PRICE 35 CENTS THE ORIGINAL ITALIAN, FRENCH OR GERMAN LIBRETTO WITH A CORRECT ENGLISH TRANSLATION. MONNA VANNA THEATREr TICKET OPF-IC& y^^^ III BROADWAY. NEW YORK "'^^Z TRINITY BUILDING THE ONLY CORKEaAND AUTHOfilZED EDITION Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http ://www. arch i ve . o rg/detai Is/cu31 924090833462 LL UNIVERSITY LIBRARY 1924 0a0_8.33_462_„ MONNA VANNA 1. NEW YORK : G. SCHIRMER Pabi8 : LiBRAiBiE Charpentieh ET FASaUEIXI All rights of reproduction, translation and representation reserved for all countries, including Denmark, Sweden and Norway. Copyright, 1908, by Heugel et C'e Copyright, 1913, by G. Scbirmer G. & 24532 MONNA VANNA Drame Lyrique en quatre actes et cinq tableaux Repr6sent6 pour la premiere fois k Paris sur la scSne de I'Acad^mie Nationale de Musique le 13 Janvier 1909. PERSONNAGBB GUIDO COLONNA, commandant de la garnison pisane MM. Marcoux. MARCO COLONNA, pere de Guido Delmas. PRINZIVALLE, capitaine k la solde de Florence Muratore. TRIVULZIO, commissaire de la R6- publique florentine Cerdan. BORSO, lieutenant de Guido Conguet. TORELLO, lieutenant de Guido Triadou. VEDIO, secretaire de Prinzivalle Nansen. GIOVANNA (MONNA VANNA), femmede Guido Mile. Bk&val. Seigneurs, Soldats, Paysans, Hommes et Femmes du PEUPLE, etc. Les 1", 3* et 4« actes cL Pise; le 2« devant la vilk. (Fin du xv« sihcU) MONNA VANNA LYRIC DRAMA IN FOUR ACTS AND FIVE TABLEAUX GIVEN FOR THE FIRST TIME AT THE AcAD^MiE Nationale de Musique in Paris January the 13th, 1909 CHARACTERS GUIDO COLONNA Commander of the Pisan Garrison MARCO COLONNA Guido's Father PRINZIVALLE General in the pay of Florence TRIVULZIO Commissioner of theFlorentine Republic Guido's Lieutenants BORSO TORELLO J VEDIO Prinzivalle's Secretary . GIOVANNA (MONNA VANNA) Guido's Wife Nobles, Soldiers, Peasants, Crowd (Men and Women), etc. Acts I, III & IV at Pisa Act II, outside Pisa Period: The end of the Fifteenth Century STORY OF-THE OPERA The garrison and inhabitants of Pisa, after a long siege by the Florentines, are in the last extremity; both munitions of war and supplies of food are exhausted, and the commandant, Guido Colonna, and "his officers are reduced to despair. Guido has sent his own father, Marco Colonna, as an envoy of Prinzivalle, the com- mander of the besieging army; the aged envoy has over- stayed the expected time and (at the opening of Act I) the son is a prey to the gloomiest forebodings. Marco enters unannounced. In answer to insistent question- ing, after the first outburst of joy over his safe return, he tells of his hospitable reception by the dreaded foe, dwells on the favors shown him and finally, as it can no longer be put off, tells his son that Prinzivalle has agreed to send a great convoy of provisions and ammunition to relieve the starving Pisans, if Guido, in return, will consent that his wife Giovanna, familiarly known as Monna Vanna, shall come to Prinzivalle's tent the next night, unattended, and clad solely in her cloak; he promising that she shall return to Pisa at the following dawn. Guido, horrified at the barbarous and inexpli- cable demand, plies his father with questions until he hears that Prinzivalle loves Giovanna, although the latter declares that she has never seen him, and further, that Marco has already informed Giovanna of the entire affair. Pressing to know whether Giovanna had said that she would consent, the.question is parried by Marco with another: Would Guido consent, if she did? To this Guido replies affirmatively, declaring that in such a case he would feel that all his love had been but a dream. Giovanna enters, passionately greeted and in- coherently questioned by Guido, who tells her to give his father a reply befitting the baseness of his thought. She turns to Marco saying simply, "My father, I will go this night!" and Marco, kissing her br(Jw, responds that he knew it. Guido, at first stunned, breaks out in furious raving ; his frenzy finally exhausts him ; he repulses Giovanna's advances. At the end she goes out slowly, without turning back to look at him. The second act opens in Prinzivalle's tent; he is busied at a table as Vedio, his lieutenant, enters to inform him vii VIU that Marco has not returned to give himself up, as he would have done had Giovanna rejected Prinzivalle's proposal; the latter steps to the door of the tent to see whether the bright light on the campanile, the signal agreed upon to herald Giovannals coming, is burning. Seeing it, Prinzivalle falls into an ecstasy which is rudely interrupted by the approach of Trivulzio, an official sent by the Florentines to spy upon Prinzivalle, who has discovered his treacherous mission and now openly taxes him with it. Trivulzio attempts to stab Prinzivalle, who disarms him and turns him over to the guard. (This incident throws into stronger relief the disfavor with which Prinzivalle is regarded by his Flo- rentine employers, grown suspicious on account of his long delay before Pisa.) After this episode his case is desperate indeed, even his life is no longer safe. But Prinzivalle recks not of danger — he is lost in love-dreams. A shot is heard; Vedio goes out to seek the cause, and returns to usher in Giovanna, who, enveloped in her great cloak, hesitates on the threshold, saying in a choked voice, "I am come, in accord with your desire." Prinzi- valle tremblingly nears her, remarks a bloodstain on her hand, and learns that the sentry had wounded her, slightly. All tender solicitude, he inquires if she suffers, — if she has decided, — if she regrets her decision, — to which she replies, "Weis it required that I should come without regrets?" He pursues: He will let her go free, if she will; to which she answers simply that she will not, that her people are dying of hunger. He asks, "You are unclothed, save for that cloak?" and as she makes as if to open it, he prevents her with a swift ges- ture. Again he asks whether she had seen, on her ap- proach, the herds and the laden wagdn-train waiting for the word to depart, and whether she would like to see them move on to Pisa; the signal is given, and the relief -train starts for its destination by flaring torch- light. He now begs her to rest on his couch; then, kneeling at its foot, he seizes her hand and pours out his heart to her, calling to her recollection their meeting in a Venetian garden years ago, when she was a child of eight and he a boy of twelve; recalling each trivial incident, even her very words at every meeting; telling her how his_ father had suddenly taken him away with- out the possibility of leavetaking ; how, after long wander- IX ings, he had returned to the spot to find the house vacant and the garden a wilderness — and worse, that she whom his heart had cherished all those years was the bride of a Tuscan lord. In desperation he had become a mer- cenary in the Florentine army, bereft of hope and caring naught for life, until fortune had set him down there as general-in-chief over Pisa's besiegers. The tender, impassioned recital of his faithful love awakens slumber- ing memories of her childhood and touches Giovanna's heart; still she remains, outwardly at least, firm in her devotion to Guido, though Prinzivalle asks her doubtfully whether she really loves her husband. But his own love for her is so genuine that she now requires no reassurance that he means her no harm; she feels absolutely safe with him. When he asks, "Could you have loved me?" she gently responds, "If I could tell you that I could have loved you, should I not love you already, Giannello?" — ^Vedio, now reentering in