IDNEY HOWAE CORNELL UNIVERSITY LIBRARY PS 3515.0976S9"™92? ''""" Swords 3 1924"022""482""693 The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022482693 rhotu hii Ahh, FIAMMA Clare Fames SWORDS BY SIDNEY HOWARD NEW Xik YORK GEORGE H. DORAN COMPANY j>, 1- Copyright, 1921, By George H. Dor an Company Printed in the United States of America TO CLARE EAMES The author gratefully acknowledges his indebtedness to certain modern masters of medi- aeval life for the inspiration and instruction their books have afforded him. Particularly he would name Henry Osborn Taylor's "The Mediaval Mind", Henry Adams' "Mont St. Michel and Chartres", and the two revivers of mediaval romance, James Branch Cabell and Joseph Bedier. CAST OF FIRST PRESENTATION The Play was first produced at the opening of the National Theatre in New York City on September ist, 192 1. The Principals AMINA Sophie wads GIOVANNA Lillian Dix MADDELENA Helen Forrest CANETTO Jose Ruben JACOPONE John Saunders THE CAPTAIN OF THE GARRISON Edward Mackay UGOLINO Charles Waldron THE PAPAL NUNCIO Montague Rutherfurd MARIA Jane Darwell FIAMMA Clare Eames FIORENZO Catherine Roberts DAMIANO Raymond Bloomer Other Characters A BURGHER NeU Quirdan A FISHERMAN Fairfax Burgher A FARMER William Ludlow A MOTHER Ida Zeithin HER CHILD Margaret Campbell A YOUNG MOTHER Winifred Taylor A fisher's wife Melita Milton SOLDIERS, MUSICIANS, PEASANTS AND OTHERS The production was designed by Robert Edmund Jones. The incidental music, including the settings of Adam de St. Victor's hymn and the thirteenth century song which Canetto sings, was composed by Donald N. Tweady. The production was made under the management of Brock Pemberton. Shortly after the opening Charles Waldron was replaced in the role of Ugolino by Arthur Vinton. CHARACTERS OF THE PLAY FlAMMA Ugolino Damiano Canetto FlOEENZO The Nuncio of the Pope The Captain of the Garrison The soldier, Jacopone Maria Amina Maddelena GlOVANNA Soldiers, Burghers, Fisherfolk a musician Six singers PERIOD During the struggle between the Popes and the Em- perors, a little after the height of the Crusades, a little before the* revival of learning. The great days of the Guelphs and Ghibellines. NOTE The action of the play is continuous. FiAMMA is marvellously like the mediaeval concept of the Virgin Mary, the concept which inspired the cathe- dral of Chartres, the hjonns of Bernard of Clairvaux, and the Paradiso of Dante. The concept of an altogether human Empress, devoted to her servants, none too scrupulous, temperamental, exacting, very feminine, wholly glorious. The first act closes at Vespers. The second act at the height of the moon. The third act after moon-set. The fourth at dawn. Colorfully the acts might be described as dusk, moon- light, torchlight, and daybreak. From time to time a sentry passes the window. THE SETTING All the length of the Italian seacoast watch towers rise from the waters and perils of the middle ages. These days they are but gaunt things, futile ruins, lichen stained angles and broken parapets. We can only guess at the vitality of their past. The action of this play occurs in one of them, the tower castle of Ugolino, a baron of the Ghibelline fac- tion. It stands upon an isolated rock, a short row from the shore, a day's ride from Rome. It is a high, shadowy, box of a place, of rough masonry and crude timber work. A stair at the back wall (as we look in) gives the single note of architectural sym- metry. One arm reaches up to the door of a room. The other arm ends in a kind of gallery beneath a window which overlooks the sea. There is a fireplace, too, and, just opposite, a lower door. This is the single entrance from the outer world. The upper room to which the stairway leads is the prison of FiAMMA. In her honor the master of the tower has to some extent softened its bleakness. On the stair wall, just outside Fiamma's door, he has made a shrine of the Virgin and Child, very bright and blue and gold. Below the stair-rail he has hung a crude tapestry of the Virgin in a mandorla of glory. Beyond this the place is crudely furnished. A bare table, one chair, some stools. Weapons stand in the comers and a fisher's net has been hung up to dry. Under the floor there are dungeons. A trap leads to them. ILLUSTRATIONS FiAMMA (Clare Eames) Frontispiece Photo by James E. Abbe PAGE Design foe the Scene by Robert Edmund Jones 64 "You Shall Be My Protector Now I" ... 64 Photo by James E. Abbe "Beauty with Me or Cornhusks with a Swine" (Clare Eames and Jose Ruben) . . . . 112 Photo by James E. Abbe SWORDS SWORDS THE FIRST ACT Before the rise of the curtain, Canetto is heard singing very merrily. Canetto "Le vin est bon et bel et blanc. Fort et fer et fin et franc, Freit et fres et fourmijantl" The rise of the curtain discovers the scene at twilight, (A soldier stands at the mndow looking out over the sea. He comes down the stair. He pauses a moment. He looks up at the door of Fiamma's chamber.) Canetto stands in the window. He is a smallish, alert man, dark, pale Italian. Sometimes he will seem very young to us, sometimes old and hardened. He is strangely clad in a kind of faded motley, worn, perhaps, by hard riding and rough beds. His cloak trails down below his feet. He is watching those on the stage below him. (Three servants enter.) They are three peasants. Amina, a waiting woman, is vulgar, gaudy and noisy. She is strewing the floor with rushes. Maddelena, a charwoman, sweeps. The third, Giovanna, scrubs the table. 17 18 SWORDS [act I The Soldier Mind you, no talk with Fiamma. . . . Ugoline won't allow it. [He goes. Amina There's that singing again! ... So clean it up, he said. Maddelena Who, the old Captain? Well, we're cleaning. He's a good soul. GlOVANNA It needs a cleaning, too. . . . The filthy, stinkin' pig-sty. [Canetto conies to the stair rail and listens to them. He is mightily amused by their talk.^ Amina We're to have all we can eat and drink tonight. There'll be a boar ... a wild boar roasted. We've not had that since Easter. Maddelena Fish, always fish. . . That's what we get Even on feast nights. Gtovanna Feasting and fighting! One day you dig a grave to bury your man, The next you cook a feast to feed his Captain. ACT i] SWORDS 19 Amina Don't you know we're at war? GlOVANNi* I don't know any good of it. Amina You stupid peasant 1 Maddelena Can't you leave her alone? She's lost her man. Amina Is that my fault? [She turns to Giovanna What are you complaining about? We belong to Ugolino, don't we? And your man did, too, before the wars killed him? And Ugolino's Ghibelline, isn't he? And doesn't that mean that he must fight For the German Emperor against the Pope? Giovanna It's sin to fight against the Pope! Amina But that's the way of wars Between us Ghibellines and those swine, the Guelfs. The Pope would drive the Emperor out of Italy; The Emperor would shut the Pope up in a box. There isn't room in Italy for both. Maddelena That's plain enough. 20 SWORDS [act i Amina And now the master, Who has been fighting, will be coming home, And wants a feast to drink the Emperor's health, And damn the Pope. Maddelena Is it true Canetto brought word from the master? Amina You haven't seen Canetto? [Canetto is vastly pleased. Giovanna Who is this Canetto? Amina He's the master's lieutenant. Maddelena And his councillor, too. There must be something in the wind If he comes here. He's never come before Not in my day. Amina Nor in mine. I've only heard of him. They say he's very fine and very clever. But cruel . . . cruel. [Canetto bows. Maddelena Yes. Giovanna Then what's he doing here? More tricks to pester her? ACT i] SWORDS «1 Amina I shouldn't mind. She's proud enough. She wants a taking down. Maddelena Maybe the master brings him here To help him woo his hostage, If he's so clever. [Each one, in turn, looks up tovxatd the door of Fiamma's chaimber.] GlOVANNA She is so good, Madonna Fiamma. She cured my son of the fever, Simply by praying. Amina I don't believe she cured him. GlOVANNA And there's Amelia's son, A cripple since he was bom, Begging on the steps of the church. She prayed for him . . . He walks again. You can't deny that's true. Amina Prrrtl Maddelena Well, there's my starving cousin Beppe, too. He never caught enough fish To feed his family. She blessed his boat for him, and now He's rich with fishing. 22 SWORDS [act i Canetto [Bored with this, resumes his song from where he stands. The women see him for the first time.] Le vin est bel et bon et blanc. . . . Fort et fer et fin et franc, Freit et fres et fourmijant. Amina Oh, God save usi Maddelena A player! GlOVANNA It's a jester Come to amuse Madonna Fiamma Canetto Wrong, gentlewomen, it's a little dog Sniffing for hidden bones. It is a jester! Sit up and speak! Hay dead! Cfirry and fetch! Maddelena Amina Maddelena Amina [Throwing a rusk at him. Canetto Hmmmmmm. . . . Sweet . . . wondrous sweet! ACT i] SWORDS 23 How marvelous These common rushes of the fields should hide Such exquisite aromal It's lilac, violet, and spikenard And makes an April garden. You smell the flowers On the salty air of the seal Amina I shall have roses in my hair tonight, I shall drink wine and have fine food to eat, And I shall have my lover to myself. Canetto [Chasing her. Scatter your rushes thick, I'll dance upon 'em; Scatter your rushes, I will be your love I [Catches her. There's a feast tonight? Maddelena The master's coming home. Giovanna For what my lady cares He needn't come at all; These rushes on the floor Will be/wjbedl Canetto Oh, gossip with me! How I love to hear What ladies leave their husbands in the cold I Amina The master's not her husband. 24 SWORDS [act i Canetto She's your lord's mistress? Amina Not even that — His prisoner. Canetto Alas . . . poor lady! And her husband too? Amina Not he! He's safe away from here! Maddelena Her husband is the master's enemy. Amina We're Ghibelline, we're for the Emperor, always. He's Guelf. They say That he's the Pope's best captain. Canetto His name? Amina Damiano. Canetto Oh, I remember him. I saw him once. [A very brief pome. What is her name? Amina Fiamma. Canetto [Like an echo. Fiamma! ACT i] SWORDS «5 Amina The people hereabouts All think her holy and beautiful. I call her proud, I do. GlOVANNA She is so good. And she has such fine jewels. Amina As for her jewels, Ugolino gives 'em to her. Maddelena Yes. — that's her kind. She may have jewels But — ^you knowl GlOVANNA She is so good. Amina So good she can't abide the master. To me the wonder is he'll trouble with her. Canetto [He speaks to himself, as from the most intimate depths of his memory.] I saw her once in Rome, between the glare And darkness of a torch. She is an ageless creature Of vivid moods and colors. It's plain enough throats have been cut for her. [Amina shrugs her shoulders and moves away. Which of you is her waiting woman? Maddelena None of us. Maria waits on her. 26 SWORDS [act I Canetto Maria? Where is she? Amina She will be going to the village Upon Madonna's errands. [Jacopone enters, staggering under the weight of two tremendous logs. He puts them on the fire, and kneels before the hearth to blow the blaze up.] GlOVANNA Hi, woodman. . . . Jacopone Hold your noise. GlOVANNA What's to do, Jacopone? Amina We've made the room dean As a wedding bed. . . . Maddelena [Laughing coarsely. As my lady's bed, There's nothing cleaner. Amina Has the master come yet? Jacopone Not yet, he hasn't. Near vespers, too. Canetto [Jacopone has not observed him. Are you the guard? ACT i] SWORDS 27 Jacopone How did you get in? Canetto You, quite unmistakably, must be The guard. How wonderful Is the all-seeing eyel Jacopone I don't take talk from your kind. Amina He's a jester. Come to amuse Madonna. Maddelena Says he's a little dog. Sniffing for hidden bones. Amina Speak, little dog. Sit up and beg. Sniff, for us, doggy. And wag your tail. The nasty whelp 1 I'll sniff him. . . . Canetto [He has played dog for them. Now he reveals himself.] "Little dog," my friend. In the diminutive and common tongue Of vulgar usage, is to say . . . Canetto. . . . {At this disclosure, the three women fairly cower to- gether and Jacopone falls over backward in his astonished fright.] Maddelena Jacopone 28 SWORDS [act 1 Jacopone Gesul Canetto How far my reputation goes afield! [Sttddenly mUiiary. Get hence, you trulls! ! You, fetch me your Captain, soldier! Amina Oh, sir, we did not know. . . . Canetto I am in charge imtil my master comes. Now go. [The four of them shudder through the door. At the same moment Mama, a bustling, buxom peasant woman enters and makes for the stair.] What is your name, my woman? Maria I am Maria, sir. Madonna Fiamma's waiting woman. Canetto [Seems to throw caution to the winds. His eager- ness is all too evident.] Why, give me word of her! Tell me that she does well, is not unhappy, Tell me that she is still As I remember her! Maria Who are you, sir? Canetto I am Madonna's friend. Maeia Madonna has no friends, sir, in this place. ACT i] SWORDS 29 Canetto But I ... I am her friend these many years. If I have never come before to her, The time was never ripe before. Now I am come, from Rome, To offer her my service. Oh, let me speak with herl Maria Lord Ugolino, sir, does not allow That any stranger shall have speech with Fiamma. Canetto Maria Canetto Why not? She is his prisoner. She is his hostage. Maria It is the same, since he will not release her. Canetto Now that the Emperor's plight is somewhat grave, The moment for her rescue has arrived. It is so long that I have waited. Take me to her at once . . . Maria At any moment Ugolino will have come. Canetto I know ... I know . . . We must make haste. Before he comes Take me to her, Maria! 30 SWORDS [act i Makia Oh, sir, you hurt my arm. Canetto Forgive me, good Mairia! Masia [She is about to take him up the stair. She turns. Do you come from her husband, Sir? Are you Damiano's man? [Before Canetto can answer the Captain has en- tered.] Captain Messire Canetto, You have disclosed yourself. [He is an old man, still erect and strong, not in any wise perturbed by Canetto. He dislikes him but he is too good a soldier to show disre- spect.] Mama Canetto I [She makes the sign of the cross. Canetto [Concealing his annoyance. My disguise wearied me. Your servants are true Ghibellines, Captain, they know my name! [He notices that Maria is edging her way up the stair toward Fiamma's door. He halts her.] Maria, do not go to Madonna now. Get on about your business in the village And give no messages at all. What passed between us is forgotten. Do you hear? ACT i] SWORDS 31 I have a means to silence chattering tongues . . . A painful means. Be off. [Makia goes. Captain I have no doubt your watch is well repaid, Messire Canetto? Canetto Yes, well enough. [His eyes stray toward Fiamma's door. I am embarked On the supreme adventure of my Hfe. I am content. I'd gratefully Accept a cup of wine. There is wine? Captain Of the countryside. Canetto Wine of the countryside, May anywhere produce a miracle. [Calls out. Captain Fetch wine. Canetto It's very old. This tower. The place could stand a siege. Captain These modern engines Would knock it down about our ears. [Without speaking of Fiamma, they both turn their heads toward the door of her chamber.^ 82 SWORDS [act i Canetto [After a brief pause of silence, I'm turned around. On which side is the sea? Captain Below that window. Guarded. No prisoner could escape. Canetto [Smilhtg. She is the Emperor's hostage. Captain [A man of few words. I understand, Messire Canetto. Canetto That is her chamber, I suppose? [Again both their faces turn toward the door. Captain It opens only on the gallery. The chapel is beyond. Canetto A chapel? What priest officiates at mass? Captain A hermit from the mainland. Canetto So? A hermit from the mainland? He may prove interesting. This hermit. ACT i] SWORDS 33 He, and this good Maria, Who, as she pleases, comes and goes. You keep a cheerful prison here, my friend. [He draws a necklace of emeralds from his blouse and holds it in his hand.] Captain I am a soldier, not a jailor, sir, She is a hostage, not a prisoner. Canetto I marvel less she should collaborate So deftly with her . . . captor's . . , enemies. How then? Captain [Canetto shows him the emeralds. Captain Those emeralds. . . . Why, Ugohno gave them to her. Canetto A week ago, I took them from an usurer in Rome. My master woos his hostage generously, And brings her various and precious spoils Which, she assures him. Amuse her. But which, in fact. Inevitably come to her Damiano Who, with this Spanish Jew (I cut his throat Only to give good measure in my bargain), Bartered this bauble for its worth in gold Wherewith to pay the very soldiery Whose cross bows force the Emperor's retreat. 