Edna St. Vincent Millay

“ CAR. A pair of lovers? Marry, I find your figure lacking force! Since when were lovers true? FRA. Oh, peace, Carlotta! You bear too sharp a weapon against the world,— A split tongue full of poison, in a head That darts at every heel!—I'm going in. [Exit Francesca.] LAU. You should not say such things when she is with us, Carlotto. CAR. Is the woman in love? LAU. In love! She is so far gone she does not know which way To sail,—all shores are equally out of sight. [Exeunt Laura and Carlotta.] [Music off stage. Enter Fidelio, singing.] ”

“ LOR. Nay, I will not unfold the chart. BEA. But you remember well enough without; Promise me not to think of it. LOR. I' faith, You are a desperate woman. Ay, I promise. [Exeunt Bianca and Beatrice. Octavia seats herself. Pause.] OCT. I tell you, as I've told you often before, Lorenzo, 'tis not good for two young girls To be so much together! LOR. As you say, Octavia. For myself, I must confess It seems a natural thing, enough, that youth Should seek out youth. And if they are better pleased Talking together than listening to us, I find it not unnatural. ”

“ Lorenzo! What have they To talk about, save things they might much better Leave undiscussed?—you know what I mean,—lovers, And marriage, and all that—if that is all! One never knows—it is impossible To hear what they are saying; they either speak In whispers, or burst out in fits of laughter At some incredible nonsense. There is nothing So silly as young girls at just that age.— At just Bianca's age, that is to say. As for the other,—as for Beatrice, She's older than Bianca, and I'll not have her Putting ideas into my daughter's head! ”

“ MARIO. [Off stage.] Beatrice! Wait for me! Wait! BEA. [Off stage.] Not I! Who does not run? As fast as I run, shall be left behind me! GUI. They are coming here! I do not wish to see them! FRA. Oh, Guido! [She follows him off. Exeunt Guido and Francesca.] [Enter Beatrice, running, followed by Mario.] MAR. Beatrice, you run like a boy! You whistle like a boy! And upon my word, You are the only girl I ever played At jousting with, that did not hold her sword As if it were a needle! Which of us, Think you, when we are married, will be King? BEA. When we are married! ”

“ When I am put to death 'Twill be for more! Oh, I will have her yet By the hair! [For the first time noticing Fidelio.] Fidelio, if you breathe one word Of this, I will scratch the Princess into ribbons, Whom you love better than your wit. FID. I' faith, I did but hear you say you are a fish-wife, And all the world knows that. LAU. Fear not, Carlotta, He is as dumb as a prophet. Every second word He utters, eats the one before it. Speak, But softly. CAR. Nay,'tis nothing.—Nay, by my head, It is a townful! 'Tis the way she has Of saying "that should be done like this, and this Like that!" ”

“ She hates me. And her hatred draws me to her As the moon draws the tide. GIO. You are like a cat— There never was a woman yet that feared you And shunned you, but you leapt upon her shoulder! Well, I'll be off. The prettiest girl in Fiori,— Unless it be Her Highness, waits for me By a fountain. All day long she sells blue plums, And in the evening what she has left of them She gives to me! You should love simply, Guido, As I do. [Exit Giovanni.] [Guido sits on the bench and drops his head in hand. Enter Francesca.] FRA. [Softly.] Guido! Guido! GUI. Who calls me? FRA. Guido! GUI. Francesca! ”

“ MAR. Bianca, do you love me? BIA. Ay, Mario! MAR. Ah, but not as I love you! BIA. You do not mean that, Mario; you know How much I love you. But I could not be happy Thinking of her awake in the darkness, weeping, And all alone. MAR. Oh, my sweet love. BIA. It may be She will sleep. MAR. I shall be waiting for you. [They embrace.] [Exit Mario. Bianca goes to Beatrice and sits at the foot of the throne, putting her head against Beatrice's feet.] BIA. Sister. [After a moment Beatrice slowly reaches down her hand, and Bianca takes it.] CURTAIN ”

“ Beatrice alone.] BEA. In sooth, I do not feel the earth so firm Under my feet as yesterday it was. All that I loved are gone to a far land, And left me here alone, save for two children And twenty thousand enemies, and the thing Of horror that's in store for me. Almost I feel my feet uprooted from the earth, There's such a tugging at me to be gone. Save for your children, [Looking off stage towards Bianca's room.] 'twould be simple enough To lay me down beside you in your bed, And call on Death, who is not yet out of hearing, To take me, too. [Enter Fidelio.] ”