hot haste, informs his master that he has already been pro- claimed a traitor by the Florentine commissioner who has just arrived in the camp with six hundred men, and that he must fly instantly, would he save his life. When Giovanna asks him whither he would flee, he replies that it makes little difference — the world will offer him some refuge. But she suggests, then insists, that he, her savior from shame, shall come with her to Pisa, promising him safety and full protection as an honored guest. And so, their way lighted by the illuminations of the city and with the glad shouts of the rescued citizens ringing in their ears, the two' go out together. The scene of Act III, a great hall in Guido Colonna's palace, shows Guido, Marco and officers anxiously a- waiting Giovanna's return — Guido in the depths of misery, writhing under the shame and dishonor he sup- poses he has suffered, while Marco attempts to dissuade him from violent deeds when Giovanna shall come back. Guido, exclaiming that he will pardon her when "that man" no longer lives, curses his aged father as the author of his wretchedness. Outside, tlie acclamations of the citizens are heard, swelling to a mighty chorus; it is Giovanna approaching, borne in triumph by the delirious multitude, and accompanied by Prinzivalle, who shields his face from their curious gaze. As she mounts the stair. Marco throws down flowers in trembling eagerness, and embraces her as she enters the hall. He would lead her to Guido's arms; but the latter, in imperious tones, bids the crowd and his officers to depart and leave them alone. He coldly repulses Giovanna's endearments; presently, catching sight of Prinzivalle, who stands motionless by himself, he snatches a halberd from a soldier and would strike him; but Giovanna interposes, crying out, "It was he who saved me!" "Ay," replies Guido bitterly, "when it was too late!" But as soon as Giovanna, in feverish haste, has explained that this man who saved, spared and respected her is none other than Prinzivalle himself, Guido, his brain in a whirl, bursts out in savage exultation, calling back the crowd, disregarding Giovanna's protestations and asseverations, feeling only that he has his hated foe in his grasp. In his frenzied state he cannot be made to comprehend that Prinzivalle has, in sober truth, treated Giovanna like a beloved sister; that she, far from being untrue to him in thought or deed, loves him as a true wife should; his distorted fancy depicts her merely as having treacherously lured Prinzivalle into the city to deliver him up to a barbarous vengeance for cruellest injury. When Gio- vanna at last makes him hear that Prinzivalle spared her honor "because he loves her," he is stupefied, and calls upon all present to say whether they believe her; Marco cries, "I believe her!" only to be bitterly reproached with being her accomplice in crime. Worn out by conflicting emotions, Guido brokenly calls on Giovanna to tell him the truth, promising that she and the man whom Guido thinks to be her paramour shall both go free if she will but confess. As Giovanna reiterates the exact truth, Guido's mood changes to one of ferocity; he commands that Prinzivalle be cast into the deepest durtgeon, telling Giovanna that she shall never see him again — that he (Guido) will bring her his last words. And now Giovanna, outraged and scoffed at by her own husband, and filled with tenderest pity for the man who, inspired by the most chivalrous passion, had given her back unsullied to her rightful lord, and trusted his life to her word, throws herself between them, wildly exclaiming (de- spite Prinzivalle's frantic protests) that she has lied, that Prinzivalle had really taken her as he had threat- ened, that she hates him ahd only desires vengeance, XI that she alone will be his jailer; feigning an ecstasy of cruel triumph, and pretending to bind Prinzivalle's hands herself while chaining him is such wise that he can readily extricate himself; — at the same time whisper- ing to Prinzivalle that she will rescue him — that she loves him. As he is led away, Giovanna is caught half-fainting in the arms of Marco, who alone of all present comprehends the meaning of the scene, and whispers her that he understands and will aid her. Gio- vanna finally masters her emotion so far as to exact and receive Guido's promise that the key of the dungeon shall be delivered into her keeping. The fourth act discovers Prinzivalle in his prison- cell, divesting himself of the fetters with which he was so lightly bound: "See! my hands are free and stretch out toward her! But she — ^what can she do? Does she not know that hatred is yet stronger than love?" — Abruptly the cell-door opens, and Giovanna herself ap- pears. Prinzivalle rushes forward ; they embrace passion- ately. She, disengaging herself, says in a low voice, "Silence! we have but a moment! They do not know that I have the key to the other door — comel" And throwing open the door at back, a flood of sunshine and a fair prospect of green fields meet the astonished vision of Prinzivalle; it is the open country outside Pisa's walls, and together they go forth to freedom. MONNA VANNA MONNA VANNA ACTE PREMIER Une salle dans le palais de Guido Colonna. On apergoit par une des f entires ouvertes la campagne pisane. — Au lever du rideau, on entend au dehors grander I'Stneute... rumeurs, oris, coups de feu. SC£NE PREMlfiRE GUIDO, BORSO, TORELLO {Au dehors le peuple crie : Mort! A mort! Mort a Guido! A mort! — Entrent Guido et ses lieutenants Borso et Torello. lis vont & la bate dufond et regardent -anxieuse- ment au dehors.) GUIDO Encore ces crisd'alarme... le peuple meurt defaim... II envahit la place, il s'approche du palais... Mes gardes m'abandonnent! (Avec desespoir.) Seigneur! Dieui... Tout est perdu ! C'est I'agonie de Pise. Vehise est impuissante et nous livre k Florence! (Le peuple continue d crier au loin: Mort! A mort! Guido!) TORELLO Mes hommes n'ont plus rien, plus une flfeche, plus une balle... BORSO J'ai lanc6 hier notre dernier boulet, et,, n'ayant plus que leurs dp6es, las Stradiotes mimes refusent de com- battre... MONNA VANNA FIRST ACT A room in the Palace of Guido Colonna. The country round Pisa is seen through an open window. As the Curtain rises, the mutterings of rebellion are heard out- side; uproar and clamours. FIRST SCENE GUIDO, BORSO, TORELLO {Without the inhabitants are shouting "Death! To death! Death to Guido! To death!" — Guido enters, with Borso and Torello, his lieutenants. They go to the bay at the back and look out anxiously.) GUIDO Again, that clamour and tumult ! — ^They starve, even to death. — ^They come surging and thronging, they ap- proach nigh to my house. — By my guards I am aban- doned! {In despair.) Oh, Lord! Merciful God! — All is now lost! Pisa lies in her death-throes; and Venice, baffled and helpless, betrays us to Florence! {The distant cries continue: "Death! To Death! Guido!") TORELLO My men have nothing left, they have no arrows, they have no bullets. BORSO Our last ball was spent yesternight, and now that swords alone are left them, even the Stradiotes refuse to join in the combat. 