84 SWORDS [act I Captain Gesul Canetto I mean to study How she has reached Damiano and resuscitated him Out of his mire of exile. Captain I will pay any penalty. Canetto Who speaks of penalties? I see that you are honest. But it were well you understood How you have played the traitor by your laxness. And helped the Pope against your Emperor. Captain I have not been disloyal. I have known Fiamma. I could wish that ITgolino's dealing Had been more honorable to her, For there are moments When loyalty conflicts with justice. Canetto Do not attempt the mingling of the two. Captain [His hand to his sword hilt. I am a true Ghibelline. God save the Emperor! Canetto [A dry sneer. No other can. ACT l] SWORDS 85 [But Jacopone enters with the wine at this moment and he changes the subject.] {Stamping his foot. The floor is hollow. Captain Dungeons. Canetto By this door? Captain Will you go down, sir? Canetto No. ... Is that a rack? In good repair? Captain [Indicates the trap. [Opens trap. [Peers down. [Captain nods. [Very dry tone. In excellent repair. Canetto A rack at times assumes a certain value. [Captain closes trap. [Jacopone goes; Canetto returns to the subject. Canetto This castle will be vacant in two days. There may be iighting. Captain I have but four And twenty serviceable men. Canetto You will have heard, How ill the Emperor's affairs have prospered. 36 SWORDS [act i Captain I know a battle has been fought. . . . Canetto And lost. The Pope regains his Italy. The day is to the Guelfs, my friend. Certain enough we shall not linger here. Captain Germany? [Neither of them enjoys this prospect. Canetto Alasl Italians do not thrive out of the sun. Captain And when we flee, Madonna Fiamma? Canetto With us. [His eyes again stray to the door of Fiamma's chamber.] Captain She is a hostage honorably given by the Pope Against an honorable return! Canetto She is a victim of the tricks of war And of the tricks of life together. She was a hostage given by the Pope To prove his holy faith. Now, if my master holds her over-long, It is to prove his love. ACT i] SWORDS 37 Captain Better that he should prove His honor and agreement. Canetto The reckless circumstance of war Plays havoc with agreement, sir, And oftentimes is ignorant of honor. Captain X warn you she is much beloved And reverently considered. Canetto By your men? Captain By all those hereabouts. The villagers bring her their sick. Canetto You mean She heals the sick? Captain She has a power in her prayer. The villagers are wont To lie beneath her window in their boats She blesses them. Canetto What do you think of her? Captain Not easily measured. . . . Strong. . . . Delicious, too. . . . Fearsome as holy folk may be. [Keenly interested. 38 SWOEDS [act i Canetto Young? Captain She has led annies to Jerusalem; She has been Empress in Byzantium. Canetto All this is much as I imagined it. These many years and more Since I have seen her. Why has he spared her? Captain Ugolino? Canetto Why? Captain She makes Men better for her strong belief in man. [Trumpet mthout. Canetto That will be Ugolino, now. Captain I'll welcome him. [The Captain rises again and goes towards the door.] Canetto No, wait. Someone is coming. [He points towards the door. Maria enters. Captain You return, Maria, from the village? Maeia Captain, yes. ACT i] SWORDS 89 Captain Go to Madonna, then. Maria [Breathless with news. They say the Emperor Has been defeated. In the public square We have been singing . . . and the hermit preached. Captain Why did you sing? Maeia Folk should rejoice. And all the burghers came Down from the city and shook their spears Against this castle. Folk don't like the master. Then he came. Captain Ujgolino? Masia M-m, and scattered them. And there's a tale afoot to say That he will take Madonna Fiamma Away with him tomorrow. It is not true, good Captain? Captain Oh, I hope It is not true. Masia And then the master Called for a boat and followed me across. But I made better speed. Captain Go up ... go up, Maria. 40 SWORDS [act I Maria They say the wars are ended The people dance and everyone eats cakes. It's very gay. Captain No doubt. Maria You do not think. Madonna must go with them? Captain With them? Masia Sure, Being the Emperor's men, They cannot linger here. They say an army's on march from Rome. Captain Madonna will be waiting for her silks. Maria Yes, Captain . . . Yes . . . [She disappears through the door of Fiamma'j cham- ber. As she opens it, the place is seen as light and color. It grows darker. Another trumpet sounds.] Canetto And so with silks We while away Madonna's time. She who's Damiano's wife, Damiano who destroys us And drives the Emperor from Italy. . . . [Turns suddenly with a snarl on the Captain. You fool, you swine, you lout! If I Should put you to the rack . . . ACT i] SWORDS 41 [The Captain's calm restores Canetto to kimselj. For all his victory, Damiano shall not have a hair of her. Go, greet your master properly. [The Captain goes. [CaneTto glares after him for a moment. Madonna's silks! [He softens. Another trumpet sounds. He smiles to himself and listens at the door. He swings about abruptly and bounds up the stairs to Fi- amma's door. His hands seem to sink into its panels, his breath is hot against it, he speaks in a strained whisper.] Fiamma, three men have loved you. Your husband and my master and myself . . , Which of us will you love To-morrow? Captain [Off stage. Fall in, menl Attention! Front! Lord Baron Ugolino, I welcome you. Ugolino [Crying, off stage. Fiamma! Fiamma! [Canetto has just time to turn and welcome his master.] [Whereupon Ugolino enters gorgeously. His mail glitters like silver. He wears a magnificent mantle. Jewels shine at his throat and in his belt and his head is bare so that his fair, curling hair falls to his shoulders. He is a northern type, a physique of great strength, a face of beauty ravaged by dissolute living. He is still young. He is ac- 42 SWOEDS [act I companied by two guards dressed in the colors of the Emperor with the black lion on their chests. One of these carries his master's sword, the other his helmet. '\ [Ugolino comes quickly centre as though he did not see anyone in the gloom. The guards advance slightly. The light of torches shines through the open door.] Ugolino [His authority vanishing. He is only weary and distraught.] Oh, Canetto, mine. I have such need of counsel. [He pauses and his eyes turn to ¥ipj£iiUi's door. Fiamma. . . . Fiamma. . . . Canetto Master, you said That you had need of counsel? Ugolino I said? What matter I said? Canetto, have you seen her? Canetto Seen whom, dear master? Fiamma. . . . Ugolino No. Canetto Ugolino No? . . . No. You are right, Canetto. ACT i] SWORDS iS Canetto You come direct from Rome? Ugolino From Rome. Canetto I, too. . . . Ugolino I have seen the towns' processions with their banners: I have seen martyred saints to sicken me Flung on the air from battlements and towers, And girls that dance with garlands, And nobles kissing burghers in the streets, And I have heard the crowds That howl hosannahs of thanksgiving To celebrate our defeat. . . . I, the leader of the Ghibellines, I was in flight before them! 1 1 Captain Ah! Canetto There is no wrath abroad. But only joy more terrible than wrath, Against such joy we are the drifting smoke Before the winds of May. Ugolino We must make haste, Canetto. Captain You came here unmolested, Master? Ugolino No. . . . One excellent encounter. Behind the hills. SWOEDS [act I Yonder. They ambushed us. . . . Two score of them — or more. I do not rightly know, My sight was blinded by their festivals That I had seen along the road. I sent them squealing. My horse's hooves were gummed with them. Their blood spattered my hair. Captain Ugolino Canetto The Pope's men? Damiano's. Was he there To lead them? Ugolino He's in Rome. . . . Damiano is in Rome. . . . He whispers to the Pope. . . . [His eyes are now fixed once more upon the door of Fiamma's chamber.] The Pope has sent To bid me give her up. [Almost a cry of pain. Oh, I can't live and give her up! Canetto I do not think Damiano is in Rome. Ugolino I know he is. Canetto He will have left by this. ACT i] SWORDS 45 Master I crave your leave To speak alone with you. Ugolino Go, all of you. . . . Canetto has command. Put down my sword. [The gtiard lays the sword upon the table. Captain And it is true, we leave The castle in two days? Canetto Await me in my closet, Captain. . . . Go. Directly thither. I shall come to you. Captain, double the guard! Captain My Lord. . . . [He goes. The Guard follows. Canetto and Ugo- lino are alone together.] Canetto [Looking after them. My worthy Captain, living, you shall not Escape my sight. Ugolino But he is faithful. . . . Canetto He has known Fiamma. She is like the summer sun. She shines, and in an hour The flower of man's loyalty is withered. In all the armies of the Guelfs There is no sword so perilous as her smile. 46 SWORDS [act I And I grow curious to learn How this may be. For I have never seen her. Only a glimpse. . . So long ago. Ugolino A glimpse were not enough to fathom her, As you will learn, Canetto. [His discouragement shakes him. His eyes again turn to the door of Fiamma's room.} Fiamma! The flame That scorches up my spirit. What has she done to me? I have been strong . . . before. . . . Am I a weakling now? She saps the power of my arms, she saps My strength and all my will. Three times I have come here to her and three Times gone away again, repulsed. Only her eyes! They are enough! Oh, when I fight, I see them then, and then My heart tiu^s weak and sick. What has she done to me? Honor or shame, what do they mean, Canetto? {A desperate, hysterical laugh breaks from his lips, I have forgotten. Canetto [He has listened, his eyes upon his master, con- tempt on his lips. Now he will bring the con" versation to his ends once more.] Honor or shame? Who knows what they may be? Meantime, We'll keep the Captain in our company. ACT i] SWORDS 47 Ugolino I shall trust none of them but you. Canetto I do not think Damiano is in Rome. . . . Master, I am quite certain he will come, Here. . . to this island. . . and this very night. Ugolino How do you know? Canetto My eyes. Master, my ears, my sense of touch And various other things. Ugolino And if he come? Canetto My plans are fashioned in a close mosaic. I hold the little stone of his escape, But I can find no place to fit it in. Ugolino How will it be? Canetto How will a sea-gull light upon a wave? Throw food, and watch. . . . Ugolino Throw food? Canetto He knows you have another hostage. . . . now. . . • Ugolino Another hostage? Whom? 48 SWORDS [act i Canetto His son, Fiorenzo. Ugolino Ohl Canetto 1 Canetto I was not idle while I stayed in Rome, I sought ... I found ... I stole ... his little son. . . . Madonna Fiamma's son . . . where he was hidden. Ugolino Where is the child? Canetto Here in this castle serving me as page. . . . Is it not comical? I think that I may give him to Madonna. It were expedient means To win her to your ends and to prevent Her plans of rescue. [Even Canetto must smile at this and glance at the door.] Ugolino You do not know how strong she is, Canetto. . . . Canetto Must you be weak? Take her or . . . kill her . . . Master. Ugolino Belike I shall kill her some day. [Trumpets without and enter the Captain and a Soldier.] CXptain Begging your pardon, Master, Here's a messenger from Rome. ACT i] SWORDS 49 Ugolino My man? Captain A nuncio from the Pope. Ugolino These Guelfs Are thirsty for our blood! Dare we refuse him entrance? Canetto Is he aJone? [Captain looks to the Soldier to speak. Soldier There is one other with him. The townsfolk, too, are coming in their boats. Ugolino This is my house — my house! Canetto Good master, pray Take counsel of me now. {To the Captain. Bring in the messenger And quickly. . . . {The Captain and the Soldier go out. Ugolino He is come for her. Canetto But will go hence with empty hands. Ugolino You are my wits, you are my eyes, Canetto. And all my judgments. 50 SWORDS [act Canetto Now I promise you, For that fair tribute, This very night of nights you shall attain Your two desires. . . Your vengeance on yoiur enemy in blood, And . . . afterwards . . . your woman. Ugolino Canetto 1 Canetto [On Ms toes, exultant, strangely and thrilUngly young.] Oh, love, headlong, vehement. You triimiph over reason, over shame, And hold them impotent, and you possess The heart and tongue and vision of a man And you exact his martyrdom and laugh! [The last lines have rung out over trumpets pro- longed and a subdued turmoil off-stage. At the end the Nuncio enters, preceded by the Cap- tain and followed by two of Ugolino's soldiers, with lighted torches.] [The Nuncio is a churchman, not so old as the Cap- tain. He wears the clothes of any horseman ex- cept for the necklace and insignia of his ecclesi- astical position.] Canetto Your Grace is welcome. . . . Nuncio Which one of you may be The Baron UgoUno? Canetto Here is my master. ACT i] SWORDS 51 Nuncio My business is with you. [He draws a parchment scroll from his cloak and holds it toward the surly Ugolino.] Ugolino Canetto, read. [Canetto snatches the scroll. Nuncio {His hand to his sword. Canetto? [Canetto smiles, bows, and opens scroll. Sir, you are bold To speak to me. Canetto As you To enter here, your Grace. . . . But Tliis is no rat trap set for clergymen. . . . Were you sent by Damiano? Nuncio Canetto Ugolino By His Holiness. It is the same. The usual demand. For Fiamma? Canetto Shall I make answer, Master? Ugolino Yes. Canetto Go back again to Rome. . . . Fiamma is Ugolino's hostage still, [To Ugolino. 52 SWORDS [act I Who ever comes In ten days time to Trent, Upon the border of the north, Madonna Fiamma will await him there, But thither she must go with us. Nuncio My lord. You send this answer? Ugolino Yes. Nuncio And you receive. The messenger of the Pope so easily Your servant answers him? Ugolino Yes. . . . Yes. . . . Canetto These days along the roads of Italy Fiamma will give protection more worth while Than any word of any Pope. Nuncio I warn You, Baron Ugolino. Ugolino I've heard enough. [Increasing commotion in the distance and cries. Canetto Safety, my friend, that is the question now. You know our situation. We ride tomorrow. Say so to the Pope. . . . Madonna Fiamma is unhurt and goes Willingly to the border, And bids Damiano send to Trent for her. ACT i] SWORDS S3 Nuncio If I demand a word with her. Canetto Your Grace, I must refuse. My word is all. [Commotion without louder. Nuncio The fisherfolk and villagers Know of your plan. You will not pass With Fiamma. Canetto I stake my sword against a fisher's net At any time. Nuncio I am the vicar of the vicar of Christ. . . . You do assail a greater word than mine. Canetto I proffer you a cup of wine, your Grace. Nuncio Which I refuse. Canetto [Having filled one glass, lifts it. We must each profit as we may and each One 5deld his tribute to the other's state. [He drinks. [Jacopone has entered and whispered to the Captain.] Nuncio I shall return more forcefully. 