends. + +The table is set as follows:—two large wooden bowls (at least seven +inches high and fourteen inches in diameter). One is placed at each +end of the table. That at Columbine’s end should contain +persimmons, pomegranates, grapes and other bright exotic fruits. +Pierrot’s bowl has confetti and colored paper ribbons, the latter +showing plainly over the edge. (If Columbine uses practical +macaroons, put them into this bowl.) + +Near Columbine, place a practical uncooked artichoke; have this of +good size, and nail it to a wooden standard, painted black. At both +places there are tall white wooden goblets. + +In the centre of the table there should be a curious, grotesque, but +very gay flower, standing upright in a pot of wood or heavy paper, +which will not break when Thyrsis drops it. Concealed at the root of +this plant there should be a small sack of black confetti, to be +used in the “poison scene.” + +The table should be set with nothing but these articles, and yet +give the appearance of bounty and elegance. + +Place the table parallel with the footlights,—the long side toward +the audience. + +Columbine’s chair is at the actors’ right, and Pierrot’s +opposite—Columbine’s hat hangs from her chair‐top. Both chairs are +festooned with tissue‐paper ribbons, at least ten feet long, to be +used later by the shepherds to represent their wall. These must be +of such a texture as to break readily when Corydon walks through, +and a prearranged transverse tear or two will assist in the prompt +breakage when he does so. + +PROPERTIES: + +Two white wooden bowls, one filled with fruits and the other with +confetti and paper ribbons,—one ribbon to be of cotton or silk, in +order to be not too easily broken by Corydon when strangling Thyrsis + +Two tall white wooden goblets + +One artichoke nailed to a standard + +One flower in paper or wooden pot, the root wrapped with black crêpe +paper (or use confetti) + +Black and white tablecloth + +Macaroons + +Boots and prompt‐book for Cothurnus (large flat black book) + +Also, if desired, mask of Tragedy for Cothurnus + +Crêpe or tissue streamers of different colors, including no red or +blue, for wall. + + +COSTUMES: + +PIERROT: Lavender or lilac satin, preferably a blue‐lavender. Care +should be taken that the lavender does not turn pink under the stage +lights. Pierrot’s costume is the conventional smock with wide +trousers, with black crêpe paper rosettes on the smock, wide white +tarleton ruff. Black evening pumps with black rosettes may be worn. +Black silk skull‐cap. + +COLUMBINE: Tight black satin bodice cut very low, with straps over +the shoulders, quite like the modern evening gown; very full +tarleton skirts of different shades of pink and cerise, reaching to +the knees; ruffled bloomers of apple‐green tarleton, the ruffles +showing below the skirts; black silk stockings and black ballet +slippers, laced with green. Hat of lavender crêpe paper, with +streamers of gay colors—including, however, no clear red or blue. +Hat should be small and very smart—not a _shepherdess_ hat. Columbine +should be made up to suggest a doll. As originally interpreted she +had short light hair, standing out bushily all over her head. Long +hair should be rolled under to give a _bobbed_ effect, or could be +arranged in obvious caricature of some extreme modern style, but +must look attractive, and must be blonde. + +COTHURNUS: Plain toga of dull purple in some heavy, unreflecting +material which will fall into large folds, lined with sombre +flame‐color; a garment with large purple sleeves, of which only the +sleeves were visible, was worn under the toga,—but the effect should +be classical; heavy boots should be worn, as nearly as possible like +the tragic Roman buskin; one end of the great toga is tied into a +rough hood which covers the actor’s head; a mask may be worn, but it +is often difficult to speak through, and, if desired, the actor’s +face may be made up to represent a mask of Tragedy. + +THYRSIS and CORYDON: These costumes, in striking contrast to the +elegance of those of Pierrot and Columbine, should be very simple, +and very roughly made; short tunics of outing‐flannel or some such +material—fastened loosely over one shoulder,—one shoulder, as well +as most of the back and breast, exposed. Legs bare, or swathed from +the knee to the ankle in rough strips of the same material. Sandals. +Cloaks of heavier, cheap material fastened to the tunics in such a +way that they will appear to be simply flung over the shoulder, but +actually fastened very cleverly in order to avoid tripping the +shepherds, who are continually sitting down on the floor and getting +up again. + +Thyrsis wears a dark grey tunic and cloak of raw bright red,—but not +a turkey‐red, as this color will kill the blue of Corydon’s cloak. +Corydon wears tunic of light grey and cloak of brilliant blue. There +must be no red or blue used anywhere in the entire play excepting in +the blue and red of these two cloaks. The two shepherds must be so +strong and vivid in every way that when Columbine comes in and says, +“Is this my scene or not?” it will seem to the audience that it is +she, not the shepherds, who is hopelessly out of the scene. + +CHARACTERS: + +PIERROT: Pierrot sees clearly into existing evils and is rendered +gaily cynical by them; he is both too indolent and too indifferent +to do anything about it. Yet in several lines of the play his actual +unhappiness is seen, —for instance, “Moon’s just a word to swear +by,” in which he expresses his conviction that all beauty and +romance are fled from the world. At the end of the play the line, +“Yes, and yet I dare say he is just as dead,” must not be said +flippantly or cynically, but slowly and with much philosophic +concentration on the thought. From the moment when Columbine cries, +“What’s that there under the table?” until Pierrot calls, +“Cothurnus, come drag these bodies out of here!” they both stand +staring at the two bodies, without moving in any way, or even +lifting their eyes. (This same _holding_ of the play is used several +times also by the shepherds,—for instance, always during the +off‐stage interpolations, they stand either staring at each other across +the wall, or maintaining whatever other position they may have had +when the off‐stage voice begins speaking, until the interruption is +over, when they resume their drama quite as if nobody had spoken.) +Columbine’s “How curious to strangle him like that” is spoken +extremely slowly, in a voice of awe, curiosity, and horror. For a +moment the two characters seem almost to feel and be subdued by the +tragedy that has taken place. They remain standing very quietly +while Cothurnus speaks his final lines off stage, and for a moment +after he has said, “The audience will forget”; then very slowly +raise their eyes and exchange glances, Pierrot nods his head curtly +and says, “That’s so”; they set their bowls gaily back on the table, +and the play begins again. + +Pierrot in such lines as “Ah, Columbine, as if it mattered!” speaks +with mock saccharine tenderness; but in such lines as “If you were a +fly you would be dead by now!” although he speaks very gaily his +malice must be apparent almost even to her; Columbine bores him to +death. When he says, “I’ll go and strum the moon!” he is for the +instant genuinely excited and interested; he is for this moment like +a child, and is happy. + +COLUMBINE: Pretty and charming, but stupid; she never knows what +Pierrot is talking about, and is so accustomed to him that she no +longer pretends to understand him; but she is very proud of him, and +when he speaks she listens with trustful admiration. Her +expression, “I cannot live without” this or that, is a phrase she +uses in order to make herself more attractive, because she believes +men prefer women to be useless and extravagant; if left to herself +she would be a domestic and capable person. + +COTHURNUS: This character should be played by a tall and imposing +figure with a tremendous voice. The voice of Cothurnus is one of +the most important things in the acting play. He should have a voice +deeper than the voice used by any of the other persons, should speak +weightily and with great dignity, but almost without intonation, and +quite without feeling, as if he had said the same words many times +before. Only in his last speech may he be permitted a comment on +the situation. This speech should be spoken quite as impressively as +the others and fully as slowly. + +CORYDON and THYRSIS: These two characters are young, very simple, +and childlike; they are acted upon by the force that sits on the +back of the stage behind them. More and more as their quarrel +advances they begin to see that something is wrong, but they have no +idea what to do about it, and they scarcely realize what is +happening, the quarrel grows so from little things into big things. +Corydon’s first vision of the tragedy is in “It’s terrible when you +stop to think of it.” Thyrsis’ first vision comes when he looks into +the pool; in seeing the familiar reflection he is struck by the +unfamiliarity of one aspect of it, the poisonous root; for the first +time he realizes that this man who is about to kill with poisoned +water his most beloved friend, is none other than Thyrsis +_himself_,—“’Tis I!” The personalities of Thyrsis and Corydon are +not essentially different. They develop somewhat differently, +because of the differing circumstances. + +When Columbine goes out for the first time she takes with her her +artichoke and her wine‐glass, also a couple of macaroons, which she +nibbles, going out. This helps to get the table cleared. The other +articles are removed by the shepherds when they prepare the stage +for their scene, in this manner: at the cue “Sir, we are always +ready. . . . Play the play!”, Corydon and Thyrsis come down stage, +Corydon to Pierrot’s end of the table, Thyrsis to Columbia’s; +simultaneously, first, they set back the chairs against the wall, +Pierrot’s left front, Columbine’s right front; next they remove the +two big bowls and set them in symmetrical positions on the floor, +left front and right front, in such a way that the bowl of confetti +may be the mine of jewels for Corydon, and the bowl of fruits, the +punch‐bowl, may represent the pool of water for Thyrsis; then, +taking the table by the two ends, they set it back against the wall, +right; next, while Corydon places the two pillows from the left wall +on the floor to represent rocks in their pasture, Thyrsis removes +from the table everything that is left on it except the +tablecloth,—this should be only Pierrot’s wine‐goblet and the flower +in its pot. (The flower is to represent later the poisonous weed +which Thyrsis finds, the wine‐goblet a drinking‐cup beside the pool, +the flower‐pot a bowl in which to mix the poison and bring it to +Corydon.) The two shepherds do this setting of their stage swiftly +and silently, then seat themselves at once, in easy but beautiful +postures, and remain for a moment looking off as if at their sheep +while a complete silence settles over the stage and house,—a +_pastoral_ silence, if it is possible to suggest it—before they +begin to speak. + +When Columbine comes in, looking for her hat, she picks up the hat +from her chair, now in the centre of the stage near the footlights, +in a direct line with Pierrot’s, which is centre back, just in front +of Cothurnus,—the shepherds having set them in these positions, back +to back, in order to have their aid in weaving the wall. After +taking her hat, Columbine stands looking at the shepherds to see +what is going on. They do not look at her. After a moment Thyrsis, +slowly, with his eyes steadfastly on Corydon’s, says, “Take it, and +go.” When Columbine comes in in the final scene, she is wearing the +hat. She takes it off, however, as she sits down again at the table, +so that the second beginning of the play may recall as vividly as +possible to the audience the first beginning. + + + + + + +End of the Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay + +*** END OF THIS PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + +***** This file should be named 5790-0.txt or 5790-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/5/7/9/5790/ + +Produced by David Starner + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/5790-0.zip b/5790-0.zip Binary files differnew file mode 100644 index 0000000..fccdc3b --- /dev/null +++ b/5790-0.zip diff --git a/5790-h.zip b/5790-h.zip Binary files differnew file mode 100644 index 0000000..026c87f --- /dev/null +++ b/5790-h.zip diff --git a/5790-h/5790-h.htm b/5790-h/5790-h.htm new file mode 100644 index 0000000..17d5a29 --- /dev/null +++ b/5790-h/5790-h.htm @@ -0,0 +1,1764 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Aria da Capo, by Edna St. Vincent Millay + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Aria da Capo + +Author: Edna St. Vincent Millay + +Release Date: May 31, 2009 [EBook #5790] +Last Updated: February 6, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + + + + +Produced by David Starner, and David Widger + + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + ARIA DA CAPO + </h1> + <h3> + A PLAY IN ONE ACT + </h3> + <p> + <br /><br /> + </p> + <h4> + Copyright, 1920 + </h4> + <p> + <br /><br /> + </p> + <h2> + By Edna St. Vincent Millay + </h2> + <p> + <br /><br /> + </p> + <h4> + Printed in the U. S. A. + </h4> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_4_0001"> AUTHOR'S NOTE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> SUGGESTIONS FOR THE PRODUCTION OF "ARIA DA + CAPO" </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <p> + <big><b>PERSONS</b></big> + </p> + <p> + Pierrot + </p> + <p> + Columbine + </p> + <p> + Cothurnus, Masque of Tragedy + </p> + <p> + Thyrsis -\ + </p> + <p> + Shepherds + </p> + <p> + Corydon -/ + </p> + <p> + <br /><br /> <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + [Scene: A stage] + + [The curtain rises on a stage set for a Harlequinade, a merry + black and white interior. Directly behind the footlights, and + running parallel with them, is a long table, covered with a gay + black and white cloth, on which is spread a banquet. At the + opposite ends of this table, seated on delicate thin-legged + chairs with high backs, are Pierrot and Columbine, dressed + according to the tradition, excepting that Pierrot is in lilac, + and Columbine in pink. They are dining.] +</pre> + <p> + <br /><br /> + </p> + <p> + COLUMBINE: Pierrot, a macaroon! I cannot <i>live</i> without a macaroon! + </p> + <p> + PIERROT: My only love, You are <i>so</i> intense! . . . Is it Tuesday, + Columbine?— I'll kiss you if it's Tuesday. + </p> + <p> + COLUMBINE: It is Wednesday, If you must know . . . . Is this my artichoke, + Or yours? + </p> + <p> + PIERROT: Ah, Columbine,—as if it mattered! Wednesday . . . . Will it + be Tuesday, then, to-morrow, By any chance? + </p> + <p> + COLUMBINE: To-morrow will be—Pierrot, That isn't funny! + </p> + <p> + PIERROT: I thought it rather nice. Well, let us drink some wine and lose + our heads And love each other. + </p> + <p> + COLUMBINE: Pierrot, don't you love Me now? + </p> + <p> + PIERROT: La, what a woman!—how should I know? Pour me some wine: + I'll tell you presently. + </p> + <p> + COLUMBINE: Pierrot, do you know, I think you drink too much. + </p> + <p> + PIERROT: Yes, I dare say I do. . . . Or else too little. It's hard to + tell. You see, I am always wanting A little more than what I have,—or + else A little less. There's something wrong. My dear, How many fingers + have you? + </p> + <p> + COLUMBINE: La, indeed, How should I know?—It always takes me one + hand To count the other with. It's too confusing. Why? + </p> + <p> + PIERROT: Why?—I am a student, Columbine; And search into all + matters. + </p> + <p> + COLUMBINE: La, indeed?— Count them yourself, then! + </p> + <p> + PIERROT: No. Or, rather, nay. 'Tis of no consequence. . . . I am become A + painter, suddenly,—and you impress me— Ah, yes!—six + orange bull's-eyes, four green pin-wheels, And one magenta jelly-roll,—the + title As follows: Woman Taking in Cheese from Fire-Escape. + </p> + <p> + COLUMBINE: Well, I like that! So that is all I've meant To you! + </p> + <p> + PIERROT: Hush! All at once I am become A pianist. I will image you in + sound. . . . On a new scale. . . , Without tonality. . . Vivace senza + tempo senza tutto. . . . Title: Uptown Express at Six O'Clock. Pour me a + drink. + </p> + <p> + COLUMBINE: Pierrot, you work too hard. You need a rest. Come on out into + the garden, And sing me something sad. + </p> + <p> + PIERROT: Don't stand so near me! I am become a socialist. I love Humanity; + but I hate people. Columbine, Put on your mittens, child; your hands are + cold. + </p> + <p> + COLUMBINE: My hands are <i>not</i> cold! + </p> + <p> + PIERROT: Oh, I am sure they are. And you must have a shawl to wrap about + you, And sit by the fire. + </p> + <p> + COLUMBINE: Why, I'll do no such thing! I'm hot as a spoon in a teacup! + </p> + <p> + PIERROT: Columbine, I'm a philanthropist. I know I am, Because I feel so + restless. Do not scream, Or it will be the worse for you! + </p> + <p> + COLUMBINE: Pierrot, My vinaigrette! I cannot <i>live</i> without My + vinaigrette! + </p> + <p> + PIERROT: My only love, you are <i>So</i> fundamental! . . . How would you + like to be An actress, Columbine?—I am become Your manager. + </p> + <p> + COLUMBINE: Why, Pierrot, <i>I</i> can't act. + </p> + <p> + PIERROT: Can't act! Can't act! La, listen to the woman! What's that to do + with the price of furs?—You're blonde, Are you not?—you have + no education, have you?— Can't act! You underrate yourself, my dear! + </p> + <p> + COLUMBINE: Yes, I suppose I do. + </p> + <p> + PIERROT: As for the rest, I'll teach you how to cry, and how to die, And + other little tricks; and the house will love you. You'll be a star by five + o'clock . . . that is, If you will let me pay for your apartment. + </p> + <p> + COLUMBINE: <i>Let</i> you?—well, that's a good one! Ha! Ha! Ha! But + why? + </p> + <p> + PIERROT: But why?—well, as to that, my dear, I cannot say. It's just + a matter of form. + </p> + <p> + COLUMBINE: Pierrot, I'm getting tired of caviar And peacocks' livers. + Isn't there something else That people eat?—some humble vegetable, + That grows in the ground? + </p> + <p> + PIERROT: Well, there are mushrooms. + </p> + <p> + COLUMBINE: Mushrooms! That's so! I had forgotten . . . mushrooms . . . + mushrooms. . . . I cannot <i>live</i> with . . . How do you like this + gown? + </p> + <p> + PIERROT: Not much. I'm tired of gowns that have the waist-line About the + waist, and the hem around the bottom,— And women with their breasts + in front of them!— Zut and ehe! Where does one go from here! + </p> + <p> + COLUMBINE: Here's a persimmon, love. You always liked them. + </p> + <p> + PIERROT: I am become a critic; there is nothing I can enjoy. . . . + However, set it aside; I'll eat it between meals. + </p> + <p> + COLUMBINE: Pierrot, do you know, Sometimes I think you're making fun of + me. + </p> + <p> + PIERROT: My love, by yon black moon, you wrong us both. + </p> + <p> + COLUMBINE: There isn't a sign of a moon, Pierrot. + </p> + <p> + PIERROT: Of course not. There never was. "Moon's" just a word to swear by. + "Mutton!"—now <i>there's</i> a thing you can lay the hands on, And + set the tooth in! Listen, Columbine: I always lied about the moon and you. + Food is my only lust. + </p> + <p> + COLUMBINE: Well, eat it, then, For Heaven's sake, and stop your silly + noise! I haven't heard the clock tick for an hour. + </p> + <p> + PIERROT: It's ticking all the same. If you were a fly, You would be dead + by now. And if I were a parrot, I could be talking for a thousand years! + </p> +<pre xml:space="preserve"> + [Enter COTHURNUS.] +</pre> + <p> + PIERROT: Hello, what's this, for God's sake?— What's the matter? + Say, whadda you mean?—get off the stage, my friend, And pinch + yourself,—you're walking in your sleep! + </p> + <p> + COTHURNUS: I never sleep. + </p> + <p> + PIERROT: Well, anyhow, clear out. You don't belong on here. Wait for your + own scene! Whadda you think this is,—a dress-rehearsal? + </p> + <p> + COTHURNUS: Sir, I am tired of waiting. I will wait No longer. + </p> + <p> + PIERROT: Well, but whadda you going to do? The scene is set for me! + </p> + <p> + COTHURNUS: True, sir; yet I Can play the scene. + </p> + <p> + PIERROT: Your scene is down for later! + </p> + <p> + COTHURNUS: That, too, is true, sir; but I play it now. + </p> + <p> + PIERROT: Oh, very well!—Anyway, I am tired Of black and white. At + least, I think I am. + </p> +<pre xml:space="preserve"> + [Exit COLUMBINE.] +</pre> + <p> + Yes, I am sure I am. I know what I'll do!— I'll go and strum the + moon, that's what I'll do. . . . Unless, perhaps . . . you never can tell + . . . I may be, You know, tired of the moon. Well, anyway, I'll go find + Columbine. . . . And when I find her, I will address her thus: "Ehe, + Pierrette!"— There's something in that. + </p> +<pre xml:space="preserve"> + [Exit PIERROT.] +</pre> + <p> + COTHURNUS: You, Thyrsis! Corydon! Where are you? + </p> + <p> + THYRSIS: [Off stage.] Sir, we are in our dressing-room! + </p> + <p> + COTHURNUS: Come out and do the scene. + </p> + <p> + CORYDON: [Off stage.] You are mocking us!— The scene is down for + later. + </p> + <p> + COTHURNUS: That is true; But we will play it now. I am the scene. [Seats + himself on high place in back of stage.] + </p> +<pre xml:space="preserve"> + [Enter CORYDON and THYRSIS.] +</pre> + <p> + CORYDON: Sir, we are counting on this little hour. We said, "Here is an + hour,—in which to think A mighty thought, and sing a trifling song, + And look at nothing."—And, behold! the hour, Even as we spoke, was + over, and the act begun, Under our feet! + </p> + <p> + THYRSIS: Sir, we are not in the fancy To play the play. We had thought to + play it later. + </p> + <p> + CORYDON: Besides, this is the setting for a farce. Our scene requires a + wall; we cannot build A wall of tissue-paper! + </p> + <p> + THYRSIS: We cannot act A tragedy with comic properties! + </p> + <p> + COTHURNUS: Try it and see. I think you'll find you can. One wall is like + another. And regarding The matter of your insufficient mood, The important + thing is that you speak the lines, And make the gestures. Wherefore I + shall remain Throughout, and hold the prompt-book. Are you ready? + </p> + <p> + CORYDON-THYRSIS: [Sorrowfully.] Sir, we are always ready. + </p> + <p> + COTHURNUS: Play the play! + </p> +<pre xml:space="preserve"> + [CORYDON and THYRSIS move the table and chairs to one side out + of the way, and seat themselves in a half-reclining position + on the floor.] +</pre> + <p> + THYRSIS: How gently in the silence, Corydon, Our sheep go up the bank. + They crop a grass That's yellow where the sun is out, and black Where the + clouds drag their shadows. Have you noticed How steadily, yet with what a + slanting eye They graze? + </p> + <p> + CORYDON: As if they thought of other things. What say you, Thyrsis, do + they only question Where next to pull?