4 MONNA VANNA Acte 1" GUIDO Dans notre d6tresse, j'ai envoyd mon propre p^re aupr^s de Prinzivalle pour traiter avec lui. C'etait un otage sacr6... il n'est pas revenu. TORELLO II reviendra... Prinzivalle n'est pas un barbare. On le dit violent, fantasque, mais loyal... et je lui remettrais sans crainte mon 6p6e... GUIDO Ne la remettez pas tant qu'elle peut vous ddfendre!... Nous le verrons k I'ceuvre, et nous saurons bientSt qui de nous a raison. En attendant, il faut d'abord apprendre k tous I'entiere v6rit6. Les deux armies que Venise envoyait cl ndtre aide sont elles-m^mes assi6g6es par les Florentins. Nous sommes isolds du reste de la terre et livrds sans defense k la haine de Florence! C'est une lutte sans merci oii la vie et la mort restent seules en presence... oii nos femmes, nos enfants... SC£NE II Les m^mes, MARCO {Entre Marco. Guido I'apergoit et court d. sa rencontre pour I'embrasser.) GUIDO Mon pfere! Par quel miracle heureux Stes-vous revenu, quand je n'esp^rais plus!... Vous n'ites pas bless6?... Vous marchez avec peine... Vous ont-ils tortur6? Avez- vous 6chapp6?... Que vous ont-ils done fait?... MARCO Rien! Dieu merci!.. . Ce ne sont pas des barbares! lis m'ont accueilli comme on accueille un h6te qu'on v6n^re. Prinzivalle avait lu mes Merits. Si je marche k peine, c'est que je suis bien vieux et reviens de bien loin... Savez-vous qui j'ai vu aupr^s de Prinzivalle?... GUIDO Les commissaires de Florence... Act Ji MONNA VANNA 5 OUIDO * In our distress I bade my own father seek Prinzivalle to hold parley for truce. He went as a sacred hostage — he has not returned. TORELLO He will return — Prinzivalle is not a barbarian. He may be ungentle, fantastic, but he is true, and unfearing. To him I would surrender my sword. GUIDO Surrender it not, while it has power to defend you ! — ^We shzill find him stirring, and we shall know ere long which is right, you or I. Meanwhile, first of all, the people must learn the truth of our pUght. The two armies sent by Venice to help and relieve us are belea- guered in turn by Florentine hordes. And we are alone, cut off and defenceless, given over as a prey to the hate- ful greed of Florence! It is a stern, merciless war, with life and death alone in oUr midst; where our children, our wives — SCENE II The same, with MARCO. (Marco enters. Guido sees him and runs to meet and embrace him.) GUIDO My father ! What miraculous boon has restored you to us, when I had lost hope! — ^You are not wounded?: — Your feet drag behind you — have they tortured you, and did you escape? — ^What have they done to you? MARCO Nothing! God be thanked! They are true men, not barbarians! They gave me welcome such as they would give the guest of honour. Prinzivalle was versed in my writings. If my feet drag behind me, it is because I am old and I come from afar. — ^Would you know whom I saw in Prinzivalle's tent? GUIDO The Commissioners of Florence? 6 MONNA VANNA Acte P' MARCO Non! Celui que j'ai vu, c'est Marcille Ficin, le maitre v6n6r6 qui r6v61a Platon. Nous 6tions comme freres qui se retrouvent enfin... nous parlions d'Hdsiode, d'Aris- tote et d'Homfere... II avait ddcouvert, dans un bois d'oliviers, pr6s du camp, enfoui dans le sable; un torse de d6esse si ^trangement beau que, si vous le voyiez, vous oublieriez la guerre... Nous avons creus6 plus avant, il a trouv6 un bras, j'ai d6terr6 deux mains si pures, et si fines, qu'on les croirait form6es pour cr^er des sourires, r^pandre la ros^e et caresser I'aurore. GUIDO Mon p^re, n'oubliez pas qu'un peuple meurt de faim... Ce n'est pas pour un torse ou des mains mutil^es que vousttes all6 Ik... Que vous ont-ils appris? Florence ou Prinzivalle, que vont-ils faire de nous?... Dites vite... qu'attendent-ils?... Entendez-vous ces malheureux? lis cnent sous nos fengtres... (Sombre.) lis se disputant 1 herbe qui pousse entre les pierres... MARCO C'eat juste!... J'oubliais que vous faites la guerre quand renait le printemps, quand le ciel est heureux comme un roi qui s'^veille, quand la mer se soulSve comme une coupe de lumiere qu'une d^esse d'azur tend aux dieux de I'azur, quand la terre est si belle et aime tant les hommes!... Done j'ai vu Prinzivalle et je lui ai parM... J'allais comme Priam sous la tente d'Achille, je croyais rencontrer une sorte de barbare, arrogant et stu- pide, toujours convert de sanget plongd dansl'ivresse... Je croyais affronter le d^mon des combats, aveugle, mcoh6rent, perfide et d6bauch6... GUIDO Et Prinzivalle est tel, sauf qu'il n'est pas perfide.'.. MARCO II 2f; iniv^^l''? """ homme sensible k toutes les beaut^s. II est doux et humam, et n'aime pas la guerre... II sert k Act I MONNA VANNA 7 MARCO No! The man whom I saw was Marsilio Ficino, the venerated scholar who revealed Plato to us. He and I were as brothers meeting together at last. We dis- coursed upon Hesiod, Aristotle and Homer. He had brought to light in an olive grove near the camp, em- bedded in sand, the torso of a goddess, so marvellously wrought that when you saw its form, the war was all forgotten. — In the sand then further we delved; he chanced to find an arm, and I two slender hands, so pure in their beauty, that you would deem them made to fashion smiles and laughter, to shed the dew afar and to caress the morning. GUIDO My father, do not forget, a people starves to death. — It was not for a torso or mouldering limbs that you WMit forth to the camp. What is the news from Florence? What news of Prinzivalle? What is their will with us? — Say quickly, why do they wait ?^Can you not hear those poor men, that moan beneath our windows? They even fight for the grass that grows between the stones. MARCO You speak truly !— I forgot that men now were warring when spring comes again, when the sky is rejoiced as a king that awakens, when the sea, too, arises, fair as a cup fashioned of light, held by a goddess as gift to gods of azure heav'n when the earth is so radiant, and loves all men so well! — ^Yes, I saw Prinzivalle, and with him I spoke. I went even as Priam to the tent of Achilles, thinking to find in his lair just a boor, a snarling savage, rude in speech, and a braggart, a wild besotted clown,with his hands steeped in blood. And I thought to confront the incarnate fiend of war, a madman, blind and de- praved, a false, treacherous brute — GUIDO And such is Prinzivalle, save that he is no traitor. MARCO Love and respect I found for all the beauties of this life. He is kind and humane, and takes no joy in war- 8 MONNA VANNA Acte 1« contre-coeur une r6publique sans foi, il se salt condamn6... Florence, toujours ingrate, I'accuse de trahison. t^ise ddtruite et la guerre achevde, la mort et la torture I'attendent au retour... II connatt done son sort. GUIDO Bien, que propose-t-il? MARCO II promet d'introduire dans la ville un convoi de vivres et de munitions qui vient d'arriver en son camp... GUIDO Comment fera-t-il?... MARCO Je ne sais. Guroo Que veut-il en ^change? MARCO Voilk I'instant, mon fils,. oil les mots sont cruels et puissants. Voilk I'instant, mon fils, oil quelques paroles empruntent tout k coup la force du Destin et choi- sissent leurs victimes! Je tremble quand je pense que le son de ma voix, la fagon de les dire, peut causer tant de morts ou sauver tant de vies!... GUIDO, impirieusement. Parlez... MARCO Eh bien, ce grand convoi, ces vivres que j'ai vus, des chariots pleins de vin, de fruits et de llgumes, des troupeaux de moutons et des troupeaux de boeufs, de quoi nourrir un peuple pendant des mois entiers, tous ces tonneaux de poudre et ces lingots de plomb, de quoi vaincre Florence, et faire refleurir Pise... tout cela entrera d^s ce soir dans la ville, si vous envoyez en ^change, pour la livrer k Prinzivalle durant une seule nuit, car il la renverra aux premieres lueurs de I'aurore, niais il exige, en signe de victoire et d'abandon, qu'elle vienne seule et nue sous son manteau... Act I MONNA VANNA 9 ring.