Cyrano De Bergerac Part 6

THE DOORKEEPER [admitting the [admitting the DUENNA DUENNA26 to to CYRANO] Monsieur, you are inquired for. CYRANO] Monsieur, you are inquired for.

CYRANO [seeing the duenna] [seeing the duenna] Ah, my G.o.d! ... her duenna! Ah, my G.o.d! ... her duenna!

SCENE VI.

Cyrano, Le Bret, the Duenna

THE DUENNA [with a great curtsey] Somebody wishes to know of her valorous cousin where one may, in private, see him. Somebody wishes to know of her valorous cousin where one may, in private, see him.

CYRANO [upset] [upset] See me? See me?

THE DUENNA [with curtsey] See you. There are things for your ear. See you. There are things for your ear.

CYRANO There are ... ?

THE DUENNA [other curtsey [other curtsey] Things.

CYRANO [staggering] [staggering] Ah, my G.o.d! ... Ah, my G.o.d! ...

THE DUENNA Somebody intends, tomorrow, at the earliest roses of the dawn, to hear Ma.s.s at Saint Roch.

CYRANO [upholds himself by leaning on [upholds himself by leaning on LE BRET] Ah, my G.o.d! LE BRET] Ah, my G.o.d!

THE DUENNA That over, where might one step in a moment, have a little talk?

CYRANO [losing his senses] [losing his senses] Where? ... I ... But ... Ah, my G.o.d! Where? ... I ... But ... Ah, my G.o.d!

THE DUENNA Expedition, if you please.

CYRANO I am casting about ...

THE DUENNA Where?

CYRANO At ... at ... at Ragueneau's ... the pastrycook's. THE DUENNA He lodges?

CYRANO In ... In Rue ... Ah, my G.o.d! my G.o.d! ... St. Honore.

THE DUENNA [retiring] [retiring] We will be there. Do not fail. At seven. We will be there. Do not fail. At seven.

CYRANO I will not fail. [Exit DUENNA.] [Exit DUENNA.]

SCENE VII.

Cyrano, Le Bret, then the Actors and Actresses, Cuigy, Brissaille, Ligniere, the Doorkeeper, the Fiddlers the Doorkeeper, the Fiddlers

CYRANO [falling on LE BRET's LE BRET's neck neck] To me ... from her ... a meeting!

LE BRET Well, your gloom is dispelled?

CYRANO Ah, to whatever end it may be, she is aware of my existence!

LE BRET And now you will be calm?

CYRANO [beside himself] Now, I shall be fulminating and frenetical! I want an army all complete to put to rout! I have ten hearts and twenty arms ... I cannot now be suited with felling dwarfs to earth.... [At the top of his lungs.] [At the top of his lungs.] Giants are what I want! Giants are what I want! [During the last lines, on the stage at the back, shadowy shapes of players have been moving about. The rehearsal has begun; the fiddlers have resumed their places.] [During the last lines, on the stage at the back, shadowy shapes of players have been moving about. The rehearsal has begun; the fiddlers have resumed their places.]

A VOICE [from the stage] Hey! Psst! Over there! A little lower. We are trying to rehea.r.s.e!

CYRANO [laughing] [laughing] We are going! We are going! [He goes toward the back.] [Through the street door, enter CUIGY, BRISSAILLE, several OFFICERS supporting LIGNIERE in a state of complete intoxication.] [He goes toward the back.] [Through the street door, enter CUIGY, BRISSAILLE, several OFFICERS supporting LIGNIERE in a state of complete intoxication.]

CUIGY Cyrano!

CYRANO What is this?

CUIGY A t.u.r.dus vinaticus t.u.r.dus vinaticus27 we are bringing you. we are bringing you.

CYRANO [recognizing him] [recognizing him] Ligniere! Hey, what has happened to you? CUIGY He is looking for you. Ligniere! Hey, what has happened to you? CUIGY He is looking for you.

BRISSAILLE He cannot go home.

CYRANO Why?