54 SWORDS [act I Canetto Your Grace. . . . Delivering your answer to the Pope, Say that you had a courteous reception. Nuncio A moment's parley with Madonna Fiamma? Canetto You deserve credit for persistence, sir. Captain Here is a delegation Of village folk and burghers Concerned for Fiamma, Demanding that no harm Shall come to her. Ugolino Send them awayl Canetto A moment, Master. . . . [A moment of thought. Your Grace, I reconsider. Captain You know how many men I have. Canetto And they? Captain Some hundreds in their boats. Nuncio I'll call to them. Canetto And calling take your leave of life. Desperate men chastise their enemies ACT i] SWORDS 55 With prompt decision . . . How numerous the delegation, Captain? Captain Eight. Canetto Why, then, Madonna Fiamma will receive them here. Ugolino No! [Canetto motions to Jacopone who goes to obey the order.] Canetto You see how well defeated men may learn To bow before the dictates of defeat. An Emperor bows before a Pope, A Ghibelline before a Guelf. Now you may speak With Fiamma, though I said you nay A moment since. We drink, your Grace, to peace Restored, to battle fronts not yet aligned, To armies not yet raised. . . . [He drinks. The hubbub is just off stage. Master, here are your loyal subjects. [First one, a burgher with a short spear, then two farmers and a fisherman with clubs, then three women and a boy, enter. Guards follow them. Other guards stand in the passage.] [It has grown much darker. The tower is all purple with the twilight. The figures in the foreground are lighted only by the fitful glare of the firelight. The window shines, a black arched radiance of violet sky. Very softly, as from a great distance, borne on a wind that falls and rises, the first bells of vespers come over the water.] 56 SWORDS [act I A Man Madonna Fiammal Madonna Fiammal Another Queen. . . . A Woman Oh, gracious lady. . . . A Thdu) Man Protector of the catch. . . . Another Woman Lady of Consolation. . . . Canetto Draw back, my lord, it were the safer course They should not see you in this mood of theirs. Draw back and watch. . . . Various Cries from the Crowd Madonna Fiamma . . . speak to us. Madonna. . . . Oh, come and speak to us and bend Your face upon our faces . . . Here . . . and here, Madonna Fiamma. . . . Listen to our need. . . . Madonna Fiamma, do not leave us. . . . We have come. Madonna, we have come To offer you protection. You shall not go away against your will. . . , The Emperor has fallen. . . . Fiamma. . . . Fiam- ma. . . . Madonna, star of evening on the sea. . . . Oh, little plant that we have loved. . . . Madonna Fiamma. . . . [The bells are louder. Very slowly the door of Fiamma's chamber swings open and we see her. ACT i] SWORDS 57 A sigh goes up at, her appearance. The peasants fall on their knees. ^ {If we have ever stood in a great gothic church of Northern France and looked down the length of the nave at the apse window which glorifies the Virgin Mary, we shall think of that moment in this first glimpse of Fiamma. Indeed, she is very like the Virgin of some glowing window when the sun is bright behind it. She stands against the light and color of her chamber. Her beautiful head is held very high. She is queenly. But she is kind, too. Her eyes and hands say so. And she is not quite as other women. There is an aura about her head and all the splendor of her dress seems to smile upon the darkness of the tower. She advances slowly to the head of the stair.'\ Ugolino Oh, see. . . . Canetto Hush. . . . Ugolino Fiamma. . . . Fiamma. . . . [These are whispers above the complete silence of the moment. Canetto A meditative sorrow. . . . How beautiful she is! Ugolino Is she not beautiful, Canetto? Like The Virgin Mary in her queenliness. . . . And she is just and altogether human. . , . Canetto She is a woman. , . . 58 SWORDS . [act i A Man Lady of Glory . . . lady of mystery. . . . A Woman Madonna, say you will not leave us. . . . FlAMMA [Ske does not answer. She has come partly down the stair and the strange light of her pres- ence seems still to shine about her. She looks down upon the speakers and smiles.] A Man We shall save you, Madonna. . . . We shall save you, from them. . . . We shall bring the hermit here to lead us. . . . Fiamma [Her head, her arms, something about her seems to say that there is no need.] A Woman See, Madonna, see. . . . My son can walk again. . . . You prayed for him ... he walks again, Madonna. Oh, thank you, bless you. . . . Fiamma [ She sees and is glad. Another Woman [Coming forward with her baby wrapped like the bambini of delta Robbia.] Pray for him, too. Madonna, he is sick. . , . He is so little. . . . ACT i] SWORDS 59 FlAMMA [She takes the child in her arms, for she has come to the foot of the stair now. The Woman kneels at her feet. She holds the child tenderly and prays.] Nuncio This is mystery . . . She stands upon the silver threshold. She Is marvellous and admirable. . . . Madonna Fiamma, I am come to you from the throne of Peter, I have seen a wonderful thing here, I have seen peace and beauty and reverence . . . I am the church, Madonna, and I kneel Reverently at your feet. . . . Fiamma [She turns and looks at him. Nuncio You will be saved. Madonna. . . . You will be saved, tomorrow. . . . Men will come fighting if need be. Fiamma [Does something frighten her? It seems so. A Man We will save, you. Madonna Fiamma. . . , We the burghers of the city will save you. . . . We will come with the weapons of our masters And break the gates apart. And you will live forever in our midst And make our city whole and sweet. 60 SWORDS [act I FlAMMA [She smiles now and shakes her head. Woman What does it matter if our men Perish for you, Madonna? FlAMMA [Her hand goes toward the woman in protest. A Man The while we live there can no peril come To frighten you. . . . A Man Command us. . . . Another Speak your will to us. . . . Another Speak, Madonna . . . what is your will. . . . Nuncio Spring of all mercies, beacon of all glories, Fountain of all restoring strength, Word of all wisdom. . . . FlAMMA [Became at this moment the wind seems to have strengthened again, the vespers bells are louder. She lifts her hand for silence, then, in her low, vibrant voice, she intones the Pater Noster in Latin. After the first two or three phrases, the peasants and the Nuncio follow her and, later, the guards, the last of whom to stand falls on his knees as the curtain descends very slowly.'] THE SECOND ACT The curtain rises again as soon as may be. The scene and situation are unchanged, the action has not been interrupted. FlAMMA {The prayer finished, she looks once intensely over the kneeling peasants, lifts her hand in a blessing and farewell and turns very slowly to go up the stair to the window.] [One by one the peasants rise to their feet. They seem completely calmed. One or two of them, in pantomime seem to beg Fiamma's leave to rescue her. One or two threaten the soldiers with their fists. They murmur about the hermit and say to one another, "He must be fetched to speak with her." They go.'\ Maria [Who has come down the stair from Fiamma's room, urges the peasants o§.] She would not have your suffering on her heart. You hurt her when you ask her. Go. You will make her weep. Canetto Be very certain Damiano will come here tonight, Master. Ugolino Why then? 61 62 SWORDS [act II Canetto You have the pair of them. Ugolino She is worth more than vengeance. Canetto Go quickly, now, And make no sound at all. I'll speak with her. [UIgolino protests in pantomime. Give me a little time. I guarantee She shall grow amiable. Do you attend the Nuncio. [Ugolino goes after the Nuncio, his last look at FlAMMA. {As Canetto stands beside the fire, his dark cloak drawn about him, he seems almost a part of the arras.] [FiAMMA stands in the gallery, now, her lovely head silhouetted against the luminous twilight sky. The bells continue faintly and do not cease en- tirely until Canetto speaks to her later. The interior of the tower is becoming more and more exquisitely blue. The single bright light in the scene is the shrine beside the door of Fiamma's chamber.] Fiamma The scent of seaweed weighs the warm, sweet air, Lonely and beautiful, the hush of dark Descends on all created life, Another day is gone behind the hills, Another wind is silent on the sea. I hear you, bells of vespers, and I know The eloquence of destiny is loud In your deep voices; ACT ii] SWORDS 63 Your benediction shares its peace with me And leaves me strong to breathe The infinite beatitude of night; And blessed beauty glistens on the world And on my hair and lips and hands and eyes Like dew upon the flowers of the dawn, Like April on the yearning of the earth With tears of life that comes again to life Rebuilded and renewed. Masia I go to watch, Madonna. I know it cannot fail tonight. Just at the change o' the watch, Just as you planned it. Ah, Damiano said, "How crafty is my Fiamma To know when men are sleepiest I" Fiamma [Without tttrning from her contemplation of the evening sea.] Ah, he said That I am crafty? Masia Are you not. Madonna? Fiamma I do not think so. Only wise As women may be. Maria Be of good cheer, Madonna. Tonight is sure. [Masia goes directly out. 64 . SWORDS [act II FlAMMA Oh, Damiano, We shall remember, afterwards, these months Of my captivity and your wandering As a time after illness that has been Wherein we gathered strength again for life Together, strength for faith. Each in the other . . . Stars who bear witness to my weariness Bring us together once before we die, I was not born for loneliness, my youth Is almost gone. Before it passes quite. Bring him again to me . . . tonight . . . you stars. . . . [Perhaps the wind rises once again, perhaps the Host is elevated in some chapel on the shore, for the bells swell out. Fiamma drops her head in prayer.] Canetto Madonna. . . You, Maria? [Coming forward. Fiamma Canetto The dark falls swiftly on the sea. Madonna. [Fiamma turns and, for the first time, notices Ca- netto. She comes to the edge of the gallery and looks down upon him. The fire has flared up.} Canetto Will you come down to me? A sea bird, balanced on distended wings Might float into your reverent seclusion And, by comparison with your fair grace, Seem a distorted and obnoxious thing. Shall I, who am a graceless man, DkSTCN [•■oh JIIK SfKNH I!Y UoBUKT Ed.MUNB JoNES "I'OU SIIAl.l. BE MY I'llOTIitTOll SOw! .- Si #>4, ... Photo by Abbe ACT n] SWORDS 65 Bred in the rough adventure of the world, Who only, humbly sue the privilege Of a brief word, Madonna, desecrate The shrine your presence sanctifies? FlAMMA You speak Graciously, sir. A prisoner Is scarcely loth to see a stranger's face To talk a moment's time beyond confinement. [Ske comes down slowly, pausing at least once to look more closely at Canetto.] Canetto You do me honor and I bear you tidings. My master, Ugolino, craves permission To sup this evening with you in your tower. FlAMMA Am I to welcome him? Canetto But if I brought you other news of one More near your heart, Madonna? News of whom? Damiano. Of Damiano? Who is dead. FUMMA Canetto FlAMMA [The briefest pause. Canetto [Nods and another brief pause. 66 SWORDS [act ii FlAMMA Damiano who is . . . dead? I must have proof Of that. I do not think Damiano could have died and I not know. I think his passing spirit in the air Would have come here to whisper me farewell. Canetto How if I give you proof? FlAMMA The word alone Inspires me with no terror. I have seen A deal of death and had my heart and mind Begirt with hoiTor. Canetto ' [He displays the emeralds. These are the emeralds which, I know not how, Came from this tower to his hands. FlAMMA See how they lie there, limply, yet so hardl How bright they arel It is as though you dipped A cup of water from the deepest sea And, in your hand, congealed it. Canetto Do you know them? FlAMMA Do you say My husband, d5dng, sent them to me? Canetto Yes. FlAMMA I am not readily credulous of sorrow. ACT II] SWORDS 67 Canetto Alas, that I am sorrow's messenger! FlAMMA Do you know me, sir? I am that Fiamma, of some fame, Once on a time, who followed the Crusades And reigned as Empress in Byzantium. I have long floated upon turbulent waters, So long, these very rocks, Upon whose scarring surface I am dashed, Seem to me something of a haven, half Solicitous to comfort me. Yet I am still Fiamma. And this is strength to me, and gives Me more than ordinary fortitude, As if it were some special test of God To prove my spirit. And you do wrong to scoff before your time; These emeralds are no property of yours, But of a certain Spanish Jew in Rome, To whom my husband sold them. You confess? Of what avail denial? You are brave. Canetto Fiamma Canetto Fiamma Who meets a lie with truth has drawn a sword Upon a man unarmed. Canetto Am I outwitted? 68 SWORDS [act II FlAMMA I do not know the measure of your wits. I only know the arms of honesty Are long. It may be you are overreached, Messire Canetto. Canetto [He looks upon her with unfeigned admiration. I cannot lie Successfully to you, it seems. You know Too much of me . . . / will cast paltry things aside, Truth, yes, and honor too (Of men, not women), And send them whistling down To splash the offal of the silly world. FlAMMA It is so long since I have laughed. I looked To find a mighty villain, sir, in you . . . I find a boastful youth. [She sits at the table and laughs at him. Canetto No man is bad Enough to justify his reputation. There you perceive the cross the wicked man Must bear — that he is doomed Forever to fall short in wickedness! [He has become very gay and disarming. FlAMMA Alas, poor sinner! Canetto Canetto has become a pleasant fellow. Like all repentant sinners, still ACT II] SWORDS 69 A little proud of sin, a little fond Of sinful memories. There is no vice was not a virtue once I But I rejoice. I shall have found a friend Where I had sought a victim. God be praised ! The bladder has been pricked 1 In you, I meet My first antagonist. . . . FlAMMA Why, then . . . Canetto [Aflame. We'll play A while upon the lips of death before Death swallows us? I am a jongleur bom And bred and trained and practised. I have gone To Chartres on pilgrimage and acted there The Miracles of Our Lady. I have been Court jester to an emperor and a king And confidant in the secret ways of states, And on the road once more and played buffoon In village squares of France and Italy, And sung a Roland for an Oliver In Michael's monastery in the north . . . And I have trained Horses to war and dogs to trickery And thieved and mocked and loved and laughed until My very livelihood was impudence. [Shrugs his shoulders a little sadly. But jongleurs have no civil rights — alas, . . . I am a man. Man must have civil rights. So I turned murderer and respectable. This for my lord, Ugolino, Whom I serve as faithfully as I may. Half as lieutenant, half as jester, half As privy counsellor and brother in arms. 70 SWORDS [act ii And when we move about The pilgrim crowded thoroughfares of Rome, Dressed in bright scarlet, I ride on before And play my lute, And do his bidding otherwise, without The least compunction, very glad. To have regained my civil rights, because To prance upon the air Were a scant pleasure to the lookers-on. To the performer, scanter still. Perhaps I may yet die of paJsy in a bed And, with all due serenity, look back Upon these varied images of myself. Dancing across the nations of the world. FlAMMA [She has laughed at his story but her face at the end is grim.} Is this Canetto? [A bow from him. Vagabond! [A deeper bow. I understand you now. [She rises, an Empress. And you would tell me his great heart is stilled! As if I should not know! Canetto I find Your high defiance admirable. . . . FlAMMA And true. Canetto You are proud. FlAMMA No, very humble. ACT ii] SWORDS 71 Canetto Yet you frustrate my lord At every step. FlAMMA Your master is a soldier of renown, For which I honor him. I would I might Find him more honorable in himself. Canetto How well / understand my master nowl FlAMMA Why, sir, I hope you do . . . Canetto How you disarm him as you now disarm My subtle craft, Madonna. . . . FlAMMA Are you crafty? More than your clumsy master's tool? Canetto Much more ... as I might be ... to you. Ma- donna. . . . [FlAMMA is bitterly amused. You are not kind, Madonna. FlAMMA Am I not? Canetto You are suspicious. FlAMMA Ah, you guess that, too? Canetto I crave your confidence. 