^Reluctant he fights; serving a treacherous state, he knows he is doomed. — By Florence, ungrateful ever, he stands of treachery accused. Pisa destroyed and the war at an end, death and torture await him on return so he knows his fate. GUIDO Well, what does he say? MARCO He will undertake to send into the city a convoy of food and ammunition, lately come into his camp — GUIDO How can he do this? MARCO I know not. GUIDO What does he ask in exchange? MARCO The moment comes, my son, when mere words can be cruel in their strength. The moment comes, my son, when simple phrases can borrow in a flash of time the force of Fate and can mark down their poor victims! I tremble when I think that the sound of my voice and my words as I speak them can cause so many deaths or save so many lives! GUIDO, imperiously. Speak! MARCO Behold, all this I saw, this great convoy of food, all these wains filled with fruit and wine, barley and grain, all these fair flocks of sheep, herds of cattle in droves, on which even a nation could thrive a month or more, all these barrels of powder, bars of iron and lead, for the humbling of Florence, to revive the glory of Pisa. — ^All of these shall come into the city to-night, if you will but send in exchange, to yield her to Prinzivalle for one single night — for she shall return at the earliest rays of dawn — but he demands, in token of victory and sub- mission, tliat she go alone and unclothed, save for her cloak — 10 MONNA VANNA Arte P GUIDO Qui? Mais qui done doit venir?.. MARCO Giovanna GUIDO Qui?... Ma femme? Vanna?... MARCO Oui, ta Giovanna... je I'ai dit., GUIDO Mais pourquoi ma Vanna, s'il a de tels d^sirs?... II y a mille femmes... MARCO C'est qu'elle est la plus belle et qu'il I'aime... GUIDO II I'aime?... Oil I'a-t-il vue?... II ne la connait pas... MARCO II I'a vue, la connait, mais n'a pas voulu dire depuis quand, ni comment... GUIDO Mais elle, I'a-t-elle vu?... Oii I'a^t-il rencontrde?... MARCO Elle ne I'a jamais vu ou ne s'en souvient pas. . GUIDO Comment le savez-vous? MARCO Elle-mSme me I'a dit. GUIDO Quand? MARCO Avant que je vinsse vous trouver. Act I MONNAVANNA 11 GUIDO Who? But who is to go? MARCO Giovanna — GUIDO What? My wife? — ^Vanna? MARCO Yes, your Giovanna. — I have said it. GUIDO But why my V^nna, if such be his mood? There are thousands of women — MARCO Because she is the fairest, and he loves her. GUIDO He loves her? Where has he seen her? — He knows her not. MARCO He has seen her, he knows her, but would not say either when or how. GUIDO But she, has she seen him? — ^And when did they — meet? MARCO She has never seen him, or does not remember. GUIDO But how do you know this? MARCO It was she told me herself. GUIDO When? MARCO Before I came unto you. 12 MONNA VANNA Arte 1« Guroo Et vous lui avez dit?... MARCO Tout. GUIDO Tout?... quoi?... Tout le march^ infime!... Et vous avez os6?... MARCO Oui. GUIDO Et qu'a-t-elle r6pondu? MARCO, simplement. Elle est devenue pSle et elle s'est 61oign6e sans parler. GUIDO, ne se contenant plus. Non! il n'est pas possible que la crainte de la mort et les ravages de la vieillesse aient pu vous affoler jusqu'^ livrer ainsi mon unique bonheur, tout mon amour et toute la joie de ma vie! Ma Vanna! Quand je pense a ce tendre visage qu'un regard fait rougir! Quand je pense k ce corps adorable que moi, son 6poux, je n'osais d^voiler de peur de le ternir d'un frisson d6fendu. Ma Vanna! Vous ne I'obligerez pas k partir malgr6 elle... et son consentement, I'avez-vous demand6? MARCO, hisitant, presque timide. Et consentirais-tu, si elle r6pondait oui?... GUIDO, tressaillant, en proie d, la plus cruelle Amotion, puis rSsignS et douloureux. Sa r^ponse, je I'accepte ici mSme et d'avance, aveu- gl6ment, obstin6ment, irr^vocablement. {Douloureux, mats ferme.) Si elle n'est pas la mSme que la mienne, c'est que nous nous sommes tromp^s I'un et I'autre depuis la premiere heure jusqu'i ce dernier jour, c'est que tout notre amour n'dtait qu'un grand mensonge Act I MONNA VANNA 13 GUIDO Then you have told her? MARCO AM. GUIDO All? — ^What! — ^All this infamous bargain? — ^And you dared to tell her? MARCO Yes. GUIDO And she, what did she say? MArxo, simply. She went pale, then left me with never a word. GUIDO, losing all self-restraint. No! Would you dare persuade me that death, threat- ening near, and old age, ravaging your senses, can so wilder your mind that you would thus betray my supreme joy in life, all thati love, and all the delight of my being ? My Vanna! When I think of that face, pure and tender, which would fire at a glance! When I think on that body I worship, which I, her dear lord, never dared to unveil, in fear lest my caress should rob it of its bloom! My Vanna! You will not force her to go in despite of herself. — Did you ask it of her, her consent to this quest? MARCO, hesitating, more than half afraid. And would you too consent, if she answered yes? (Guido reels, in bitter agony; then, with the anguish of one restrained.)' GUIDO Her answer, I accept it even now, and beforehand, in blindest faith, with stubborn heart, with oath beyond recall. (Distraught.) And if her reply be not one with mine, then have we two been deceived each in other, deceived from our first moment even to this last day. All our great love has been merely a falsehood that is 14 MONNA VANNA Acte 1" qui s'effondre, c'est que tout ce que j'adorais en elle ne se trouvait qu'ici, dans cette pauvre tSte trop cr6dule et qui deviendrait foUe, dans ce malheureux coeur qui n'avait qu'un bonheur et n'aurait aim6 qu'un fantSme!... sc£:;^E III Les MSmes, VANNA {On entend le murmure d'une foule qui ripHe au dehors : Monna Vanna! Monna Vanna! — La parte du fond s'ouvre, et Vanna, seule et pdle, s'avanc,e dans la salle, tandis que, sur le seuil, se pressent, en se dissimulant, des hommes et des femmes qui n'osent pas entrer. — Guido, ayant apergu Vanna, s'Slance au-devant d'elle, lui prend les mains, lui caresse le visage et I'embrasse avec une ardeur fiSvreuse.) GUIDO Ma Vanna!... Qu'ont-ils fait?... Non, non, ne redis pas les choses qu'ils ont dites!... Laisse-moi voir ton front et plonger dans tes yeux... Ah! tout est rest6 pur et loyal comma I'eau ot se baignent les angesi... lis n'ont rien pu souiller de tout eg que j'aimais; et toutes leurs paroles tombaient comme des pierres qu'on lance vers le ciel sans troubler un instant la clartfe de I'azur! Quand ils ont vu ces yeux, ils n'ont rien demand^, j'en suis sflr... lis n'ont pas exig6 de r^ponse; leur clart6 r6pondait. Elle mettait un grand lac de lumiere et d'amour que rien n'eflt pu franchir entre leurs pens6es et la tienne... Mais maintenant, regarde, approche-toi... II y a ici un homme que j'appelle mon p^re... Vois, il baisse la t§te; ses cheveux blancs le cacUent... II faijt lui pardonne'r; il est vieux et se trompe... II faut avoir piti6; il faut faire un effort; tes yeux ne suffisent pas k le dissuader, tant il est loin de nous... II ne nous connatt plus... notre amour a passk sur sa vieillesse aveugle comme une pluie d'avril sur un rocher crayeux... II n'a jamais saisi un seul de ses rayons; il n'a jamais surpris un seul de nos baisers... II croit que nous aimons comme ceux qui n'aiment pas... II lui faut des paroles pour comprendre, il lui faut la rd^onse... Va! dis-lui ta reponse. VANNA, s'approchant de Marco. Mon p^re, j'irai ce soir. Act I MONNA VANNA 15 crumbling, and all that I adored in her has existed alone in this poor head of mine, foolish and trusting, that believed even to madness, in this suffering heart that but lived for one joy, well content to love but a phantom ! SCENE in The same, with VANNA. {The mutterings of a crowd