LIGNIERE [in a thick voice, showing him a bit of crumpled paper.] [in a thick voice, showing him a bit of crumpled paper.] This note bids me beware ... A hundred men against me ... on account of lampoon.... Grave danger threatening me.... Porte de Nesle ... must pa.s.s it to get home. Let me come and sleep under your roof. This note bids me beware ... A hundred men against me ... on account of lampoon.... Grave danger threatening me.... Porte de Nesle ... must pa.s.s it to get home. Let me come and sleep under your roof.

CYRANO A hundred, did you say?-You shall sleep at home! LIGNIERE [frightened] [frightened] But ... But ...

CYRANO [in a terrible voice, pointing to the lighted lantern which the [in a terrible voice, pointing to the lighted lantern which the DOORKEEPER stands swinging as he listens to this scene] stands swinging as he listens to this scene] Take that lantern (LIGNIERE Take that lantern (LIGNIERE hurriedly takes it] hurriedly takes it] and walk! ... I swear to tuck you in your bed to-night myself. and walk! ... I swear to tuck you in your bed to-night myself. [To the [To the OFFICERS.)You, follow at a distance. You may look on! OFFICERS.)You, follow at a distance. You may look on!

CUIGY But a hundred men ...

CYRANO Are not one man too many for my mood to-night! [The players, in their several costumes, have stepped down from the stage and come nearer.]

LE BRET But why take under your especial care ...

CYRANO Still Le Bret is not satisfied!

LE BRET That most commonplace of sots?

CYRANO [slapping LIGNIERE on the shoulder] Because this sot, this cask of muscatel, this hogshead of rosolio, 28 28 did once upon a time a wholly pretty thing. On leaving Ma.s.s, having seen her whom he loved take holy-water, as the rite prescribes, he, whom the sight of water puts to flight, ran to the holy-water bowl, and stooping over, drank it dry.... did once upon a time a wholly pretty thing. On leaving Ma.s.s, having seen her whom he loved take holy-water, as the rite prescribes, he, whom the sight of water puts to flight, ran to the holy-water bowl, and stooping over, drank it dry....

AN ACTRESS [in the costume of soubrette] Tiens, Tiens, that was nice!. that was nice!.

CYRANO Was it not, soubrette?

THE SOUBRETTE [to the others] [to the others] But why are they, a hundred, all against one poor poet? But why are they, a hundred, all against one poor poet?

CYRANO Let us start! [To the [To the OFFICERS.] And you, gentlemen, when you see me attack, whatever you may suppose to be my danger, do not stir to second me! OFFICERS.] And you, gentlemen, when you see me attack, whatever you may suppose to be my danger, do not stir to second me!

ANOTHER OF THE ACTRESSES [jumping from the stage] [jumping from the stage] Oh, I will not miss seeing this! Oh, I will not miss seeing this!

CYRANO Come!

ANOTHER ACTRESS [likewisejumping from the stage, to an elderly actor] Ca.s.sandre, will you not come?

CYRANO Come, all of you! the Doctor, Isabel, Leander, all! and you shall lend, charming fantastic swarm, an air of Italian farce to the Spanish drama in view. Yes, you shall be a tinkling heard above a roar, like bells about a tambourine!

ALL THE WOMEN [in great glee] [in great glee] Bravo! ... Hurry! ... A mantle! ... A hood! Bravo! ... Hurry! ... A mantle! ... A hood!

JODELET Let us go!

CYRANO [to the fiddlers] [to the fiddlers] You will favor us with a tune, messieurs the violinists! You will favor us with a tune, messieurs the violinists! [The fiddlers fall into the train. The lighted candles which furnished the footlights are seized and distributed. The procession becomes a torchlight procession.] [The fiddlers fall into the train. The lighted candles which furnished the footlights are seized and distributed. The procession becomes a torchlight procession.]

CYRANO Bravo! Officers, beauty in fancy dress, and, twenty steps ahead ... [he takes the position he describes]. [he takes the position he describes]. I, by myself, under the feather stuck, with her own hand, by Glory, in my hat! Proud as a Scipio trebly Nasica! I, by myself, under the feather stuck, with her own hand, by Glory, in my hat! Proud as a Scipio trebly Nasica!29-It is understood? Formal interdiction to interfere with me!-We are ready? One! Two! Three! Doorkeeper, open the door! [The DOORKEEPER opens wide the folding door. A picturesque corner of Old Paris appears, bathed in moonlight.] [The DOORKEEPER opens wide the folding door. A picturesque corner of Old Paris appears, bathed in moonlight.]