72 SWORDS [act n FlAMMA My confidence I Canetto Why not? What deep assurance can I give To make you trust me? FlAMMA None, I thank you, sir. Canetto Have you not heard The story of the sinner turned a saint? Fiamma A saint? Canetto The very meat And substance of all Christian doctrine! I claim no halo. Good deeds are out of fashion nowadays. We are not knights and ladies anymore, But simple men and women. Desirable and desirous. [His eyes appraise her. She shudders. Fiamma Ah, I read The riddle now You read . . . Reluctantly. Canetto Fiamma Canetto Did you now know That it would end so? Are not these emeralds symbolical Of such an ending? ACT n] SWORDS 73 FlAMMA [Pertttrbed. You are unkind to mock me. Canetto Let me swear To my sincerity. FlAMMA If, sir, you are sincere, I do not lack In thanks to you. If not, I bear no grudge. Canetto And that is all? I am not fortunate with womankind. . . . I bring you proof of my devotion. . . . [He pockets the emeralds. FlAMMA No. . . . Canetto And you shall learn what quality of service You thoughtlessly refuse. [Calling out. Send me my page! FlAMMA Have done. . . . [In spite of herself her uneasiness grows during Canetto's next words.] Canetto It is a boy, a child . . . I'll rear him as a pander or a knave, Which, I have not decided. He serves me well already. But, for the present while, he is my gift To be your page, 74 SWORDS [act n Or what you will of him. [FiOEENzo, the child, a boy of eight or nine years, has appeared in the doorway. He wears the motley of a page. He halts there, frightened and pale.] FlAMMA [A loud cry of horror. Ah! Canetto [He grasps Fioeenzo and drags Mm into the centre of the stage.] Do not cry out, Madonna I There is no harm in him. I stole him for you. . . . He's nobly bom and will therefore become The better servant ... if you beat him well, As I have beaten him. [He becomes more than ever the strolling player in the ensuing scene, dancing and laughing here and there on the stage, revelling in the most adroit jest of his career.] FlAMMA [She reels suddenly and cries out in very desperate terror.] My son . . . my son. . . . Are you my mother? FlORENZO FlAMMA [She is on her knees, her arms tight about the child's neck.] Fiorenzo, oh, my little son, Fiorenzo! . . . And in my prison. . . . Why? ACT n] SWORDS 75 Canetto [Quite naturally gleeful. You ask, Madonna? Accepting him, you make a fair exchange. His life against Your splendid liberty of soul. . . . This is the lever of your obedience. FlAMMA For shame be silent. . . . Oh, Fiorenzo. . . . FlOKENZO Mother 1 Canetto [More and more delighted. You will obey no matter what command. FlAMMA Leave me . . . Canetto When I ordain . . . You must accept my ordinance . . . Even if I? . . . but time attends my wish . . . We are no longer hurried. FlAMMA You planned this cleverly. . . . Canetto Oh, this superb Canetto 1 Madonna Fiamma, am I not superb? But, for the nonce, you sup. . . . FlAMMA Wicked! Canetto . . . Agreeably with my master. 76 SWORDS [act ii FlAMMA Leave us . . . I plan . . . Leave us, I say! ... I weave . Canetto FlAMMA Canetto FlAMMA In God's name, think . . . He is a child. Canetto I am a spider in my web . . . [His gestures are grotesque and horribly comic. He begins prancing about.] FlAMMA Buffoon 1 Canetto [A shout of triumph. BUFFOON! 1 1 Madonna, so I am. . . . All hail buffoonery! ! Long life to the buffoon! Bring lights. . . . Bring lights! The mystery is set. Only the subject changed. We might have played The pastoral "Flight to Egypt." What if we stay behind in Herod's court And watch "The Massacre of the Innocents." FlAMMA Fiorenzo, are you frightened? Canetto Tomorrow Germany! ACT ii] SWORDS 77 FlAMMA How long since you Have had your mother . . . Canetto Let me bless you . . . FlAMMA You are grown strong, my son . . . You shall be my protector, now . . . FlOEENZO Where is my father? FlAMMA He will come in time. Canetto There's not a doubt of thatl FlOEENZO It is so dark here. .. . . FlAMMA Oh, no, tomorrow will be gay, my son. Canetto This is the end, Madonna, of your hopes, The rainbows of calamity are outl Lights . . . bring us lights. . . . I'll see My triumph brightly! ... for I meet My first antagonist and vanquish her. . . . FlAMMA [Fitriozisly. Call me my woman here. . . . [A commotion is audible in the castle. Amina en- ters bearing two tapers. She sets them in stands 78 SWORDS [act n upon the table looking cttriously at the child and the kneeling Fiamma. A Soldiee comes with a torch.] Canetto Maria, hither I Your mistress calls you! Lights 1 Fiamma Oh, God, I cry to You for justice. . . . Canetto Obedience, Madonna. . . . Remember the stem word. . . . Fiamma You beast . . . you thief . . . you coward. . . . Canetto Sparks from the anvil of the flaming sword! [Amina has withdrawn with the Soldier to the doorway. Maria breaks through between them.] Fiamma Marial [Her voice chokes. Canetto [Close to Fiamma, he speaks Ms directions very quickly.] Let there be no misunderstanding. All Must be as clear as fine French glass. Your son is come to bear you company, Because his Holiness recklessly demands The hostage's return, because my master Will not consent to this, because, tomorrow. You ride with us. But presently The Nuncio of the Pope will speak with you. . . . You will refuse to give my master up. . . . ACT ii] SWORDS 79 FlAMMA [Lifts her head during Canetto's instructions and now rises to her feet quite steadily.] My good Maria, here's my little son, Suddenly brought to me from Rome. . . . To comfort me. He lodges in my chamber. We must find means to order things A little differently because of him. It does not greatly matter, I suppose. Now lay him in my bed. He is so sturdy. . . . Whatever else befall us in this place, He must go safely out. . . . Go, my Fiorenzo, go; Maria's kind. . . . She has red cherries for you. . . . Fiorenzo Mother. . . . Masia Oh, Madonna. . . . [In the mean-while, too, very faintly at first, comes the sound of singing on the sea, the mingled voices of men and women singing the crusade hymn of Adam de St. Victor.] Singers Ave, Virgo singularis, Mater nostri Salutaris, Quae vocaris Stella Maris, Stella non erratica; Nos in hujas vitae mari Non permitte naufragari, Sed pro nobis Salutari Tuo semper supplical Saevit mare, fremunt venti, Fructus surgunt turbulenti; 80 SWORDS [act u Navis currit, sed current! Tot occurrunt obvial Hie sirenes voluptatis, Draco, canes cum piratis, Mortem pene desperatis Haec intentant omnia. Post abysses, nunc ad coelum Furens unda fert phasdum; Nutat malus, fluit velum, Nautae cessat opera; Contabescit in his malis Homo noster animalis; Tu nos, Mater spiritalis, Pereuntes libera! [Ugolino appears in the doorway. His face is flushed, his hair disordered, his hands are restless.] FlAMMA Lord Baron Ugolino, now, I learn. From your lieutenant's word, that very soon I am to follow you to Germany. Well, it is well, I say, and say no more. [In the meantime Maria and Fiorenzo have gone together up the stair.] Canetto Said I not so, my master? Ugolino Fiamma, my Fiamma, you will not regret. . . . We two shall overpower all regrets. . . . You will be Empress. . . . Canetto Go, one of you, and fetch the Nuncio here. . . . [A Soldier goes. ACT ii] SWORDS 81 Ugolino Tomorrow will see armies take the field. Fiamma, for love of you. Canetto We feast and drink tonight. Children of shadows, creatures of the smoke, Flowers by candlelight. . . . Ugolino Oh, like enough, tomorrow will be foolish. [Beneath Fiamma 's direct gaze he flinches. Canetto No more. Dear master, she is honey, now, and wax. . . . Fiamma Oh, God, why is it that I cannot hate? Ugolino You can no longer hate me, Fiamma? [The Nuncio enters, led by the Soldier. Nuncio Madonna Fiamma, You know my business. Let me bear your answer, Fiamma Who is this man? Canetto This is the messenger from his Holiness. And indirectly from Damiano, too. . . . Fiamma . , . What must I say? 82 SWORDS [act ii Canetto No more than I have said already. . . . His Grace is still A veritable doubting Thomas, Will not believe that you accompany Us of your own free will nor that you bid Damiano find you out In Trent in ten days' time. Nuncio Is that your word, Madonna Fiamma? FlAMMA [Her eyes beg for his understanding. Do you read the stars? They are so bright, they seem To glitter with so little meaning, yet, By devious interpretation, say Such diverse, beautiful and mysterious things. . . That is my word to you. . . Canetto Madonna Fiamma, riddles but confuse An obvious issue. Nuncio Lady ... do you say? . . . Fiamma No more. . . Canetto A word, Madonna, I beseech You by the right I have to ask Some petty favors of you. . . . Let there be Conviction in your voice. ACT n] SWORDS 83 FlAMMA [Without looking toward Canetto. She draws a deep breath.] Ten days from now In Trent upon the border of the north. . . . I must remain a hostage until then. Well said. . . . Oh, Fiamma. . . . Willingly? Canetto Ugolino Nuncio Fiamma Not unwillingly, your Grace. . . . You have my word. . . . [She turns, hearing the hymn which is now very clearly audible.] What song is that? [A soldier has entered carrying a very regal robe and another follows him bearing a crown of pre- cious Byzantine workmanship — enamelled and jew- elled. Women come after — enough so that nine great tapers may be on the scene.] Ugolino [Breathlessly — still close to Fiamma. I shall be Emperor and set your will Over the wills and words of all the earth. Over the Swords and Spears of all the earth, You bring such power to me. [She has listened proudly, giving no sign that she heard his words. Falteringly, he takes her arm.] See, Fiamma, see — my flight Was swift as any hare's, 84 SWORDS [act II Yet I brought treasures. I spill them at your feet. See, Fiamma, see the spoils that I have fetched 1 I cast them at your feet; O, tread upon them. They are nothing Beneath your gaze that bums them into dust. I know they are not worthy . . . nothing is. [He has led her toward the front of the scene di- rectly in the centre. He takes the great robe, from its coffer and the crown from him who holds it.\ A robe — A crown — What else? What cotdd I bring you more than these? I sacked Byzantium to win the crown. I pillaged Rome to gain the robe. Nothing — they're nothing — What could I bring you more? . . . And yet — oh, yet, Fiamma, be pitiful And let me give you them. The world contains no rarer treasures. I have emptied The treasure houses of the world. I know. [He hands the crown back to the Soldier and dis- plays the robe with a kind of childish eagerness, hoping vainly for some sign of her pleasttre.] Once on a time a King in Babylon Ordained the weaving of this mantle, Saying: "None is so beautiful as my queen. She shall be dad sublimely." Once on another time A Queen in Samarkand ACT ii] SWORDS 85 Deemed herself worthy of such splendor, And all the Arabian East Worshipped her, wearing it. But afterwards men laid it by Against the time when, once more, perfect Beauty should walk the earth. Fiamma, that time has come. Alas! How poor the robe enveloping your beauty! Oh, yet, be pitiful and wear it! ... [He wraps it about Fiamma's shotilders. She is like some incredible Ikon, like some pre-Giottesque Madonna, all gold, immovable. Maria re-enters above from her mistress' chamber.] Amina I have seen the shrine of a miraculous image. It was less gorgeous than she. Makia [From the door above. She is like the Virgin! She is like the Virgin Mary! Ugolino Bring all your candles closer. Here is a sacred thing. [He takes the crown. St. Helena, mother of Constantine, Dreamed where the true cross lay Hidden in Palestine, And found the cross and found the nails and thorns — And said: "A fitting reliquary shall be made, A Crown more precious Than any that has ever been. 86 SWORDS [act n Fashion me one of gold and fine enamel And emeralds and chrysoprase and pearls And lapis-lazuli and malachite, And weld a nail therein And set a splinter of the cross And set a thorn amidst its jewels, For it shall be the crown to rule the world." Your scorn the world, Fiamma, I know. I know. O, yet be pitiful! [He sets the crown reverently upon the motionless head. The Women with the candles have formed a half circle of which Fiamma is the centre.] Amina She is like the altar of Corpus Christ! With all the candles burning. A Soldier Not all the shrines of Rome have so much gold. Maria I have seen a picture of the Virgin Mary. She was crowned Queen of Paradise by God. You have her look, Madonna. Ugolino I crown you — [He falls to his knees. So— You shall be Queen beside me. And we shall rise omnipotent, we two — You — Fiamma — Ah! And Ugolino, I! ACT n] SWORDS 87 [He buries his face in the hem of her dress. Still she does not move. Her gaze seems frozen. All the lights shine upon her, but they are pale beside her. She is an image of the Virgin decked in votive offerings. She could work miracles.^ {But this feeble, gorgeous, worldly attempt to en- shrine divinity has failed. The singing has grown so loud that Ugolino's words have been partly drowned by it. The Captain enters.] Captain Madonna, he is come. Canetto Who? Captain The hermit. Canetto So. . . I remember now, You told me of this hermit. Captain. , . . FlAMMA [Still immovable, breaking her sUence almost with an effort.] Lead him before me. Canetto Not so fast, Madonna. FlAMMA Bring him before me. Ugolino [Lifting his head. I'll have no shavehead here. [He supports himself at Fiamma's feet, leaning upon his arm.] Maria Madonna. ... oh, 88 SWORDS [act n Madonna Fiamma . . . no. . . . [Canetto watches Fiamma and Mabia closely. Fiamma Bring him to me. [But suddenly, Damiano is there. He enters quickly without being fetched, a stalwart figure in the robe of a, Franciscan friar minor. His cowl is pulled far over his face. He moves with the swift swing of youthful energy. Seeing Fiamma, he pauses. His eyes and Fiamma's m^et across the crouching form of Ugolino.] Fiamma Leave us together, all of you. Ugolino [Looks at Damiano feverishly and springs to his feet.] How came you here? [Damiano does not move. Answer me, priest . . . who are you? Canetto [Steps forward. The holy father enters as he pleases. I would I might make sure. . . . [He speaks half to himself and goes toward Dam- iano. He lifts his hand as though to snatch back the cowl. He changes his mind.] [He seems to radiate a great sudden joy and he is surely thinking deeply and quickly.] Come . . . leave Madonna here with her confessor. [His arm about Ugolino's shoulder, turns to Fiamma.] We shall, in turn, obey your wish, and go Regretfully, but with due reverence. ACT ii] SWORDS 89 Ugolino [Puzzled . . . looks at Canetto. Canetto Ugolino Why, no. . . . Master. . . . No. . . . No. . . . Canetto Master, be generous. . . . My master? [His tone is ctiriotisly insinuating. Ugolino [Bursting out. He? . . Canetto We must be quite certain. . . . [Ugolino, pushed by Canetto, goes. Gk) on before, good Captain. . . . [The Captain goes, making the sign of the cross, as he turns toward Damiano.] There's piety, your Grace. ... I will attend you. . . . Go — all of you! Lovely Amina. . . . Only leave your candles That the confession may not be too gloomy. [Amina goes, same business as the Captain, and the Nuncio, with an adoring look at Fiamma, joU lows.] Canetto My good Maria, I have need of you. War and religion Should not bear one another company Too long. ... So forward, men! My good Maria. . . . 