are heard without: "Monna Vanna! Monna Vanna!" The door at the back opens, and Vanna, pale and alone, comes into the room; on the threshold, trying to hide themselves, are Men and Women, half afraid to enter. Guido, seeing Vanna, rushes towards her, seizes her hands and embraces her passionately, with feverish caresses,) GUIDO My Vanna! — ^Tell me all! — No, no, tell me not the things they have been saying! Let me discern your mien, and let your eyes meet mind — ^Ah ! All is still as pure and as clear as the spring where the angels bathe. They could not sully aught of all that I did love; lo, all their words and questions have fallen like the stones that are cast into the air and disturb not the calm of the' clear blue of heaven! When they beheld those eyes, they could ask nothing, I swear! — ^Those pure eyes made reply, and by their clearness was formed a great lake of light and love, that none could overleap, sundering their thoughts far from yours! — But now, come hither, heed my words. — ^There is one here, a man — ^whom I call my father. — ^See, he bows his head, and his white hairs conceal him. Be kind unto his fault; his old age has deceived him. — ^And think of him with pity; now must effort be made; your eyes suffice not to turn his purpose, for he is far from us now. — He knows us no more — for the tide of our love passed over his blind dotage as flows an April rain that falls on whitened rock. He never caught the gleam of one ray of our love, he never caught the fire from one single kiss of our lips; he thinks that we two love even as 3iey who know not love. He must needs have words ere he understand you, he must needs have an answer. — Come! Tell him your answer. VANNA, approaching Marco. My father, I will go this night. 16 MONNA VANNA Acte 1» MARCO, la baisant au front. Ma fille, je savais... GUIDO Quoi?... Que lui as-tu dit?... Parles-tu pour lui ou pour moi?... VANNA Pour toi aussi, Guide... J'ob^irai ce soir... GUIDO Mais k qui? Toilt est 1^, je ne sais pas encore... VANNA J'irai ce soir au camp de Prinzivalle. GUIDO Pour te donner k lui comme il I'a demand^? VANNA Oui. GUIDO Pour mourir avec lui?... Pour le tuer avant?... Je- n'avais pas song6... Cela, du moins cela, et je compren- drai tout... VANNA Je ne le tuerai pas; la ville serait prise... GUIDO Quoi?... C'est toi!... Mais tu I'aimes! tu I'aimais... Depuis quand Taimes-tu?... VANNA Je ne le connais pas; je ne I'ai jamais vu... GUIDO Mais tu sais comme il est?... Sans doute ils ont parl6... lis ont dit qu'il 6tait... VANNA Quelqu'un m'a dit tant6t que c'^tait un vieillard... je ne sais rien de plus... Act I MONNA VANNA 17 MARCO, kissing her brow. My daughter, I knew — GUIDO What? What have you said? — Do you speak for him or for me? VANNA For both, Guido. — I shall obey, this night — GUIDO Obey, this night? But whom? I do not understand it— VANNA I go this night to the camp of Prinzivalle. GUIDO To surrender to him, a§ he has made demand? VANNA Yes. GUIDO To die at his side? — Perdiance to strike him dead? — The new thought gives me hope. — If this be so — I shall understand all. VANNA I shall not kill him; the town would be captured. GUIDO What? — It is you? — You love him! Yes, you loved him! — ^And how long has this been? VANNA I know him not, nor have I ever seen him. GUIDO But you know what he is?— or surely you must have heard-T-or you must have been told: — VANNA Just now some one told me the man was quite old — but I know no more — 18 MONNAVANNA Acte 1" GUIDO Ce n'est pas un vieillard... II est jeune, il est beau... Bien plus jeune que moi!... Mais pourquoi n'a-t-il pas demand^ autre chose!... Je serais alI6 I^, les mains jointes, k genoux, pour sauver notre ville... Je serais parti seul, seul et pauvre avec elle, pour errer jusqu'au bout et demander Vauradne par les chemins ddserts. {S'approchant de Vanna et Venlagant.) Oh! Vanna! ma Vanna!... Je n'y crois pas encore... ce n'est pas toi qui paries... je n'ai rien entendu et tout est r6par6.., C'est la voix de mon p&re qui sortait des murailles... Dis-moi que je me trompe et que tout notre amour et que toute ta pudeur disaient non, criaient non, puisqu'il fallait braver la honte d'un tel choix!... Je n'ai rien entendu, qu'un 6cho attard4... C'est un silence vterge que tu vas d^chirer. Vois, tout le monde 6coute; personne ne salt rien; et tu dois encore dire la premiire parole... Dis-la vite, Vanna, pour qu'ils te reconnaissent, pour qu'ils sachent notre amour, pour dissiper le songe... Dis celle que j 'attends et qui doit itre dite, pour soutenir enfin tout ce qui croule en moi!... VANNA Je le sais bien, Guido, que tu portes la part la plus lourde... GUIDO Mais je la porte seul ! et c'est celui qui aime qui porte tout le poids!... Tu ne m'as pas aim4... Cela ne coflte pas k ceux qui n'ont pas d'tme... C'est de I'inattendu... C'est peut-6tre une fgte... Ah! mais... je saurai bien empScher cette fgte!... Je suis le mattre encore, quoi qu'on dise, quoi qu'on fasse!... Et que dirais-tu done si je me r6voltais?... Si je t'enfermais 1^, dans la bonne prison, dans la prison bien chaste et les cachots bien frais qui sont sous cette salle, avec mes Stradiotes devant toutes les grilles, et si j'attendais 1^ que ton feu s'dteignlt et que ton h6roisme fflt un peu moins ardent?.... AUez done, prenez-la, j'ai dit, j'ai donn6 I'Qrdre... Allez, cb^issez!... Act I MONNAVANNA 19 GUIDO No, the man is not old, he is comely, he is young — far younger than I! — But was there no other thing he could exact? I myself would have gone in fetters, on my knees, to deliver the town ! She and I would have gone clad in rags and unfriended, to the ends of the earth, content to beg for alms as we trod the lonely road . (Going to Vanna and flinging his arms round her.) Oh, Vanna! My Vanna! I cannot yet believe it, it is not you who speak, it was naught that I heard, and all is well again! — 'Tw£is the voice of my father that I heard in this cham- ber. — Oh, say my ears deceived me, and that all our love and all your own pure self said 'no,' cried 'no,' since you were forced to face the shame of such a choice! (With sudden gentleness and with emotion.) I heard naught but an echo that lingered a space. — 'Tis a virgin silence that you shall break. See, all await and listen; none knows aught, the first word must be yours, it is you who must tell them. — ^Say it quickly, Vanna, that again they may know you; say it quickly, Vanna, and declare them our love, dispel this dream for ever I — ^Say the word I would hear, that is meet to be spoken, and raise up once again my failing, sinking heart! VANNA I know full well, Guido, that on you falls the heavier burden — GUIDO Which I must bear alone ! It is the one who loves who carries all the load! So then, you never loved me. — It is of no account to those who have no pity — ^it is some new delight — for their mirth and rejoicing. — But no — it shall be mine to foil them of their laughter! Here am I master yet, whate'er they say, whate'er they do! — Come, what would you say, were my soul to rebel? — if I prisoned you there in my dungeon below, and gave you chaste retreat within the icy walls that lie beneath this chamber, and set my Stradiotes to guard each vent and grating? — ^And if I waited there_ until your flame were quenched, until your fierce heroics had somewhat lost their fire?_ Away then, take her!. I have spoken, I have commanded! Obey, and lead her forth! 