“ ACT II Scene 1—Four months later. [Scene: A garden, near the palace at Fiori. The young Duke Guido is discovered standing with one foot resting on a garden-bench, looking off, lost in thought. Enter Giovanni.] GIO. That is a merry face you wear, my Guido! Now that the young King Mario visits the court And walks all morning in the woods with the Princess, Or gives her fencing lessons,—upon my word, You are as gay as a gallows! GUI. She is never Alone with him. Laura—Carlotta—someone Is always there. GIO. Ah—ah—but even so, No matter who is there, I tell you, lovers Are always alone! ”

“ MAR. Nay, we shall meet again, Beatrice! Scene 4 [The ball-room of the palace at Fiori, raised place in back, surmounted by two big chairs, for Lorenzo and Octavia to sit while the dance goes on. Dais on one side, well down stage, in full sight of the audience, for Mario and Bianca. As the curtain rises the stage is empty except for Fidelio, who sits forlornly on the bottom steps of the raised place in the back of the stage, his lute across his knees, his head bowed upon it. Sound of laughter and conversation, possibly rattling of dishes, off stage, evidently a feast going on.] ”

“ Oh, there be places Farther away than Death! She is returned From her long silence, and rings out above me Like a silver bell!—Let us go back, Fidelio, And gather up the fallen stones, and build us Another tower. ”

“ And already My daughter is well on her way home. [Exeunt Guido and Octavia.] [Music, Enter Beatrice and Fidelio. Fidelio strums his lute softly throughout the next conversation, up to the words "and cease to mock me."] BEA. Fidelio, Were you ever in love? FID. I was never out of it. BEA. But truly? FID. Well. I was only out of it What time it takes a man to right himself And once again lose balance. Ah, indeed, 'Tis good to be in love, I have often noticed, The moment I fall out of love, that moment I catch a cold. ”

“ And I begin my womanhood with weeping; I know not why.—La, what a fool I am! 'Tis over. Sing, Fidelio. FID. Would you a gay song, My Princess? BEA. Ay.—And yet—nay, not so gay. A simple song, such as a country-boy Might sing his country-sweetheart.—Is it the moon Hath struck me, do you think? I swear by the moon I am most melancholy soft, and most Outrageous sentimental! Sing, dear fool. FID. [Singing.] "Butterflies are white and blue In this field we wander through. Suffer me to take your hand. Death comes in a day or two. All the things we ever knew Will be ashes in that hour. ”

“ She calls for me? MESSENGER. Ay, Majesty. [Beatrice stands very still a moment, then turns to the townspeople.] BEA. [Earnestly and rapidly,] You people, do you go now and live kindly Till I return. I may not stay to judge you; Wherefore I set you free. For I would rather A knave should go at large than that a just man Be punished. If there be a knave among you, Let him live thoughtfully till I return. [She steps down from the throne, and is immediately seized by the arm on either side by the two guards who have been standing beside the throne.] ”

“ Besides A bride is always younger than a spinster. BIA. A spinster! Do you come here to me, Rose-Red, Whilst I pinch you smartly! You, Arianna, push me Her Highness over here, that I may pinch her! [To Loretta.] Nay, is it finished? Aye, 'tis very well. Though not so well, Loretta, as many a day When I was doing nothing!—Nay, my girl, 'Tis well enough. He will take me as I am Or leave me as I was.—You may come back In half an hour, if you are grieved about it, And do it again. But go now,—all of you. I wish to be alone. [To Beatrice.] Not you. ”

“ LAU. [To Carlotta.] 'Tis curious how it addles a man's bones To think too much. CAR. Nay, truth. Wise men were ever Awkward in the legs. [Pantomime continues.] RAFFAELE. Have at him, Polichinello. GIO. Lay on! Lay on! ANS. Leave not a nail of him! GIO. Dog! Would you have him write a book about you? LUIG. Spit him i' the liver! It is his only organ! BEA. [To Mario.] Nay, it is cruel. I cannot look at it. MAR. It is but play. BEA. Ay, but 'tis cruel play. To be so mocked at!—Come, take heart, good Doctor! 'Tis a noisy fellow, but light withal!—Blow at him! GIO. [To Guido.] ”

“ An hour is like an ocean, The way it separates you from yourself!— [To Bianca and Beatrice.] What do you find to talk about all day? BEA. We do not talk all day. CAR. Nay, tis you, Grazia, That talk all day. BEA. We ride, and play at tennis, And row on the lake— GRA. I know who does the rowing! BEA. Nay, not by any means! Bianca rows Nearly as well as I. CAR. And do you ride Nearly as well as she, Bianca? [All smile.] BIA. [Ruefully.] Nay. GRA. 'Tis an unkind question. There be few in Fiori Might answer, "Aye." ”