90 SWORDS [act ii [The soldiers have gone. Maria goes across, her fear quite evident. She is ushered out by Ca- NETTO.] Peace be upon your prayers. . . . [He goes. FlAMMA [She speaks as with a very great effort and she does not move.] Put back your cowl. [Damiano obeys. We see his face, of serious, quiet beauty, his hair dark and curly. A tight cap of mail rests upon his head.] FlAMMA This is a strange disguise. . . . This is a strange encounter. . . , Damiano The hermit hooded me. FlAMMA God will forgive the desecration. . . . Damiano I stared over the water at this place, I lurked beneath your window in a boat. I could not stare and lurk forever, so The hermit hooded me, and so, I entered . . . You know why I have come? FlAMMA I know That you are mad ... to come so soon. . . . ACT ii] SWORDS 91 Damiano Our son . . . Stolen . . . Fiorenzo's here. Unhurt? Unhurt. [FiAMMA nods. FlAMMA Damiano FlAMMA Damiano Oh, when th^r told me! Could I have waited longer? I knew he would be here. I knew that you would need me. All that I have called me. I answered. You were not frightened when they brought him here? FlAMMA At first, a little. After I remembered How you would surely come tonight. Are you alone? Damiano Two score Lie off the island in a boat against The changing of the watch . . . FlAMMA As I had planned. Damiano Enough? FlAMMA There are but four and twenty men To man the gates. 92 SWORDS [act ii They will be routed by surprise How strange this is . . . Although I am afraid ... oh, desperately . . . I cannot fear, Damiano. . . . I am with you here as always In our house. [The robe slips from her shoulders. Her hands go to her brow and remove the crown. She drops it soundlessly upon the robe. She makes a little plaintive sound, steps nearer Damiano and sud- denly jails softly to her knees before him.] [His hands pressed tightly palm to palm, his lips move silently in prayer.] FlAMMA My lord, my love, my guide, my master. . . My husband and my brother before Christ. . , My veriest child. . . Damiano My Fiamma. . . [The night sky is luminous with moonrise. The upper reaches of the tower are all blue.] [He raises her to her feet and holds her at arms' length, his hands on her shoulders, his face close to hers.] My beloved. There is great danger. . . [Far less calm than she, he releases her and looks nervously about.] Fiamma I have my love again! Damiano That was Canetto? Fiamma Yes. ACT n] SWORDS 93 Damiano He stole the child, I think. What will he now devise? Where is he now? FlAMMA The child is safe, We two have been So long apart. Damiano He would not give you up to me I FlAMMA Damiano. . . . Damiano Oh, Fiamma, Queen of kings and angels. . . My lady of the diadem of stars. . . Fiamma Bend down your face upon me. . . Damiano Your eyes shine through the darkness with a light Of very holy mercy. . . [The rising moon spreads a great patch of light over the back wall of the stage. It shines through the window.] Fiamma Give me your lips, Damiano. Damiano I am as one long years immersed in darkness, For all the perfect answer to my prayer I dare not look upon the sun. . . How strange it is! I do not know myself. . . 94 SWORDS [act ii FlAMMA You tremble, my Damiano, and in me Is only blessed peace. . . Give me your lips. . . [They kiss. Damiano What sound was that? FlAMMA No sound. Damiano I heard . . . FlAMMA Only the sea birds nesting the tower. Damiano But if one should Come here upon us! FlAMMA Maria keeps good watch. We are alone in a forgotten world. Not even God is here. [The shadow of a head, shoulders and arms of a man appears upon the back wall, framed, as the man himself, in the frame of the tower window.^ Damiano The dew is fresh upon the April grasses, My Fiamma, in my heart. FlAMMA And I am filled and flowing with new life. . . . Damiano This is incredible. We two, at last. And in this prison. . . . ACT n] SWORDS 95 FlAMMA 'Tis a dream, perhaps. . . . Damiano, I have dreamed . . . A dreadful dream last night Came down upon my slumber, Came like a tapestry- Woven of sword thrusts, Dyed in blood. . . . Came down, Dark and interminable and enveloped me. Oh, dreams of mine, ineffable, remote, And bathed in bitter tears and crowned with thorns, And strewn with ashes, life has answered you! Damiano Now in a little while We two shall give the signal with a torch, And then my men will come and we shall go. You, and our son and I, out of this place Into the garden of the day. I know that we are watched. . . . FlAMMA What then, Damiano? Danger gives life to love! This the utmost moment of our lives. Damiano I heard . . . FlAMMA Only the sea birds nesting in the tower. [The shadow moves and vanishes. Come up and watch How well Fiorenzo sleeps. . . . Damiano The moon has come and scattered all the mists Of evening. . . . 96 SWORDS [act ii FlAMMA In my hair They linger still. Damiano The moon has spun Moon cobwebs in the wonder of your hair, There hangs an opal aureole of light Where the soft mesh of fog reflects the moon. . . . [They are on the stairs, embraced. The wind is in your hair. Ah, give it me, Its glory is God's vision after death. . . . Oh, let your hair breathe on me, Fiamma, so I hold it to my lips. . . . [They go on. up the stair. Fiamma Now all the woof of shadows vanishes. . . . Now all the secrets of the silences. Like a thick skein of sombre colored silks, Limp i' the hand, are ours. Unravel them, Weave them anew! Together, Fiamma. . . . Oh, come. My own. . . . Fiorenzo sleq)S. Damiano Fiamma Damiano Fiamma Damiano [As he speaks the door, left, swings open quite silently and very slowly.] Your body is like honey and like wine, Your voice ACT II] SWORDS 97 Is like the echo when the starling sings, Your breath Is sweet as scent of clover fields Blown down the summer wind to nothingness. . . . Your hair, oh, Fiamma, let your hair fall down On your slim bosom. On my lips, my soul Begs for its softness. [The door is open now. Fiamma [Stops him with a gesture and turns to the shrine where it glows beside her door.] Ave Maria gratia plena, . . . ora pro nobis. [She is interrupted by a scream from the outer darkness. It is the cry of a woman in mortal agony. It is repeated with choked, horrible words which we cannot understand, which we guess to be pleas for mercy. \ [Fiamma and Damiano start apart in terror. The scream sounds nearer.] [Maria enters. Her scream is choked in her throat as she crosses the threshold, she falls on the floor. She moans hideously.] [Neither Fiamma nor Damiano makes a sound.] [A very sickness of terror holds her clinging to the stair-raU] [He comes very cautiously toward the moaning figure of Maria.] Canetto [Some chords of a lute off stage and he is heard singing merrily. The voice comes from a dis- tance.] E lo mio cor s'inchina, O, bella, vo dicando Cosi . . . cosi. . . . Com'io mi sento 98 SWORDS [act II £ di dolor penando, E vi . . . e vi . . . e vivo in gran tonnento. Damiano [Bending over the prostrate ■woman, he speaks through the songl\ Maria! My good Marial What have th^ done to you? [He lifts her head. [FiAMMA runs to him, but the sight of Maria's face halts her.] Damiano Her tongue! . . . Tom out at the roots! FlAMMA [Her cry of horror breaks into the singir^. The butchers! Damiano Canetto! Our messenger. . . She will not speak again. Such a jest As hatches in that evil mind . . . They know me . . . who I am. Fiamma Oh, now the thing begins. Canetto sings. He sings to us, Damiano! Canetto is a juggler. . . . We are the balls he tosses in the air. . . . He tosses us and holds us in his hands! [The curtain falls upon their terror. THE THIRD ACT The ctirtain rises again as soon as may be. The scene and situation are unchanged. The action has not been interrupted. Canetto [StUl singing in the distance. Oime ch'io moroe amando! Oime . . . oime . . . oime la donna mia! Oime la vita mial Pr'amo vo sospirando Per ti . . . per ti . . . per ti, o vita mia, Aime . . . aime . . . aime! E mors querando. Damiano We shall have need Of all our wits. FlAMMA This is to make folk laugh. . . . Fool! Fool that I am! Damiano This thing lies between him and God. Fiamma Between Canetto and Ms god? Damiano They tortured her. What did she tell? ' What did she tell them? 99 100 SWORDS [act III Canetto [Still singing in the distance. Piu ch'a donna che sia A ti . . . a ti . . . a ti . . . mi raccomando Oime lasso, pensando; E di . . . e di . . e dico, o perla mia, E lo mio cor s'inchina. [Maria lifts her head and tries to speak. She can only make a choked and inarticulate sound. \ FlAMMA [She stops Maria with a gesture of horror. Someone is coming. . . . Cover your head. [Damiano quickly pidls the cowl over his head. [The Captain enters. Fiamma Oh, Captain, see. . . . Captain She told Nothing. Fiamma My brave Maria. Captain It was her silence angered them. I greatly fear for you, Messire Damiano. Fiamma You know? Captain I guessed. Fiamma And yet admitted him? Captain To you, Madonna. ACT III] SWORDS 101 Damiano We must move hastily. Captain Which way? Damiano There is the window, We have a ladder. Captain They have their crossbows and the moon is full. FlAMMA Canetto knew What power Fiorenzo had. Damiano The child was certain bait. FlAMMA Three rats! The trap is full! Captain I am the Captain here, I still control who comes and goes. FlAMMA What do you mean? Captain To save you from disaster, Madonna Fiamma, I would betray this garrison. My Lord, I understand How few things are important in this life, How there may be but one. Fiamma And that one? 102 SWORDS [act m Captain Justice. FlAMMA Oh, yes. Captain You have concealed In boats beneath the rocks Two score of soldiers, sir. Damiano Canetto knows? Captain I cannot say. / know. . . . So hide, Messire Damiano. FlAMMA My chamber. Captain Better not. Their thoughts Race to your chamber. Ugolino grows Amorous in his wine. FlAMMA [Her hands cover her eyes. Ahl Captain [He has opened the trap which Canetto inspected in the opening scene.] Go down, Damiano. Damiano And leave you, Fiamma? Captain Trust me. Who trusts no man is lost indeed. Damiano I shall be trapped. ACT III] SWOEDS 103 FlAMMA The trap is sprung already. Captain Go down, Messire Damiano. Damiano I had rather Fight in the open. FlAMMA Think . . . Fiorenzo lies Completely at their mercy. Captain Only this Between your deaths and you. . . . That I command the gates. Damiano You swear to open them? Captain If need come . . . yes. . . . Damiano In God's sight, then, whose eyes Cannot be blinded. [Damiano goes down into the place beneath. The Captain closes the door above his head.] FlAMMA Now I commend myself to God and you. Captain His safety lies in your two hands. 104 SWOEDS [act hi FlAMMA I know tonight cannot miscarry, Tomorrow were too dreadful otherwise. Captain Be gentle, brave and wise, And 'ware Canetto. . . . Where shall I take the woman? FlAMMA Is she much hurt? Captain Not mortally. FlAMMA Poor woman! Captain, such fidelity Is something more than ordinary. Captain Oh, rare is all fidelity. . . . Madonna, aiding you, I must be faithless to my oath. My fealty that men would call my honor. . . . Serving injustice, would God call it so? FlAMMA Fidelity Cannot be base nor to base ends perverted. Captain Ah. . . . FlAMMA My state is pitiable. Do what you may For me and for my lord and for my child. Captain Great soul. Forever more I swear. . . . [But Canetto enters suddenly bearing his lute. ACT III] SWORDS 105 Canetto You must not whisper, Captain. Whispers strike The spark upon the tinder of suspicion. Besides . . . I find it difficult to overhear you. FlAMMA [Pointing to Maeia, Messire Canetto, This is a hellish thing that you have done. Canetto Madonna Fiamma, This is a thing too hideous for hell. Fiamma Take her away. Canetto [To the Captain. Go, help her to the woman's lodgings. Send the leech to her That she may learn to speak without a tongue. Fiamma Oh, can you walk, Maria? Captain Well enough If I support her. [He helps her to her feet. Her moans have ceased. [Maria looks once and terribly at Canetto. [Canetto shudders in spite of himself. The Cap- tain and Maria go.] 106 SWORDS [act hi FlAMMA I heard you singing now, Messire Canetto, Upon the heels of this. Canetto [He hums mockingly. "E lo mio cor s'inchina . . ," Madonna . . . While duty robbed me of the sight of you, Which was a deep misfortune to my eyes, I thought to give you sound of me, and took Such comfort in my madrigal. FlAMMA The crow caws horrid requiems. Canetto Look in my eyes. What glint of infamy do you discover? My nails shall pluck it out. FlAMMA I am not in the jesting vein. Canetto [But he is gay enough for both. If rain falls from the thunders of the skies Upon two men alike, two men are wet. But only one of them may dry himself Beside the fire. FlAMMA Both. . . . Canetto Alas, We are not Moslems when the fire is love. ACT III] SWORDS 107 FlAMMA Oh, villain! Is the metaphor Too allegorical? Vile, oh, vilel Canetto FlAMMA Canetto The trap must work Two ways at once. My master gains His vengeance. I appropriate his love. Is not the division fair enough? Where have you hidden him? FlAMMA Whom do you think I hide? Canetto The man of God. Fiamma Gone! I had almost forgotten him in this. I cannot much regret He did not stay to share it with me. Canetto He did not stay? Fiamma You see he did not. Canetto And now, beyond a doubt, he tells his beads Peaceably in his chapel? Fiamma It may be so. [He looks about. 108 SWORDS [act hi Canetto The age of miracles goes on and on. How did he leave? FlAMMA How? Canetto By the window? Fiamma That way is guarded. Ask the sentinel. Canetto So opportune in his arrival . . . So early gone. Fiamma I am not slow at my devotions. Canetto Who has no fear of hell has little need Of prayer, Madonna . . . that I concede. Only one trifle puzzles me. I have not seen a monk before, who wore A shirt of mail. Fiamma Are you surprised? It seems a prudent garment. Canetto Against swords, perhaps. Against suspicion, most imprudent. But My preference impels me to believe Your words . . . although I know there is no truth In them. Fiamma I do not ask that you believe my words. ACT m] SWORDS 109 Canetto It suits me for the moment. FlAMMA Search as you will. Canetto No, I'll rather close This door and speak with you a while In privacy. FlAMMA You have much jarred my gaiety. Canetto Unfortunate! My own Is at the fever pitch. [He goes to close the door. FlAMMA Leave me. Canetto There's a feast, tonight. My lord calls it his wedding feast. Your eyes are wary, Fiamma. Should you laugh Were I to woo you? FlAMMA Are you so disposed? Canetto Love is an element In all our dispositions. Am I ra^? FlAMMA Since you risk nothing, only base. Canetto I should not hope to win your friendship, yet, You have a scorn but little less than friendly. . . . 110 SWORDS [act in A curse from you were cousin to a blessing. I told you, you remember, I found in you my first antagonist? I am a judge, Madonna. FlAMMA I find your words discourteous. Canetto Alas I FlAMMA You find my scorn is something less than friendly, I find your thoughts much less than loyal, if, I have culled their flower. Canetto You find the flower. . . Fragrant? Fiamma No. Canetto Why, th«i. . . . Endow it with a perfume. . . . FlAMIfA I? Canetto Who else? Lady, I love you, too. FlAMMA Even as I said . . . Your loyalty Might well be questioned. . . . Canetto My loyalty to whom? ACT III] SWORDS 111 FlAMMA Your master. Canetto I am not slow to change A master for a mistress. . . I offer you the choice Between that German swine I serve, and me, Who am, I think, the more presentable. . . Considered as a lover. There is a bond between us two. FlAMMA What bond? Canetto Our love of beauty. FlAMMA Hahl Canetto Or good or evil Beauty is beauty still. Beauty with me or com husks with a swine. . . • Say ... do you know remorse? Delicately considered, it becomes A kind of revelling in wrong. I know What I shall do. Now, through remorse, I glory in the doing. My pulses pound the harder. Love is made, Somehow, more resonant by this remorse Of mine, this honest consciousness of what I do for you against my loyalty. All my life is here! Since you will make no choice Between my lord and me, I fling my loyalty at your feet. Trample its flimsy texture, 112 SWORDS [act III Vault the gulf between us, take you for m)rself And laugh at him! FlAMMA I'll call your master here. Canetto How if / call him? FlAMMA You will not dare. . . Canetto Not dare, and this to gain? FlAMMA I am still Fiamma. . . Canetto Ay, that's true. . . . See, now ... I close the door. My master sits Over his wine ... I come Closer to you ... I lay My hand upon your dress. ... A little wrench. . . . Only a little wrench. . . [He has stated action to word and stands, now, his hand gripping the bosom of Fiamma' s dress.] FlAMMA [In a hard voice. Put down yoiu- hand. Canetto I cannot. Fiamma Put down your hand! Canetto Strike it away. Fiamma [A futile movement. Her hand falls. Ahl . . . Photo hy Abbe BEAUTV WITH ME OK CORNHUSKS WITH A SWINE. Clare Eames and Jose Ruben ACT III] SWORDS 113 Canetto Madonna Fiamma. . . I alone Of 2ill who cross your path am strong enough To disregard your will. You dare not cry aloud for help, Because, to cry were to betray Damiano, You laugh? Fiamma I do not laugh. Canetto A little danger, like a little wine, Resolves our passions to consuming heat, Our blood to molten metal. Fiamma Oh, my God, Resolve my indeterminate heart for me I Canetto Refuge in prayer? Why, then, the trick is tinned I The molten metal's poured upon the wood. It chars. . . an instant more and it will burst To devastating flame. Call on Damiano And let me kill him here and kiss away The dying breath of him from off your lips, And kiss the snarl of terror from your lips. , . Fiamma Talk and talk and talk. . . hold off. . . Canetto Sea guIU Fiamma Backl Canetto Fox. . . 