Ludovic Halévy & Hector Crémieux

“ Jun. Don't try and deceive me any more . . . .
Jup. But, still . . . .
Jun. Well, there is a rumor of the elopement of a fair mortal, who has been abducted by a god. The woman's name is Eurydicea, and you are the god.
Jup. I see, my dear, what passion and prejudice lead you to say. This elopement, I know of it as well as you do. I know I whom I must suspect, and we will soon see . . . .
SCENE III.
Mer., enters, Mylord Pluto. ”

“ Jo., (wondering.) The fly; which fly?
Pl. Jupiter, whom smart little Cupido has recognized under the disguise of a fly!
Jo. Jupiter? (Sings)
⁠Were I still king of Beotia!
Pl. What has become of Eurydicea?
Jo. Eurydicea? (Goes on singing:)
⁠I had subjects and soldiers . . . .
Pl. Look at me a little . . ah! scoundrel, he has drank again . . and in the meanwhile he has allowed the other one here . . John, my dear John . . It is I, Pluto, thy good master . . Oh! the blackguard! . . Remember, remember—on thine own ashes . . the key of the park at least . . the key of the park . . . . ”

“ Madam, I am the best natured fellow in the world. I have a sensitive heart and a weak head—woman that would love me would be very happy—
Eu. He is crazy. Is he not going to relate his love matters to me? ”

“ But before going let us take advantage of our divinity and defy the husband. (Eurydicea awakes and arises under Pluto's influence. Pluto snatches a quill and gives it to her and shows Orpheus' cabin. She writes the following four verses which appear in letters of fire:)
I leave this shanty,
For I am dead,
Aristee is Pluto;
And the D. . .l takes me.
The poetry is not rich, but riches do not make men happy! and now to the sombre shores. (Exeunt through a trap door.)
SCENE V.
ORPHEUS.
Who the dickens has been disturbing everything up there? ”

“ ORPHEUS (leaning on Opinion as is done in tragedies)
Yes, I am convinced, notwithstanding her faults,
'Tis my wife. I shall ignore her caprices—
Mighty king of . . . .
Ju.⁠Enough . . I know the formula!
I know thy desire. Let us hurry matters—
Faithful to my promise; in accordance with thy wishes,
And in accord with Pluto, take thy Eurydicea.
Go . . . .
Or., (with philosophy.) ⁠ Jupe is too kind and Pluto is too good!
⁠ (Pluto sneers at Jupiter and rubs his hands)
Ju. ”

“ Plu.⁠Woman, do you remember those violin strains?
Eu.⁠That song which he considers so large, and I too long,
It is the song of the spouse I have . . . .
Plu.⁠Thou hast spoken it, woman?
It is the spouse that comes to redeem thy soul!
⁠Low and gnashing his teeth.
That soul I loved so well, but love no more.
I know of Jupe the absolute orders!
Thy spouse claims thee—to the earth thou must return.
It is a fine gift presented to the earth!
Eu., supplicating. Jupe! . . . .⁠
Ju. ”

“ ORPHEUS, PUBLIC OPINION, (with torch and whip.)
Op. Stop! this can't go on this way.
Or. Heavens! Public opinion persecutes me already.
Op. Yes. Public opinion which knows everything, and which comes to snatch thee to that indecent joy.
Or. What mean you?
Op. Thou shalt follow me into Olympia—at Jupiter's feet thou shalt claim thy adored wife.
Or. I claim Eurydicea? The gods forbid!
Op. For the edification of posterity, we must have at least the example of one husband who did care about his wife.
Or. But I don't love her.
Op. So much more striking will be the example. ”

“ Op.,⁠ (to Orpheus.) Now is the solemn moment!
Thou shalt with melting voice
Implore great Jupiter
For the right of snatching from below
Thy beloved and tender wife!
Or.,⁠ (to Opinion.) I don't want to; she is a bore to me!
Op.,⁠ (threatening with the whip.) Go ahead . . . obey me.
Or.,⁠ (in passionate strains.) Great King of heavens and earth,
See my sadness and misery,
My grief and my solitude—
I come to demand justice.
Diana,⁠ (Gluck's music.) "They have seduced his Eurydicea . . . .
Or.,⁠ (continues the tune on his violin.) "And the seducer is Pluto." ”