“ GIULIANA. Being a queen, My bird, is not all riding to the hunt Of a sunny morning. ANNA. Nay, 'tis riding back At times, of a rainy night, to such a burden Of cares as simple folk have little mind of. GILDA. I'd rather have a queen's cares than my own. BEPPO. Ho, ho! Your cares! What cares have you? GILDA. I have A brother that will be teasing me all times! 'Tis cares enough for one, I tell you. ADELINA. [Across stage.] Beppo! Come help me fetch the milk! GILDA. Oh, Mister Beppo, Your sweetheart calls you! Run and fetch the milk! ”

“ But Guido has a following in this court That hangs upon his word, and he has taught them Her gentleness is weakness, and her love Faint-hearted womanish whims, till they are eager To pull her down, and see a man in place of her. ”

“ Your daughter's head will doubtless, In its good time, put up its pretty hair, Chatter, fall dumb, go moping in the rain, Be turned by flattery, be bowed with weeping, Grow grey, and shake with palsy over a staff,— All this, my love, as empty of ideas As even the fondest mother's heart could wish. ”

“ Nay, do not weep. All day 'tis one of us Making the other weep. We are two strange, Unhappy women. Come, let us be at peace. [Pause. Bianca rises suddenly.] Mother, farewell a little while. I go now To her, seeing that she does not come to me. But not to question her, not to demand, "How comes it this? What can you say to that?" Only to sit beside her, as in the old days, And let her lay her quiet on my heart. Scene 3 [The garden at Fiori, same as in Act I, Scene 1. Discovered seated on a stone bench in the sunshine, Beatrice, clad in a loose gown, looking very ill. Fidelio sings off stage.] ”

“ Sir, I'll have you know There's an ogre to be tamed, a gem to be pried From out a dragon's forehead, and three riddles To be solved, each tighter than the last, before A Princess may be wed! MAR. Even by a King? ”

“ I tell you I shall never think of you Throughout my life, without such tenderness As breaks the heart,—and I shall think of you Whenever I am most happy, whenever I am Most sad, whenever I see a beautiful thing. ”

“ GIO. Ay, carrots Are well enough. One cannot complain. 'Tis a good year For carrots. CLARA. 'Tis a good year for many things. Prices are low,—but not too low for profit. GIULIANA. And there are fewer taxes than there once were On things one cannot live without. ANNA. 'Tis a good Queen We have, it must be granted. GIO. Ay, and a wise one. GILDA. And pretty, too. GIULIANA. Ho, ho! When did you see her? GILDA. This morning, mother. I was at the edge of the wood With Beppo, when they rode by to the hunt, Talking together, and laughing. BEPPO. [Calling from across the stage.] ”

“ If the little birds sing, And the little lambs play, Spring is here, and so 'tis spring,— But not in the old way." BEA. It is a pretty song. There be some things That even the tortured heart's profoundest anguish Cannot bring down from their high place. Music Is one of them. [Enter Grazia carrying a bowl.] GRA. Now, will you drink this broth, Or will you not? I swear upon my shroud— And 'tis a solemn oath—I never nursed So vaporous a patient!—Come, my bird! BEA. [Taking the bowl, then setting it down.] Nay, Nurse, I cannot. ”

“ She is coming! Open the door! [She kneels up in bed and holds out her arms towards the door, maintaining this position till Beatrice comes. Giulietta, weeping, opens the door, and stands in it, shaking her head sadly.] GIU. [Suddenly lifting her head and listening.] Nay, it is so! I hear it now myself! Ay, there's a horse upon the bridge! BIA. She's coming! Stand back! Stand out of the doorway! [Pause.] SERVANT. [Entering.] Majesty, The Queen is here. Ay, ay! Stand out of the doorway! [Pause.] GIU. She is here! She is in the court! She has leapt from horse! ”

“ Nay, 'twas nearer here. BEPPO. I have it.—'Tis her sword! GIL. The Queen's? Ay,—truly. How beautiful! BEPPO. [Slowly and with awe drawing it from its scabbard.] Look,—there is blood on it! Scene 2 [A room in the palace at Lagoverde. Bianca and her two little daughters discovered at the rise of the curtain, she in a big chair, they at her feet.] BIA. And so the fairy laid a spell on her: Henceforth she should be ugly as a toad. But the good fairy, seeing this was done, And having in no wise power to alter this, Made all toads beautiful. LITTLE ROSE-RED. They are not beautiful Now, mother! ”