—Or do their far minds draw + them Thus vaguely north of west and south of east? + </p> + <p> + THYRSIS: One cannot say. . . . The black lamb wears its burdocks As if + they were a garland,—have you noticed? Purple and white—and + drinks the bitten grass As if it were a wine. + </p> + <p> + CORYDON: I've noticed that. What say you, Thyrsis, shall we make a song + About a lamb that thought himself a shepherd? + </p> + <p> + THYRSIS: Why, yes!—that is, why,—no. (I have forgotten my + line.) + </p> + <p> + COTHURNUS: [Prompting.] "I know a game worth two of that!" + </p> + <p> + THYRSIS: Oh, yes. . . . I know a game worth two of that! Let's gather + rocks, and build a wall between us; And say that over there belongs to me, + And over here to you! + </p> + <p> + CORYDON: Why,—very well. And say you may not come upon my side + Unless I say you may! + </p> + <p> + THYRSIS: Nor you on mine! And if you should, 'twould be the worse for you! + </p> +<pre xml:space="preserve"> + [They weave a wall of colored crepe paper ribbons from the + centre front to the centre back of the stage, fastening the + ends to COLUMBINE'S chair in front and to PIERROT'S chair in + the back.] +</pre> + <p> + CORYDON: Now there's a wall a man may see across, But not attempt to + scale. + </p> + <p> + THYRSIS: An excellent wall. + </p> + <p> + CORYDON: Come, let us separate, and sit alone A little while, and lay a + plot whereby We may outdo each other. [They seat themselves on opposite + sides of the wall.] + </p> + <p> + PIERROT: [Off stage.] Ehe, Pierrette! + </p> + <p> + COLUMBINE: [Off stage.] My name is Columbine! Leave me alone! + </p> + <p> + THYRSIS: [Coming up to the wall.] Corydon, after all, and in spite of the + fact I started it myself, I do not like this So very much. What is the + sense of saying I do not want you on my side the wall? It is a silly game. + I'd much prefer Making the little song you spoke of making, About the + lamb, you know, that thought himself A shepherd!—what do you say? + </p> + <p> + [Pause.] + </p> + <p> + CORYDON: [At wall.] (I have forgotten the line.) + </p> + <p> + COTHURNUS: [Prompting.] "How do I know this isn't a trick?" + </p> + <p> + CORYDON: Oh, yes. . . . How do I know this isn't a trick To get upon my + land? + </p> + <p> + THYRSIS: Oh, Corydon, You <i>know</i> it's not a trick. I do not like The + game, that's all. Come over here, or let me Come over there. + </p> + <p> + CORYDON: It is a clever trick To get upon my land. [Seats himself as + before.] + </p> + <p> + THYRSIS: Oh, very well! [Seats himself as before.] [To himself.] I think I + never knew a sillier game. + </p> + <p> + CORYDON: [Coming to wall.] Oh, Thyrsis, just a minute!—all the water + Is on your side the wall, and the sheep are thirsty. I hadn't thought of + that. + </p> + <p> + THYRSIS: Oh, hadn't you? + </p> + <p> + CORYDON: Why, what do you mean? + </p> + <p> + THYRSIS: What do I mean?—I mean That I can play a game as well as + you can. And if the pool is on my side, it's on My side, that's all. + </p> + <p> + CORYDON: You mean you'd let the sheep Go thirsty? + </p> + <p> + THYRSIS: Well, they're not my sheep. My sheep Have water enough. + </p> + <p> + CORYDON: <i>Your</i> sheep! You are mad, to call them Yours—mine—they + are all one flock! Thyrsis, you can't mean To keep the water from them, + just because They happened to be grazing over here Instead of over there, + when we set the wall up? + </p> + <p> + THYRSIS: Oh, can't I?—wait and see!—and if you try To lead + them over here, you'll wish you hadn't! + </p> + <p> + CORYDON: I wonder how it happens all the water Is on your side. . . . I'll + say you had an eye out For lots of little things, my innocent friend, When + I said, "Let us make a song," and you said, "I know a game worth two of + that!" + </p> + <p> + COLUMBINE: [Off stage.] Pierrot, D'you know, I think you must be getting + old, Or fat, or something,—stupid, anyway!— Can't you put on + some other kind of collar? + </p> + <p> + THYRSIS: You know as well as I do, Corydon, I never thought anything of + the kind. <i>Don't</i> you? + </p> + <p> + CORYDON: I <i>do</i> not. + </p> + <p> + THYRSIS: Don't you? + </p> + <p> + CORYDON: Oh, I suppose so. Thyrsis, let's drop this,—what do you + say?—it's only A game, you know . . . we seem to be forgetting It's + only a game ... a pretty serious game It's getting to be, when one of us + is willing To let the sheep go thirsty for the sake of it. + </p> + <p> + THYRSIS: I know it, Corydon. + </p> +<pre xml:space="preserve"> + [They reach out their arms to each other across the wall.] +</pre> + <p> + COTHURNUS: [Prompting.] "But how do I know—" + </p> + <p> + THYRSIS: Oh, yes. . . . But how do I know this isn't a trick To water your + sheep, and get the laugh on me? + </p> + <p> + CORYDON: You can't know, that's the difficult thing about it, Of course,—you + can't be sure. You have to take My word for it. And I know just how you + feel. But one of us has to take a risk, or else, Why, don't you see?—the + game goes on forever! . . . It's terrible, when you stop to think of it. . + . . Oh, Thyrsis, now for the first time I feel This wall is actually a + wall, a thing Come up between us, shutting you away From me. . . . I do + not know you any more! + </p> + <p> + THYRSIS: No, don't say that! Oh, Corydon, I'm willing To drop it all, if + you will! Come on over And water your sheep! It is an ugly game. I hated + it from the first. . . . How did it start? + </p> + <p> + CORYDON: I do not know . . . I do not know . . . I think I am afraid of + you!—you are a stranger! I never set eyes on you before! "Come over + And water my sheep," indeed!—They'll be more thirsty Than they are + now before I bring them over Into your land, and have you mixing them up + With yours, and calling them yours, and trying to keep them! + </p> +<pre xml:space="preserve"> + [Enter COLUMBINE] +</pre> + <p> + COLUMBINE: [To COTHURNUS.] Glummy, I want my hat. + </p> + <p> + THYRSIS: Take it, and go. + </p> + <p> + COLUMBINE: Take it and go, indeed. Is it my hat, Or isn't it? Is this my + scene, or not? Take it and go! Really, you know, you two Are awfully + funny! + </p> +<pre xml:space="preserve"> + [Exit COLUMBINE] +</pre> + <p> + THYRSIS: Corydon, my friend, I'm going to leave you now, and whittle me A + pipe, or sing a song, or go to sleep. When you have come to your senses, + let me know. [Goes back to where he has been sitting, lies down and + sleeps.] + </p> +<pre xml:space="preserve"> + [CORYDON, in going back to where he has been sitting, stumbles + over bowl of colored confetti and colored paper ribbons.] +</pre> + <p> + CORYDON: Why, what is this?—Red stones—and purple stones— + And stones stuck full of gold!—The ground is full Of gold and + colored stones! . . . I'm glad the wall Was up before I found them!—Otherwise, + I should have had to share them. As it is, They all belong to me. . . . + Unless— + </p> +<pre xml:space="preserve"> + [He goes to wall and digs up and down the length of it, + to see if there are jewels on the other side.] +</pre> + <p> + None here— None here—none here—They all belong to me! + [Sits.] + </p> + <p> + THYRSIS: [Awakening.] How curious! I thought the little black lamb Came up + and licked my hair; I saw the wool About its neck as plain as anything! It + must have been a dream. The little black lamb Is on the other side of the + wall, I'm sure. + </p> +<pre xml:space="preserve"> + [Goes to wall and looks over. CORYDON is seated on the ground, + tossing the confetti up into the air and catching it.] +</pre> + <p> + Hello, what's that you've got there, Corydon? + </p> + <p> + CORYDON: Jewels. + </p> + <p> + THYRSIS: Jewels?—And where did you ever get them? + </p> + <p> + CORYDON: Oh, over here. + </p> + <p> + THYRSIS: You mean to say you found them, By digging around in the ground + for them? + </p> + <p> + CORYDON: [Unpleasantly.] No, Thyrsis, By digging down for water for my + sheep. + </p> + <p> + THYRSIS: Corydon, come to the wall a minute, will you? I want to talk to + you. + </p> + <p> + CORYDON: I haven't time. I'm making me a necklace of red stones. + </p> + <p> + THYRSIS: I'll give you all the water that you want, For one of those red + stones,—if it's a good one. + </p> + <p> + CORYDON: Water?—what for?—what do I want of water? + </p> + <p> + THYRSIS: Why, for your sheep! + </p> + <p> + CORYDON: My sheep?—I'm not a shepherd! + </p> + <p> + THYRSIS: Your sheep are dying of thirst. + </p> + <p> + CORYDON: Man, haven't I told you I can't be bothered with a few untidy + Brown sheep all full of burdocks?—I'm a merchant. That's what I am!—And + if I set my mind to it I dare say I could be an emperor! [To himself.] + Wouldn't I be a fool to spend my time Watching a flock of sheep go up a + hill, When I have these to play with?—when I have these To think + about?—I can't make up my mind Whether to buy a city, and have a + thousand Beautiful girls to bathe me, and be happy Until I die, or build a + bridge, and name it The Bridge of Corydon,—and be remembered After + I'm dead. + </p> + <p> + THYRSIS: Corydon, come to the wall, Won't you?—I want to tell you + something. + </p> + <p> + CORYDON: Hush! Be off! Be off! Go finish your nap, I tell you! + </p> + <p> + THYRSIS: Corydon, listen: if you don't want your sheep, Give them to me. + </p> + <p> + CORYDON: Be off! Go finish your nap. A red one—and a blue one—and + a red one— And a purple one—give you my sheep, did you say?— + Come, come! What do you take me for, a fool? I've a lot of thinking to do,—and + while I'm thinking, The sheep might just as well be over here As over + there. . . . A blue one—and a red one— + </p> + <p> + THYRSIS: But they will die! + </p> + <p> + CORYDON: And a green one—and a couple Of white ones, for a change. + </p> + <p> + THYRSIS: Maybe I have Some jewels on my side. + </p> + <p> + CORYDON: And another green one— Maybe, but I don't think so. You + see, this rock Isn't so very wide. It stops before It gets to the wall. It + seems to go quite deep, However. + </p> + <p> + THYRSIS: [With hatred.] I see. + </p> + <p> + COLUMBINE: [Off stage.] Look, Pierrot, there's the moon. + </p> + <p> + PIERROT: [Off stage.] Nonsense! + </p> + <p> + THYRSIS: I see. + </p> + <p> + COLUMBINE: [Off stage.] Sing me an old song, Pierrot,— Something I + can remember. + </p> + <p> + PIERROT: [Off stage.] Columbine. Your mind is made of crumbs,—like + an escallop Of oysters,—first a layer of crumbs, and then An oystery + taste, and then a layer of crumbs. + </p> + <p> + THYRSIS: [Searching.] I find no jewels . . . but I wonder what The root of + this black weed would do to a man If he should taste it. ... I have seen a + sheep die, With half the stalk still drooling from its mouth. 'Twould be a + speedy remedy, I should think, For a festered pride and a feverish + ambition. It has a curious root. I think I'll hack it In little pieces. . + . . First I'll get me a drink; And then I'll hack that root in little + pieces As small as dust, and see what the color is Inside. [Goes to bowl + on floor.] + </p> + <p> + The pool is very clear. I see A shepherd standing on the brink, with a red + cloak About him, and a black weed in his hand. . . . 'Tis I. [Kneels and + drinks.] + </p> + <p> + CORYDON: [Coming to wall.] Hello, what are you doing, Thyrsis? + </p> + <p> + THYRSIS: Digging for gold. + </p> + <p> + CORYDON: I'll give you all the gold You want, if you'll give me a bowl of + water. If you don't want too much, that is to say. + </p> + <p> + THYRSIS: Ho, so you've changed your mind?—It's different, Isn't it, + when you want a drink yourself? + </p> + <p> + CORYDON: Of course it is. + </p> + <p> + THYRSIS: Well, let me see ... a bowl Of water,—come back in an hour, + Corydon. I'm busy now. + </p> + <p> + CORYDON: Oh, Thyrsis, give me a bowl Of water!—and I'll fill the + bowl with jewels, And bring it back! + </p> + <p> + THYRSIS: Be off, I'm busy now. + </p> + <p> + [He catches sight of the weed, picks it up and looks at it, unseen by + CORYDON.] + </p> + <p> + Wait!—Pick me out the finest stones you have . . . I'll bring you a + drink of water presently. + </p> + <p> + CORYDON: [Goes back and sits down, with the jewels before him.] A bowl of + jewels is a lot of jewels. + </p> + <p> + THYRSIS: [Chopping up the weed.] I wonder if it has a bitter taste. + </p> + <p> + CORYDON: There's sure to be a stone or two among them I have grown fond + of, pouring them from one hand Into the other. + </p> + <p> + THYRSIS: I hope it doesn't taste Too bitter, just at first. + </p> + <p> + CORYDON: A bowl of jewels Is far too many jewels to give away And not get + back again. + </p> + <p> + THYRSIS: I don't believe He'll notice. He's too thirsty. He'll gulp it + down And never notice. + </p> + <p> + CORYDON: There ought to be some way To get them back again. . . . I could + give him a necklace, And snatch it back, after I'd drunk the water, I + suppose. . . . Why, as for that, of course a <i>necklace</i>. . . . + </p> +<pre xml:space="preserve"> + [He puts two or three of the colored tapes together and tries + their strength by pulling them, after which he puts them around + his neck and pulls them, gently, nodding to himself. He gets up + and goes to the wall, with the colored tapes in his hands.] + + [THYRSIS in the meantime has poured the powdered root—black + confetti—into the pot which contained the flower and filled + it up with wine from the punch-bowl on the floor. He comes + to the wall at the same time, holding the bowl of poison.] +</pre> + <p> + THYRSIS: Come, get your bowl of water, Corydon. + </p> + <p> + CORYDON: Ah, very good!—and for such a gift as that I'll give you + more than a bowl of unset stones. I'll give you three long necklaces, my + friend. Come closer. Here they are. [Puts the ribbons about THYRSIS' + neck.] + </p> + <p> + THYRSIS: [Putting bowl to CORYDON'S mouth.] I'll hold the bowl Until + you've drunk it all. + </p> + <p> + CORYDON: Then hold it steady. For every drop you spill I'll have a stone + back Out of this chain. + </p> + <p> + THYRSIS: I shall not spill a drop. + </p> +<pre xml:space="preserve"> + [CORYDON drinks, meanwhile beginning to strangle + THYRSIS.] +</pre> + <p> + THYRSIS: Don't pull the string so tight. + </p> + <p> + CORYDON: You're spilling the water. + </p> + <p> + THYRSIS: You've had enough—you've had enough—stop pulling The + string so tight! + </p> + <p> + CORYDON: Why, that's not tight at all ... How's this? + </p> + <p> + THYRSIS: [Drops bowl.] You're strangling me! Oh, Corydon! It's only a + game!—and you are strangling me! + </p> + <p> + CORYDON: It's only a game, is it?—Yet I believe You've poisoned me + in earnest! [Writhes and pulls the strings tighter, winding them about + THYRSIS' neck.] + </p> + <p> + THYRSIS: Corydon! [Dies.] + </p> + <p> + CORYDON: You've poisoned me in earnest. . . . I feel so cold. . . . So + cold . . . this is a very silly game. . . . Why do we play it?—let's + not play this game A minute more . . . let's make a little song About a + lamb. . . . I'm coming over the wall, No matter what you say,—I want + to be near you. . . . + </p> +<pre xml:space="preserve"> + [Groping his way, with arms wide before him, he strides through + the frail papers of the wall without knowing it, and continues + seeking for the wall straight across the stage.] +</pre> + <p> + Where is the wall? + </p> +<pre xml:space="preserve"> + [Gropes his way back, and stands very near THYRSIS without + seeing him; he speaks slowly.] +</pre> + <p> + There isn't any wall, I think. + </p> +<pre xml:space="preserve"> + [Takes a step forward, his foot touches THYRSIS' body, and he + falls down beside him.] +</pre> + <p> + Thyrsis, where is your cloak?—just give me A little bit of your + cloak! . . . + </p> +<pre xml:space="preserve"> + [Draws corner of THYRSIS' cloak over his shoulders, falls + across THYRSIS' body, and dies.] + + [COTHURNUS closes the prompt-book with a bang, arises + matter-of-factly, comes down stage, and places the table over + the two bodies, drawing down the cover so that they are hidden + from any actors on the stage, but visible to the audience, + pushing in their feet and hands with his boot. He then turns + his back to the audience, and claps his hands twice.] +</pre> + <p> + COTHURNUS: Strike the scene! [Exit COTHURNUS.] + </p> +<pre xml:space="preserve"> + [Enter PIERROT and COLUMBINE.] +</pre> + <p> + PIERROT: Don't puff so, Columbine! + </p> + <p> + COLUMBINE: Lord, what a mess This set is in! If there's one thing I hate + Above everything else,—even more than getting my feet wet— + It's clutter!—He might at least have left the scene The way he found + it ... don't you say so, Pierrot? + </p> +<pre xml:space="preserve"> + [She picks up punch bowl. They arrange chairs as before at ends + of table.] +</pre> + <p> + PIERROT: Well, I don't know. I think it rather diverting The way it is. + </p> + <p> + [Yawns, picks up confetti bowl.] + </p> + <p> + Shall we begin? + </p> + <p> + COLUMBINE: [Screams.] My God! What's that there under the table? + </p> + <p> + PIERROT: It is the bodies Of the two shepherds from the other play. + </p> + <p> + COLUMBINE: [Slowly.] How curious to strangle him like that, With colored + paper ribbons. + </p> + <p> + PIERROT: Yes, and yet I dare say he is just as dead. [Pauses. Calls.] + Cothurnus! Come drag these bodies out of here! We can't Sit down and eat + with two dead bodies lying Under the table! . . . The audience wouldn't + stand for it! + </p> + <p> + COTHURNUS: (Off stage.) What makes you think so?— Pull down the + tablecloth On the other side, and hide them from the house, And play the + farce. The audience will forget. + </p> + <p> + PIERROT: That's so. Give me a hand there, Columbine. + </p> +<pre xml:space="preserve"> + [PIERROT and COLUMBINE pull down the table cover in such a way + that the two bodies are hidden from the house, then merrily set + their bowls back on the table, draw up their chairs, and begin + the play exactly as before.] +</pre> + <p> + COLUMBINE: Pierrot, a macaroon,—I cannot <i>live</i> without a + macaroon! + </p> + <p> + PIERROT: My only love, You are <i>so</i> intense! ... Is it Tuesday, + Columbine?— I'll kiss you if it's Tuesday. + </p> +<pre xml:space="preserve"> + [Curtains begin to close slowly.] +</pre> + <p> + COLUMBINE: It is Wednesday, If you must know. ... Is this my artichoke Or + yours? + </p> + <p> + PIERROT: Ah, Columbine, as if it mattered! Wednesday. . . . Will it be + Tuesday, then, to-morrow, By any chance? . . . + </p> + <p> + [CURTAIN.] <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + AUTHOR'S NOTE + </h2> + <h3> + ON THE PLAYING PO + </h3> + <p> + ARIA DA CAPO ORIGINAL CAST AS PLAYED BY THE PROVINCETOWN PLAYERS, NEW YORK + CITY PIERROT HARRISON DOWD COLUMBINE NORMA MILLAY COTHURNUS HUGH FERRISS + CORYDON CHARLES ELLIS THYRSIS JAMES LIGHT + </p> + <h3> + AUTHOR'S NOTE + </h3> + <p> + So great is my vexation always, when reading a play, to find its progress + constantly being halted and its structure loosened by elaborate + explanatory parentheses, that I resolved when I should publish Aria da + Capo to incorporate into its text only those explanations the omission of + which might confuse the reader or lend a wrong interpretation to the + lines. Since, however, Aria da Capo was written not only to be read but + also to be acted, and being conscious that the exclusion of the usual + directions, while clarifying the play to the reader, may make it bare of + suggestions and somewhat baffling to the producer, I am adding here some + remarks which have been found of value in preparing it for presentation on + the stage. + </p> + <p> + Since the production of Aria da Capo by the Provincetown Players, I have + received a great many letters from the directors of little theatres, + asking for copies of it with a view to producing it. Very often, after I + send the play, I receive a letter in reply asking for some suggestions for + its presentation, and enclosing direct questions on points that have been + difficult. It occurred to me finally that it would be reasonable to make + up a sort of informal prompt-book to send about with the play; and it is + that which is printed below. It will be found incomplete and uneven, in + some instances unnecessarily detailed, in others not sufficiently so; all + of which is due to the fact that it was put together loosely, from answers + to chance questions, rather than logically, as an entity in itself. + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SUGGESTIONS FOR THE PRODUCTION OF "ARIA DA CAPO" + </h2> + <h3> + SETTING: + </h3> + <p> + The setting required is simple:—a grey curtain, a long black table, + two slender black high-backed chairs, and a raised platform. + </p> + <p> + Instead of wings and back-drop the Provincetown Players cleverly utilized + painted screens, the heights varying from 6 to 10 feet, these being set + right and left of the stage in such manner as to give the effect of depth + and distance. + </p> + <p> + The table, six feet long and two feet wide, has thin legs and is painted + black. + </p> + <p> + When Pierrot and Columbine enter in the final scene, it is not necessary + that the table which Cothurnus has replaced shall entirely conceal the + bodies of Thyrsis and Corydon. Pierrot and Columbine must ignore them + until the lines indicate their discovery, no matter how they may have + fallen. + </p> + <p> + Particular attention must be given to the chairs in this set. They are + used to construct the tissue-paper wall, and, although delicate, should be + heavy enough to remain solid and steady, up and down stage, without the + possibility of an upset when Corydon strides through the wall. + </p> + <p> + Near the footlights (actors' left) are two sofa pillows, used to represent + the rocks against which the shepherds lean. On the left of the stage have + another pillow, which Thyrsis places under his head when he lies down to + sleep. Use cloth or crepe paper for these pillows, and have them of + spotted black and white material, or of any gay color except red or blue. + </p> + <p> + Cothurnus occupies a chair upon a platform, up-stage, centre, with two or + three steps surrounding it on three sides. Drape this with plain heavy + black cloth. + </p> + <p> + The table covering is important. Its width is equal to that of the added + height and width of the table. As it must be moved to cover