20 MONNAVANNA Acte 1" VANNA Guido! tu le sais bien... Guido!... GUIDO lis n'ob^issent pas?... Personne ne I'a fait?... Toi, Borso, Torello, vos bras sont-ils de pierre?... ma voix ne s'entend plus?... Et vous, la-bas, les autres, qui icoutez aux portes, entendez-vous ma voix?... Je crie cl fendre un roc!... Entrez done, prenez-la, elle est k tout le monde!... Je comprends, ils ont peur... Ah! c'est qu'ils veulent vivre!... lis vivent... et moi je meurs!... Seigneur! c'est trop facile!... Un seul centre la foule... un seul qui paie pour tous!... Pourquoi moi, et non vous?... Vous avez tous des femmes !... {Tirant&moitie son SpSe ets'approchant de Vanna.) Et si je pr6f6rais ta mort k notre honte?... Tu n'avais pas pens6... Mais si, mais si, regarde... II ne faut qu'un geste... VANNA Guido, tu le feras si I'amour te I'ordonne... GUIDO "Si I'amour te I'ordonne!"... Parle done de i'amour que tu n'as pas connu!... VANNA Guido! tu le vois bien, je ne peux plus parler... Re- garde mon visage... je me raidis... je meurs... GUIDO, la prenant brusquement dans ses bras. Viens dans mes bras... c'est Ik que tu vas vivre!... VANNA, s'icartant et se raidissant. Non, non, non, Guido!... Je sais... Je ne puis dire... Toute ma force tombe si je dis un seul mot... Je ne peux pas... Je veux... J'ai r6fl6chi, je sais, je t'aime, je te dois tout... Je suis peut-^tre horrible... Et cepen- dant j'irai! j'irai! j'irai!... GUIDO, la repoussant. C'est bien, va-t'en, 61oigne-toi!... Va-t'en, je donne tout... Vas-y, je t'abandonne... Act I MONNA VANNA 21 VANNA Guido! — You surely know? — Guido! GUIDO They obey me not? — None heeds my command? — You, Borso, Torello, are your arms turned to stone? Can my voice no longer be heard? — ^And you there, you others, you who listen without there, can you not hear my voice? My cry would cleave a rock! Enter all! There she stands! And all who will may take her! I see — they are afraid. — Ah! they hold fast to life- -they live — and I must die! Oh, God! It were too easy! — Just one fighting the many — ^just one who pays for all! Wherefore I and not you? Have you not all your wives? (Half -drawing his sword and approaching Vanna.) If I preferred your death to our dishonour? You had not thought of that! — Yes, behold — it needs no more than a gesture — VANNA Guido, this you will do if but love did command you — GUIDO "If but love did command you!" Dare you speak thus of love that you never have known? VANNA Guido, do you not see that I can speak no more? — Behold me, how I falter, distraught and faint unto death — GUIDO, taking her impulsively to his arms. Come to mine arms! Here then, you shall live! VANNA, drawing away from him. No, no, no, Guido! I know — I cannot tell you. — For all my strength will fail me if I speak but one word — I can no more — my choice — I know the cost too well! — I love you, I owe you all, I know that you must loathe me — nevertheless, I go! GUIDO, repulsing her. So be it, away, and get you hence ! Begone ! I give up all! — Begone, here I renounce you! 22 MONNA VANNA Acte 1* VANNA, lui saisissant la main. Guido ! GUiDO, la repoussant. Ah! ne me retiens pas de tes mains chaudes et molles... Mon p^re avait raison; il te connaissait mieux... Mon p^re, la void... Mon p^re, c'est votre oeuvre... Achevez-la, votre oeuvre, allez done jusqu'au bout!... Menez-la sous la tente! Je resterai ici... je vous verrai partir... Mais ne croyez done pas que je prendrai ma part du pain et de la viande iju'elle va lui payer!... II me reste une ehose... et vous saurez bientSt... VANNA, s'attachant & lui. Guido, regarde-moi... Guido... Guido... Ne cache pas tes yeux!... C'est la seule menace... Regarde... Je veux voir... Je veux voir... GUIDO, la regardant et I'icartant plus froidement. Regarde... Eloigne-toi, je ne te connais plus... Le temps presse, il attend, le soir tombe... N'aie pas peure crains rien... Ai-je les yeux d'un homme qui va fair, des folies?... On ne meurt pas ainsi sur I'amouf qui s'effondre... C'est pendant que Ton aime que la raison chancelle... La mienne est raffermie... J'ai vu I'amour k fond, I'amour et la pudeur... Je n'ai plus rien k dire... Non, non, ouvre les doigts..j lis ne retiendront pas un amour qui s'^loigne... {Presgue dans les larmes) C'est fini, bien fini... II n'en reste pas trace... Tout le pass6 s'abime et I'avenir aussi... Ah! Ah! ces petits doigts, ees yeux purs et ces levres... J'y ai cru dans le temps... II ne me reste rien... {Repoussant chacune des mains de Vanna.) Rien, plus rien, moins que rien!... (Dans un sanglot.) Adieu, Vanna... Va-t'^h, adieu... Tu vas 1^- bas?... Oui... VANNA GUIDO Tu ne reviendras pas?... VANNA Si... Act I MONNA VANNA 23 VANNA, clutching at his hand. Guido! GuiDO, repulsing her. Ah! hold and stay me not, with those dear hands, so warm and soft! My fatjier was not deceived, he knew you better than I. My father, she is yours — to you I do commend her; this is your work, achieve it to the bitter- most end! To the tent you shall take her! I will not move from here — I will watch you depart. — But bethink not yourself that I will take of my share or eat the bread and the meat which she will buy from this man! — One resource now is left me — and you shall learn ere long — VANNA, clinging to him. Guido, turn not away, Guido! Guido! Why do you veil your eyes? 'Tis the one threat I dreaded — you must not — ^you shall not! — Let me see — let me see — GtriDO, looking at her and thrusting her from him. Behold me! — (Dully.) Get you gone, I know you no more. Time presses, he waits, night is falling; — be as- sured, fear nothing. — Are mine eyes those of one who would yield him to madness ? We are not like to die when our love falls in ruins. 'Tis in fullness of loving that reason sways and totters. — But mine is girt anew — -I have seen the depths of love, loyal and pure — I have no more to say. — No, no, unclasp your hands — they shall not stay the flight of a love that is passing. (Almost in tears.) It is done, all done — not one trace of it lingers! All the past is ii^ulfed, and the future as well. — Ah! tJiose little hands — those pure eyes and those lips! — Time was when I believed them. Now I have nothing left. (Thrusting Vanna's hands from him.) Nothing — less than nothing! (Brokenly.) Farewell, Vanna — go hence, farewell! You are going there? VANNA Yes. GUIDO You will not return? VANNA Yes. 24 MONNA VANNA Acte 1" GUIDO Nous verrons... Ah! c'est bien... nous verrons... Qui m'eflt dit que mon p^re la connflt mieux que moi?... {II chancelle ei se retient d une des colonnes de marbre. Vanna sort .teule et lentement,- sans le regarder.) RIDEAU Act I MONNA VANNA 25 GUIDO We shall see. Ah, 'tis so, we shall see! — ^who could have told me that my father knew her better than I? (i?e staggers, clutching at one of the marble columns. Vanna goes out slowly, alone, without looking at him.) CURTAIN ACTE DEUXIEME La tente de Prinzivalle. DSsordre somptueux. Tentures de soieetd'or.Armes. Amas defourrures prScieuses. Grands coffres entr'ouverts, dSbordants de bijoux et d'&toffes res- plendissants. Aufond, V entree de la tente ferm^ par une portihre en tapisserie. SCfiNE PREMlfiRE PRINZIVALLE, VEDIO {Prinzivalle est debout prh d'une table; il range des par- chmeins, des plans et des armes. Enire Vedio). PRINZIVALLE Marco Colonna n'est pas revenu? VEDIO Les sentinelles I'amfeneront des qu'il franchira le foss6. PRINZIVALLE II devait itre ici avant neuf heures si Ton repoussait I'offre... C'est I'heure qui decide... et ma vie tient en elle!... C'est 6trange que I'homme puisse mettre son destin, sa raison et son coeur, dans une chose aussi frMe que ramour d'une femme!... J'en sourirais moi- mSme, si ce n'6tait plus fort que mon sourire... Marco ne