“ Ah! here he is. Aristee, my beautiful shepherd, take care; one step more and you are dead.
Ar. How?
Eu. My husband knows all; he has spied us, and laid traps through the field for you.
Ar. Look how much I care about his snares. Look, please look. (Steps into the corn fields.)
Eu. You will die sure; then I will die with you.
Ar. (Aside.) Come on. (They walk through the field. Eurydicea stops suddenly on one foot, and screams.)
Ar. (Aside.) She is caught.
Eu. I am caught.
Ar. Graver than you imagine. (Music.)
Eu. Ah! my lord, what do I feel?
Ar. Pluto, be thyself again! ”

“ I would have taken you to Olympia.
Eu. Olympia!—I would have seen Olympia and have left this execrable house? Let us fly! Take me with you!
Ju. There is only one way not to throw off suspicion. I must return to the fete given by the idiot Pluto, meet me there under disguise, and when they will all be engrossed by the festivities, mix with my colleagues and I will fly with you.
Eu. The gods will what woman wills. Yours, Jupiter, forever! (Exit)
Ju. In one hour! . . Oh! I am a happy insect, (buzzing around.) (John enters with a flask in his hand.)
SCENE VI.
JOHN, afterwards PLUTO.
Jo. ”

“ Enough of this. Let every one do their work before savoring of nectar and ambrosia— (murmurs) —and let nobody miss the breakfast. Go! Methinks I heard some of you murmuring. It is not the first time it has occurred . . . .
Cup. Say, maman, do you think this can go on this way!
Ven. He is getting to be a real bore.
Di. Firstly, I am waning. Olympia smothers me with its implacable azure.
Ven. Suppose we riot a little.
Cup. I have an idea. We refuse to . . . .
Jup. What are these murmurs in the corner! Have you not heard what I said? The gods exeunt.
SCENE II.
JUPITER, then JUNO.
Jup. ”

“ Eurydicea appears veiled, John Styx leads her by the hand.)
Op.⁠ (to Orpheus in front of the stage.)
⁠Do not look back,
Let your eyes be fifteen paces ahead.
⁠Friend, think of the earth,
⁠It awaits us both! . . . .
(A march. Opinion heads it, Orpheus second, then Eurydicea with John Styx.)
The Gods.⁠⁠For a husband what troubles?
⁠He will look back!
⁠He won't look back!
⁠Yes, back!
⁠Not back!
Ju.⁠ (anxiously eyeing Orpheus, who has nearly reached the galley.)
I have, indeed, in vain
Reckoned on his curiosity.
Op. (he has entered the galley.) We triumph! what a joy! ”

“ Ju. You . . . . where you like . . . . in the arms of Mars. You will make a fine tableau. Perfect! It is well grouped thus.
Pl. Let them penetrate!
Ju. No. Let them in!
Pl. How peevish! (Mercury exit and returns with Orpheus and Public Opinion.)
SCENE VII.
THE SAME AND ORPHEUS AND PUBLIC OPINION.
FINALE.
ALL.
He approaches! ”

“ Plu. Again! But this is not a man; it is a hurdy-gurdy. Away? I will see you no more! . . . . (Stamps his foot with impatience. John disappears through the floor, still singing. Pluto pushes him with rage, imitating the organ-grinders' movements.)
TABLEAU IV.
The Infernal Regions—The Styx in the background.
SCENE I.
All the Gods, Eurydicea in Bacchant's costume. All the Olympian Gods, united with the infernal deities, are banqueting.
CHORUS.
Hail to the wine! ”

“ Or. Nothing more. I hasten to my lessons. Adieu, darling duck. Nic-nacks for the little fellow! Take care. Adieu! (Exit.)
SCENE III.
Eu. What does he mean with his nic-nacks for the little fellow! That awful man is capable of doing any thing. Some wolf traps, I suppose. He is so jealous; and Aristee just comes through the meadow to gambol with me. Let us hasten to meet him. The poor fellow is sure to be caught. Let us run! (Exit, right side; at the same moment Aristee appears on the left.)
SCENE IV.
ARISTEE, THEN EURIDICEA.
Ar. ”