CYRANO Ah! ... Paris floats in dim nocturnal mist.... The sloping blueish roofs are washed with moonlight.... A setting, exquisite indeed, offers itself for the scene about to be enacted.... Yonder, under silvery vapor wreathes, like a mysterious magic mirror, glimmers the Seine.... And you shall see what you shall see!

ALL To the Porte de Nesle!

CYRANO [standing on the threshold] [standing on the threshold] To the Porte de Nesle! To the Porte de Nesle! [Before crossing it, he turns to the [Before crossing it, he turns to the SOLIBRETTE.] Were you not asking, mademoiselle, why upon that solitary rhymster a hundred men were set? SOLIBRETTE.] Were you not asking, mademoiselle, why upon that solitary rhymster a hundred men were set? [He draws his sword, and tranquilly] [He draws his sword, and tranquilly] Because it was well known he is a friend of mine! Because it was well known he is a friend of mine! [Exit.] [To the sound of the violins, by the flickering light of the candles, the procession-LIGNIeRE staggering at the head, the ACTRESSES arm in arm with the OFFICERS, the players capering behind [Exit.] [To the sound of the violins, by the flickering light of the candles, the procession-LIGNIeRE staggering at the head, the ACTRESSES arm in arm with the OFFICERS, the players capering behind,-follows out into the night. Curtain.]

ACT TWO.

The Cookshop of Poets RAGUENEAU'S shop, vast kitchen at the corner of Rue St. Honore and Rue de l'Arbre-Sec, which can be seen at the back, through the gla.s.s door, gray in the early dawn.At the left, in front, a counter overhung by a wrought-iron canopy from which geese, ducks, white peac.o.c.ks are hanging. In large china jars, tall nosegays composed of the simpler flowers, mainly sunflowers. On the same side, in the middle distance, an enormous fireplace, in front of which, between huge andirons, each of which supports a small iron pot, roasting meats drip into appropriate pans.At the right, door in the front wing. In the middle distance, a staircase leading to a loft, the interior of which is seen through open shutters; a spread table lighted by a small Flemish candelabrum, shows it to be an eating-room. A wooden gallery continuing the stairway, suggests other similar rooms to which it may lead.In the center of the shop, an iron hoop-which can be lowered by means of a rope,-to which large roasts are hooked.In the shadow, under the stairway, ovens are glowing. Copper molds and saucepans are s.h.i.+ning; spits turning, hams swinging, pastry pyramids showing fair. It is the early beginning of the workday. Bustling of hurried scullions, portly cooks and young cook's-a.s.sistants; swarming of caps decorated with hen feathers and guinea-fowl wings. Wicker crates and broad sheets of tin are brought in loaded with brioches and tarts.There are tables covered with meats and cakes; others, surrounded by chairs, await customers. In a corner, a smaller table, littered with papers. At the rise of the curtain,RAGUENEAU is discovered seated at this table, writing with an inspired air, and counting upon his fingers and counting upon his fingers.

SCENE I.

FIRST PASTRYCOOK [bringing in a tall molded pudding] [bringing in a tall molded pudding] Nougat of fruit! Nougat of fruit!

SECOND PASTRYCOOK [bringing in the dish he names] [bringing in the dish he names] Custard! Custard!

THIRD PASTRYCOOK [bringing in a fowl roasted in its feathers] [bringing in a fowl roasted in its feathers] Peac.o.c.k! Peac.o.c.k!

FOURTH PASTRYCOOK [bringing in a tray of cakes] [bringing in a tray of cakes] Mince-pies! Mince-pies!

FIFTH PASTRYCOOK [bringing in a deep earthen dish] [bringing in a deep earthen dish] Beef stew! Beef stew!