the bodies of + Thyrsis and Corydon, it should be of sufficient weight to prevent + slipping. It will be well to experiment with this, to ensure proper + performance. + </p> + <p> + The cover should have black and white spots and striped ends. + </p> + <p> + The table is set as follows:—two large wooden bowls (at least seven + inches high and fourteen inches in diameter). One is placed at each end of + the table. That at Columbine's end should contain persimmons, + pomegranates, grapes and other bright exotic fruits. Pierrot's bowl has + confetti and colored paper ribbons, the latter showing plainly over the + edge. (If Columbine uses practical macaroons, put them into this bowl.) + </p> + <p> + Near Columbine, place a practical uncooked artichoke; have this of good + size, and nail it to a wooden standard, painted black. At both places + there are tall white wooden goblets. + </p> + <p> + In the centre of the table there should be a curious, grotesque, but very + gay flower, standing upright in a pot of wood or heavy paper, which will + not break when Thyrsis drops it. Concealed at the root of this plant there + should be a small sack of black confetti, to be used in the "poison + scene." + </p> + <p> + The table should be set with nothing but these articles, and yet give the + appearance of bounty and elegance. + </p> + <p> + Place the table parallel with the footlights,—the long side toward + the audience. + </p> + <p> + Columbine's chair is at the actors' right, and Pierrot's opposite—Columbine's + hat hangs from her chair-top. Both chairs are festooned with tissue-paper + ribbons, at least ten feet long, to be used later by the shepherds to + represent their wall. These must be of such a texture as to break readily + when Corydon walks through, and a prearranged transverse tear or two will + assist in the prompt breakage when he does so. + </p> + <p> + PROPERTIES: + </p> + <p> + Two white wooden bowls, one filled with fruits and the other with confetti + and paper ribbons,—one ribbon to be of cotton or silk, in order to + be not too easily broken by Corydon when strangling Thyrsis + </p> + <p> + Two tall white wooden goblets + </p> + <p> + One artichoke nailed to a standard + </p> + <p> + One flower in paper or wooden pot, the root wrapped with black crepe paper + (or use confetti) + </p> + <p> + Black and white tablecloth + </p> + <p> + Macaroons + </p> + <p> + Boots and prompt-book for Cothurnus (large flat black book) + </p> + <p> + Also, if desired, mask of Tragedy for Cothurnus + </p> + <p> + Crepe or tissue streamers of different colors, including no red or blue, + for wall. + </p> + <p> + COSTUMES: + </p> + <p> + PIERROT: Lavender or lilac satin, preferably a blue-lavender. Care should + be taken that the lavender does not turn pink under the stage lights. + Pierrot's costume is the conventional smock with wide trousers, with black + crepe paper rosettes on the smock, wide white tarleton ruff. Black evening + pumps with black rosettes may be worn. Black silk skull-cap. + </p> + <p> + COLUMBINE: Tight black satin bodice cut very low, with straps over the + shoulders, quite like the modern evening gown; very full tarleton skirts + of different shades of pink and cerise, reaching to the knees; ruffled + bloomers of apple-green tarleton, the ruffles showing below the skirts; + black silk stockings and black ballet slippers, laced with green. Hat of + lavender crepe paper, with streamers of gay colors—including, + however, no clear red or blue. Hat should be small and very smart—not + a <i>shepherdess</i> hat. Columbine should be made up to suggest a doll. + As originally interpreted she had short light hair, standing out bushily + all over her head. Long hair should be rolled under to give a <i>bobbed</i> + effect, or could be arranged in obvious caricature of some extreme modern + style, but must look attractive, and must be blonde. + </p> + <p> + COTHURNUS: Plain toga of dull purple in some heavy, unreflecting material + which will fall into large folds, lined with sombre flame-color; a garment + with large purple sleeves, of which only the sleeves were visible, was + worn under the toga,—but the effect should be classical; heavy boots + should be worn, as nearly as possible like the tragic Roman buskin; one + end of the great toga is tied into a rough hood which covers the actor's + head; a mask may be worn, but it is often difficult to speak through, and, + if desired, the actor's face may be made up to represent a mask of + Tragedy. + </p> + <p> + THYRSIS and CORYDON: These costumes, in striking contrast to the elegance + of those of Pierrot and Columbine, should be very simple, and very roughly + made; short tunics of outing-flannel or some such material—fastened + loosely over one shoulder,—one shoulder, as well as most of the back + and breast, exposed. Legs bare, or swathed from the knee to the ankle in + rough strips of the same material. Sandals. Cloaks of heavier, cheap + material fastened to the tunics in such a way that they will appear to be + simply flung over the shoulder, but actually fastened very cleverly in + order to avoid tripping the shepherds, who are continually sitting down on + the floor and getting up again. + </p> + <p> + Thyrsis wears a dark grey tunic and cloak of raw bright red,—but not + a turkey-red, as this color will kill the blue of Corydon's cloak. Corydon + wears tunic of light grey and cloak of brilliant blue. There must be no + red or blue used anywhere in the entire play excepting in the blue and red + of these two cloaks. The two shepherds must be so strong and vivid in + every way that when Columbine comes in and says, "Is this my scene or + not?" it will seem to the audience that it is she, not the shepherds, who + is hopelessly out of the scene. + </p> + <p> + CHARACTERS: + </p> + <p> + PIERROT: Pierrot sees clearly into existing evils and is rendered gaily + cynical by them; he is both too indolent and too indifferent to do + anything about it. Yet in several lines of the play his actual unhappiness + is seen, —for instance, "Moon's just a word to swear by," in which + he expresses his conviction that all beauty and romance are fled from the + world. At the end of the play the line, "Yes, and yet I dare say he is + just as dead," must not be said flippantly or cynically, but slowly and + with much philosophic concentration on the thought. From the moment when + Columbine cries, "What's that there under the table?" until Pierrot calls, + "Cothurnus, come drag these bodies out of here!" they both stand staring + at the two bodies, without moving in any way, or even lifting their eyes. + (This same <i>holding</i> of the play is used several times also by the + shepherds,—for instance, always during the off-stage interpolations, + they stand either staring at each other across the wall, or maintaining + whatever other position they may have had when the off-stage voice begins + speaking, until the interruption is over, when they resume their drama + quite as if nobody had spoken.) Columbine's "How curious to strangle him + like that" is spoken extremely slowly, in a voice of awe, curiosity, and + horror. For a moment the two characters seem almost to feel and be subdued + by the tragedy that has taken place. They remain standing very quietly + while Cothurnus speaks his final lines off stage, and for a moment after + he has said, "The audience will forget"; then very slowly raise their eyes + and exchange glances, Pierrot nods his head curtly and says, "That's so"; + they set their bowls gaily back on the table, and the play begins again. + </p> + <p> + Pierrot in such lines as "Ah, Columbine, as if it mattered!" speaks with + mock saccharine tenderness; but in such lines as "If you were a fly you + would be dead by now!" although he speaks very gaily his malice must be + apparent almost even to her; Columbine bores him to death. When he says, + "I'll go and strum the moon!" he is for the instant genuinely excited and + interested; he is for this moment like a child, and is happy. + </p> + <p> + COLUMBINE: Pretty and charming, but stupid; she never knows what Pierrot + is talking about, and is so accustomed to him that she no longer pretends + to understand him; but she is very proud of him, and when he speaks she + listens with trustful admiration. Her expression, "I cannot live without" + this or that, is a phrase she uses in order to make herself more + attractive, because she believes men prefer women to be useless and + extravagant; if left to herself she would be a domestic and capable + person. + </p> + <p> + COTHURNUS: This character should be played by a tall and imposing figure + with a tremendous voice. The voice of Cothurnus is one of the most + important things in the acting play. He should have a voice deeper than + the voice used by any of the other persons, should speak weightily and + with great dignity, but almost without intonation, and quite without + feeling, as if he had said the same words many times before. Only in his + last speech may he be permitted a comment on the situation. This speech + should be spoken quite as impressively as the others and fully as slowly. + </p> + <p> + CORYDON and THYRSIS: These two characters are young, very simple, and + childlike; they are acted upon by the force that sits on the back of the + stage behind them. More and more as their quarrel advances they begin to + see that something is wrong, but they have no idea what to do about it, + and they scarcely realize what is happening, the quarrel grows so from + little things into big things. Corydon's first vision of the tragedy is in + "It's terrible when you stop to think of it." Thyrsis' first vision comes + when he looks into the pool; in seeing the familiar reflection he is + struck by the unfamiliarity of one aspect of it, the poisonous root; for + the first time he realizes that this man who is about to kill with + poisoned water his most beloved friend, is none other than Thyrsis <i>himself</i>,—"'Tis + I!" The personalities of Thyrsis and Corydon are not essentially + different. They develop somewhat differently, because of the differing + circumstances. + </p> + <p> + When Columbine goes out for the first time she takes with her her + artichoke and her wine-glass, also a couple of macaroons, which she + nibbles, going out. This helps to get the table cleared. The other + articles are removed by the shepherds when they prepare the stage for + their scene, in this manner: at the cue "Sir, we are always ready. . . . + Play the play!", Corydon and Thyrsis come down stage, Corydon to Pierrot's + end of the table, Thyrsis to Columbia's; simultaneously, first, they set + back the chairs against the wall, Pierrot's left front, Columbine's right + front; next they remove the two big bowls and set them in symmetrical + positions on the floor, left front and right front, in such a way that the + bowl of confetti may be the mine of jewels for Corydon, and the bowl of + fruits, the punch-bowl, may represent the pool of water for Thyrsis; then, + taking the table by the two ends, they set it back against the wall, + right; next, while Corydon places the two pillows from the left wall on + the floor to represent rocks in their pasture, Thyrsis removes from the + table everything that is left on it except the tablecloth,—this + should be only Pierrot's wine-goblet and the flower in its pot. (The + flower is to represent later the poisonous weed which Thyrsis finds, the + wine-goblet a drinking-cup beside the pool, the flower-pot a bowl in which + to mix the poison and bring it to Corydon.) The two shepherds do this + setting of their stage swiftly and silently, then seat themselves at once, + in easy but beautiful postures, and remain for a moment looking off as if + at their sheep while a complete silence settles over the stage and house,—a + <i>pastoral</i> silence, if it is possible to suggest it—before they + begin to speak. + </p> + <p> + When Columbine comes in, looking for her hat, she picks up the hat from + her chair, now in the centre of the stage near the footlights, in a direct + line with Pierrot's, which is centre back, just in front of Cothurnus,—the + shepherds having set them in these positions, back to back, in order to + have their aid in weaving the wall. After taking her hat, Columbine stands + looking at the shepherds to see what is going on. They do not look at her. + After a moment Thyrsis, slowly, with his eyes steadfastly on Corydon's, + says, "Take it, and go." When Columbine comes in in the final scene, she + is wearing the hat. She takes it off, however, as she sits down again at + the table, so that the second beginning of the play may recall as vividly + as possible to the audience the first beginning. + </p> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay + +*** END OF THIS PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + +***** This file should be named 5790-h.htm or 5790-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/5/7/9/5790/ + +Produced by David Starner, and David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Aria da Capo + +Author: Edna St. Vincent Millay + +Release Date: May, 2004 [EBook #5790] +Posting Date: May 31, 2009 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + + + + +Produced by David Starner + + + + + + + +ARIA DA CAPO + +A PLAY IN ONE ACT + +Copyright, 1920 + +By Edna St. Vincent Millay + +Printed in the U. S. A. + + + +PERSONS + +Pierrot + +Columbine + +Cothurnus, Masque of Tragedy + +Thyrsis -\ + Shepherds +Corydon -/ + + + [Scene: A stage] + + [The curtain rises on a stage set for a Harlequinade, a merry + black and white interior. Directly behind the footlights, and + running parallel with them, is a long table, covered with a gay + black and white cloth, on which is spread a banquet. At the + opposite ends of this table, seated on delicate thin-legged + chairs with high backs, are Pierrot and Columbine, dressed + according to the tradition, excepting that Pierrot is in lilac, + and Columbine in pink. They are dining.] + +COLUMBINE: Pierrot, a macaroon! I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! . . . Is it Tuesday, Columbine?-- +I'll kiss you if it's Tuesday. + +COLUMBINE: It is Wednesday, +If you must know . . . . Is this my artichoke, +Or yours? + +PIERROT: Ah, Columbine,--as if it mattered! +Wednesday . . . . Will it be Tuesday, then, to-morrow, +By any chance? + +COLUMBINE: To-morrow will be--Pierrot, +That isn't funny! + +PIERROT: I thought it rather nice. +Well, let us drink some wine and lose our heads +And love each other. + +COLUMBINE: Pierrot, don't you love +Me now? + +PIERROT: La, what a woman!--how should I know? +Pour me some wine: I'll tell you presently. + +COLUMBINE: Pierrot, do you know, I think you drink too much. + +PIERROT: Yes, I dare say I do. . . . Or else too little. +It's hard to tell. You see, I am always wanting +A little more than what I have,--or else +A little less. There's something wrong. My dear, +How many fingers have you? + +COLUMBINE: La, indeed, +How should I know?--It always takes me one hand +To count the other with. It's too confusing. +Why? + +PIERROT: Why?--I am a student, Columbine; +And search into all matters. + +COLUMBINE: La, indeed?-- +Count them yourself, then! + +PIERROT: No. Or, rather, nay. +'Tis of no consequence. . . . I am become +A painter, suddenly,--and you impress me-- +Ah, yes!--six orange bull's-eyes, four green pin-wheels, +And one magenta jelly-roll,--the title +As follows: Woman Taking in Cheese from Fire-Escape. + +COLUMBINE: Well, I like that! So that is all I've meant +To you! + +PIERROT: Hush! All at once I am become +A pianist. I will image you in sound. . . . +On a new scale. . . , Without tonality. . . +Vivace senza tempo senza tutto. . . . +Title: Uptown Express at Six O'Clock. +Pour me a drink. + +COLUMBINE: Pierrot, you work too hard. +You need a rest. Come on out into the garden, +And sing me something sad. + +PIERROT: Don't stand so near me! +I am become a socialist. I love +Humanity; but I hate people. Columbine, +Put on your mittens, child; your hands are cold. + +COLUMBINE: My hands are _not_ cold! + +PIERROT: Oh, I am sure they are. +And you must have a shawl to wrap about you, +And sit by the fire. + +COLUMBINE: Why, I'll do no such thing! +I'm hot as a spoon in a teacup! + +PIERROT: Columbine, +I'm a philanthropist. I know I am, +Because I feel so restless. Do not scream, +Or it will be the worse for you! + +COLUMBINE: Pierrot, +My vinaigrette! I cannot _live_ without +My vinaigrette! + +PIERROT: My only love, you are +_So_ fundamental! . . . How would you like to be +An actress, Columbine?--I am become +Your manager. + +COLUMBINE: Why, Pierrot, _I_ can't act. + +PIERROT: Can't act! Can't act! La, listen to the woman! +What's that to do with the price of furs?--You're blonde, +Are you not?--you have no education, have you?-- +Can't act! You underrate yourself, my dear! + +COLUMBINE: Yes, I suppose I do. + +PIERROT: As for the rest, +I'll teach you how to cry, and how to die, +And other little tricks; and the house will love you. +You'll be a star by five o'clock . . . that is, +If you will let me pay for your apartment. + +COLUMBINE: _Let_ you?--well, that's a good one! +Ha! Ha! Ha! +But why? + +PIERROT: But why?--well, as to that, my dear, +I cannot say. It's just a matter of form. + +COLUMBINE: Pierrot, I'm getting tired of caviar +And peacocks' livers. Isn't there something else +That people eat?--some humble vegetable, +That grows in the ground? + +PIERROT: Well, there are mushrooms. + +COLUMBINE: Mushrooms! +That's so! I had forgotten . . . mushrooms . . . mushrooms. . . . +I cannot _live_ with . . . How do you like this gown? + +PIERROT: Not much. I'm tired of gowns that have the waist-line +About the waist, and the hem around the bottom,-- +And women with their breasts in front of them!-- +Zut and ehe! Where does one go from here! + +COLUMBINE: Here's a persimmon, love. You always liked them. + +PIERROT: I am become a critic; there is nothing +I can enjoy. . . . However, set it aside; +I'll eat it between meals. + +COLUMBINE: Pierrot, do you know, +Sometimes I think you're making fun of me. + +PIERROT: My love, by yon black moon, you wrong us both. + +COLUMBINE: There isn't a sign of a moon, Pierrot. + +PIERROT: Of course not. +There never was. "Moon's" just a word to swear by. +"Mutton!"--now _there's_ a thing you can lay the hands on, +And set the tooth in! Listen, Columbine: +I always lied about the moon and you. +Food is my only lust. + +COLUMBINE: Well, eat it, then, +For Heaven's sake, and stop your silly noise! +I haven't heard the clock tick for an hour. + +PIERROT: It's ticking all the same. If you were a fly, +You would be dead by now. And if I were a parrot, +I could be talking for a thousand years! + + [Enter COTHURNUS.] + +PIERROT: Hello, what's this, for God's sake?-- +What's the matter? +Say, whadda you mean?--get off the stage, my friend, +And pinch yourself,--you're walking in your sleep! + +COTHURNUS: I never sleep. + +PIERROT: Well, anyhow, clear out. +You don't belong on here. Wait for your own scene! +Whadda you think this is,--a dress-rehearsal? + +COTHURNUS: Sir, I am tired of waiting. I will wait +No longer. + +PIERROT: Well, but whadda you going to do? +The scene is set for me! + +COTHURNUS: True, sir; yet I +Can play the scene. + +PIERROT: Your scene is down for later! + +COTHURNUS: That, too, is true, sir; but I play it now. + +PIERROT: Oh, very well!--Anyway, I am tired +Of black and white. At least, I think I am. + + [Exit COLUMBINE.] + +Yes, I am sure I am. I know what I'll do!-- +I'll go and strum the moon, that's what I'll do. . . . +Unless, perhaps . . . you never can tell . . . I may be, +You know, tired of the moon. Well, anyway, +I'll go find Columbine. . . . And when I find her, +I will address her thus: "Ehe, Pierrette!"-- +There's something in that. + + [Exit PIERROT.] + +COTHURNUS: You, Thyrsis! Corydon! +Where are you? + +THYRSIS: [Off stage.] Sir, we are in our dressing-room! + +COTHURNUS: Come out and do the scene. + +CORYDON: [Off stage.] You are mocking us!-- +The scene is down for later. + +COTHURNUS: That is true; +But we will play it now. I am the scene. +[Seats himself on high place in back of stage.] + + [Enter CORYDON and THYRSIS.] + +CORYDON: Sir, we are counting on this little hour. +We said, "Here is an hour,--in which to think +A mighty thought, and sing a trifling song, +And look at nothing."--And, behold! the hour, +Even as we spoke, was over, and the act begun, +Under our feet! + +THYRSIS: Sir, we are not in the fancy +To play the play. We had thought to play it later. + +CORYDON: Besides, this is the setting for a farce. +Our scene requires a wall; we cannot build +A wall of tissue-paper! + +THYRSIS: We cannot act +A tragedy with comic properties! + +COTHURNUS: Try it and see. I think you'll find you can. +One wall is like another. And regarding +The matter of your insufficient mood, +The important thing is that you speak the lines, +And make the gestures. Wherefore I shall remain +Throughout, and hold the prompt-book. Are you ready? + +CORYDON-THYRSIS: [Sorrowfully.] Sir, we are always ready. + +COTHURNUS: Play the play! + + [CORYDON and THYRSIS move the table and chairs to one side out + of the way, and seat themselves in a half-reclining position + on the floor.] + +THYRSIS: How gently in the silence, Corydon, +Our sheep go up the bank. They crop a grass +That's yellow where the sun is out, and black +Where the clouds drag their shadows. Have you noticed +How steadily, yet with what a slanting eye +They graze? + +CORYDON: As if they thought of other things. +What say you, Thyrsis, do they only question +Where next to pull?--Or do their far minds draw them +Thus vaguely north of west and south of east? + +THYRSIS: One cannot say. . . . The black lamb wears its burdocks +As if they were a garland,--have you noticed? +Purple and white--and drinks the bitten grass +As if it were a wine. + +CORYDON: I've noticed that. +What say you, Thyrsis, shall we make a song +About a lamb that thought himself a shepherd? + +THYRSIS: Why, yes!