114 SWORDS [act III FlAMMA WUd beast. . . Canetto That's it! Wild beast! I am Re3aiard come to mate With you beneath the moon. . . I bark. ... I howl. . . FlAMMA Now tell me you are mad. . . Tell me that you are mad, or, by the saints, I'll tear your soul out of your stinking throat. Canetto [Breaks out into convulsive laughter. Tear, Fiamma, tear, and see How my soul mirrors you in all your beauty. . . . Fiamma Kneel down. . . . Canetto My queen. . . . Fiamma Kneel down And swear you did not speak to me. . . . Oh, foul. . . . Canetto [He kneels. Foul though I be, I woo you. . . and, in time, Shall win you to my wooing. This I knew From my first glimpse of you . . . Fiamma Befouled. . . Befouled am I in this. . . You jackal of the night. . . You snake. . . . you wolf. . . . ACT III] SWORDS 115 Canetto You saint. . . . you goddess. . . . FlAMMA [Retreating from him she has come against the table. With a simft gesture she whips Ugolino's sword out of its scabbard and presses its point against Canetto's throat.] Silence! Canetto [StUl choked with laughter, on his knees, his hand catches her skirt to his lips.\ Magnificent! Now, press. . . ever so lightly. . . A single blow and your worst enemy And hottest suitor dies. Oh, now again A thrill runs through your flesh as when I touched Your bosom lately. Oh, believe me, Fiamma, Such loathing is the closest kin to passion. Is, of itself, desire. [She tries to draw back. His upturned face seems to hold her almost hypnotically .\ I see my lord Who kneels by your inviolable bed, Pleading, and is rejected, And turns away and dares not touch your hand, For utmost fear of you. . . . I dare. Oh, Fiamma, do you see? I dare. [His hand has crept up the blade and fastens upon hers where she grips the hilt.. The sword falters.^ Heroes are in your heart awaiting him Who shall be fit to father heroes. You No longer speak with men, but hold, at evening. Your solitude's communion with the bells. [Fiamma reds. Canetto begins to rise. For all and always, I, 116 SWORDS [act III Madonna Fiamma, I have broken you. . . In all the world I am your single peer. [On his feet, facing her. I have decided, Fiamma, presently We shall go out together, to some hill, Where distant lutes are clear and night birds sing. . . . I know this, Fiamma, nor will you gainsay My will in any wise. This love of mine Bom in betrayal of my master's trust, Envenomed by remorse, In its incredible ascendency, Is invincible. [The sword falls clanking to the floor. Her hands are limp.] [Fiamma catches her breath in a great sob. Said I not so? Oh, now. . . oh, now, your flesh Is flame, your blood is molten gold, your bones Are nothing. . . . [His hands motdd her as though she were day. Fiamma [Almost fainting. Canettol Canetto Now have you learned. . . . There is Nothing, Madonna, so invincible As evil. Fiamma Ahl . . . Canetto It is the revelry Of life eternally triumphant, ah — It is the hunger of eternity. [He sinks at her feet and his lips devour her hand. She seems completely bereft of strength.] [UboLiNO bursts in. ACT III] SWORDS 117 Ugolino Fiammal [Without materially changing his position, Canetto stiffens. [Gumma's head falls back. She is revived. Ugolino Madonna Fiammal FlAMMA My lord ... I welcome you . . . Canetto On bended knee, Madonna, I thank you. . . Ugolino [Evidently he is a little drunk. I left a priest here. Where has he gone? Canetto He has vanished Like a coin flipped in the sea. [He rises, his poise restored. Ugolino [To Fiamma, angrily. [To Canetto Canetto [His eyes and Fiamma's meet. Ugolino You've hidden him. . Her chamber? No. . . I searched. Beneath here, then? 118 SWORDS [act in Canetto I had not thought of that. Ugolino I'll look for him. Where is my sword? [The sword is still lying at Fiamma's feet. Ugo- lino sees it.] Why does my sword lie there? You have been playing with my sword. Canetto Was it play? I scarcely know. Give me the weapon, Master. Let me search. [He looks again at Fiamma as he opens the trap. Have I your leave, Madonna? Fiamma You will find. . . nothing. . . Canetto [Mockingly. I will find — nothing. . . [He goes doum, the naked sword in his hand. Ugolino [To Fiamma. Where are your lips? Where is their blood? The texture of your cheeks Is changed to whiteness like the foam. Fiamma The foam Of waters churned and beaten against the rocks. . . ACT III] SWORDS 119 Ugolino Swear you have not seen Damiano in this place? I love you so. Do not betray my love. FlAMMA My lord. . . . Ugolino Not to my enemy. FlAMMA Release me. Ugolino No . . . No . . . cind no! This monk Was not his messenger? Swear, Fiamma! FlAMMA I swear that. [Ugolino makes to go toward the trap.] You heard . . . The answer I returned his Holiness? opening of the Oh, Fiamma! Still you doubt Ugolino Fiamma me. . . . No. You do. Ugolino Fiamma Ugolino I know that I am mad. You madden me. . . . If he were here. . . if he were here. . . ah, Godl Fiamma What empty words! 120 SWORDS Ugolino You ghoul . . Or he ... or Fiamma, where . you saint . . . I? is he? Who? Fiamma Damianol Damiemol Do I know? Ugolino Fiamma Damnation I You lie to me Ugolino . . . you lie . . . Fiamma I swear. . . . Ugolino [act hi No . . . No. . . . You lie to me. . . . [With his clenched fists he threatens her. She stands unmoved. \ Canetto She does not lie, Master. [He emerges at this momettt. I have found no one. Ugolino [Breaking again. Oh, forgive me, Fiamma. [His head jails. He brushes his hand across his brow as though to clear his mind. He moves list- lessly wmay. Presently he sees the arras behind which he and Canetto hid in the opening scene. ACT m] SWORDS 121 His suspicion aroused, he looks behind it. He goes searching about.] Canetto Madonna, see . . . The blade is clean . . . There is no blood upon it . . . [FiAMMA bends quickly over the trap. She seems to make some sign to Damiano. Canetto stops her. Leave him in hiding, Fiamma. The moment for your rescue has not come. [He closes the trap. Fiamma Silence. Canetto Cannot you thank me? Fiamma Thinking on all that hangs, between us, sir, I cannot find it in my heart to thank you. Canetto It is enough for me to realize Some little obligation on your part. Ugolino [Drunken murmwings as he searches. Where has he gone? Fiamma Is that your Christian purpose? Look to your master. Ugolino Behind the arras? Shavecrown, come out. 1«3 SWORDS [act 111 Canetto Is it not terrible to drink As Germans do? Ugolino [Comes down from the back where he has been pull- ing the arras about. He tears open his doublet, so that his throat is bared.] The wine befogs my sight. I cannot see My bride. [He paws his throat. Oof I I am better, so. Bring in the feast. Invite The Captain of the Garrison. Musicl [He stares questioningly at Canetto. Well? Well? Canetto Presently, presently, my good master. Ugolino What were we looking for? Canetto Eh, Master? Ugolino Was there not a priest about? Canetto He's gone. Ugolino Fetch me another one. What's a wedding without a priest? Canetto Good masterl ACT in] SWORDS H» Ugolino Why not, why not? Now I'll have wine and lights and lights and wine. , . . Call out, Canetto! Bid them come to serve My bride and me! Music! [Off stage the sound of a lute tuning and almost at once the music begins. A lute and a viola. And Amina enters with dishes. Other servants follow. Canetto superintends the laying of the table, always with an eye upon his muster. Torches are brought and set in brackets.] Canetto Master, your dress. Ugolino Let be. It's better so. The room is warm. [He is leading Fiamma to her place. Tonight Is my last night in Italy. To horse Tomorrow, and the windy road and swords, Maybe, Madonna, but tonight Is only Italy. [A gesture from Fiamma halts him. I know, yet, in the end of judgment, grant That to my life a single beauty came With love of you. [He breaks down on the verge of drunken tears. Fiamma I pity you. . . I pardon you. . . . Ugolino Pity me? Pardon me? Oh, saints of heavenl Here's a woman's pride. 124 SWORDS [act in FlAMMA No, Ugolino. . . Ugolino [The bully in full swing. Madonna Fiamma, I no longer fear you. Wine gives me courage. Throw back your head, and laugh. . . Laugh merrily! Where's your robe? Where's your crown? [One of the servants makes to bring them to her from the corner where they have lain all this time. She waves him off, and Canetto motions him to take them away.] Canetto [Fills a glass with wine, lifts it, sardonically exult- aitt.] Le vin est bon et bel et blanc, Fort et fer et fin et franc, Freit et fres et fourmijantl Ugolino That song is French! Canetto Burgundian. . . . Three B's and seven F's, They say in France, make wine Worth drinking. Shall I do a trick For you, my Master? Ugolino Look on him, Fiamma, look, Is he not wise and merry? When I am Emperor of Germany I'll name Canetto Chancellor. . . . ACT III] SWORDS 125 Canetto Oh, Master. . . [He bows and goes up the stairs to Fiamma's room. Ugolino Fiamma, pour wine for me! Pour wine for me. . . no, you. . . you are my bride. I'll have you serve me. . . . Fiamma To your shame, Ser Ugolino, to your sin and shame. Ugolino [Sweeping gesture, drunken and imperious, as he sits beside the woman.] All of you turn Your faces to the wall. . . . I love you, Fiamma, I must tell you so. . . I shall lie by you in your tomb, at least. If not in life. Fiamma If you can face my hatred down. Ugolino Or love or hate. Tonight is mine. . . tomorrow shall be mine And ever after to the well of death. . . Now, bring the dishes in. [The Captain enters and sees the situation. He comes toward the table and lays his hand on his sword involuntarily . At the same moment, Ca- netto, who has run up the stairs to Fiamma's chamber, reappears with Fioeenzo, frightened, upon his shoulders. The Captain, seeing him, halts.] 126 SWORDS [act in FlORENZO Mother 1 ^ FlAMMA [She turns and sees him. Furiously, first to Ugo- LiNO, then to Canetto.] Madman, oh, madman, do you think to teach Me fear of you in this wise? I will play At any game with you Knowing I cannot lose Where all is lost already and long since. . . [FiOEENzo hides his face in Fiamma's dress. Ugolino Long live my bride who learns last to fear Her master. My good Captain, You are come tardily. . . Be welcome, none the less. . . Cry out "Long live the bride of Ugolino!" Captain [He takes Ms place at table. Oh, long live Madonna Fiamma! Canetto I cry it, also. . . Madonna Fiamma 1 Ugolino Empress of Germany, tomorrow, Fiamma! [Fiamma sits at the table facing the audience. Her face is framed by the glimmering tapers. She re- nwins silent and motionless. Gradually her gaze becomes more and more intense and her face lights with a great ecstasy.] [In the meantime the feast is under way. The ACT III] SWORDS 127 tntcsic continues, the stew and wine are served. Soldiers stand about mth torches.^ Ugolino Canetto, she's gloomy. . . Canetto Gloomy or gay, she's beautiful. Ugolino Rejoice with me. . . Fiamma, rejoice. . . Oh, do you think she hates me so? Canetto I think she loves you, sir, the best of us. Ugolino What song was that, Canetto? Canetto Le vin est bon et bel at blanc . . . Freit et fer et fourmijant. . . . Ugolino Captain, you're not drinking! Abstinence at this board only confuses. . . Captain Confuse confusion, then, and drink to Bacchus! [Lijts his glass. Bacchus! Ugolino Bacchus, the god of wine! Women and bottles. . . All womankind in a bottle. . . I have my bottle. . . I shall have my woman And stuff her in. . . 128 SWORDS [act III Canetto Master! Ugolino But I shall stuff her in undoubtedly. Canetto What's woman in a bottle? Ugolino You've never loved a woman. . , Have I not? God. . . oh, God! Who speaks of God? Blasphemy! Canetto [His eyes bwning on Fiamma. FlAMMA Ugolino [Her eyes shimig. Captain Better bring God to filth than filth to God. . . ■. Ugolino Who speaks of filth? Fiamma Oh, see! A vision comes upon my eyes. . . a gate Shining above the inevitable sea. That is the floor of heaven, That is the wilderness of earth. . . T have seen the heavens. The everlasting heavens, I have looked into the radiant hostelry Where sits the Lord upon his burnished throne. His shoulders are so broad. . . ACT III] SWORDS 129 Ugolino Give me your throat to kiss. FlAMMA His eyes look kindly at me and he speaks Saying, "Whatever men may be I am the truth, I am belief, I am love. . . I am perfect justice, I am the perfection of knowledge." Wherefore I know that I Must have no terror more. Canetto Here's a sophisticated world. . . Captain Great soull FlAMMA I was weak in body and He carried me, Faint hearted and He comforted my heart, I languished and He spurred me, Sinful I was, and He admonished me, Weak and He taught me strength. . . Ugolino I'm drunk. FlAMMA . . . Wherefore I know! Ugolino Ration the wine broadcast amongst the soldiers. Canetto No wine tonight for them. 130 SWORDS [act in FlAMMA I am the steel upon the anvil, The dreadful hour will temper me and prove me And gain me pardon in the tremendous eyes Of God. Captain Great soul. . . great soul! Ugolino Wine, I say, to the garrison. Canetto You're mad to say it. Ugolino How? Will you cross me? Canetto Madonna speaks a sermon. . . Ugolino I want no sermons at my wedding feast I FlAMMA For that I sought to question and protest, My vision was of wisdom, not of fate. . . Canetto [Speaking at the same time. Sermons and Aristotle! Ugolino What's Aristotle? Is it wine? Canetto Oh, no. Philosophy. ACT III] SWORDS 131 FlAMMA But many weaponed fate rules us no less, For all our wisdom, and we go, at last, Down to defeat, at fate's decree, and there, From knowing God, find truth, upon The uttermost foundation stones and learn The honesty and beauty of our souls. What does it matter how the world is lost? Ugolino I had a wench before was given to visions. . . FlAMMA [From far above them. What does it matter how the world is lost? We four are here assembled at a feast Of life. This wine, this meat, these breads, these fruits Are things inanimate, transmuted here By the stupendous tension of this hour. . . These are our very souls we eat and drink. . . What does it matter how the world is lost? Canetto [A hoarse echo. What does it matter how the world is lost? FlAMMA I looked upon the face of God. . . I knowl Ugolino You fill your heart with gloom. FlAMMA Not gloom, but exaltation! Ugolino I'll take my way with you! 132 Let be what may. Oh, hideous! SWORDS FlAMMA Beneath the eyes of God. Captain [act III I am a ravenous beast. I glut myself with life. Devouring. . . Biuning. . . AU. FlAMMA Canetto FlAMMA Canetxo I understand. . . I understand. . . This is the glory of the perilous. . . This is the lust of hazard. . . FlAMMA I have not known such joy in all my days, For I am desperate, at last, and pit My will against your lust, my mind against Your treachery. . . Ugolino Amen to that I FlAMMA Should I tell you how This caitiff, here, this true Canetto, whom You trust, bargained with me for your betrayal. [Wildly. [Triumphant. Ugolino Hah! ACT in] SWORDS 133 FlAMMA What would you say? Ugolino You lie. Canetto Oh, no. . . she does not wholly lie. Ugolino Not lie, you dog? FlAMMA Would you not, for that crime, chastise him? Canetto Would you not? Ugolino If it were true. . . FlAMMA [Even higher exaltation. I speak the truth. . . And with that very sword of yours I held Canetto from me. . . Ugolino What does she say? Canetto It is the truth without a doubt, my lord. Ugolino Canetto, will you not deny. . . ? Canetto Oh, no. . . Ugolino With my bare hands I'll tear your plotting head from off your shoulders. 