revient pas... C'est qu'elle doit venir!... Va voir si le fanal qui m'annonce qu'elle consent est dej^ allum6... va voir si la lumi^re dclaire d6ja la nuit! (Sotidainement et-avec Slan.) Ah! Non! j'y vais moi-mgme... II ne faut pas. que d'autres yeux sachent avant les miens le bon- heur que j 'attends depuis les premiers jours de ma pre- miere enfance!... {II va d I'entrie de la tente, soulhie la portihre, et regarde dans la nuit.) La lumifere, Vedio!... Regarde, elle resplendit, elle 6blouit la nuit!... C'est SECOND ACT Prinzivalle's tent. Sumptuous disorder. Hangirigs of silk and gold. Weapons and rare furs are strewn about. Large coffers, half open, reveal jewels and glittering stuffs. The entrance to the tent at back is closed by a tapestry curtain. FIRST SCENE PRINZIVALLE, VEDIO {Prinzivalle, standing at a table, is sorting documents, plans and arms. Vedio enters.) PRINZIVALLE Marco Colonna has not yet returned? VEDIO Sentinels wait, to lead him to you as soon as he passes the moat. PRINZIVALLE He was to be here ere nine were past, if the terms were rejected. This hour is so fateful — and my life hangs upon it! — 'Tis a strange thing that man should be fain to stake his fate, his soul and his heart, on aught so slender and so frail as the love of a woman! And I myself were smiling, if it were not more strange than is my smile! — Marco does not return. It means that she will come! Go see whether the flare to betoken her consent be al- ready aflame. Ga see, whether its glotv e'en now il- lumines the night! (With a sudden outburst.) No! I go myself! Loth were I now, should other eyes wel- come before mine own the fulfilment of hopes that ruled and fed my life since days of early childhood ! ( He goes to the entrance, lifts the hangings and looks out into the night.) The beacon, Vedio! Behold, how its splendour shines, and how it lights the gloom! From the great 28 MONNA VANNA Acte 2°'* bien le campanile qui devait la porter... il se penche sur I'ombre... c'est la seule lumiere qui brille sur la ville... Ah! Pise n'a jamais 61ev6 vers I'azur une T-ur plus splendide, ni plus inesp6r6e!... VEDio, lui saisissant le bras. Rentrons sous la tente... Void Trivulzio, Tenvoyd de Florence, qui veille sur vos actes. PRINZIVALLE, reutrant Trivulzio!... Ah! oui... J'ai surpris ses rapports. L'entretien sera bref... VEDIO Le voici... SC£NE II Les MfiMES, TRIVULZIO (Z7w garde soulhe la portiere. Enlre Trivulzio.) TRIVULZIO Avez-vous remarqu6 la lumiere insolite qui lance des signaux du haut du campanile? PRINZIVALLE, feignaut la surprise. Des signaux? Pourquoi done des signaux? TRIVULZIO Je vais vous I'expliquer... {Prinzivalle fait un signe d, Vedio qui s'Sloigne.) Vous savez, Prinzivalle, I'estime oil je vous tiens. Je vous confierai done qu'on accuse iprement vos lenteurs devant Pise... Depuis longtemps la ville aurait dli succomber; quelques-uns doutent m§me de votre loyaut^... J'ai rdpondu de vous; justi- fiez ma confianee, car nous sommes perdus si vous n'agissez pas! II faut livrer demain un assaut d^cisif. PRINZIVALLE, lui prSsentont des lettres qu'il prend sur la table. Connaissez-vous ces lettres? Act II MONNA VANNA 29 campanile it would seem that it flares. It leans on the darkness. 'Tis the one single light that doth shine from out the town! Ah! Never till to-night Pisa raised to the sky so transcendent and glorious, so unhoped-for a flower! VEDio, seizing his arm, excitedly. Come in, good master. There comes Trivulzio, the envoy from Florence, who spies upon your doings. PRiNZiVALLE, Coming in again. Trivulzio!— Ah, yes— I intercepted his letters. Our words shall be few- VEDIO He comes. SCENE II The same, with TRIVULZIO {A Sentry lifts the hangings. Trivulzio enters.) TRIVULZIO Have you marked in the gloom an unwonted glare that flashes a signal from the great campanile? PRINZIVALLE, feigning surprise. A signal! But wherefore a signal? TRIVULZIO Give heed and you shall hear. Well you know, ( Vedio withdraws at a sign from Prinzivalle.) Prinzivalle, I hold you in esteem; it is meet you should learn there is bitter complaint of your sloth before Pisa. Long while ago the town should have fallen a prey; and some even suspect your loyalty and faith. I gave my bond for you; 'tis for you to redeem it; we are ruined and lost if you make more delay! Then let the morrow see the decisive assault. PRINZIVALLE, taking letters from the table, and handing them to him. You recollect these letters? 30 MONNA VANNA Acte 2*= TRivuLZio, troublS. Peut-6tre... Que disent-elles?... PRINZIVALLE Vous ne I'ignorez pas! Vous d^noncez Ik tous mes actes, bassement, faussement, sans motif avouable... Tout y est travesti, avili, d6form6 par votre haine affreuse... Non! je n'ai pas trahi; mais, depuis vos rap- ports, j*ai iur6 votre ruine. Des ce soir, grice k vous, Pise sera sauvee et se redressera pour vous braver encore!... TRIVULZIO, tirant sa dague et en portant un coup rapide Non!... Tant que mes mains seront Hbres! (Prinzivalle pare le coup;' d' instinct, avec le bras, il a relev6 la lame; il saisit le poignet de Trivulzio.) PRINZIVALLE Ah! cela... je ne m'attendais pas... Vous voilk dans mes mains, et void votre dague... Je n'ai qu'^ I'abais- ser. (Menagant.) On dirait que d'elle-m8me elle cherche votre gorge... (Avec surprise.) Vous ne sourcillez pas!... Vous n'avez done pas peur?... TRIVULZIO, froidement Non! Enfoncez la dague. J'avais donn6 ma vie!... PRINZIVALLE, reldchant son Streinte. C'est bien; vous n'Stes pas libre, mais votre vie est sauve. (Appelant.) Vedio! Qu'on enimfene cet homme sans lui faire aucun mal. C'est un ennemi que j'aime... On le d^livrera quand je Fordonijerai. ( Vedio Uvre Trivulzio aux gardes.) VEDIO, rentrant. ~ Maltre, vous voiis perdez! Act 11 MONNAVANNA 31 TRivuLZio, uneasily. Maybe — ^what is their purport? PRINZIVALLE You know it full well! Therein you denounce all my acts, most basely, most falsely, without cause or good reason. All is travestied there, and traduced and de- famed by your accursM hatred! No! I have not be- trayed; but, since you play me false, I am sworn to your ruin. From to-night, thanks to you, Pisa is to be saved and to raise up its head once again to with- stEuid you! TRIVULZIO, drawing his dagger, and aiming a swift blow at Prinzivalle. No! Not while my hand has its cunning! (Prinzivalle, instinctively warding off the blow with his arm, has thrown up the blade; he seizes Tri- vulzio by the wrist.) PRINZIVALLE ^ Ah! a blow! I was not armed for this. You are fast in my toils — see, here is your dagger! — It needs but a thrust. {Threateningly.) One would say that of it- self it is groping for your throat. {With surprise.) But your cheek does not pale! You do not blench with fear? TRIVULZIO, calmly. No! Strike deep and kill me. I knew my life was forfeit! PRINZIVALLE, relaxing his hold. 