--that is, why,--no. (I have forgotten my line.) + +COTHURNUS: [Prompting.] "I know a game worth two of that!" + +THYRSIS: Oh, yes. . . . I know a game worth two of that! +Let's gather rocks, and build a wall between us; +And say that over there belongs to me, +And over here to you! + +CORYDON: Why,--very well. +And say you may not come upon my side +Unless I say you may! + +THYRSIS: Nor you on mine! +And if you should, 'twould be the worse for you! + + [They weave a wall of colored crepe paper ribbons from the + centre front to the centre back of the stage, fastening the + ends to COLUMBINE'S chair in front and to PIERROT'S chair in + the back.] + +CORYDON: Now there's a wall a man may see across, +But not attempt to scale. + +THYRSIS: An excellent wall. + +CORYDON: Come, let us separate, and sit alone +A little while, and lay a plot whereby +We may outdo each other. +[They seat themselves on opposite sides of the wall.] + +PIERROT: [Off stage.] Ehe, Pierrette! + +COLUMBINE: [Off stage.] My name is Columbine! +Leave me alone! + +THYRSIS: [Coming up to the wall.] +Corydon, after all, and in spite of the fact +I started it myself, I do not like this +So very much. What is the sense of saying +I do not want you on my side the wall? +It is a silly game. I'd much prefer +Making the little song you spoke of making, +About the lamb, you know, that thought himself +A shepherd!--what do you say? + +[Pause.] + +CORYDON: [At wall.] (I have forgotten the line.) + +COTHURNUS: [Prompting.] "How do I know this isn't a trick?" + +CORYDON: Oh, yes. . . . How do I know this isn't a trick +To get upon my land? + +THYRSIS: Oh, Corydon, +You _know_ it's not a trick. I do not like +The game, that's all. Come over here, or let me +Come over there. + +CORYDON: It is a clever trick +To get upon my land. [Seats himself as before.] + +THYRSIS: Oh, very well! [Seats himself as before.] +[To himself.] I think I never knew a sillier game. + +CORYDON: [Coming to wall.] +Oh, Thyrsis, just a minute!--all the water +Is on your side the wall, and the sheep are thirsty. +I hadn't thought of that. + +THYRSIS: Oh, hadn't you? + +CORYDON: Why, what do you mean? + +THYRSIS: What do I mean?--I mean +That I can play a game as well as you can. +And if the pool is on my side, it's on +My side, that's all. + +CORYDON: You mean you'd let the sheep +Go thirsty? + +THYRSIS: Well, they're not my sheep. My sheep +Have water enough. + +CORYDON: _Your_ sheep! You are mad, to call them +Yours--mine--they are all one flock! Thyrsis, you can't mean +To keep the water from them, just because +They happened to be grazing over here +Instead of over there, when we set the wall up? + +THYRSIS: Oh, can't I?--wait and see!--and if you try +To lead them over here, you'll wish you hadn't! + +CORYDON: I wonder how it happens all the water +Is on your side. . . . I'll say you had an eye out +For lots of little things, my innocent friend, +When I said, "Let us make a song," and you said, +"I know a game worth two of that!" + +COLUMBINE: [Off stage.] Pierrot, +D'you know, I think you must be getting old, +Or fat, or something,--stupid, anyway!-- +Can't you put on some other kind of collar? + +THYRSIS: You know as well as I do, Corydon, +I never thought anything of the kind. +_Don't_ you? + + +CORYDON: I _do_ not. + +THYRSIS: Don't you? + +CORYDON: Oh, I suppose so. +Thyrsis, let's drop this,--what do you say?--it's only +A game, you know . . . we seem to be forgetting +It's only a game ... a pretty serious game +It's getting to be, when one of us is willing +To let the sheep go thirsty for the sake of it. + +THYRSIS: I know it, Corydon. + + [They reach out their arms to each other across the wall.] + +COTHURNUS: [Prompting.] "But how do I know--" + +THYRSIS: Oh, yes. . . . But how do I know this isn't a trick +To water your sheep, and get the laugh on me? + +CORYDON: You can't know, that's the difficult thing about it, +Of course,--you can't be sure. You have to take +My word for it. And I know just how you feel. +But one of us has to take a risk, or else, +Why, don't you see?--the game goes on forever! . . . +It's terrible, when you stop to think of it. . . . +Oh, Thyrsis, now for the first time I feel +This wall is actually a wall, a thing +Come up between us, shutting you away +From me. . . . I do not know you any more! + +THYRSIS: No, don't say that! Oh, Corydon, I'm willing +To drop it all, if you will! Come on over +And water your sheep! It is an ugly game. +I hated it from the first. . . . How did it start? + +CORYDON: I do not know . . . I do not know . . . I think +I am afraid of you!--you are a stranger! +I never set eyes on you before! "Come over +And water my sheep," indeed!--They'll be more thirsty +Than they are now before I bring them over +Into your land, and have you mixing them up +With yours, and calling them yours, and trying to +keep them! + + [Enter COLUMBINE] + +COLUMBINE: [To COTHURNUS.] Glummy, I want my hat. + +THYRSIS: Take it, and go. + +COLUMBINE: Take it and go, indeed. Is it my hat, +Or isn't it? Is this my scene, or not? +Take it and go! Really, you know, you two +Are awfully funny! + + [Exit COLUMBINE] + +THYRSIS: Corydon, my friend, +I'm going to leave you now, and whittle me +A pipe, or sing a song, or go to sleep. +When you have come to your senses, let me know. +[Goes back to where he has been sitting, lies down and sleeps.] + + [CORYDON, in going back to where he has been sitting, stumbles + over bowl of colored confetti and colored paper ribbons.] + +CORYDON: Why, what is this?--Red stones--and purple stones-- +And stones stuck full of gold!--The ground is full +Of gold and colored stones! . . . I'm glad the wall +Was up before I found them!--Otherwise, +I should have had to share them. As it is, +They all belong to me. . . . Unless-- + + [He goes to wall and digs up and down the length of it, + to see if there are jewels on the other side.] + +None here-- +None here--none here--They all belong to me! +[Sits.] + +THYRSIS: [Awakening.] How curious! I thought the little black lamb +Came up and licked my hair; I saw the wool +About its neck as plain as anything! +It must have been a dream. The little black lamb +Is on the other side of the wall, I'm sure. + + [Goes to wall and looks over. CORYDON is seated on the ground, + tossing the confetti up into the air and catching it.] + +Hello, what's that you've got there, Corydon? + +CORYDON: Jewels. + +THYRSIS: Jewels?--And where did you ever get them? + +CORYDON: Oh, over here. + +THYRSIS: You mean to say you found them, +By digging around in the ground for them? + +CORYDON: [Unpleasantly.] No, Thyrsis, +By digging down for water for my sheep. + +THYRSIS: Corydon, come to the wall a minute, will you? +I want to talk to you. + +CORYDON: I haven't time. +I'm making me a necklace of red stones. + +THYRSIS: I'll give you all the water that you want, +For one of those red stones,--if it's a good one. + +CORYDON: Water?--what for?--what do I want of water? + +THYRSIS: Why, for your sheep! + +CORYDON: My sheep?--I'm not a shepherd! + +THYRSIS: Your sheep are dying of thirst. + +CORYDON: Man, haven't I told you +I can't be bothered with a few untidy +Brown sheep all full of burdocks?--I'm a merchant. +That's what I am!--And if I set my mind to it +I dare say I could be an emperor! +[To himself.] Wouldn't I be a fool to spend my time +Watching a flock of sheep go up a hill, +When I have these to play with?--when I have these +To think about?--I can't make up my mind +Whether to buy a city, and have a thousand +Beautiful girls to bathe me, and be happy +Until I die, or build a bridge, and name it +The Bridge of Corydon,--and be remembered +After I'm dead. + +THYRSIS: Corydon, come to the wall, +Won't you?--I want to tell you something. + +CORYDON: Hush! +Be off! Be off! Go finish your nap, I tell you! + +THYRSIS: Corydon, listen: if you don't want your sheep, +Give them to me. + +CORYDON: Be off! Go finish your nap. +A red one--and a blue one--and a red one-- +And a purple one--give you my sheep, did you say?-- +Come, come! What do you take me for, a fool? +I've a lot of thinking to do,--and while I'm thinking, +The sheep might just as well be over here +As over there. . . . A blue one--and a red one-- + +THYRSIS: But they will die! + +CORYDON: And a green one--and a couple +Of white ones, for a change. + +THYRSIS: Maybe I have +Some jewels on my side. + +CORYDON: And another green one-- +Maybe, but I don't think so. You see, this rock +Isn't so very wide. It stops before +It gets to the wall. It seems to go quite deep, +However. + +THYRSIS: [With hatred.] I see. + +COLUMBINE: [Off stage.] Look, Pierrot, there's the moon. + +PIERROT: [Off stage.] Nonsense! + +THYRSIS: I see. + +COLUMBINE: [Off stage.] Sing me an old song, Pierrot,-- +Something I can remember. + +PIERROT: [Off stage.] Columbine. +Your mind is made of crumbs,--like an escallop +Of oysters,--first a layer of crumbs, and then +An oystery taste, and then a layer of crumbs. + +THYRSIS: [Searching.] I find no jewels . . . but I wonder what +The root of this black weed would do to a man +If he should taste it. ... I have seen a sheep die, +With half the stalk still drooling from its mouth. +'Twould be a speedy remedy, I should think, +For a festered pride and a feverish ambition. +It has a curious root. I think I'll hack it +In little pieces. . . . First I'll get me a drink; +And then I'll hack that root in little pieces +As small as dust, and see what the color is +Inside. [Goes to bowl on floor.] + +The pool is very clear. I see +A shepherd standing on the brink, with a red cloak +About him, and a black weed in his hand. . . . +'Tis I. [Kneels and drinks.] + +CORYDON: [Coming to wall.] Hello, what are you doing, Thyrsis? + +THYRSIS: Digging for gold. + +CORYDON: I'll give you all the gold +You want, if you'll give me a bowl of water. +If you don't want too much, that is to say. + +THYRSIS: Ho, so you've changed your mind?--It's different, +Isn't it, when you want a drink yourself? + +CORYDON: Of course it is. + +THYRSIS: Well, let me see ... a bowl +Of water,--come back in an hour, Corydon. +I'm busy now. + +CORYDON: Oh, Thyrsis, give me a bowl +Of water!--and I'll fill the bowl with jewels, +And bring it back! + +THYRSIS: Be off, I'm busy now. + +[He catches sight of the weed, picks it up and looks +at it, unseen by CORYDON.] + +Wait!--Pick me out the finest stones you have . . . +I'll bring you a drink of water presently. + +CORYDON: [Goes back and sits down, with the jewels before him.] +A bowl of jewels is a lot of jewels. + +THYRSIS: [Chopping up the weed.] I wonder if it has a bitter taste. + +CORYDON: There's sure to be a stone or two among them +I have grown fond of, pouring them from one hand +Into the other. + +THYRSIS: I hope it doesn't taste +Too bitter, just at first. + +CORYDON: A bowl of jewels +Is far too many jewels to give away +And not get back again. + +THYRSIS: I don't believe +He'll notice. He's too thirsty. He'll gulp it down +And never notice. + +CORYDON: There ought to be some way +To get them back again. . . . I could give him a necklace, +And snatch it back, after I'd drunk the water, +I suppose. . . . Why, as for that, of course a _necklace_. . . . + + [He puts two or three of the colored tapes together and tries + their strength by pulling them, after which he puts them around + his neck and pulls them, gently, nodding to himself. He gets up + and goes to the wall, with the colored tapes in his hands.] + + [THYRSIS in the meantime has poured the powdered root--black + confetti--into the pot which contained the flower and filled + it up with wine from the punch-bowl on the floor. He comes + to the wall at the same time, holding the bowl of poison.] + +THYRSIS: Come, get your bowl of water, Corydon. + +CORYDON: Ah, very good!--and for such a gift as that +I'll give you more than a bowl of unset stones. +I'll give you three long necklaces, my friend. +Come closer. Here they are. [Puts the ribbons +about THYRSIS' neck.] + +THYRSIS: [Putting bowl to CORYDON'S mouth.] +I'll hold the bowl +Until you've drunk it all. + +CORYDON: Then hold it steady. +For every drop you spill I'll have a stone back +Out of this chain. + +THYRSIS: I shall not spill a drop. + + [CORYDON drinks, meanwhile beginning to strangle + THYRSIS.] + +THYRSIS: Don't pull the string so tight. + +CORYDON: You're spilling the water. + +THYRSIS: You've had enough--you've had enough--stop pulling +The string so tight! + +CORYDON: Why, that's not tight at all ... +How's this? + +THYRSIS: [Drops bowl.] You're strangling me! Oh, Corydon! +It's only a game!--and you are strangling me! + +CORYDON: It's only a game, is it?--Yet I believe +You've poisoned me in earnest! [Writhes and +pulls the strings tighter, winding them about +THYRSIS' neck.] + +THYRSIS: Corydon! [Dies.] + +CORYDON: You've poisoned me in earnest. . . . I feel so cold. . . . +So cold . . . this is a very silly game. . . . +Why do we play it?--let's not play this game +A minute more . . . let's make a little song +About a lamb. . . . I'm coming over the wall, +No matter what you say,--I want to be near you. . . . + + [Groping his way, with arms wide before him, he strides through + the frail papers of the wall without knowing it, and continues + seeking for the wall straight across the stage.] + +Where is the wall? + + [Gropes his way back, and stands very near THYRSIS without + seeing him; he speaks slowly.] + +There isn't any wall, +I think. + + [Takes a step forward, his foot touches THYRSIS' body, and he + falls down beside him.] + +Thyrsis, where is your cloak?--just give me +A little bit of your cloak! . . . + + [Draws corner of THYRSIS' cloak over his shoulders, falls + across THYRSIS' body, and dies.] + + [COTHURNUS closes the prompt-book with a bang, arises + matter-of-factly, comes down stage, and places the table over + the two bodies, drawing down the cover so that they are hidden + from any actors on the stage, but visible to the audience, + pushing in their feet and hands with his boot. He then turns + his back to the audience, and claps his hands twice.] + +COTHURNUS: Strike the scene! [Exit COTHURNUS.] + + [Enter PIERROT and COLUMBINE.] + +PIERROT: Don't puff so, Columbine! + +COLUMBINE: Lord, what a mess +This set is in! If there's one thing I hate +Above everything else,--even more than getting my feet wet-- +It's clutter!--He might at least have left the scene +The way he found it ... don't you say so, Pierrot? + + [She picks up punch bowl. They arrange chairs as before at ends + of table.] + +PIERROT: Well, I don't know. I think it rather diverting +The way it is. + +[Yawns, picks up confetti bowl.] + +Shall we begin? + +COLUMBINE: [Screams.] My God! +What's that there under the table? + +PIERROT: It is the bodies +Of the two shepherds from the other play. + +COLUMBINE: [Slowly.] How curious to strangle him like that, +With colored paper ribbons. + +PIERROT: Yes, and yet +I dare say he is just as dead. [Pauses. Calls.] +Cothurnus! +Come drag these bodies out of here! We can't +Sit down and eat with two dead bodies lying +Under the table! . . . The audience wouldn't stand for it! + +COTHURNUS: (Off stage.) What makes you think so?-- +Pull down the tablecloth +On the other side, and hide them from the house, +And play the farce. The audience will forget. + +PIERROT: That's so. Give me a hand there, +Columbine. + + [PIERROT and COLUMBINE pull down the table cover in such a way + that the two bodies are hidden from the house, then merrily set + their bowls back on the table, draw up their chairs, and begin + the play exactly as before.] + +COLUMBINE: Pierrot, a macaroon,--I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! ... Is it Tuesday, Columbine?-- +I'll kiss you if it's Tuesday. + + [Curtains begin to close slowly.] + +COLUMBINE: It is Wednesday, +If you must know. ... Is this my artichoke +Or yours? + +PIERROT: Ah, Columbine, as if it mattered! +Wednesday. . . . Will it be Tuesday, then, to-morrow, +By any chance? . . . + +[CURTAIN.] + + + + +AUTHOR'S NOTE + +ON THE PLAYING PO + +ARIA DA CAPO + + + +ORIGINAL CAST + +AS PLAYED BY THE PROVINCETOWN PLAYERS, NEW YORK CITY + +PIERROT HARRISON DOWD + +COLUMBINE NORMA MILLAY + +COTHURNUS HUGH FERRISS + +CORYDON CHARLES ELLIS + +THYRSIS JAMES LIGHT + + + +AUTHOR'S NOTE + +So great is my vexation always, when reading a play, to find its +progress constantly being halted and its structure loosened by +elaborate explanatory parentheses, that I resolved when I should +publish Aria da Capo to incorporate into its text only those +explanations the omission of which might confuse the reader or lend +a wrong interpretation to the lines. Since, however, Aria da Capo +was written not only to be read but also to be acted, and being +conscious that the exclusion of the usual directions, while +clarifying the play to the reader, may make it bare of suggestions +and somewhat baffling to the producer, I am adding here some remarks +which have been found of value in preparing it for presentation on +the stage. + +Since the production of Aria da Capo by the Provincetown Players, I +have received a great many letters from the directors of little +theatres, asking for copies of it with a view to producing it. Very +often, after I send the play, I receive a letter in reply asking for +some suggestions for its presentation, and enclosing direct +questions on points that have been difficult. It occurred to me +finally that it would be reasonable to make up a sort of informal +prompt-book to send about with the play; and it is that which is +printed below. It will be found incomplete and uneven, in some +instances unnecessarily detailed, in others not sufficiently so; all +of which is due to the fact that it was put together loosely, from +answers to chance questions, rather than logically, as an entity in +itself. + + + + +SUGGESTIONS FOR THE PRODUCTION OF "ARIA DA CAPO" + +SETTING: + +The setting required is simple:--a grey curtain, a long black table, +two slender black high-backed chairs, and a raised platform. + +Instead of wings and back-drop the Provincetown Players cleverly +utilized painted screens, the heights varying from 6 to 10 feet, +these being set right and left of the stage in such manner as to +give the effect of depth and distance. + +The table, six feet long and two feet wide, has thin legs and is +painted black. + +When Pierrot and Columbine enter in the final scene, it is not +necessary that the table which Cothurnus has replaced shall entirely +conceal the bodies of Thyrsis and Corydon. Pierrot and Columbine +must ignore them until the lines indicate their discovery, no matter +how they may have fallen. + +Particular attention must be given to the chairs in this set. They +are used to construct the tissue-paper wall, and, although +delicate, should be heavy enough to remain solid and steady, up and +down stage, without the possibility of an upset when Corydon strides +through the wall. + +Near the footlights (actors' left) are two sofa pillows, used to +represent the rocks against which the shepherds lean. On the left of +the stage have another pillow, which Thyrsis places under his head +when he lies down to sleep. Use cloth or crepe paper for these +pillows, and have them of spotted black and white material, or of +any gay color except red or blue. + +Cothurnus occupies a chair upon a platform, up-stage, centre, with +two or three steps surrounding it on three sides. Drape this with +plain heavy black cloth. + +The table covering is important. Its width is equal to that of the +added height and width of the table. As it must be moved to cover +the bodies of Thyrsis and Corydon, it should be of sufficient weight +to prevent slipping. It will be well to experiment with this, to +ensure proper performance. + +The cover should have black and white spots and striped ends. + +The table is set as follows:--two large wooden bowls (at least seven +inches high and fourteen inches in diameter). One is placed at each +end of the table. That at Columbine's end should contain +persimmons, pomegranates, grapes and other bright exotic fruits. +Pierrot's bowl has confetti and colored paper ribbons, the latter +showing plainly over the edge. (If Columbine uses practical +macaroons, put them into this bowl.) + +Near Columbine, place a practical uncooked artichoke; have this of +good size, and nail it to a wooden standard, painted black. At both +places there are tall white wooden goblets. + +In the centre of the table there should be a curious, grotesque, but +very gay flower, standing upright in a pot of wood or heavy paper, +which will not break when Thyrsis drops it. Concealed at the root of +this plant there should be a small sack of black confetti, to be +used in the "poison scene." + +The table should be set with nothing but these articles, and yet +give the appearance of bounty and elegance. + +Place the table parallel with the footlights,--the long side toward +the audience. + +Columbine's chair is at the actors' right, and Pierrot's +opposite--Columbine's hat hangs from her chair-top. Both chairs are +festooned with tissue-paper ribbons, at least ten feet long, to be +used later by the shepherds to represent their wall. These must be +of such a texture as to break readily when Corydon walks through, +and a prearranged transverse tear or two will assist in the prompt +breakage when he does so. + +PROPERTIES: + +Two white wooden bowls, one filled with fruits and the other with +confetti and paper ribbons,--one ribbon to be of cotton or silk, in +order to be not too easily broken by Corydon when strangling Thyrsis + +Two tall white wooden goblets + +One artichoke nailed to a standard + +One flower in paper or wooden pot, the root wrapped with black crepe +paper (or use confetti) + +Black and white tablecloth + +Macaroons + +Boots and prompt-book for Cothurnus (large flat black book) + +Also, if desired, mask of Tragedy for Cothurnus + +Crepe or tissue streamers of different colors, including no red or +blue, for wall. + + +COSTUMES: + +PIERROT: Lavender or lilac satin, preferably a blue-lavender. Care +should be taken that the lavender does not turn pink under the stage +lights. Pierrot's costume is the conventional smock with wide +trousers, with black crepe paper rosettes on the smock, wide white +tarleton ruff. Black evening pumps with black rosettes may be worn. +Black silk skull-cap. + +COLUMBINE: Tight black satin bodice cut very low, with straps over +the shoulders, quite like the modern evening gown; very full +tarleton skirts of different shades of pink and cerise, reaching to +the knees; ruffled bloomers of apple-green tarleton, the ruffles +showing below the skirts; black silk stockings and black ballet +slippers, laced with green. Hat of lavender crepe paper, with +streamers of gay colors--including, however, no clear red or blue. +Hat should be small and very smart--not a _shepherdess_ hat. Columbine +should be made up to suggest a doll. As originally interpreted she +had short light hair, standing out bushily all over her head. Long +hair should be rolled under to give a _bobbed_ effect, or could be +arranged in obvious caricature of some extreme modern style, but +must look attractive, and must be blonde. + +COTHURNUS: Plain toga of dull purple in some heavy, unreflecting +material which will fall into large folds, lined with sombre +flame-color; a garment with large purple sleeves, of which only the +sleeves were visible, was worn under