RAGUENEAU [laying down his pen, and looking up] [laying down his pen, and looking up] Daybreak already plates with silver the copper pans! Time, Ragueneau, to smother within thee the singing divinity! The hour of the lute will come anon-now is that of the ladle! Daybreak already plates with silver the copper pans! Time, Ragueneau, to smother within thee the singing divinity! The hour of the lute will come anon-now is that of the ladle! [He rises, speaking to one of the cooks.] [He rises, speaking to one of the cooks.] You, sir, be so good as to lengthen this gravy,-it is too thick! THE COOK How much? You, sir, be so good as to lengthen this gravy,-it is too thick! THE COOK How much?

RAGUENEAU Three feet. [Goesfurther.] [Goesfurther.]

THE COOK What does he mean?

FIRST PASTRYCOOK Let me have the tart!

SECOND PASTRYCOOK The dumpling!

RAGUENEAU [standing before the fireplace] [standing before the fireplace] Spread thy wings, Muse, and fly further, that thy lovely eyes may not be reddened at the sordid kitchen fire! Spread thy wings, Muse, and fly further, that thy lovely eyes may not be reddened at the sordid kitchen fire! [To one of the cooks, pointing at some small loaves of bread. ] [To one of the cooks, pointing at some small loaves of bread. ] You have improperly placed the cleft in those loaves; the caesura belongs in the middle,-between the hemistichs! You have improperly placed the cleft in those loaves; the caesura belongs in the middle,-between the hemistichs!30 [To another of the COOKS, pointing at an unfinished pasty.] [To another of the COOKS, pointing at an unfinished pasty.] This pastry palace requires a roof! This pastry palace requires a roof! [To a young cook's-apprentice, who, seated upon the floor, is putting fowls on a spit.] [To a young cook's-apprentice, who, seated upon the floor, is putting fowls on a spit.] And you, on that long spit, arrange, my son, in pleasing alternation, the modest pullet and the splendid turkey-c.o.c.k,-even as our wise Malherbe And you, on that long spit, arrange, my son, in pleasing alternation, the modest pullet and the splendid turkey-c.o.c.k,-even as our wise Malherbe31 alternated of old the greater with the lesser lines, and so with roasted fowls compose a poem! alternated of old the greater with the lesser lines, and so with roasted fowls compose a poem!

ANOTHER APPRENTICE [coming forward with a platter covered by a napkin] [coming forward with a platter covered by a napkin] Master, in your honor, see what I have baked.... I hope you are pleased with it! Master, in your honor, see what I have baked.... I hope you are pleased with it!

RAGUENEAU [ecstatic] [ecstatic] A lyre! A lyre!

THE APPRENTICE Of pie-crust!

RAGUENEAU [touched] [touched] With candied fruits! With candied fruits!

THE APPRENTICE And the strings, see,-of spun sugar!

RAGUENEAU [giving him money] Go, drink my health! [Catching sight of LISE who is entering.] Hus.h.!.+ My wife! ... Move on, and hide that money. [To LISE, showing her the lyre, with a constrained air.] Fine, is it not?

LISE Ridiculous! [She sets a pile of wrapping-paper on the counter.]

RAGUENEAU Paper bags? Good. Thanks. [He examines them.] [He examines them.] Heavens! My beloved books! The masterpieces of my friends,-dismembered, -torn!-to fas.h.i.+on paper bags for penny pies!-Ah, the abominable case is re-enacted of Orpheus and the Maenads! Heavens! My beloved books! The masterpieces of my friends,-dismembered, -torn!-to fas.h.i.+on paper bags for penny pies!-Ah, the abominable case is re-enacted of Orpheus and the Maenads!32 LISE [drily) [drily) And have I not an unquestionable right to make what use I can of the sole payment ever got from your paltry scribblers of uneven lines? And have I not an unquestionable right to make what use I can of the sole payment ever got from your paltry scribblers of uneven lines?

RAGUENEAU Pismire! Forbear to insult those divine, melodious crickets!

LISE Before frequenting that low crew, my friend, you did not use to call me a Maenad,-no, nor yet a pismire!

RAGUENEAU Put poems to such a use!

LISE To that use and no other!

RAGUENEAU If with poems you do this, I should like to know, Madame, what you do with prose!

SCENE II.

The Same

[Two children have come into the shop.]

RAGUENEAU What can I do for you, little ones?

FIRST CHILD Three patties.

RAGUENEAU [waiting on them] There you are! Beautifully browned, and piping hot.