134 SWORDS [act hi Canetto She is a goad; she lashes me to fren2y. . . Her words are sleet upon my cringing flesh. Salt in my wounds. . . Ugolino I see a sudden pitfall. . . [FiAMMA and the Captain watch this quarrel eagerly.] Canetto Against your might I am defenseless. Kill Me if you wUl, you know What I am worth to you. Ugolino I set my heel upon your worth, Give me my sword. . . Canetto Cannot you take it up, Master and executioner? Ugolino [He lifts it up clurnsily from the table. Can I not? Canetto [Spitting the words in Ugolino's face; his master- stroke of blasphemy.] May God receive my soul! Brotherl My Oliver! My closest councillor! Why? Why? Ugolino [He lets the sword fall. ACT III] SWORDS 135 Canetto [Turns from Ugolino — Latin disgust at Teuton sentimentality.^ You ask? Ugolino Not I! I do not askl Canetto Jealousy had been valuable to her. . . Had we two quarreled. . . Ugolino [Too drunk to understand. Had we two quarreled? [Suddenly he does understand. Ohl [He turns from Canetto to Fiamma. She laughs triumphantly.^ You thirsty, scheming woman, you. . . Look into my eyes. . . Where is your courage gone? [His left hand darts out and grips her shoulder. He forces her to her knees.] Howll Howll You crow. . . you crow. . . I'd give you to Canetto, do you hear? I'd give you to the soldiers, But that I love you so. . . wherefore. . . I kill you, Fiamma. . . [He lifts the sword which his right hand has gripped all the while, and is about to strike Fiamma.] Canetto [With a hoarse cry springs from his chmr at Uoo- LiNo's throat.] No! ! 1 136 SWORDS [act m [The sudden assault carries Ugolino clear of Fiam- MA and the sword flies out of his hand.] [FiAMMA stands back from the struggling men be- side the foot of the stair where the torches of pitch pine shed their full light upon her. Fiorenzo goes to her.] Canetto [Breaks free from Ugolino. There is another guest . . . Unbidden to the feast. Do not kill the woman, Master. I have a better victim 1 Fiamma, shall I call up Damiano, now? Captain Yes! Fiamma Damiano I Damiano! Captain The signal with the torch, Madonna Fiamma 1 Damiano's men! Canetto [He makes for the trap and opens it. Come up, Damiano. . . Ugolino [Too blind with fury to observe, he flings Mmself bellowing on Canetto.] You I [They overturn the table in their struggle. [Clad now in shining mail, his naked sword in his hand, Damiano comes up out of the trap.] [The servants flee, screaming, ACT 111] SWORDS 137 Damiano You, Captain, to your gates. . . The signal, Fiammal [Tke soldiers attack him. He kills one but the other with a chair drives him back against the stair.\ FlAMMA [A great cry. Ahl \She snatches a blazing torch from a soldier. [Damiano, driven back, swings his sword in flash- ing circles to defend the stair.l Canetto [Wriggling free from Ugolino. The monk in mail! Ugolino [Ptdls himself to Ms feet. Fiammal Where is my sword? Damiano The attack, Fiamma, signal the attack I Canetto Signal your dooml FlAMMA [She goes up the stair. Soldiers of Damiano 1 Soldiers of Christ 1 Soldiers of Mary Queen! Soldiers of God! Hear mel I am Fiamma! [She stands with Fioeenzo at the window of the gallery. A great shout greets her from the sea. The radiance of the torch shining upon her, she is a figure of colossal stature.^ 138 SWORDS [act hi This is the flame of my hourl This is the flame of my need! This is the flame of my simimons! Men of Damiano hiding on the sea To the attack! I, Fiamma, cry it to the desperate night 1 A rescue. . . A rescue. . . Damiano A rescue! A rescue! [Ugolino crashes drunkenly amidst the dibris of the table.] Canetto [Rmhes out, crying: I shall come back for you, Damiano. The gates! The gates! [The tumult of the attack begins. Her clear voice dominates it.\ Ugolino Preserve us, God, this is the escalade. . . Canetto [Outside. The Emperor! The Emperor! [The alarm bell sounds, trumpets blare, FlAMMA Oh, flame! Oh, flame! Oh, flame! Beacon upon the sea. Laughing, I hold you high against the firmament, Laughing, I throw your splendor far upon the waters, Laughing, I lift you to my battle shout! ACT in] SWORDS 139 [Tke tumult of the attack is at its height. The doors of the castle are crushed by great blows.} Flame, flame, oh, flame! Bum them! Destroy them! Stifle them! You are the breath of the Lord! You are the blood of the Savior! You are the crown of the Mother! [To and fro, across the stage, the fight swirls and eddies beneath Fiamma. Now they are on the stair, now in the doorway. Damiano's men, Dam- lANO himself, the soldiers of the garrison, Canetto — a mad blaze of sword blades.] Gloiy of stars! Glory of suns and suns! I bum my life out, glowing in this torch! I hurl my life away. . . I shout! I sing! I am triiunphant! I loose destruction on this place! I leap Winged across the sea upon your light! I am the angel of the flaming sword! I am Fiamma! I am Fiamma! I am Fiamma! I am the cause! I am the right! I am the woman! Excalibur, bom of my strength, Scatter their souls upon the windy sea, Scorch them to cinders in the furnaces Of Hell. . . Be vengeance to me! Oh, be vengeance! Be splendor, oh, be splendor! Excalibur. . . Excalibur. . . Kindle them! Inspire them! Create them! 140 SWORDS [act hi Enswathe theml Lend them your terrorl Lend them your light! Lend them your beauty I Out, flame, I fling you, blazing, to your prey, Out to the sea. . . Into the night. . . Against the stars! [She flings the torch forth. The curtain falls. THE FOURTH ACT The curtain rises again as soon as may be. The scene and situation are unchanged. The action has not been interrupted. FiAMMA is seen dimly against the mndow. She holds her breath and watches. Fioeenzo is beside her. The turmoil of the escalade continues. Two of Damiano's soldiers break in through the door. They attack Canetto who kills one of them. The other blocks the stair. Ugolino [Struggling to his feet. Crossbows! Where are your crossbows? Canetto The Emperor! The Emperor 1 Soldier [Damiano's man, fighting Canetto. Master, make for the window! Leap for the boats! Damiano What has happened? Soldier We were betrayed! [Canetto wotmds him. Ahl [He manages to clinch with Canetto. 141 142 SWORDS ACT iv] Damiano [He bounds up the stair which is blocked by the struggle.] We are betrayed. . . Now, Fiamma, now. . . FlAMMA Damiano. . '. A Soldier Damiano 's men are beaten! Fiamma Ah, leap into the sea! Damiano And leave you? Fiamma I shall leap after! Damiano Throw me the child, then. The boats are there. [He springs through the window, his sword still in his hand.] Fiamma [A great cry. Ah! . . . [Canetto strikes down the soldier who aided Damiano and leaps up the stair.] Fiamma Now, to my aid, oh, God! [She lijts FioRENZo to the ledge of the window but Canetto is too quick for her.] Canetto [Holding FiORENZO. Not he, Madonna. . . ACT iv] SWORDS 148 Ugolino Does he swim, Canetto? Canetto He churns the water with his arms. The water shines about him. . . [At the window. Damiano [A voice of agony from the sea. Fiamma, oh, Fiamma. . . FlAMMA Ahl . . We were betrayed 1 We were betrayed 1 [An intense silence. Canetto Give me a crossbow. . . Give me a crossbow, one of you. . . Fiamma Oh, no. . . [The crossbow is handed to him. Ugolino Silence. . . Canetto shoots. . . Canetto How white his face is even in the foam. . . [He has aimed and shoots quickly. I have killed Damiano. Ugolino God sped the shaft. . . Canetto A boat for him. . . a boat. . . 144 SWORDS [act iv Ugolino No, let him sink. . . Canetto This dripping carrion shall be Madonna's wedding gift. Ugolino Oh, yesl Canetto A boat. . . a bow. . . a barcarolle. . . After him, all of you. . . Leave us alone. [The others follow. FlAMMA Murderer. . . murderer. . . Canetto You who thought to outwit Canetto's wits. . . One thing you did not know. Madonna Fiamma, How every passage of this castle hid Its master's soldiers crowded in together Like arrows in the quiver. . . The soldiers of the Emperor, secretly Brought here this night by me. Even the Captain He did not know. Your ambuscade came to a sorry end. Madonna Fiamma. . . [He goes quickly and without a sound. [Fiamma catches her breath in short, dry sobs. She comes unsteadily down the stair. She goes to the door and stands listening. Fioeenzo watches her j ear fully. \ [A great shout from the sea. ACT it] swords 145 Canetto [Calls out behind and below. Madonna Fiamina. . . Madonna Fiamma. . . Here's for your arsenal! [A sword is flung in the door and jails clattering on the stage.\ Fiamma \Falls upon it, crying out in terrible agony. Damiano! Damiano I FlORENZO I am frightened, Mother. . . Mother, what is that sword? Mother. . . Fiamma [Struggles to her knees and prays frantically. She presses the cross-hUted sword against her heart. The words of her prayer are a broken and in- audible murmur.], Amen. . Amen. . . [Prayer continues. [Ugolino drops upon his chair and watches stU" pidly.] [Canetto enters. Fiamma Amen . . . Amen . . . Canetto Do not forget me in your prayers, Madonna, There is no single soul in all the world Has such a need as mine of intercession. [Something in him comes to life. With a very sim^ pie sincerity he adds:] 146 SWORDS [act IV I am a jongleur, who has learned too late, God meant him for a man. [He comes over to her. I did not kill Damiano. FlAMMA Ahl [She rises to her feet and faces him. Canetto His Moorish mail was strong. . . Yotir prayers were strong, Madonna. FlAMMA Oh, blessed Virgin! Canetto Pray and pray! It may be that you saved him! The brave discharge of your conspiracy Failed signally only because you did not know Ca- netto. Amen, I say. So easily! FlAMMA Canetto FlAMMA We come and go and laugh A little and endure our tears As bravely as we may. . . Amen is all. Do with us as you will. My son and I Have no more resource left. [The sound of shuffling feet in the passage off stage L., the sound of men carrying a heavy bur- den.] 4CT IV] SWORDS 147 Canetto Well, we shall see. Here is your husband, Fianima, My captive for the moments that are left Upon his dial of life. [As he speaks, four soldiers enter carrying between them the dripping form of Damiano lashed upon a rough bench. He is not qtdte uncon- scious.] He blows salt water bubbles when he breathes. How comical a tragedy! [FiAMMA bends silently over him. Fiamma, I pity you, you did not know What power opposed you. He is not sorely wounded. He will revive. FlAMMA And afterwards? Canetto Who knows? Fiamma He will be killed? Canetto What else? Fiamma And by what means? Canetto Here's deep revenge exacted and between This present and the aftermath of death Exaction must be perfect. We shall determine on the means, My master and myself. Ah, and you, too! [Smiles. 148 SWORDS [act IV FlAMMA Little Fiorenzo, This is the hour your manhood comes to you. Stand where your father's eyes may see you first, When they have cleared. His look Will be your accolade for life. Damiano, speak to me. . . Damiano Fiammal Is it death? FlAMMA There is no death. . . And there is no defeat. . . We are too strong. Damiano FlAMMA Damiano We were betrayed. I shall die. . . Give me your hand. My love. . . FlAMMA We two have loved. That is the link between God and ourselves. You see, Damiano, what an empty thing is death. Only our houses that we leave behind Are dead. . . There but the wind speaks in the empty rooms. There but the wind walks on the empty stairs, Emptiness there. But we! How splendidly We two stand in the light, Together! Damiano I have fought always. I could wish That I had died in this immediately. . . ACT iv] SWORDS 149 FlAMMA A song, a laugh, a sob. . . and darkness after. . . And then the sun again foreveiinore. Damiano I, in the fullest blooming of my summer. Must gravely laugh and go to the supreme, Making no question and no argument. What will become of you? FlAMMA You shall not go Alone away from here. FlOEENZO Mother, you will not leave me here? FlAMMA Oh, no, Fiorenzol Damiano What of Fiorenzo? FlAMMA What of my heart is his will stay with him Holding my body to protect his growth. What of my heart is yours will go with you, Taking my soul to bear you company. Damiano I am content. [He falls back. Canetto Bring in the other. [He speaks to a soldier who appears in the doorway. Two more soldiers appear.] These corpses. . . 150 SWORDS [act IV [He indicates the dead bodies which stUl Ite on the stage.^ Our little supper is not eaten yet. . . [To a soldier who is not carrying out the dead. Set this to rights. [The soldier proceeds to restore the table, etc. The wine is not yet drunk that we would drink. Master, you must choose now. Shall it be vengeance, now? Or love? For the occasion offers either, Developed to a nicety so subtle It were a pity to confuse the two. Ugolino What is the end? Canetto The end is death, The sedative of human misery. Ugolino Get quickly there. Canetto In time — in time, good master. . . Once you have made your choice Between your vengeance and your love. Ugolino I will not choose. Canetto You must choose one. You must give one or the other. [A look of jury from Ugolino. I have served you well tonight. Ugolino Give me the woman, then. ACT iv] SWORDS 151 Canetto [A long, bitter look at her. Beside my master, Fiamma! Ugolino [A cry of almost boyish despair. Fiamma! My Fiamma that I hate and love So wretchedly to my defeat, relent! Canetto So! Tonight's an orgy, now. I'll suck the occasion dry of what it holds. . . I have not yet begun. . . Here is the man she loves, here is the child. Since I have lost her love for me, I wreck My will upon her love for them and find Such satisfaction as I may. [He throws himself upon the stool whereon he sat before. 'I Where is my page? [Sees FiOKENZo Come fill My master's glass and mine. , . Before your father's spirit joins the stars I'll have him see you in future state Of serving me. The glass, I say, the glass. . . Fiamma Oh, no. . . Damiano Do with me as you will. Spare him. Canetto Pour wine. Pour wine. . . 152 SWORDS [act iv FlAMMA Oh, no. . . [FiOEENZO obeys. Canetto You see how well he leams? The child is hungry. [He tosses a scrap of meat to Fiorenzo. Here's for your appetite! FlAMMA [Snatching Fiorsnzo to her. Nol Canetto He is my page. . . who might have been a prince. Damiano Knave. . . knave. . . knave. . . [Struggles to break free. The guards hold him. FlAMMA God reckons with you! Ugolino, You will not tolerate this horrid business? Ugolino This sickens me, Canetto. [A soldier enters leading the Captain. His hands are bound, his head is bloody.