the toga,--but the effect should +be classical; heavy boots should be worn, as nearly as possible like +the tragic Roman buskin; one end of the great toga is tied into a +rough hood which covers the actor's head; a mask may be worn, but it +is often difficult to speak through, and, if desired, the actor's +face may be made up to represent a mask of Tragedy. + +THYRSIS and CORYDON: These costumes, in striking contrast to the +elegance of those of Pierrot and Columbine, should be very simple, +and very roughly made; short tunics of outing-flannel or some such +material--fastened loosely over one shoulder,--one shoulder, as well +as most of the back and breast, exposed. Legs bare, or swathed from +the knee to the ankle in rough strips of the same material. Sandals. +Cloaks of heavier, cheap material fastened to the tunics in such a +way that they will appear to be simply flung over the shoulder, but +actually fastened very cleverly in order to avoid tripping the +shepherds, who are continually sitting down on the floor and getting +up again. + +Thyrsis wears a dark grey tunic and cloak of raw bright red,--but not +a turkey-red, as this color will kill the blue of Corydon's cloak. +Corydon wears tunic of light grey and cloak of brilliant blue. There +must be no red or blue used anywhere in the entire play excepting in +the blue and red of these two cloaks. The two shepherds must be so +strong and vivid in every way that when Columbine comes in and says, +"Is this my scene or not?" it will seem to the audience that it is +she, not the shepherds, who is hopelessly out of the scene. + +CHARACTERS: + +PIERROT: Pierrot sees clearly into existing evils and is rendered +gaily cynical by them; he is both too indolent and too indifferent +to do anything about it. Yet in several lines of the play his actual +unhappiness is seen, --for instance, "Moon's just a word to swear +by," in which he expresses his conviction that all beauty and +romance are fled from the world. At the end of the play the line, +"Yes, and yet I dare say he is just as dead," must not be said +flippantly or cynically, but slowly and with much philosophic +concentration on the thought. From the moment when Columbine cries, +"What's that there under the table?" until Pierrot calls, +"Cothurnus, come drag these bodies out of here!" they both stand +staring at the two bodies, without moving in any way, or even +lifting their eyes. (This same _holding_ of the play is used several +times also by the shepherds,--for instance, always during the +off-stage interpolations, they stand either staring at each other across +the wall, or maintaining whatever other position they may have had +when the off-stage voice begins speaking, until the interruption is +over, when they resume their drama quite as if nobody had spoken.) +Columbine's "How curious to strangle him like that" is spoken +extremely slowly, in a voice of awe, curiosity, and horror. For a +moment the two characters seem almost to feel and be subdued by the +tragedy that has taken place. They remain standing very quietly +while Cothurnus speaks his final lines off stage, and for a moment +after he has said, "The audience will forget"; then very slowly +raise their eyes and exchange glances, Pierrot nods his head curtly +and says, "That's so"; they set their bowls gaily back on the table, +and the play begins again. + +Pierrot in such lines as "Ah, Columbine, as if it mattered!" speaks +with mock saccharine tenderness; but in such lines as "If you were a +fly you would be dead by now!" although he speaks very gaily his +malice must be apparent almost even to her; Columbine bores him to +death. When he says, "I'll go and strum the moon!" he is for the +instant genuinely excited and interested; he is for this moment like +a child, and is happy. + +COLUMBINE: Pretty and charming, but stupid; she never knows what +Pierrot is talking about, and is so accustomed to him that she no +longer pretends to understand him; but she is very proud of him, and +when he speaks she listens with trustful admiration. Her +expression, "I cannot live without" this or that, is a phrase she +uses in order to make herself more attractive, because she believes +men prefer women to be useless and extravagant; if left to herself +she would be a domestic and capable person. + +COTHURNUS: This character should be played by a tall and imposing +figure with a tremendous voice. The voice of Cothurnus is one of +the most important things in the acting play. He should have a voice +deeper than the voice used by any of the other persons, should speak +weightily and with great dignity, but almost without intonation, and +quite without feeling, as if he had said the same words many times +before. Only in his last speech may he be permitted a comment on +the situation. This speech should be spoken quite as impressively as +the others and fully as slowly. + +CORYDON and THYRSIS: These two characters are young, very simple, +and childlike; they are acted upon by the force that sits on the +back of the stage behind them. More and more as their quarrel +advances they begin to see that something is wrong, but they have no +idea what to do about it, and they scarcely realize what is +happening, the quarrel grows so from little things into big things. +Corydon's first vision of the tragedy is in "It's terrible when you +stop to think of it." Thyrsis' first vision comes when he looks into +the pool; in seeing the familiar reflection he is struck by the +unfamiliarity of one aspect of it, the poisonous root; for the first +time he realizes that this man who is about to kill with poisoned +water his most beloved friend, is none other than Thyrsis +_himself_,--"'Tis I!" The personalities of Thyrsis and Corydon are +not essentially different. They develop somewhat differently, +because of the differing circumstances. + +When Columbine goes out for the first time she takes with her her +artichoke and her wine-glass, also a couple of macaroons, which she +nibbles, going out. This helps to get the table cleared. The other +articles are removed by the shepherds when they prepare the stage +for their scene, in this manner: at the cue "Sir, we are always +ready. . . . Play the play!", Corydon and Thyrsis come down stage, +Corydon to Pierrot's end of the table, Thyrsis to Columbia's; +simultaneously, first, they set back the chairs against the wall, +Pierrot's left front, Columbine's right front; next they remove the +two big bowls and set them in symmetrical positions on the floor, +left front and right front, in such a way that the bowl of confetti +may be the mine of jewels for Corydon, and the bowl of fruits, the +punch-bowl, may represent the pool of water for Thyrsis; then, +taking the table by the two ends, they set it back against the wall, +right; next, while Corydon places the two pillows from the left wall +on the floor to represent rocks in their pasture, Thyrsis removes +from the table everything that is left on it except the +tablecloth,--this should be only Pierrot's wine-goblet and the flower +in its pot. (The flower is to represent later the poisonous weed +which Thyrsis finds, the wine-goblet a drinking-cup beside the pool, +the flower-pot a bowl in which to mix the poison and bring it to +Corydon.) The two shepherds do this setting of their stage swiftly +and silently, then seat themselves at once, in easy but beautiful +postures, and remain for a moment looking off as if at their sheep +while a complete silence settles over the stage and house,--a +_pastoral_ silence, if it is possible to suggest it--before they +begin to speak. + +When Columbine comes in, looking for her hat, she picks up the hat +from her chair, now in the centre of the stage near the footlights, +in a direct line with Pierrot's, which is centre back, just in front +of Cothurnus,--the shepherds having set them in these positions, back +to back, in order to have their aid in weaving the wall. After +taking her hat, Columbine stands looking at the shepherds to see +what is going on. They do not look at her. After a moment Thyrsis, +slowly, with his eyes steadfastly on Corydon's, says, "Take it, and +go." When Columbine comes in in the final scene, she is wearing the +hat. She takes it off, however, as she sits down again at the table, +so that the second beginning of the play may recall as vividly as +possible to the audience the first beginning. + + + + + + +End of the Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay + +*** END OF THIS PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + +***** This file should be named 5790.txt or 5790.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/5/7/9/5790/ + +Produced by David Starner + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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A. + + + +PERSONS + +Pierrot + +Columbine + +Cothurnus, Masque of Tragedy + +Thyrsis -\ + Shepherds +Corydon -/ + + + [Scene: A stage] + + [The curtain rises on a stage set for a Harlequinade, a merry + black and white interior. Directly behind the footlights, and + running parallel with them, is a long table, covered with a gay + black and white cloth, on which is spread a banquet. At the + opposite ends of this table, seated on delicate thin-legged + chairs with high backs, are Pierrot and Columbine, dressed + according to the tradition, excepting that Pierrot is in lilac, + and Columbine in pink. They are dining.] + +COLUMBINE: Pierrot, a macaroon! I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! . . . Is it Tuesday, Columbine?-- +I'll kiss you if it's Tuesday. + +COLUMBINE: It is Wednesday, +If you must know . . . . Is this my artichoke, +Or yours? + +PIERROT: Ah, Columbine,--as if it mattered! +Wednesday . . . . Will it be Tuesday, then, to-morrow, +By any chance? + +COLUMBINE: To-morrow will be--Pierrot, +That isn't funny! + +PIERROT: I thought it rather nice. +Well, let us drink some wine and lose our heads +And love each other. + +COLUMBINE: Pierrot, don't you love +Me now? + +PIERROT: La, what a woman!--how should I know? +Pour me some wine: I'll tell you presently. + +COLUMBINE: Pierrot, do you know, I think you drink too much. + +PIERROT: Yes, I dare say I do. . . . Or else too little. +It's hard to tell. You see, I am always wanting +A little more than what I have,--or else +A little less. There's something wrong. My dear, +How many fingers have you? + +COLUMBINE: La, indeed, +How should I know?--It always takes me one hand +To count the other with. It's too confusing. +Why? + +PIERROT: Why?--I am a student, Columbine; +And search into all matters. + +COLUMBINE: La, indeed?-- +Count them yourself, then! + +PIERROT: No. Or, rather, nay. +'Tis of no consequence. . . . I am become +A painter, suddenly,--and you impress me-- +Ah, yes!--six orange bull's-eyes, four green pin-wheels, +And one magenta jelly-roll,--the title +As follows: Woman Taking in Cheese from Fire-Escape. + +COLUMBINE: Well, I like that! So that is all I've meant +To you! + +PIERROT: Hush! All at once I am become +A pianist. I will image you in sound. . . . +On a new scale. . . , Without tonality. . . +Vivace senza tempo senza tutto. . . . +Title: Uptown Express at Six O'Clock. +Pour me a drink. + +COLUMBINE: Pierrot, you work too hard. +You need a rest. Come on out into the garden, +And sing me something sad. + +PIERROT: Don't stand so near me! +I am become a socialist. I love +Humanity; but I hate people. Columbine, +Put on your mittens, child; your hands are cold. + +COLUMBINE: My hands are _not_ cold! + +PIERROT: Oh, I am sure they are. +And you must have a shawl to wrap about you, +And sit by the fire. + +COLUMBINE: Why, I'll do no such thing! +I'm hot as a spoon in a teacup! + +PIERROT: Columbine, +I'm a philanthropist. I know I am, +Because I feel so restless. Do not scream, +Or it will be the worse for you! + +COLUMBINE: Pierrot, +My vinaigrette! I cannot _live_ without +My vinaigrette! + +PIERROT: My only love, you are +_So_ fundamental! . . . How would you like to be +An actress, Columbine?--I am become +Your manager. + +COLUMBINE: Why, Pierrot, _I_ can't act. + +PIERROT: Can't act! Can't act! La, listen to the woman! +What's that to do with the price of furs?--You're blonde, +Are you not?--you have no education, have you?-- +Can't act! You underrate yourself, my dear! + +COLUMBINE: Yes, I suppose I do. + +PIERROT: As for the rest, +I'll teach you how to cry, and how to die, +And other little tricks; and the house will love you. +You'll be a star by five o'clock . . . that is, +If you will let me pay for your apartment. + +COLUMBINE: _Let_ you?--well, that's a good one! +Ha! Ha! Ha! +But why? + +PIERROT: But why?--well, as to that, my dear, +I cannot say. It's just a matter of form. + +COLUMBINE: Pierrot, I'm getting tired of caviar +And peacocks' livers. Isn't there something else +That people eat?--some humble vegetable, +That grows in the ground? + +PIERROT: Well, there are mushrooms. + +COLUMBINE: Mushrooms! +That's so! I had forgotten . . . mushrooms . . . mushrooms. . . . +I cannot _live_ with . . . How do you like this gown? + +PIERROT: Not much. I'm tired of gowns that have the waist-line +About the waist, and the hem around the bottom,-- +And women with their breasts in front of them!-- +Zut and ehe! Where does one go from here! + +COLUMBINE: Here's a persimmon, love. You always liked them. + +PIERROT: I am become a critic; there is nothing +I can enjoy. . . . However, set it aside; +I'll eat it between meals. + +COLUMBINE: Pierrot, do you know, +Sometimes I think you're making fun of me. + +PIERROT: My love, by yon black moon, you wrong us both. + +COLUMBINE: There isn't a sign of a moon, Pierrot. + +PIERROT: Of course not. +There never was. "Moon's" just a word to swear by. +"Mutton!"--now _there's_ a thing you can lay the hands on, +And set the tooth in! Listen, Columbine: +I always lied about the moon and you. +Food is my only lust. + +COLUMBINE: Well, eat it, then, +For Heaven's sake, and stop your silly noise! +I haven't heard the clock tick for an hour. + +PIERROT: It's ticking all the same. If you were a fly, +You would be dead by now. And if I were a parrot, +I could be talking for a thousand years! + + [Enter COTHURNUS.] + +PIERROT: Hello, what's this, for God's sake?-- +What's the matter? +Say, whadda you mean?--get off the stage, my friend, +And pinch yourself,--you're walking in your sleep! + +COTHURNUS: I never sleep. + +PIERROT: Well, anyhow, clear out. +You don't belong on here. Wait for your own scene! +Whadda you think this is,--a dress-rehearsal? + +COTHURNUS: Sir, I am tired of waiting. I will wait +No longer. + +PIERROT: Well, but whadda you going to do? +The scene is set for me! + +COTHURNUS: True, sir; yet I +Can play the scene. + +PIERROT: Your scene is down for later! + +COTHURNUS: That, too, is true, sir; but I play it now. + +PIERROT: Oh, very well!--Anyway, I am tired +Of black and white. At least, I think I am. + + [Exit COLUMBINE.] + +Yes, I am sure I am. I know what I'll do!-- +I'll go and strum the moon, that's what I'll do. . . . +Unless, perhaps . . . you never can tell . . . I may be, +You know, tired of the moon. Well, anyway, +I'll go find Columbine. . . . And when I find her, +I will address her thus: "Ehe, Pierrette!"-- +There's something in that. + + [Exit PIERROT.] + +COTHURNUS: You, Thyrsis! Corydon! +Where are you? + +THYRSIS: [Off stage.] Sir, we are in our dressing-room! + +COTHURNUS: Come out and do the scene. + +CORYDON: [Off stage.] You are mocking us!-- +The scene is down for later. + +COTHURNUS: That is true; +But we will play it now. I am the scene. +[Seats himself on high place in back of stage.] + + [Enter CORYDON and THYRSIS.] + +CORYDON: Sir, we are counting on this little hour. +We said, "Here is an hour,--in which to think +A mighty thought, and sing a trifling song, +And look at nothing."--And, behold! the hour, +Even as we spoke, was over, and the act begun, +Under our feet! + +THYRSIS: Sir, we are not in the fancy +To play the play. We had thought to play it later. + +CORYDON: Besides, this is the setting for a farce. +Our scene requires a wall; we cannot build +A wall of tissue-paper! + +THYRSIS: We cannot act +A tragedy with comic properties! + +COTHURNUS: Try it and see. I think you'll find you can. +One wall is like another. And regarding +The matter of your insufficient mood, +The important thing is that you speak the lines, +And make the gestures. Wherefore I shall remain +Throughout, and hold the prompt-book. Are you ready? + +CORYDON-THYRSIS: [Sorrowfully.] Sir, we are always ready. + +COTHURNUS: Play the play! + + [CORYDON and THYRSIS move the table and chairs to one side out + of the way, and seat themselves in a half-reclining position + on the floor.] + +THYRSIS: How gently in the silence, Corydon, +Our sheep go up the bank. They crop a grass +That's yellow where the sun is out, and black +Where the clouds drag their shadows. Have you noticed +How steadily, yet with what a slanting eye +They graze? + +CORYDON: As if they thought of other things. +What say you, Thyrsis, do they only question +Where next to pull?--Or do their far minds draw them +Thus vaguely north of west and south of east? + +THYRSIS: One cannot say. . . . The black lamb wears its burdocks +As if they were a garland,--have you noticed? +Purple and white--and drinks the bitten grass +As if it were a wine. + +CORYDON: I've noticed that. +What say you, Thyrsis, shall we make a song +About a lamb that thought himself a shepherd? + +THYRSIS: Why, yes!--that is, why,--no. (I have forgotten my line.) + +COTHURNUS: [Prompting.] "I know a game worth two of that!" + +THYRSIS: Oh, yes. . . . I know a game worth two of that! +Let's gather rocks, and build a wall between us; +And say that over there belongs to me, +And over here to you! + +CORYDON: Why,--very well. +And say you may not come upon my side +Unless I say you may! + +THYRSIS: Nor you on mine! +And if you should, 'twould be the worse for you! + + [They weave a wall of colored crepe paper ribbons from the + centre front to the centre back of the stage, fastening the + ends to COLUMBINE'S chair in front and to PIERROT'S chair in + the back.] + +CORYDON: Now there's a wall a man may see across, +But not attempt to scale. + +THYRSIS: An excellent wall. + +CORYDON: Come, let us separate, and sit alone +A little while, and lay a plot whereby +We may outdo each other. +[They seat themselves on opposite sides of the wall.] + +PIERROT: [Off stage.] Ehe, Pierrette! + +COLUMBINE: [Off stage.] My name is Columbine! +Leave me alone! + +THYRSIS: [Coming up to the wall.] +Corydon, after all, and in spite of the fact +I started it myself, I do not like this +So very much. What is the sense of saying +I do not want you on my side the wall? +It is a silly game. I'd much prefer +Making the little song you spoke of making, +About the lamb, you know, that thought himself +A shepherd!--what do you say? + +[Pause.] + +CORYDON: [At wall.] (I have forgotten the line.) + +COTHURNUS: [Prompting.] "How do I know this isn't a trick?" + +CORYDON: Oh, yes. . . . How do I know this isn't a trick +To get upon my land? + +THYRSIS: Oh, Corydon, +You _know_ it's not a trick. I do not like +The game, that's all. Come over here, or let me +Come over there. + +CORYDON: It is a clever trick +To get upon my land. [Seats himself as before.] + +THYRSIS: Oh, very well! [Seats himself as before.] +[To himself.] I think I never knew a sillier game. + +CORYDON: [Coming to wall.] +Oh, Thyrsis, just a minute!--all the water +Is on your side the wall, and the sheep are thirsty. +I hadn't thought of that. + +THYRSIS: Oh, hadn't you? + +CORYDON: Why, what do you mean? + +THYRSIS: What do I mean?--I mean +That I can play a game as well as you can. +And if the pool is on my side, it's on +My side, that's all. + +CORYDON: You mean you'd let the sheep +Go thirsty? + +THYRSIS: Well, they're not my sheep. My sheep +Have water enough. + +CORYDON: _Your_ sheep! You are mad, to call them +Yours--mine--they are all one flock! Thyrsis, you can't mean +To keep the water from them, just because +They happened to be grazing over here +Instead of over there, when we set the wall up? + +THYRSIS: Oh, can't I?--wait and see!--and if you try +To lead them over here, you'll wish you hadn't! + +CORYDON: I wonder how it happens all the water +Is on your side. . . . I'll say you had an eye out +For lots of little things, my innocent friend, +When I said, "Let us make a song," and you said, +"I know a game worth two of that!" + +COLUMBINE: [Off stage.] Pierrot, +D'you know, I think you must be getting old, +Or fat, or something,--stupid, anyway!-- +Can't you put on some other kind of collar? + +THYRSIS: You know as well as I do, Corydon, +I never thought anything of the kind. +_Don't_ you? + + +CORYDON: I _do_ not. + +THYRSIS: Don't you? + +CORYDON: Oh, I suppose so. +Thyrsis, let's drop this,--what do you say?--it's only +A game, you know . . . we seem to be forgetting +It's only a game ... a pretty serious game +It's getting to be, when one of us is willing +To let the sheep go thirsty for the sake of it. + +THYRSIS: I know it, Corydon. + + [They reach out their arms to each other across the wall.] + +COTHURNUS: [Prompting.] "But how do I know--" + +THYRSIS: Oh, yes. . . . But how do I know this isn't a trick +To water your sheep, and get the laugh on me? + +CORYDON: You can't know, that's the difficult thing about it, +Of course,--you can't be sure. You have to take +My word for it. And I know just how you feel. +But one of us has to take a risk, or else, +Why, don't you see?--the game goes on forever! . . . +It's terrible, when you stop to think of it. . . . +Oh, Thyrsis, now for the first time I feel +This wall is actually a wall, a thing +Come up between us, shutting you away +From me. . . . I do not know you any more! + +THYRSIS: No, don't say that! Oh, Corydon, I'm willing +To drop it all, if you will! Come on over +And water your sheep! It is an ugly game. +I hated it from the first. . . . How did it start? + +CORYDON: I do not know . . . I do not know . . . I think +I am afraid of you!--you are a stranger! +I never set eyes on you before! "Come over +And water my sheep," indeed!--They'll be more thirsty +Than they are now before I bring them over +Into your land, and have you mixing them up +With yours, and calling them yours, and trying to +keep them! + + [Enter COLUMBINE] + +COLUMBINE: [To COTHURNUS.] Glummy, I want my hat. + +THYRSIS: Take it, and go. + +COLUMBINE: Take it and go, indeed. Is it my hat, +Or isn't it? Is this my scene, or not? +Take it and go! Really, you know, you two +Are awfully funny! + + [Exit COLUMBINE] + +THYRSIS: Corydon, my friend, +I'm going to leave you now, and whittle me +A pipe, or sing a song, or go to sleep. +When you have come to your senses, let me know. +[Goes back to where he has been sitting, lies down and sleeps.] + + [CORYDON, in going back to where he has been sitting, stumbles + over bowl of colored confetti and colored paper ribbons.] + +CORYDON: Why, what is this?--Red stones--and purple stones-- +And stones stuck full of gold!--The ground is full +Of gold and colored stones! . . . I'm glad the wall +Was up before I found them!--Otherwise, +I should have had to share them. As it is, +They all belong to me. . . . Unless-- + + [He goes to wall and digs up and down the length of it, + to see if there are jewels on the other side.] + +None here-- +None here--none here--They all belong to me! +[Sits.] + +THYRSIS: [Awakening.] How curious! I thought the little black lamb +Came up and licked my hair; I saw the wool +About its neck as plain as anything! +It must have been a dream. The little black lamb +Is on the other side of the wall, I'm sure. + + [Goes to wall and looks over. CORYDON is seated on the ground, + tossing the confetti up into the air and catching it.] + +Hello, what's that you've got there, Corydon? + +CORYDON: Jewels. + +THYRSIS: Jewels?--And where did you ever get them? + +CORYDON: Oh, over here. + +THYRSIS: You mean to say you found them, +By digging around in the ground for them? + +CORYDON: [Unpleasantly.] No, Thyrsis, +By digging down for water for my sheep. + +THYRSIS: Corydon, come to the wall a minute, will you? +I want to talk to you. + +CORYDON: I haven't time. +I'm making me a necklace of red stones. + +THYRSIS: I'll give you all the water that you want, +For one of those red stones,--if it's a good one. + +CORYDON: Water?--what for?--what do I want of water? + +THYRSIS: Why, for your sheep! + +CORYDON: My sheep?--I'm not a shepherd! + +THYRSIS: Your sheep are dying of thirst. + +CORYDON: Man, haven't I told you +I can't be bothered with a few untidy +Brown sheep all full of burdocks?--I'm a merchant. +That's what I am!--And if I set my mind to it +I dare say I could be an emperor! +[To himself.] Wouldn't I be a fool to spend my time +Watching a flock of sheep go up a hill, +When I have these to play with?--when I have these +To think about?--I can't make up my mind +Whether to buy a city, and have a thousand +Beautiful girls to bathe me, and be happy +Until I die, or build a bridge, and name it +The Bridge of Corydon,--and be remembered +After I'm dead. + +THYRSIS: Corydon, come to the wall, +Won't you?--I want to tell you something. + +CORYDON: Hush! +Be off! Be off! Go finish your nap, I tell you! + +THYRSIS: Corydon, listen: if you don't want your sheep, +Give them to me. + +CORYDON: Be off! Go finish your nap. +A red one--and a blue one--and a red one-- +And a purple one--give you my sheep, did you say?-- +Come, come! What do you take me for, a fool? +I've a lot of thinking to do,--and while I'm thinking, +The sheep might just as well be over here +As over there. . . . A blue one--and a red one-- + +THYRSIS: But they will die! + +CORYDON: And a green one--and a couple +Of white ones, for a change. + +THYRSIS: Maybe I have +Some jewels on my side. + +CORYDON: And another green one-- +Maybe, but I don't think so. You see, this rock +Isn't so very wide. It stops before +It gets to the wall. It seems to go quite deep, +However. + +THYRSIS: [With hatred.] I see. + +COLUMBINE: [Off stage.] Look, Pierrot, there's the moon. + +PIERROT: [Off stage.] Nonsense! + +THYRSIS: I see. + +COLUMBINE: [Off stage.] Sing me an old song, Pierrot,-- +Something I can remember. + +PIERROT: [Off stage.] Columbine. +Your mind is made of crumbs,--like an escallop +Of oysters,--first a layer of crumbs, and then +An oystery taste, and then a layer of crumbs. + +THYRSIS: [Searching.] I find no jewels . . . but I wonder what +The root of this black weed would do to a man +If he should taste it. ... I have seen a sheep die, +With half the stalk still drooling from its mouth. +'Twould be a speedy remedy, I should think, +For a festered pride and a feverish ambition. +It has a curious root. I think I'll hack it +In little pieces. . . . First I'll get me a drink; +And then I'll hack that root in little pieces +As small as dust, and see what the color is +Inside. [Goes to bowl on floor.] + +The pool is very clear. I see +A shepherd standing on the brink, with a red cloak +About him, and a black weed in his hand. . . . +'Tis I. [Kneels and drinks.] + +CORYDON: [Coming to wall.] Hello, what are you doing, Thyrsis? + +THYRSIS: Digging for gold. + +CORYDON: I'll give you all the gold +You want, if you'll give me a bowl of water. +If you don't want too much, that is to say. + +THYRSIS: Ho, so you've changed your mind?--It's different, +Isn't it, when you want a drink yourself? + +CORYDON: Of course it is. + +THYRSIS: Well, let me see ... a bowl +Of water,--come back in an hour, Corydon. +I'm busy now. + +CORYDON: Oh, Thyrsis, give me a bowl +Of water!--and I'll fill the bowl with jewels, +And bring it back! + +THYRSIS: Be off, I'm busy now. + +[He catches sight of the weed, picks it up and looks +at it, unseen by CORYDON.] + +Wait!--Pick me out the finest stones you have . . . +I'll bring you a drink of water presently. + +CORYDON: [Goes back and sits down, with the jewels before him.] +A bowl of jewels is a lot of jewels. + +THYRSIS: [Chopping up the weed.] I wonder if it has a bitter taste. + +CORYDON: There's sure to be a stone or two among them +I have grown fond of, pouring them from one hand +Into the other. + +THYRSIS: I hope it doesn't taste +Too bitter, just at first. + +CORYDON: A bowl of jewels +Is far too many jewels to give away +And not get back again. + +THYRSIS: I don't believe +He'll notice. He's too thirsty. He'll gulp it down +And never notice. + +CORYDON: There ought to be some way +To get them back again. . . . I could give him a necklace, +And snatch it back, after I'd drunk the water, +I suppose. . . . Why, as for that, of course a _necklace_. . . . + + [He puts two or three of the colored tapes together and tries + their strength by pulling them, after which he puts them around + his neck and pulls them, gently, nodding to himself. He gets up + and goes to the wall, with the colored tapes in his hands.] + + [THYRSIS in the meantime has poured the powdered root--black + confetti--into the pot which contained the flower and filled + it up with wine from the punch-bowl on the floor. He comes + to the wall at the same time, holding the bowl of poison.] + +THYRSIS: Come, get your bowl of water, Corydon. + +CORYDON: Ah, very good!--and for such a gift as that +I'll give you more than a bowl of unset stones. +I'll give you three long necklaces, my friend. +Come closer. Here they are. [Puts the ribbons +about THYRSIS' neck.] + +THYRSIS: [Putting bowl to CORYDON'S mouth.] +I'll hold the bowl +Until you've drunk it all. + +CORYDON: Then hold it steady. +For every drop you spill I'll have a stone back +Out of this chain. + +THYRSIS: I shall not spill a drop. + + [CORYDON drinks, meanwhile beginning to strangle + THYRSIS.] + +THYRSIS: Don't pull the string so tight. + +CORYDON: You're spilling the water. + +THYRSIS: You've had enough--you've had enough--stop pulling +The string so tight! + +CORYDON: Why, that's not tight at all ... +How's this? + +THYRSIS: [Drops bowl.] You're strangling me! Oh, Corydon! +It's only a game!--and you are strangling me! + +CORYDON: It's only a game, is it?--Yet I believe +You've poisoned me in earnest! [Writhes and +pulls the strings tighter, winding them about +THYRSIS' neck.] + +THYRSIS: Corydon! [Dies.] + +CORYDON: You've poisoned me in earnest. . . . I feel so cold. . . . +So cold . . . this is a very silly game. . . . +Why do we play it?--let's not play this game +A minute more . . . let's make a little song +About a lamb. . . . I'm coming over the wall, +No matter what you say,--I want to be near you. . . . + + [Groping his way, with arms wide before him, he strides through + the frail papers of the wall without knowing it, and continues + seeking for the wall straight across the stage.] + +Where is the wall? + + [Gropes his way back, and stands very near THYRSIS without + seeing him; he speaks slowly.] + +There isn't any wall, +I think. + + [Takes a step forward, his foot touches THYRSIS' body, and he + falls down beside him.] + +Thyrsis, where is your cloak?--just give me +A little bit of your cloak! . . . + + [Draws corner of THYRSIS' cloak over his shoulders, falls + across THYRSIS' body, and dies.] + + [COTHURNUS closes the prompt-book with a bang, arises + matter-of-factly, comes down stage, and places the table over + the two bodies, drawing down the cover so that they are hidden + from any actors on the stage, but visible to the audience, + pushing in their feet and hands with his boot. He then turns + his back to the audience, and claps his hands twice.] + +COTHURNUS: Strike the scene! [Exit COTHURNUS.] + + [Enter PIERROT and COLUMBINE.] + +PIERROT: Don't puff so, Columbine! + +COLUMBINE: Lord, what a mess +This set is in! If there's one thing I hate +Above everything else,--even more than getting my feet wet-- +It's clutter!--He might at least have left the scene +The way he found it ... don't you say so, Pierrot? + + [She picks up punch bowl. They arrange chairs as before at ends + of table.] + +PIERROT: Well, I don't know. I think it rather diverting +The way it is. + +[Yawns, picks up confetti bowl.] + +Shall we begin? + +COLUMBINE: [Screams.] My God! +What's that there under the table? + +PIERROT: It is the bodies +Of the two shepherds from the other play. + +COLUMBINE: [Slowly.] How curious to strangle him like that, +With colored paper ribbons. + +PIERROT: Yes, and yet +I dare say he is just as dead. [Pauses. Calls.] +Cothurnus! +Come drag these bodies out of here! We can't +Sit down and eat with two dead bodies lying +Under the table! . . . The audience wouldn't stand for it! + +COTHURNUS: (Off stage.) What makes you think so?-- +Pull down the tablecloth +On the other side, and hide them from the house, +And play the farce. The audience will forget. + +PIERROT: That's so. Give me a hand there, +Columbine. + + [PIERROT and COLUMBINE pull down the table cover in such a way + that the two bodies are hidden from the house, then merrily set + their bowls back on the table, draw up their chairs, and begin + the play exactly as before.] + +COLUMBINE: Pierrot, a macaroon,--I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! ... Is it Tuesday, Columbine?-- +I'll kiss you if it's Tuesday. + + [Curtains begin to close slowly.] + +COLUMBINE: It is Wednesday, +If you must know. ... Is this my artichoke +Or yours? + +PIERROT: Ah, Columbine, as if it mattered! +Wednesday. . . . Will it be Tuesday, then, to-morrow, +By any chance? . . . + +[CURTAIN.] + + + + +AUTHOR'S NOTE + +ON THE PLAYING PO + +ARIA DA CAPO + + + +ORIGINAL CAST + +AS PLAYED BY THE PROVINCETOWN PLAYERS, NEW YORK CITY + +PIERROT HARRISON DOWD + +COLUMBINE NORMA MILLAY + +COTHURNUS HUGH FERRISS + +CORYDON CHARLES ELLIS + +THYRSIS JAMES LIGHT + + + +AUTHOR'S NOTE + +So great is my vexation always, when reading a play, to find its +progress constantly being halted and its structure loosened by +elaborate explanatory parentheses, that I resolved when I should +publish Aria da Capo to incorporate into its text only those +explanations the omission of which might confuse the reader or lend +a wrong interpretation to the lines. Since, however, Aria da Capo +was written not only to be read but also to be acted, and being +conscious that the exclusion of the usual directions, while +clarifying the play to the reader, may make it bare of suggestions +and somewhat baffling to the producer, I am adding here some remarks +which have been found of value in preparing it for presentation on +the stage. + +Since the production of Aria da Capo by the Provincetown Players, I +have received a great many letters from the directors of little +theatres, asking for copies of it with a view to producing it. Very +often, after I send the play, I receive a letter in reply asking for +some suggestions for its presentation, and enclosing direct +questions on points that have been difficult. It occurred to me +finally that it would be reasonable to make up a sort of informal +prompt-book to send about with the play; and it is that which is +printed below. It will be found incomplete and uneven, in some +instances unnecessarily detailed, in others not sufficiently so; all +of which is due to the fact that it was put together loosely, from +answers to chance questions, rather than logically, as an entity in +itself. + + + + +SUGGESTIONS FOR THE PRODUCTION OF "ARIA DA CAPO" + +SETTING: + +The setting required is simple:--a grey curtain, a long black table, +two slender black high-backed chairs, and a raised platform. + +Instead of wings and back-drop the Provincetown Players cleverly +utilized painted screens, the heights varying from 6 to 10 feet, +these being set right and left of the stage in such manner as to +give the effect of depth and distance. + +The table, six feet long and two feet wide, has thin legs and is +painted black. + +When Pierrot and Columbine enter in the final scene, it is not +necessary that the table which Cothurnus has replaced shall entirely +conceal the bodies of Thyrsis and Corydon. Pierrot and Columbine +must ignore them until the lines indicate their discovery, no matter +how they may have fallen. + +Particular attention must be given to the chairs in this set. They +are used to construct the tissue-paper wall, and, although +delicate, should be heavy enough to remain solid and steady, up and +down stage, without the possibility of an upset when Corydon strides +through the wall. + +Near the footlights (actors' left) are two sofa pillows, used to +represent the rocks against which the shepherds lean. On the left of +the stage have another pillow, which Thyrsis places under his head +when he lies down to sleep. Use cloth or crepe paper for these +pillows, and have them of spotted black and white material, or of +any gay color except red or blue. + +Cothurnus occupies a chair upon a platform, up-stage, centre, with +two or three steps surrounding it on three sides. Drape this with +plain heavy black cloth. + +The table covering is important. Its width is equal to that of the +added height and width of the table. As it must be moved to cover +the bodies of Thyrsis and Corydon, it should be of sufficient weight +to prevent slipping. It will be well to experiment with this, to +ensure proper performance. + +The cover should have black and white spots and striped ends. + +The table is set as follows:--two large wooden bowls (at least seven +inches high and fourteen inches in diameter). One is placed at each +end of the table. That at Columbine's end should contain +persimmons, pomegranates, grapes and other bright exotic fruits. +Pierrot's bowl has confetti and colored paper ribbons, the latter +showing plainly over the edge. (If Columbine uses practical +macaroons, put them into this bowl.) + +Near Columbine, place a practical uncooked artichoke; have this of +good size, and nail it to a wooden standard, painted black. At both +places there are tall white wooden goblets. + +In the centre of the table there should be a curious, grotesque, but +very gay flower, standing upright in a pot of wood or heavy paper, +which will not break when Thyrsis drops it. Concealed at the root of +this plant there should be a small sack of black confetti, to be +used in the "poison scene." + +The table should be set with nothing but these articles, and yet +give the appearance of bounty and elegance. + +Place the table parallel with the footlights,--the long side toward +the audience. + +Columbine's chair is at the actors' right, and Pierrot's +opposite--Columbine's hat hangs from her chair-top. Both chairs are +festooned with tissue-paper ribbons, at least ten feet long, to be +used later by the shepherds to represent their wall. These must be +of such a texture as to break readily when Corydon walks through, +and a prearranged transverse tear or two will assist in the prompt +breakage when he does so. + +PROPERTIES: + +Two white wooden bowls, one filled with fruits and the other with +confetti and paper ribbons,--one ribbon to be of cotton or silk, in +order to be not too easily broken by Corydon when strangling Thyrsis + +Two tall white wooden goblets + +One artichoke nailed to a standard + +One flower in paper or wooden pot, the root wrapped with black crepe +paper (or use confetti) + +Black and white tablecloth + +Macaroons + +Boots and prompt-book for Cothurnus (large flat black book) + +Also, if desired, mask of Tragedy for Cothurnus + +Crepe or tissue streamers of different colors, including no red or +blue, for wall. + + +COSTUMES: + +PIERROT: Lavender or lilac satin, preferably a blue-lavender. Care +should be taken that the lavender does not turn pink under the stage +lights. Pierrot's costume is the conventional smock with wide +trousers, with black crepe paper rosettes on the smock, wide white +tarleton ruff. Black evening pumps with black rosettes may be worn. +Black silk skull-cap. + +COLUMBINE: Tight black satin bodice cut very low, with straps over +the shoulders, quite like the modern evening gown; very full +tarleton skirts of different shades of pink and cerise, reaching to +the knees; ruffled bloomers of apple-green tarleton, the ruffles +showing below the skirts; black silk stockings and black ballet +slippers, laced with green. Hat of lavender crepe paper, with +streamers of gay colors--including, however, no clear red or blue. +Hat should be small and very smart--not a _shepherdess_ hat. Columbine +should be made up to suggest a doll. As originally interpreted she +had short light hair, standing out bushily all over her head. Long +hair should be rolled under to give a _bobbed_ effect, or could be +arranged in obvious caricature of some extreme modern style, but +must look attractive, and must be blonde. + +COTHURNUS: Plain toga of dull purple in some heavy, unreflecting +material which will fall into large folds, lined with sombre +flame-color; a garment with large purple sleeves, of which only the +sleeves were visible, was worn under the toga,--but the effect should +be classical; heavy boots should be worn, as nearly as possible like +the tragic Roman buskin; one end of the great toga is tied into a +rough hood which covers the actor's head; a mask may be worn, but it +is often difficult to speak through, and, if desired, the actor's +face may be made up to represent a mask of Tragedy. + +THYRSIS and CORYDON: These costumes, in striking contrast to the +elegance of those of Pierrot and Columbine, should be very simple, +and very roughly made; short tunics of outing-flannel or some such +material-- fastened loosely over one shoulder,--one shoulder, as well +as most of the back and breast, exposed. Legs bare, or swathed from +the knee to the ankle in rough strips of the same material. Sandals. +Cloaks of heavier, cheap material fastened to the tunics in such a +way that they will appear to be simply flung over the shoulder, but +actually fastened very cleverly in order to avoid tripping the +shepherds, who are continually sitting down on the floor and getting +up again. + +Thyrsis wears a dark grey tunic and cloak of raw bright red,--but not +a turkey-red, as this color will kill the blue of Corydon's cloak. +Corydon wears tunic of light grey and cloak of brilliant blue. There +must be no red or blue used anywhere in the entire play excepting in +the blue and red of these two cloaks. The two shepherds must be so +strong and vivid in every way that when Columbine comes in and says, +"Is this my scene or not?" it will seem to the audience that it is +she, not the shepherds, who is hopelessly out of the scene. + +CHARACTERS: + +PIERROT: Pierrot sees clearly into existing evils and is rendered +gaily cynical by them; he is both too indolent and too indifferent +to do anything about it. Yet in several lines of the play his actual +unhappiness is seen, --for instance, "Moon's just a word to swear +by," in which he expresses his conviction that all beauty and +romance are fled from the world. At the end of the play the line, +"Yes, and yet I dare say he is just as dead," must not be said +flippantly or cynically, but slowly and with much philosophic +concentration on the thought. From the moment when Columbine cries, +"What's that there under the table?" until Pierrot calls, +"Cothurnus, come drag these bodies out of here!" they both stand +staring at the two bodies, without moving in any way, or even +lifting their eyes. (This same _holding_ of the play is used several +times also by the shepherds,--for instance, always during the off- +stage interpolations, they stand either staring at each other across +the wall, or maintaining whatever other position they may have had +when the off-stage voice begins speaking, until the interruption is +over, when they resume their drama quite as if nobody had spoken.) +Columbine's "How curious to strangle him like that" is spoken +extremely slowly, in a voice of awe, curiosity, and horror. For a +moment the two characters seem almost to feel and be subdued by the +tragedy that has taken place. They remain standing very quietly +while Cothurnus speaks his final lines off stage, and for a moment +after he has said, "The audience will forget"; then very slowly +raise their eyes and exchange glances, Pierrot nods his head curtly +and says, "That's so"; they set their bowls gaily back on the table, +and the play begins again. + +Pierrot in such lines as "Ah, Columbine, as if it mattered!" speaks +with mock saccharine tenderness; but in such lines as "If you were a +fly you would be dead by now!" although he speaks very gaily his +malice must be apparent almost even to her; Columbine bores him to +death. When he says, "I'll go and strum the moon!" he is for the +instant genuinely excited and interested; he is for this moment like +a child, and is happy. + +COLUMBINE: Pretty and charming, but stupid; she never knows what +Pierrot is talking about, and is so accustomed to him that she no +longer pretends to understand him; but she is very proud of him, and +when he speaks she listens with trustful admiration. Her +expression, "I cannot live without" this or that, is a phrase she +uses in order to make herself more attractive, because she believes +men prefer women to be useless and extravagant; if left to herself +she would be a domestic and capable person. + +COTHURNUS: This character should be played by a tall and imposing +figure with a tremendous voice. The voice of Cothurnus is one of +the most important things in the acting play. He should have a voice +deeper than the voice used by any of the other persons, should speak +weightily and with great dignity, but almost without