^ Canetto Captain, you come in time. Your treachery Will presently be rewarded, But, for the moment, we resume our feast, Your seat awaits you. C,\PTAIN Madonna, I regret Nothing that I have done, ACT iv] SWORDS 15S Nothing that I may suffer. . . God be with you. [FiAMMA bows her head. [Now, except that the table is not lighted as before with candles, the composition of the picture is the same.] [The upper reaches of the tower are dark with the lustreless quality which precedes the dawn. Gradually a faint gray appears in the sky and the upper walls emerge.] Captain Here are we four again and as we were At Fiamma's feast of life That was illuminate with hope, That pulsed with sorrow. . . Here are we four again, With fruits and breads and meats and wines No more transfigured into living things. The light of hope is gone from us. . . Ashes, forevermore. Canetto Captain, Are you prepared to die? Captain Better than you. Canetto No doubt and far more like. Fiamma Oh, God, I cry to you for justicel Canetto Crylll There is no reason here. . . . Only that I will glut 154 SWORDS [act iv My senses 'till, for weariness, They shrink from satiation. Why take the woman. Master, since for me Love is not possible. Give me your vengeance, rather; let me teach You what delight there is in cruelty. Certainly I shall put Damiano To some insidious torture, Then I shall sleep. I'm tired! Captain Canetto ... oh, Canetto. . . . Canetto [The terrible jester is Ms element. Were I a-straddle of the pit of hell I should go on with this and drain my life Tonight of its sensation. I am goaded. Goad . . . spur and whip . . . a-gallop to the end! [A soldier enters in haste What is this interruption? The Soldier Ser Canetto, Another messenger is come from Rome. . . . Canetto Rome! Why do the crows flock here? This is the second. The Soldier Messire Canetto, here's another matter. Canetto They have their answer. . . . ACT it] swords 135 The Soldeee Canetto No. . . . Say what you fear, You quavering fool I The Soldier The mainland is in arms, The boats are out. Canetto Fishers and farmers 1 The Soldier The»Pope has spoken. Canetto Idiotl What of that? The Soldier A price upon your head and Ujgolino Is excommunicated. . . . Canetto [With a great shout of laughter. Master, the church has barred you from its shelterl Up Master, up! What's this? Asleep? Oh, nol And in your cups beneath This terrible arraignment? How great the power of anathema. That all the blighting curses of the church Cannot arouse one drunkard's sleep! Curse God and man and live forever morel [To the soldier. Go, man the gates again. Hold off the boats. Call Jacopone here to me ... oh .. . Fashion me crosses, I will have three crosses, And set them on the battlements. The sun 156 SWORDS [act IV Shall find six fish eyes staring out to sea To greet his riang. Three carcasses, stiff in the morning wind. These traitors are the thieves, this child the savior Upon my Calvary. And, at their feet This weeping Magdalen who led Crusades. Get hence about my orders. Where's Jacopone? Life will have life, lust, lust and death Cries out for company. Oh, world, world, world! I love thee more than heaven. [The soldier has gone. Only one remains. Jaco- pone enters.'] Good Jacopone, it must be the rack. . . . Our time is short. . . . Take torches and go down. . . . Carry Damiano after. . . . FlAMMA Mercy . . . mercy. . . . Canetto Will God be merciful to me? I fill This moment to the brim. Let be what may. . . . [He strikes her out of his way. Damiano God keep you, Fiamma. . . . Fiamma Not alone. . . I come. . . Along with you. [The trap has been opened and Jacopone goes down. He illuminates torches below. The smoky red light shines up.] Damiano [As Fiamma clings to Mm. Farewell. ACT iv] SWORDS 157 Canetto Down, take him down . . . [The soldiers take Damiano down into the pit. FlAMMA Have you no mercy? Canetto None . . . FlAMMA No price? Canetto No price that you will pay. Fiamma Oh, Godl [Canetto is beside himself. He rushes to the edge of the pit.] Murderer . . . murderer . . . murderer! . . , Canetto This is the festival of Lucifer! FlAMMA Oh, now . . . and in God's name, Canetto 1 Canetto Lucifer! . . . Lucifer. [A soldier appears in the window. The Soldier Messire Canetto. . . . Canetto Harder. . . . I cannot hear him scream. . . . 158 SWORDS [act IV The Soldier Messire Canetto! . What? [Shouting. Canetto {Pausing, exhausted^ The Soldier Three galleys in the east. . . Three galleys loom against the sky. . . They come upon us. Canetto The Pope in arms . . . how soon? The Soldier An hour. Canetto An hour. . , That's a year to me. . . Harder. I cannot hear him scream. . . Go up and watch . . . [The soldier disappears. [FiAMMA has snatched a knife from the table and leaps toward the trap where Canetto stands.] Canetto [Catching her. Oh, no . . . FlAMMA Great God . . . Canetto [Shouting down into the pit. Damiano, she would have killed you . . . Mercifully. . . . Damiano Fiamma . . . ACT iv] SWORDS 159 [FiOKENzo, who has cowered terrified in the corner, suddenly flings himself kicking and screaming at Canetto.] Canetto {Frees Fiamma and seizes Fiorenzo with a shout of triumph.] Here is the proper end. . . . Let be the father. . . . [From the pit the shouts of Damiano and Jaco- pone's voice. The sound of a blow and Da- MiANo's groan. A fall. Canetto goes partly down.] Canetto Damiano . . . have you killed him? Jacopone No, he's only stunned. . . . He'll come around. . . . Canetto So . . . then . . . Put on the child. [Fiamma has stood very near Canetto. Now she reaches toward him and grips his arm.] [He turns toward her and looks into her face. There is no mistaking what she means. He looks at her a breathless moment. An inaudible ex- clamation escapes his lips.] [Liberated by Canetto, Fiorenzo runs to the Cap- tain.] [Horrified, the Captain rises from his seat. His arms envelop Fiorenzo arui press the child's face against his body.] [Canetto staggers back, shuddering.] Canetto [Dizzily he brushes his hand across Ms mouth and 160 SWORDS [act IV eyes and then comes to himself. He goes to Ugolino.] Asleep? Captain Madonna Fiamma, No good is in this bargain. Canetxo Silence, old loon. . . Madonna Fiamma, Upon what terms, precisely? Fiamma Those two go free, out of this place, with all Immediate haste. To safety. Canetto And yourself? What will you do? Fiamma What you may ask of me Until I weary you. Canetto Have you gone mad? Fiamma Oh, no. I pay your price. Canetto You sober me. I do not buy. Fiamma You must. My husband and my child. ... I give the rest "^f me to you in payment. Canetto [Moved, probably for the first time in his life. ACT iv] SWORDS I6l What are you thinking, Fiamma? I am a dog, a kennel is my lodging. . . , Fiamma My bargain stands unaltered. I am prepared to share your kennel with you, To sleep beside you in your mire, to eat Foul flesh with you. Canetto No, Fiamma. FlAMM An hour, a night, a lifetime. If they go free. . . . I know you have no mercy. Captain God! Fiamma I do not think God will condemn this act, But in some mystic way Find it acceptable. Canetto You do this proudly. Fiamma I am not ashamed. Canetto In all my life I have not seen such courage. If I should die in this it were well worth So small a sacrifice. I own to the temptation, but I resist. For all I said, my habits are too strong. I will not be a traitor to my lord. . . And, lest you tempt me further, [He calls down into the pit. Jacopone, Fini^ him. 162 SWORDS [act IV FlAMMA I think you love me. Canetto [Holding his hand out to Jacopone in the pit. Oh, woman 1 FlAMMA I think you love me. Canetto Heaven and hell are very near akin, In you. FlAMMA Canetto. Canetto Oh, well. [He looks at the sleeping Ugolino. I am as he at last. . . . How will you do it? FlAMMA As you please, once they are safe away. Canetto [Calling down. Up, Jacopone. [Canetto and Fiamma stare at one another, the pit between them. Jacopone comes up.] You, Captain, lend a hand. . . . Unloose his bonds. [Jacopone slips the cords from the Captain's wrists. Bring up the man. [The Captain and Jacopone go down. Madonna, you are strangely calm. If I were one to doubt you, I'd think that you might take your life. [Fiamma shakes her head. Fiamma, I envy you. You are strong. [The Captain and Jacopone return carrying Damiano.] ACT IV] SWORDS 163 FlAMMA He is not dead? Captain Not dead, but only stunned. FlAMMA Much better so. He would believe me traitor. Now lay him gently down. [Damiano is placed on the bench. FlORENZO Oh, Mother . . . FlAMMA Hush. . . You must do as I tell you, now, Fiorenzo, And not be frightened . . . You must protect your father ... Go with him And when you come ... to the good hermit's cell, Say to the hermit I entrusted you To him, Fiorenzo, and remember me Always. [She kisses him. [The Captain makes to lift Damiano. She stops him. She turns to Canetto.] You will entrust them to the Captain? No. It must be as I say. Canetto FlAMMA Canetto [Looks at her a moment, then shrugs his shoulders. Captain, you will go free upon this errand. There's greater enterprise than punishment Afoot. I am the greater traitor. 164 SWORDS [act IV I atone the lesser's sin. Convoy this load of carrion Over the water. FlAMMA Captain, you know I trust you. Captain I know this is not lightly done. FlAMMA Stay on with them. Captain Forever, if you bid me. FlAMMA And tell them how this was. Canetto Go. FlAMMA [ She stops the Captain again. I will not speak with them, but only look. And swiftly pass. [She looks on Damiano and on Fioeenzo. Then she nods to the Captain. Damiano is carried out by the Captain, Jacopone and another soldier. Fioeenzo walks sturdily after them.] A breath of childhood came against my breast. . . . A kiss of childhood brushed across my lips. . . . My breast is dry again, my lips are dry. . . . The memory will vanish. [Canetto draws the emerald necklace forth and throws it over her head, holding it like a leash.] FlAMMA Canetto, grant my eyes A last unstained farewell. ACT IV] SWORDS 165 Canetto Go up ... go up. .. . FlAMMA [She turns toward the stair. Before me there was nothing. After me All things go on. {She ascends to the window. The stars are gone. I think That God was looking down upon this place And would not show his face to us, and, so, Extinguished them. Canetto [Awed. Who are you? FlAMMA I am the blinded horse Discarded from the wars. I turn the heavy millstone of despair Roimd, round and round. Canetto {He is almost shaken. Afterwards, What will become of you? I have an hour only. What will become of you afterwards? FlAMMA I shall go up to heaven joyfully To guard these fortunate memories of mine Lest future circumstance bewilder them. As a white, soaring sea bird I shall go Into the singing, white eternities. {Evidently the boat bearing its precious, tragic cargo has come into her sight. She leans far out of the window.^ 166 SWORDS [act IV Oh,, you, Fiorenzo and Damiano, now farewell! [She has looked her fill. She comes brokenly down the steps to the centre and begins to climb the other side. Stcddenly she stiffens and turns to Canetto, looking upon him as with an unearthly sense of power.] Canetto If I should die in this! [He moves to follow her, but her glance halts him. She continues toward the shrine and makes the sign of the cross before it. She does not pray. When she turns toward him again, there is a smile of triumph on her face. Her -voice rings out strongly.] FlAMMA Come when you will. [She goes into her room. Canetto Ah! [He starts. He glances at Ugolino. He laughs nervously. He hears the singing of the fisherman on the sea. He looks toward them. He listens to Ms master's steady breathing. He shrugs hts shoidders. He goes quickly to the stairs and mounts them. He stands a hesitant moment at the door of Fiamma's room. He starts to come down. He returns and goes in.] [From the sea comes the sound of a sailor's chantey. Chantey Strong is the heart of the Virgin, soft are her eyes! Chorus Ohe . , . ohe. . . . Chantey Gentle is she and lovely, kindly and wise! ACT iv] SWORDS 167 Chorus Ohe . . . ohe. . . . Chantey Her dais of amber and silver shines in the skiesi Chorus Ohe . . . ohe. . . . [The chantey intoned rhythmically, the chonts shouted.] Chantey Man that is bom of woman lives unashamed 1 Chorus Ohe . . . ohe. . . . Chantey Weakling is he and sinful, brute and untamed 1 Chorus Ohe . . . ohe. . . . Chantey But his soul is the soul of Mary the Virgin acclaimed I [Jacopone enters during the chantey. He looks at Ugolino who stirs uneasily. The castle is stirring again. A distant trumpet call, and a roll of drums. The clank of a chain as, perhaps, the portcullis is raised.] [A soldier comes in. The Soldier Hi, Jacopone 1 Jacopone Shhh Thb Soldier Relief. . . . Past time, you dolt. The fishers are abroad. Jacopone I hear them. 168 SWORDS [act iv The Soldier [Sees Ugolino. Eh, what? Again? She's a cold mistress. Does he always sleep Out here? Jacopone Silence, you swine. The Soldier He's drunk. God, man, But you look sick. . . . Jacopone And so would you. . . . The things that I have seen this night and heard! [He goes out. A ray of the rising sun strikes the tower and comes down from above direct upon Ugolino who stirs again. The soldier watches him for a few seconds. Then he sees the open trap, goes to it, looks down, closes it with a crash.] Ugolino Canettol Canettol The Soldier Not here, my lord. Ugolino [Befuddled still by wine. Where is he? The Soldier Couldn't say. I've been on guard all night. The galleys still hold off. Ugolino It's morning. ACT iv] SWORDS 169 The Soldier Day. There's matins ringing. [The bells are audible once more. Ugolino Then I've been sleeping. Is there wine there? [He rises clumsily, not yet fully awake. The sol- dier poters Mm mine and goes. He drinks it, looks about him, remembers. Sees the closed trap and mutters, scratching his head.] Ah, Fiamma. . . . Canetto, where are you? Canettol [A terrible suspicion crosses his mind. At this very moment Maddelena, Giovanna and Amina enter with their brooms and pails as though to clean the room. They stop at the door.] Maddelena Look at the master I Amina He has slept here again on the rushes. Ugolino [With a bellow of rage he catches up his sword where he had dropped it upon the table early in the act.] Harlot, he's in your chamber 1 You've got him in your chamber. [He lurches toward the stairs and up them toward the door of Fiamma's room.] [Off stage the sound of a faint babble of voices, very joyous and excited. As at the end of the first act, the burghers and women come from the village. The men are unarmed. The women 170 SWORDS [act IV carry palm leaves. They come quickly past the three servants and pause. They see Ugolino.] GlOVANNA [Crying out, in terror. Oh, God, he'll murder her! Ugolino Harlot 1 {He has reached the top of the stair and he pulls open the door of Fiamma's chamber. The full glory of the rising sun bursts upon him. He stag- gers back.] [Canetto's body has been huddled against the door on the inside. It falls out at his feet. A great wound in his throat shows us that he is dead.] Ugolino [His sword fails from his hand onto the stage. He clutches the body and drags it down the stairs, gasping.] Canetto. . . . Dead, but still warm. . . . Dead, but still warm. . . . There's blood upon him. . . , What did he there? Canetto, oh my brother, my Canetto! [The refrain of the chantey is fainter, but the matins bells have swelled jubilantly out. They seem to blend together in a hymn of triumph. So Fiamma enters, as one who walks gloriously from light into music. Her hands reach out before her. Her face is upturned to the heavens. The look in h^r eyes and the smile of her lips is somehow celestial. She comes quite steadily down the stair and goes toward the door. She is conscious of nothing but her supreme victory, her sublime joy.] ACT iv] SWORDS 171 A Woman [As FiAMMA appears. Madonna Fiammal A Burgher You are saved, Madonna! A Soldier Madonna, you shall go free! [He speaks as he bursts through the door, [The Nuncio enters with other soldiers. He pauses at the sight of Fiamma.J A Burgher She has killed Canetto. The Nuncio Not she, but God . . . She was God's instrument. [Ugolino makes one motion toward the divine woman and shrinks back aghast against the wall. As she passes him, his eyes follow her.] A Woman Madonna, you are saved! Oh, Madonna! [The last words in complete awe. She sinks to her knees. All the others kneel.] [A radiance of light shines in through the door upon FiAMMA. The women kiss the hem of her dress. [She is gone out through the door into the music. She will walk dry shod over the waters. A tri- umphant shout greets her.] FIAMMAl MADONNA FIAMMAI THE END