intonation, and +quite without feeling, as if he had said the same words many times +before. Only in his last speech may he be permitted a comment on +the situation. This speech should be spoken quite as impressively as +the others and fully as slowly. + +CORYDON and THYRSIS: These two characters are young, very simple, +and childlike; they are acted upon by the force that sits on the +back of the stage behind them. More and more as their quarrel +advances they begin to see that something is wrong, but they have no +idea what to do about it, and they scarcely realize what is +happening, the quarrel grows so from little things into big things. +Corydon's first vision of the tragedy is in "It's terrible when you +stop to think of it." Thyrsis' first vision comes when he looks into +the pool; in seeing the familiar reflection he is struck by the +unfamiliarity of one aspect of it, the poisonous root; for the first +time he realizes that this man who is about to kill with poisoned +water his most beloved friend, is none other than Thyrsis +_himself_,--"'Tis I!" The personalities of Thyrsis and Corydon are +not essentially different. They develop somewhat differently, +because of the differing circumstances. + +When Columbine goes out for the first time she takes with her her +artichoke and her wine-glass, also a couple of macaroons, which she +nibbles, going out. This helps to get the table cleared. The other +articles are removed by the shepherds when they prepare the stage +for their scene, in this manner: at the cue "Sir, we are always +ready. . . . Play the play!", Corydon and Thyrsis come down stage, +Corydon to Pierrot's end of the table, Thyrsis to Columbia's; +simultaneously, first, they set back the chairs against the wall, +Pierrot's left front, Columbine's right front; next they remove the +two big bowls and set them in symmetrical positions on the floor, +left front and right front, in such a way that the bowl of confetti +may be the mine of jewels for Corydon, and the bowl of fruits, the +punch-bowl, may represent the pool of water for Thyrsis; then, +taking the table by the two ends, they set it back against the wall, +right; next, while Corydon places the two pillows from the left wall +on the floor to represent rocks in their pasture, Thyrsis removes +from the table everything that is left on it except the +tablecloth,--this should be only Pierrot's wine-goblet and the flower +in its pot. (The flower is to represent later the poisonous weed +which Thyrsis finds, the wine-goblet a drinking-cup beside the pool, +the flower-pot a bowl in which to mix the poison and bring it to +Corydon.) The two shepherds do this setting of their stage swiftly +and silently, then seat themselves at once, in easy but beautiful +postures, and remain for a moment looking off as if at their sheep +while a complete silence settles over the stage and house,--a +_pastoral_ silence, if it is possible to suggest it--before they +begin to speak. + +When Columbine comes in, looking for her hat, she picks up the hat +from her chair, now in the centre of the stage near the footlights, +in a direct line with Pierrot's, which is centre back, just in front +of Cothurnus,--the shepherds having set them in these positions, back +to back, in order to have their aid in weaving the wall. After +taking her hat, Columbine stands looking at the shepherds to see +what is going on. They do not look at her. After a moment Thyrsis, +slowly, with his eyes steadfastly on Corydon's, says, "Take it, and +go." When Columbine comes in in the final scene, she is wearing the +hat. She takes it off, however, as she sits down again at the table, +so that the second beginning of the play may recall as vividly as +possible to the audience the first beginning. + + + + + + + +End of the Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay + +*** END OF THE PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + +This file should be named rdcap10.txt or rdcap10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, rdcap11.txt +VERSIONS based on separate sources get new LETTER, rdcap10a.txt + +This etext produced by David Starner. + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: Aria da Capo + +Author: Edna St. Vincent Millay + +Release Date: May, 2004 [EBook #5790] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on September 1, 2002] + +Edition: 10 + +Language: English + +Character set encoding: Unicode UTF-8 + +*** START OF THE PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + + + + +This etext produced by David Starner. + + + + +ARIA DA CAPO + +A PLAY IN ONE ACT + +Copyright, 1920 + +By Edna St. Vincent Millay + +Printed in the U. S. A. + + + +PERSONS + +Pierrot + +Columbine + +Cothurnus, Masque of Tragedy + +Thyrsis -\ + Shepherds +Corydon -/ + + + [Scene: A stage] + + [The curtain rises on a stage set for a Harlequinade, a merry + black and white interior. Directly behind the footlights, and + running parallel with them, is a long table, covered with a gay + black and white cloth, on which is spread a banquet. At the + opposite ends of this table, seated on delicate thin‐legged + chairs with high backs, are Pierrot and Columbine, dressed + according to the tradition, excepting that Pierrot is in lilac, + and Columbine in pink. They are dining.] + +COLUMBINE: Pierrot, a macaroon! I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! . . . Is it Tuesday, Columbine?— +I’ll kiss you if it’s Tuesday. + +COLUMBINE: It is Wednesday, +If you must know . . . . Is this my artichoke, +Or yours? + +PIERROT: Ah, Columbine,—as if it mattered! +Wednesday . . . . Will it be Tuesday, then, to‐morrow, +By any chance? + +COLUMBINE: To‐morrow will be—Pierrot, +That isn’t funny! + +PIERROT: I thought it rather nice. +Well, let us drink some wine and lose our heads +And love each other. + +COLUMBINE: Pierrot, don’t you love +Me now? + +PIERROT: La, what a woman!—how should I know? +Pour me some wine: I’ll tell you presently. + +COLUMBINE: Pierrot, do you know, I think you drink too much. + +PIERROT: Yes, I dare say I do. . . . Or else too little. +It’s hard to tell. You see, I am always wanting +A little more than what I have,—or else +A little less. There’s something wrong. My dear, +How many fingers have you? + +COLUMBINE: La, indeed, +How should I know?—It always takes me one hand +To count the other with. It’s too confusing. +Why? + +PIERROT: Why?—I am a student, Columbine; +And search into all matters. + +COLUMBINE: La, indeed?— +Count them yourself, then! + +PIERROT: No. Or, rather, nay. +’Tis of no consequence. . . . I am become +A painter, suddenly,—and you impress me— +Ah, yes!—six orange bull’s‐eyes, four green pin‐wheels, +And one magenta jelly‐roll,—the title +As follows: Woman Taking in Cheese from Fire‐Escape. + +COLUMBINE: Well, I like that! So that is all I’ve meant +To you! + +PIERROT: Hush! All at once I am become +A pianist. I will image you in sound. . . . +On a new scale. . . , Without tonality. . . +Vivace senza tempo senza tutto. . . . +Title: Uptown Express at Six O’Clock. +Pour me a drink. + +COLUMBINE: Pierrot, you work too hard. +You need a rest. Come on out into the garden, +And sing me something sad. + +PIERROT: Don’t stand so near me! +I am become a socialist. I love +Humanity; but I hate people. Columbine, +Put on your mittens, child; your hands are cold. + +COLUMBINE: My hands are _not_ cold! + +PIERROT: Oh, I am sure they are. +And you must have a shawl to wrap about you, +And sit by the fire. + +COLUMBINE: Why, I’ll do no such thing! +I’m hot as a spoon in a teacup! + +PIERROT: Columbine, +I’m a philanthropist. I know I am, +Because I feel so restless. Do not scream, +Or it will be the worse for you! + +COLUMBINE: Pierrot, +My vinaigrette! I cannot _live_ without +My vinaigrette! + +PIERROT: My only love, you are +_So_ fundamental! . . . How would you like to be +An actress, Columbine?—I am become +Your manager. + +COLUMBINE: Why, Pierrot, _I_ can’t act. + +PIERROT: Can’t act! Can’t act! La, listen to the woman! +What’s that to do with the price of furs?—You’re blonde, +Are you not?—you have no education, have you?— +Can’t act! You underrate yourself, my dear! + +COLUMBINE: Yes, I suppose I do. + +PIERROT: As for the rest, +I’ll teach you how to cry, and how to die, +And other little tricks; and the house will love you. +You’ll be a star by five o’clock . . . that is, +If you will let me pay for your apartment. + +COLUMBINE: _Let_ you?—well, that’s a good one! +Ha! Ha! Ha! +But why? + +PIERROT: But why?—well, as to that, my dear, +I cannot say. It’s just a matter of form. + +COLUMBINE: Pierrot, I’m getting tired of caviar +And peacocks’ livers. Isn’t there something else +That people eat?—some humble vegetable, +That grows in the ground? + +PIERROT: Well, there are mushrooms. + +COLUMBINE: Mushrooms! +That’s so! I had forgotten . . . mushrooms . . . mushrooms. . . . +I cannot _live_ with . . . How do you like this gown? + +PIERROT: Not much. I’m tired of gowns that have the waist‐line +About the waist, and the hem around the bottom,— +And women with their breasts in front of them!— +Zut and ehè! Where does one go from here! + +COLUMBINE: Here’s a persimmon, love. You always liked them. + +PIERROT: I am become a critic; there is nothing +I can enjoy. . . . However, set it aside; +I’ll eat it between meals. + +COLUMBINE: Pierrot, do you know, +Sometimes I think you’re making fun of me. + +PIERROT: My love, by yon black moon, you wrong us both. + +COLUMBINE: There isn’t a sign of a moon, Pierrot. + +PIERROT: Of course not. +There never was. “Moon’s” just a word to swear by. +“Mutton!”—now _there’s_ a thing you can lay the hands on, +And set the tooth in! Listen, Columbine: +I always lied about the moon and you. +Food is my only lust. + +COLUMBINE: Well, eat it, then, +For Heaven’s sake, and stop your silly noise! +I haven’t heard the clock tick for an hour. + +PIERROT: It’s ticking all the same. If you were a fly, +You would be dead by now. And if I were a parrot, +I could be talking for a thousand years! + + [Enter COTHURNUS.] + +PIERROT: Hello, what’s this, for God’s sake?— +What’s the matter? +Say, whadda you mean?—get off the stage, my friend, +And pinch yourself,—you’re walking in your sleep! + +COTHURNUS: I never sleep. + +PIERROT: Well, anyhow, clear out. +You don’t belong on here. Wait for your own scene! +Whadda you think this is,—a dress‐rehearsal? + +COTHURNUS: Sir, I am tired of waiting. I will wait +No longer. + +PIERROT: Well, but whadda you going to do? +The scene is set for me! + +COTHURNUS: True, sir; yet I +Can play the scene. + +PIERROT: Your scene is down for later! + +COTHURNUS: That, too, is true, sir; but I play it now. + +PIERROT: Oh, very well!—Anyway, I am tired +Of black and white. At least, I think I am. + + [Exit COLUMBINE.] + +Yes, I am sure I am. I know what I’ll do!— +I’ll go and strum the moon, that’s what I’ll do. . . . +Unless, perhaps . . . you never can tell . . . I may be, +You know, tired of the moon. Well, anyway, +I’ll go find Columbine. . . . And when I find her, +I will address her thus: “Ehè, Pierrette!”— +There’s something in that. + + [Exit PIERROT.] + +COTHURNUS: You, Thyrsis! Corydon! +Where are you? + +THYRSIS: [Off stage.] Sir, we are in our dressing‐room! + +COTHURNUS: Come out and do the scene. + +CORYDON: [Off stage.] You are mocking us!— +The scene is down for later. + +COTHURNUS: That is true; +But we will play it now. I am the scene. +[Seats himself on high place in back of stage.] + + [Enter CORYDON and THYRSIS.] + +CORYDON: Sir, we are counting on this little hour. +We said, “Here is an hour,—in which to think +A mighty thought, and sing a trifling song, +And look at nothing.”—And, behold! the hour, +Even as we spoke, was over, and the act begun, +Under our feet! + +THYRSIS: Sir, we are not in the fancy +To play the play. We had thought to play it later. + +CORYDON: Besides, this is the setting for a farce. +Our scene requires a wall; we cannot build +A wall of tissue‐paper! + +THYRSIS: We cannot act +A tragedy with comic properties! + +COTHURNUS: Try it and see. I think you’ll find you can. +One wall is like another. And regarding +The matter of your insufficient mood, +The important thing is that you speak the lines, +And make the gestures. Wherefore I shall remain +Throughout, and hold the prompt‐book. Are you ready? + +CORYDON‐THYRSIS: [Sorrowfully.] Sir, we are always ready. + +COTHURNUS: Play the play! + + [CORYDON and THYRSIS move the table and chairs to one side out + of the way, and seat themselves in a half‐reclining position + on the floor.] + +THYRSIS: How gently in the silence, Corydon, +Our sheep go up the bank. They crop a grass +That’s yellow where the sun is out, and black +Where the clouds drag their shadows. Have you noticed +How steadily, yet with what a slanting eye +They graze? + +CORYDON: As if they thought of other things. +What say you, Thyrsis, do they only question +Where next to pull?—Or do their far minds draw them +Thus vaguely north of west and south of east? + +THYRSIS: One cannot say. . . . The black lamb wears its burdocks +As if they were a garland,—have you noticed? +Purple and white—and drinks the bitten grass +As if it were a wine. + +CORYDON: I’ve noticed that. +What say you, Thyrsis, shall we make a song +About a lamb that thought himself a shepherd? + +THYRSIS: Why, yes!—that is, why,—no. (I have forgotten my line.) + +COTHURNUS: [Prompting.] “I know a game worth two of that!” + +THYRSIS: Oh, yes. . . . I know a game worth two of that! +Let’s gather rocks, and build a wall between us; +And say that over there belongs to me, +And over here to you! + +CORYDON: Why,—very well. +And say you may not come upon my side +Unless I say you may! + +THYRSIS: Nor you on mine! +And if you should, ’twould be the worse for you! + + [They weave a wall of colored crêpe paper ribbons from the + centre front to the centre back of the stage, fastening the + ends to COLUMBINE’S chair in front and to PIERROT’S chair in + the back.] + +CORYDON: Now there’s a wall a man may see across, +But not attempt to scale. + +THYRSIS: An excellent wall. + +CORYDON: Come, let us separate, and sit alone +A little while, and lay a plot whereby +We may outdo each other. +[They seat themselves on opposite sides of the wall.] + +PIERROT: [Off stage.] Ehè, Pierrette! + +COLUMBINE: [Off stage.] My name is Columbine! +Leave me alone! + +THYRSIS: [Coming up to the wall.] +Corydon, after all, and in spite of the fact +I started it myself, I do not like this +So very much. What is the sense of saying +I do not want you on my side the wall? +It is a silly game. I’d much prefer +Making the little song you spoke of making, +About the lamb, you know, that thought himself +A shepherd!—what do you say? + +[Pause.] + +CORYDON: [At wall.] (I have forgotten the line.) + +COTHURNUS: [Prompting.] “How do I know this isn’t a trick?” + +CORYDON: Oh, yes. . . . How do I know this isn’t a trick +To get upon my land? + +THYRSIS: Oh, Corydon, +You _know_ it’s not a trick. I do not like +The game, that’s all. Come over here, or let me +Come over there. + +CORYDON: It is a clever trick +To get upon my land. [Seats himself as before.] + +THYRSIS: Oh, very well! [Seats himself as before.] +[To himself.] I think I never knew a sillier game. + +CORYDON: [Coming to wall.] +Oh, Thyrsis, just a minute!—all the water +Is on your side the wall, and the sheep are thirsty. +I hadn’t thought of that. + +THYRSIS: Oh, hadn’t you? + +CORYDON: Why, what do you mean? + +THYRSIS: What do I mean?—I mean +That I can play a game as well as you can. +And if the pool is on my side, it’s on +My side, that’s all. + +CORYDON: You mean you’d let the sheep +Go thirsty? + +THYRSIS: Well, they’re not my sheep. My sheep +Have water enough. + +CORYDON: _Your_ sheep! You are mad, to call them +Yours—mine—they are all one flock! Thyrsis, you can’t mean +To keep the water from them, just because +They happened to be grazing over here +Instead of over there, when we set the wall up? + +THYRSIS: Oh, can’t I?—wait and see!—and if you try +To lead them over here, you’ll wish you hadn’t! + +CORYDON: I wonder how it happens all the water +Is on your side. . . . I’ll say you had an eye out +For lots of little things, my innocent friend, +When I said, “Let us make a song,” and you said, +“I know a game worth two of that!” + +COLUMBINE: [Off stage.] Pierrot, +D’you know, I think you must be getting old, +Or fat, or something,—stupid, anyway!— +Can’t you put on some other kind of collar? + +THYRSIS: You know as well as I do, Corydon, +I never thought anything of the kind. +_Don’t_ you? + +CORYDON: I _do_ not. + +THYRSIS: Don’t you? + +CORYDON: Oh, I suppose so. +Thyrsis, let’s drop this,—what do you say?—it’s only +A game, you know . . . we seem to be forgetting +It’s only a game ... a pretty serious game +It’s getting to be, when one of us is willing +To let the sheep go thirsty for the sake of it. + +THYRSIS: I know it, Corydon. + + [They reach out their arms to each other across the wall.] + +COTHURNUS: [Prompting.] “But how do I know—” + +THYRSIS: Oh, yes. . . . But how do I know this isn’t a trick +To water your sheep, and get the laugh on me? + +CORYDON: You can’t know, that’s the difficult thing about it, +Of course,—you can’t be sure. You have to take +My word for it. And I know just how you feel. +But one of us has to take a risk, or else, +Why, don’t you see?—the game goes on forever! . . . +It’s terrible, when you stop to think of it. . . . +Oh, Thyrsis, now for the first time I feel +This wall is actually a wall, a thing +Come up between us, shutting you away +From me. . . . I do not know you any more! + +THYRSIS: No, don’t say that! Oh, Corydon, I’m willing +To drop it all, if you will! Come on over +And water your sheep! It is an ugly game. +I hated it from the first. . . . How did it start? + +CORYDON: I do not know . . . I do not know . . . I think +I am afraid of you!—you are a stranger! +I never set eyes on you before! “Come over +And water my sheep,” indeed!—They’ll be more thirsty +Than they are now before I bring them over +Into your land, and have you mixing them up +With yours, and calling them yours, and trying to +keep them! + + [Enter COLUMBINE] + +COLUMBINE: [To COTHURNUS.] Glummy, I want my hat. + +THYRSIS: Take it, and go. + +COLUMBINE: Take it and go, indeed. Is it my hat, +Or isn’t it? Is this my scene, or not? +Take it and go! Really, you know, you two +Are awfully funny! + + [Exit COLUMBINE] + +THYRSIS: Corydon, my friend, +I’m going to leave you now, and whittle me +A pipe, or sing a song, or go to sleep. +When you have come to your senses, let me know. +[Goes back to where he has been sitting, lies down and sleeps.] + + [CORYDON, in going back to where he has been sitting, stumbles + over bowl of colored confetti and colored paper ribbons.] + +CORYDON: Why, what is this?—Red stones—and purple stones— +And stones stuck full of gold!—The ground is full +Of gold and colored stones! . . . I’m glad the wall +Was up before I found them!—Otherwise, +I should have had to share them. As it is, +They all belong to me. . . . Unless— + + [He goes to wall and digs up and down the length of it, + to see if there are jewels on the other side.] + +None here— +None here—none here—They all belong to me! +[Sits.] + +THYRSIS: [Awakening.] How curious! I thought the little black lamb +Came up and licked my hair; I saw the wool +About its neck as plain as anything! +It must have been a dream. The little black lamb +Is on the other side of the wall, I’m sure. + + [Goes to wall and looks over. CORYDON is seated on the ground, + tossing the confetti up into the air and catching it.] + +Hello, what’s that you’ve got there, Corydon? + +CORYDON: Jewels. + +THYRSIS: Jewels?—And where did you ever get them? + +CORYDON: Oh, over here. + +THYRSIS: You mean to say you found them, +By digging around in the ground for them? + +CORYDON: [Unpleasantly.] No, Thyrsis, +By digging down for water for my sheep. + +THYRSIS: Corydon, come to the wall a minute, will you? +I want to talk to you. + +CORYDON: I haven’t time. +I’m making me a necklace of red stones. + +THYRSIS: I’ll give you all the water that you want, +For one of those red stones,—if it’s a good one. + +CORYDON: Water?—what for?—what do I want of water? + +THYRSIS: Why, for your sheep! + +CORYDON: My sheep?—I’m not a shepherd! + +THYRSIS: Your sheep are dying of thirst. + +CORYDON: Man, haven’t I told you +I can’t be bothered with a few untidy +Brown sheep all full of burdocks?—I’m a merchant. +That’s what I am!—And if I set my mind to it +I dare say I could be an emperor! +[To himself.] Wouldn’t I be a fool to spend my time +Watching a flock of sheep go up a hill, +When I have these to play with?—when I have these +To think about?—I can’t make up my mind +Whether to buy a city, and have a thousand +Beautiful girls to bathe me, and be happy +Until I die, or build a bridge, and name it +The Bridge of Corydon,—and be remembered +After I’m dead. + +THYRSIS: Corydon, come to the wall, +Won’t you?—I want to tell you something. + +CORYDON: Hush! +Be off! Be off! Go finish your nap, I tell you! + +THYRSIS: Corydon, listen: if you don’t want your sheep, +Give them to me. + +CORYDON: Be off! Go finish your nap. +A red one—and a blue one—and a red one— +And a purple one—give you my sheep, did you say?— +Come, come! What do you take me for, a fool? +I’ve a lot of thinking to do,—and while I’m thinking, +The sheep might just as well be over here +As over there. . . . A blue one—and a red one— + +THYRSIS: But they will die! + +CORYDON: And a green one—and a couple +Of white ones, for a change. + +THYRSIS: Maybe I have +Some jewels on my side. + +CORYDON: And another green one— +Maybe, but I don’t think so. You see, this rock +Isn’t so very wide. It stops before +It gets to the wall. It seems to go quite deep, +However. + +THYRSIS: [With hatred.] I see. + +COLUMBINE: [Off stage.] Look, Pierrot, there’s the moon. + +PIERROT: [Off stage.] Nonsense! + +THYRSIS: I see. + +COLUMBINE: [Off stage.] Sing me an old song, Pierrot,— +Something I can remember. + +PIERROT: [Off stage.] Columbine. +Your mind is made of crumbs,—like an escallop +Of oysters,—first a layer of crumbs, and then +An oystery taste, and then a layer of crumbs. + +THYRSIS: [Searching.] I find no jewels . . . but I wonder what +The root of this black weed would do to a man +If he should taste it. ... I have seen a sheep die, +With half the stalk still drooling from its mouth. +’Twould be a speedy remedy, I should think, +For a festered pride and a feverish ambition. +It has a curious root. I think I’ll hack it +In little pieces. . . . First I’ll get me a drink; +And then I’ll hack that root in little pieces +As small as dust, and see what the color is +Inside. [Goes to bowl on floor.] + +The pool is very clear. I see +A shepherd standing on the brink, with a red cloak +About him, and a black weed in his hand. . . . +’Tis I. [Kneels and drinks.] + +CORYDON: [Coming to wall.] Hello, what are you doing, Thyrsis? + +THYRSIS: Digging for gold. + +CORYDON: I’ll give you all the gold +You want, if you’ll give me a bowl of water. +If you don’t want too much, that is to say. + +THYRSIS: Ho, so you’ve changed your mind?—It’s different, +Isn’t it, when you want a drink yourself? + +CORYDON: Of course it is. + +THYRSIS: Well, let me see ... a bowl +Of water,—come back in an hour, Corydon. +I’m busy now. + +CORYDON: Oh, Thyrsis, give me a bowl +Of water!—and I’ll fill the bowl with jewels, +And bring it back! + +THYRSIS: Be off, I’m busy now. + +[He catches sight of the weed, picks it up and looks +at it, unseen by CORYDON.] + +Wait!—Pick me out the finest stones you have . . . +I’ll bring you a drink of water presently. + +CORYDON: [Goes back and sits down, with the jewels before him.] +A bowl of jewels is a lot of jewels. + +THYRSIS: [Chopping up the weed.] I wonder if it has a bitter taste. + +CORYDON: There’s sure to be a stone or two among them +I have grown fond of, pouring them from one hand +Into the other. + +THYRSIS: I hope it doesn’t taste +Too bitter, just at first. + +CORYDON: A bowl of jewels +Is far too many jewels to give away +And not get back again. + +THYRSIS: I don’t believe +He’ll notice. He’s too thirsty. He’ll gulp it down +And never notice. + +CORYDON: There ought to be some way +To get them back again. . . . I could give him a necklace, +And snatch it back, after I’d drunk the water, +I suppose. . . . Why, as for that, of course a _necklace_. . . . + + [He puts two or three of the colored tapes together and tries + their strength by pulling them, after which he puts them around + his neck and pulls them, gently, nodding to himself. He gets up + and goes to the wall, with the colored tapes in his hands.] + + [THYRSIS in the meantime has poured the powdered root—black + confetti—into the pot which contained the flower and filled + it up with wine from the punch‐bowl on the floor. He comes + to the wall at the same time, holding the bowl of poison.] + +THYRSIS: Come, get your bowl of water, Corydon. + +CORYDON: Ah, very good!—and for such a gift as that +I’ll give you more than a bowl of unset stones. +I’ll give you three long necklaces, my friend. +Come closer. Here they are. [Puts the ribbons +about THYRSIS’ neck.] + +THYRSIS: [Putting bowl to CORYDON’S mouth.] +I’ll hold the bowl +Until you’ve drunk it all. + +CORYDON: Then hold it steady. +For every drop you spill I’ll have a stone back +Out of this chain. + +THYRSIS: I shall not spill a drop. + + [CORYDON drinks, meanwhile beginning to strangle + THYRSIS.] + +THYRSIS: Don’t pull the string so tight. + +CORYDON: You’re spilling the water. + +THYRSIS: You’ve had enough—you’ve had enough—stop pulling +The string so tight! + +CORYDON: Why, that’s not tight at all ... +How’s this? + +THYRSIS: [Drops bowl.] You’re strangling me! Oh, Corydon! +It’s only a game!—and you are strangling me! + +CORYDON: It’s only a game, is it?—Yet I believe +You’ve poisoned me in earnest! [Writhes and +pulls the strings tighter, winding them about +THYRSIS’ neck.] + +THYRSIS: Corydon! [Dies.] + +CORYDON: You’ve poisoned me in earnest. . . . I feel so cold. . . . +So cold . . . this is a very silly game. . . . +Why do we play it?—let’s not play this game +A minute more . . . let’s make a little song +About a lamb. . . . I’m coming over the wall, +No matter what you say,—I want to be near you. . . . + + [Groping his way, with arms wide before him, he strides through + the frail papers of the wall without knowing it, and continues + seeking for the wall straight across the stage.] + +Where is the wall? + + [Gropes his way back, and stands very near THYRSIS without + seeing him; he speaks slowly.] + +There isn’t any wall, +I think. + + [Takes a step forward, his foot touches THYRSIS’ body, and he + falls down beside him.] + +Thyrsis, where is your cloak?—just give me +A little bit of your cloak! . . . + + [Draws corner of THYRSIS’ cloak over his shoulders, falls + across THYRSIS’ body, and dies.] + + [COTHURNUS closes the prompt‐book with a bang, arises + matter‐of‐factly, comes down stage, and places the table over + the two bodies, drawing down the cover so that they are hidden + from any actors on the stage, but visible to the audience, + pushing in their feet and hands with his boot. He then turns + his back to the audience, and claps his hands twice.] + +COTHURNUS: Strike the scene! [Exit COTHURNUS.] + + [Enter PIERROT and COLUMBINE.] + +PIERROT: Don’t puff so, Columbine! + +COLUMBINE: Lord, what a mess +This set is in! If there’s one thing I hate +Above everything else,—even more than getting my feet wet— +It’s clutter!—He might at least have left the scene +The way he found it ... don’t you say so, Pierrot? + + [She picks up punch bowl. They arrange chairs as before at ends + of table.] + +PIERROT: Well, I don’t know. I think it rather diverting +The way it is. + +[Yawns, picks up confetti bowl.] + +Shall we begin? + +COLUMBINE: [Screams.] My God! +What’s that there under the table? + +PIERROT: It is the bodies +Of the two shepherds from the other play. + +COLUMBINE: [Slowly.] How curious to strangle him like that, +With colored paper ribbons. + +PIERROT: Yes, and yet +I dare say he is just as dead. [Pauses. Calls.] +Cothurnus! +Come drag these bodies out of here! We can’t +Sit down and eat with two dead bodies lying +Under the table! . . . The audience wouldn’t stand for it! + +COTHURNUS: (Off stage.) What makes you think so?— +Pull down the tablecloth +On the other side, and hide them from the house, +And play the farce. The audience will forget. + +PIERROT: That’s so. Give me a hand there, +Columbine. + + [PIERROT and COLUMBINE pull down the table cover in such a way + that the two bodies are hidden from the house, then merrily set + their bowls back on the table, draw up their chairs, and begin + the play exactly as before.] + +COLUMBINE: Pierrot, a macaroon,—I cannot _live_ without a macaroon! + +PIERROT: My only love, +You are _so_ intense! ... Is it Tuesday, Columbine?— +I’ll kiss you if it’s Tuesday. + + [Curtains begin to close slowly.] + +COLUMBINE: It is Wednesday, +If you must know. ... Is this my artichoke +Or yours? + +PIERROT: Ah, Columbine, as if it mattered! +Wednesday. . . . Will it be Tuesday, then, to‐morrow, +By any chance? . . . + +[CURTAIN.] + + + + +AUTHOR’S NOTE + +ON THE PLAYING PO + +ARIA DA CAPO + + + +ORIGINAL CAST + +AS PLAYED BY THE PROVINCETOWN PLAYERS, NEW YORK CITY + +PIERROT HARRISON DOWD + +COLUMBINE NORMA MILLAY + +COTHURNUS HUGH FERRISS + +CORYDON CHARLES ELLIS + +THYRSIS JAMES LIGHT + + + +AUTHOR’S NOTE + +So great is my vexation always, when reading a play, to find its +progress constantly being halted and its structure loosened by +elaborate explanatory parentheses, that I resolved when I should +publish Aria da Capo to incorporate into its text only those +explanations the omission of which might confuse the reader or lend +a wrong interpretation to the lines. Since, however, Aria da Capo +was written not only to be read but also to be acted, and being +conscious that the exclusion of the usual directions, while +clarifying the play to the reader, may make it bare of suggestions +and somewhat baffling to the producer, I am adding here some remarks +which have been found of value in preparing it for presentation on +the stage. + +Since the production of Aria da Capo by the Provincetown Players, I +have received a great many letters from the directors of little +theatres, asking for copies of it with a view to producing it. Very +often, after I send the play, I receive a letter in reply asking for +some suggestions for its presentation, and enclosing direct +questions on points that have been difficult. It occurred to me +finally that it would be reasonable to make up a sort of informal +prompt‐book to send about with the play; and it is that which is +printed below. It will be found incomplete and uneven, in some +instances unnecessarily detailed, in others not sufficiently so; all +of which is due to the fact that it was put together loosely, from +answers to chance questions, rather than logically, as an entity in +itself. + + + + +SUGGESTIONS FOR THE PRODUCTION OF “ARIA DA CAPO” + +SETTING: + +The setting required is simple:—a grey curtain, a long black table, +two slender black high‐backed chairs, and a raised platform. + +Instead of wings and back‐drop the Provincetown Players cleverly +utilized painted screens, the heights varying from 6 to 10 feet, +these being set right and left of the stage in such manner as to +give the effect of depth and distance. + +The table, six feet long and two feet wide, has thin legs and is +painted black. + +When Pierrot and Columbine enter in the final scene, it is not +necessary that the table which Cothurnus has replaced shall entirely +conceal the bodies of Thyrsis and Corydon. Pierrot and Columbine +must ignore them until the lines indicate their discovery, no matter +how they may have fallen. + +Particular attention must be given to the chairs in this set. They +are used to construct the tissue‐paper wall, and, although +delicate, should be heavy enough to remain solid and steady, up and +down stage, without the possibility of an upset when Corydon strides +through the wall. + +Near the footlights (actors’ left) are two sofa pillows, used to +represent the rocks against which the shepherds lean. On the left of +the stage have another pillow, which Thyrsis places under his head +when he lies down to sleep. Use cloth or crêpe paper for these +pillows, and have them of spotted black and white material, or of +any gay color except red or blue. + +Cothurnus occupies a chair upon a platform, up‐stage, centre, with +two or three steps surrounding it on three sides. Drape this with +plain heavy black cloth. + +The table covering is important. Its width is equal to that of the +added height and width of the table. As it must be moved to cover +the bodies of Thyrsis and Corydon, it should be of sufficient weight +to prevent slipping. It will be well to experiment with this, to +ensure proper performance. + +The cover should have black and white spots and striped ends. + +The table is set as follows:—two large wooden bowls (at least seven +inches high and fourteen inches in diameter). One is placed at each +end of the table. That at Columbine’s end should contain +persimmons, pomegranates, grapes and other bright exotic fruits. +Pierrot’s bowl has confetti and colored paper ribbons, the latter +showing plainly over the edge. (If Columbine uses practical +macaroons, put them into this bowl.) + +Near Columbine, place a practical uncooked artichoke; have this of +good size, and nail it to a wooden standard, painted black. At both +places there are tall white wooden goblets. + +In the centre of the table there should be a curious, grotesque, but +very gay flower, standing upright in a pot of wood or heavy paper, +which will not break when Thyrsis drops it. Concealed at the root of +this plant there should be a small sack of black confetti, to be +used in the “poison scene.” + +The table should be set with nothing but these articles, and yet +give the appearance of bounty and elegance. + +Place the table parallel with the footlights,—the long side toward +the audience. + +Columbine’s chair is at the actors’ right, and Pierrot’s +opposite—Columbine’s hat hangs from her chair‐top. Both chairs are +festooned with tissue‐paper ribbons, at least ten feet long, to be +used later by the shepherds to represent their wall. These must be +of such a texture as to break readily when Corydon walks through, +and a prearranged transverse tear or two will assist in the prompt +breakage when he does so. + +PROPERTIES: + +Two white wooden bowls, one filled with fruits and the other with +confetti and paper ribbons,—one ribbon to be of cotton or silk, in +order to be not too easily broken by Corydon when strangling Thyrsis + +Two tall white wooden goblets + +One artichoke nailed to a standard + +One flower in paper or wooden pot, the root wrapped with black crêpe +paper (or use confetti) + +Black and white tablecloth + +Macaroons + +Boots and prompt‐book for Cothurnus (large flat black book) + +Also, if desired, mask of Tragedy for Cothurnus + +Crêpe or tissue streamers of different colors, including no red or +blue, for wall. + + +COSTUMES: + +PIERROT: Lavender or lilac satin, preferably a blue‐lavender. Care +should be taken that the lavender does not turn pink under the stage +lights. Pierrot’s costume is the conventional smock with wide +trousers, with black crêpe paper rosettes on the smock, wide white +tarleton ruff. Black evening pumps with black rosettes may be worn. +Black silk skull‐cap. + +COLUMBINE: Tight black satin bodice cut very low, with straps over +the shoulders, quite like the modern evening gown; very full +tarleton skirts of different shades of pink and cerise, reaching to +the knees; ruffled bloomers of apple‐green tarleton, the ruffles +showing below the skirts; black silk stockings and black ballet +slippers, laced with green. Hat of lavender crêpe paper, with +streamers of gay colors—including, however, no clear red or blue. +Hat should be small and very smart—not a _shepherdess_ hat. Columbine +should be made up to suggest a doll. As originally interpreted she +had short light hair, standing out bushily all over her head. Long +hair should be rolled under to give a _bobbed_ effect, or could be +arranged in obvious caricature of some extreme modern style, but +must look attractive, and must be blonde. + +COTHURNUS: Plain toga of dull purple in some heavy, unreflecting +material which will fall into large folds, lined with sombre +flame‐color; a garment with large purple sleeves, of which only the +sleeves were visible, was worn under the toga,—but the effect should +be classical; heavy boots should be worn, as nearly as possible like +the tragic Roman buskin; one end of the great toga is tied into a +rough hood which covers the actor’s head; a mask may be worn, but it +is often difficult to speak through, and, if desired, the actor’s +face may be made up to represent a mask of Tragedy. + +THYRSIS and CORYDON: These costumes, in striking contrast to the +elegance of those of Pierrot and Columbine, should be very simple, +and very roughly made; short tunics of outing‐flannel or some such +material— fastened loosely over one shoulder,—one shoulder, as well +as most of the back and breast, exposed. Legs bare, or swathed from +the knee to the ankle in rough strips of the same material. Sandals. +Cloaks of heavier, cheap material fastened to the tunics in such a +way that they will appear to be simply flung over the shoulder, but +actually fastened very cleverly in order to avoid tripping the +shepherds, who are continually sitting down on the floor and getting +up again. + +Thyrsis wears a dark grey tunic and cloak of raw bright red,—but not +a turkey‐red, as this color will kill the blue of Corydon’s cloak. +Corydon wears tunic of light grey and cloak of brilliant blue. There +must be no red or blue used anywhere in the entire play excepting in +the blue and red of these two cloaks. The two shepherds must be so +strong and vivid in every way that when Columbine comes in and says, +“Is this my scene or not?” it will seem to the audience that it is +she, not the shepherds, who is hopelessly out of the scene. + +CHARACTERS: + +PIERROT: Pierrot sees clearly into existing evils and is rendered +gaily cynical by them; he is both too indolent and too indifferent +to do anything about it. Yet in several lines of the play his actual +unhappiness is seen, —for instance, “Moon’s just a word to swear +by,” in which he expresses his conviction that all beauty and +romance are fled from the world. At the end of the play the line, +“Yes, and yet I dare say he is just as dead,” must not be said +flippantly or cynically, but slowly and with much philosophic +concentration on the thought. From the moment when Columbine cries, +“What’s that there under the table?” until Pierrot calls, +“Cothurnus, come drag these bodies out of here!” they both stand +staring at the two bodies, without moving in any way, or even +lifting their eyes. (This same _holding_ of the play is used several +times also by the shepherds,—for instance, always during the off‐ +stage interpolations, they stand either staring at each other across +the wall, or maintaining whatever other position they may have had +when the off‐stage voice begins speaking, until the interruption is +over, when they resume their drama quite as if nobody had spoken.) +Columbine’s “How curious to strangle him like that” is spoken +extremely slowly, in a voice of awe, curiosity, and horror. For a +moment the two characters seem almost to feel and be subdued by the +tragedy that has taken place. They remain standing very quietly +while Cothurnus speaks his final lines off stage, and for a moment +after he has said, “The audience will forget”; then very slowly +raise their eyes and exchange glances, Pierrot nods his head curtly +and says, “That’s so”; they set their bowls gaily back on the table, +and the play begins again. + +Pierrot in such lines as “Ah, Columbine, as if it mattered!” speaks +with mock saccharine tenderness; but in such lines as “If you were a +fly you would be dead by now!” although he speaks very gaily his +malice must be apparent almost even to her; Columbine bores him to +death. When he says, “I’ll go and strum the moon!” he is for the +instant genuinely excited and interested; he is for this moment like +a child, and is happy. + +COLUMBINE: Pretty and charming, but stupid; she never knows what +Pierrot is talking about, and is so accustomed to him that she no +longer pretends to understand him; but she is very proud of him, and +when he speaks she listens with trustful admiration. Her +expression, “I cannot live without” this or that, is a phrase she +uses in order to make herself more attractive, because she believes +men prefer women to be useless and extravagant; if left to herself +she would be a domestic and capable person. + +COTHURNUS: This character should be played by a tall and imposing +figure with a tremendous voice. The voice of Cothurnus is one of +the most important things in the acting play. He should have a voice +deeper than the voice used by any of the other persons, should speak +weightily and with great dignity, but almost without intonation, and +quite without feeling, as if he had said the same words many times +before. Only in his last speech may he be permitted a comment on +the situation. This speech should be spoken quite as impressively as +the others and fully as slowly. + +CORYDON and THYRSIS: These two characters are young, very simple, +and childlike; they are acted upon by the force that sits on the +back of the stage behind them. More and more as their quarrel +advances they begin to see that something is wrong, but they have no +idea what to do about it, and they scarcely realize what is +happening, the quarrel grows so from little things into big things. +Corydon’s first vision of the tragedy is in “It’s terrible when you +stop to think of it.” Thyrsis’ first vision comes when he looks into +the pool; in seeing the familiar reflection he is struck by the +unfamiliarity of one aspect of it, the poisonous root; for the first +time he realizes that this man who is about to kill with poisoned +water his most beloved friend, is none other than Thyrsis +_himself_,—“’Tis I!” The personalities of Thyrsis and Corydon are +not essentially different. They develop somewhat differently, +because of the differing circumstances. + +When Columbine goes out for the first time she takes with her her +artichoke and her wine‐glass, also a couple of macaroons, which she +nibbles, going out. This helps to get the table cleared. The other +articles are removed by the shepherds when they prepare the stage +for their scene, in this manner: at the cue “Sir, we are always +ready. . . . Play the play!”, Corydon and Thyrsis come down stage, +Corydon to Pierrot’s end of the table, Thyrsis to Columbia’s; +simultaneously, first, they set back the chairs against the wall, +Pierrot’s left front, Columbine’s right front; next they remove the +two big bowls and set them in symmetrical positions on the floor, +left front and right front, in such a way that the bowl of confetti +may be the mine of jewels for Corydon, and the bowl of fruits, the +punch‐bowl, may represent the pool of water for Thyrsis; then, +taking the table by the two ends, they set it back against the wall, +right; next, while Corydon places the two pillows from the left wall +on the floor to represent rocks in their pasture, Thyrsis removes +from the table everything that is left on it except the +tablecloth,—this should be only Pierrot’s wine‐goblet and the flower +in its pot. (The flower is to represent later the poisonous weed +which Thyrsis finds, the wine‐goblet a drinking‐cup beside the pool, +the flower‐pot a bowl in which to mix the poison and bring it to +Corydon.) The two shepherds do this setting of their stage swiftly +and silently, then seat themselves at once, in easy but beautiful +postures, and remain for a moment looking off as if at their sheep +while a complete silence settles over the stage and house,—a +_pastoral_ silence, if it is possible to suggest it—before they +begin to speak. + +When Columbine comes in, looking for her hat, she picks up the hat +from her chair, now in the centre of the stage near the footlights, +in a direct line with Pierrot’s, which is centre back, just in front +of Cothurnus,—the shepherds having set them in these positions, back +to back, in order to have their aid in weaving the wall. After +taking her hat, Columbine stands looking at the shepherds to see +what is going on. They do not look at her. After a moment Thyrsis, +slowly, with his eyes steadfastly on Corydon’s, says, “Take it, and +go.” When Columbine comes in in the final scene, she is wearing the +hat. She takes it off, however, as she sits down again at the table, +so that the second beginning of the play may recall as vividly as +possible to the audience the first beginning. + + + + +End of the Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay + +*** END OF THE PROJECT GUTENBERG EBOOK ARIA DA CAPO *** + +This file should be named rdcap10.txt or rdcap10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, rdcap11.txt +VERSIONS based on separate sources get new LETTER, rdcap10a.txt + +This etext produced by David Starner. + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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