'Tis well; I hold you in durance, but deign to spare your life. {Calling.) Vedio! Take this man to your keeping, but do him no harm. He is my foe^ I would spare him, for I love him. So shall freedom be his when I make the decree. , {Vedio hands over Trivulzio to the care of an escort.) VEDio, reentering. Master! this means your doom! 32 MONNA VANNA Acte 2««= PRINZIVALLE Je ^ ji„ perds, Vedio!... Ah! je voudrais me perdre ainsi jusqu'^ la mort!... Je me perds, Vedio!... mais jamais homme au monde n'aura conquis ainsi, dans une juste vengeance, le seul bonheur qu'il rive depuis qu'il sait river!... {On entend au loin un coup de feu.) Qu'est-ce?... VEDIO On tire aux avant-postes!... PRINZIVALLE Qui done a donn6 I'ordre? Ah! si c'6tait sur elle?... Va voir! {Sort Vedio.) SCENE III PRINZIVALLE, VANNA, puis VEDIO (Prinzivalle teste seul un instant. Vedio ren'ient, soultve la tapisserie de V entree et dit a voix basse : Mattre! Puis il se retire, et Monna Vanna, enveloppSe d'un long manteau, paratt et s'arrtte sur le seuil. Prinzi- valle tressaille, etfait un pas & sa rencontre.) VANNA, d'une voix itouffee. ] ' viens... comme vpus I'avez voulu... PRINZIVALLE, vivement. Je vois du sang sur votre main, vous Ites bless6e?... VANNA Une balle m'a effleur6 I'dpaule... PRINZIVALLE C'est affreux!... Montrez-moi la blessure... VANNA, entr'ouvrant le haul de son manteau. C'est ici... PRINZIVALLE Elle n'a pas p6n6tre... Souffrez-vous?... Act II MONNA VANNA 33 PRINZIVALLE I am doomed, Vedio! — Ah! would that such a doom were mine, even to death! I am doomed, Vedio! — But to no man was given to gain in such a wise, through so rightful a vengeance, the one joy he had dreamed of since he could dream of joy! — {A distant shot is heard.) Firing! VEtiO A shot fired at the outposts! PRINZIVALLE Who gave the order? Ah! were they firing at her? — See at once. {Vedio goes out.) SCENE III PRINZIVALLE, VANNA, then VEDIO. {Prinzivalle is alone for an instant. Vedio returns, Ufts the hangings, and says in a low voice: "Master!" then goes out. Monna Vanna, enveloped in a long cloak, appears, and pauses at the threshold. Prinzivalle trem- bles and takes a step towards her.) VANNA, in muffled tones. I am come — in accord with your desire. PRINZIVALLE, excitedly. What is that blood upon your hand? You have been wounded? VANNA A ball that grazed my shoulder. PRINZIVALLE It is cruel! Let me see the wound. VANNA, parting her cloak at the shoulder. It is here. PRINZIVALLE It has not pierced the flesh. Are you in pain? 34 MONNA VANNA Acte 2"« VANNA Non. PRINZIVALLE Vous 6tes d6cid6e?... VANNA Oui. PRINZIVALLE Vous ne regrettez pas?... VANNA Fallait-il venir sans regrets? PRINZIVALLE J'entends vous laisser libre... II est temps encore... voulez-vous renoncer?... VANNA Non. PRINZIVALLE Pourquoi le faites-vous? VANNA Parce qu'on fneurt de faim... et qu'on mourrait demain d'une fagon plus pronipte... PRINZIVALLE Vous @tes nue sous ce manteau? VANNA Oui. {Elle fait un mouvement pour dipoUiller le manteau. Prinzivalle Varrtte d'un geste.) PRINZIVALLE Vous avez vu, ranges devant la tente, des chariots et des troupeaux? VANNA Oui. PRINZIVALLE Voulez-vous les voir s'61oigner? VANNA Oui. Act II MONNA VANNA 3S VANNA No. PRINZIVALLE You are resolved? VANNA Yes. PRINZIVALLE And you have no regrets? VANNA Was I forced to come without regrets? PRINZIVALLE I wish to leave you free, and there still is time — should you choose to recant? VANNA No. PRINZIVALLE Why do you do this? VANNA Because men are dying of hunger — and to-morrow may die in swifter fashion. PRINZIVALLE You are unclothed, save for that cloak? VANNA Yes. {She makes a movement to unfasten her cloak, but Prinzi- valle stops her with a gesture.) PRINZIVALLE Saw you just now, drawn up before my tent, the herds and wagons in array? VANNA Yes. PRINZIVALLE Would you see them depart? VANNA -Yes. 36 MONNA VANNA Acte 2'>« PRINZIVALLE Venez... {II soul^e la tapisserie, donne un ordre et fait un signe de la main. On entend s'Slever une vaste et sourde rumeur. Des torches s'allument et s agttent, des fouets claquenf. Les chariots s'ibranlent, les troupeaux mugissent, Mlent et piitinent. Vanna et Prmzwalle, debout au seuil de la tente, regardent un instant I'inorrne convot s'eloigner d, la clarte des torches dans la nuit Stotlee.) Dfes ce soir, grice k vous, Pise n'aura plus iaim et chantera la gloire d'un triomphe que nul n'esperait plus... Refermons la tente et donnez-moi votre main. Le soir est ti^de encore, mais la nuit sera froide... Vous gtes venue sans armes, sans un poison cach6?... VANNA Je n'ai que mes sandales et ce manteau; d^pouillez- moi de tout, si vous craignez un pifege. PRINZIVALLE Venez, reposez-vous... C'est le lit d'un guerrier; il est apre et farouche, 6troit comme une tombe et peu digne de vous. Reposez-vous ici, sur ces peaux d'aurochs et de beliers qui ne savent pas encore combien le corps d'une femme est doux et pr6cie;ux... Mettez sous votre tSte cette toison plus moelleuse... {Vanna s'asseoit, Stroitement envelopp6e de son manteau.) PRINZIVALLE, s' agenouUlont au pied de la couche et saisissant la main de Vanna. Giovanna! O Vanna! ma Vanna!... Car, moi aussi, j'avais cou- tume de vous appeler ainsi!... Maintenant je defaille en prononjant ce nom... II resta si longtemps enfermfe dans mon cceur qu'il n'en peut plus sortir sans briser sa prison... Je ne le connais plus quand il sort de ma bou- che, tout cpup6 de sanglots et tout meurtri de craintes... J'y ai mis trop de choses, et toute I'^motion que j'y ai renfermde vient briser mon courage et fait mourir ma voix. VANNA, surprise. Qui ^tes-vous? Act II MONNA VANNA 37 PRINZIVALLE Then come! (HeHfts the hangings at the entrance, gtves an order and makes a signal. A deep and mighty rumbUng is heard, with flashing of torches and cracking ■of whips. The wagons creak to the accompaniment of bleating flocks and bellowing herds. Vanna and Prinzi- valle, on the threshold, stand watching for a moment as the huge convoy goes out into the starry night by torchlight.) From to-night, thanks to you, Pisa hungers no more, and shall acclaim- the glory of triumph that none hoped to enjoy. Let us close th« tent, deign to give me your hand. — ^The air is soft as yet, but the night will be chill. You have no arms concealed, no hidden poison? VANNA I have only my sandals and this cloak: you may search me at will, if you suspect a snare. PRINZIVALLE Come, and rest awhile. 'Tis the couch of a warrior, it is rude and uncomely, and strait as a coffin, little worthy of you. Here take your rest awhile, on these rugged bison hides that have never known the burden of woman's delicate form, its warm, exquisite press. Now pillow your head upon these furs less ungentle. (Vanna sits, closely wrapped in her cloak.) PRINZIVALLE, kneeling at the foot of the couch and seizing Vanna's hand. Giovanna ! Oh, Vanna ! my Vanna ! For a time I , too, was wont to call you so! — Yet to-day I do falter when I pronounce that name. For so many long years was it walled in my heart that it cannot come forth without breaking its cell! Ah! that name was too dear! — it comes from my lips, yet I scarcely do know it, all entangled in sobs and bruised by fears and doubtings. There I stored too rich a treasure; the passion and the hope that were shrined in the fane seem to break all my courage and stifle all my words. VANNA, in surprise. Vvhat man are you? 38 MONNA VANNA Acte 2"' PRINZIVALLE Vous ne me connaissez pas?... Vous ne revoyez rien?... Ah! comme le temps qui passe efface des merveilles!... Or, vous aviez huit ans, et moi j'en avais douze, quand je vous rencontrai pour la premiere fois... VANNA Ou cela?... PRINZIVALLE A Venise, un dimanche de juin. Mon pere, le vieil orfevre, apportait un collier de perles k votre m^re. Elle admirait les perles... J'errais dans le jardin... Alors je vous trouvai pres d'un bassiii de marbre,.. Une mince bague d'or 6tait tombte dans I'eau... vous pleuriez pres du bord... J'entrai dans le bassin. Je faillis me noyer; mais je saisis la bague et vous la mis au doigt... Vous m'avez embrass6 et vous 6tiez heureuse!... VANNA, comme en un rhie lointain. C'^tait un enfant blond nomm6 Gianello... Tu es Gia- nello?... Oui. PRINZIVALLE VANNA Qui vous eflt reconnu?... {Le regardant avec atten- tion.) Mais oui... Peut-gtre... II me semble... Car vous avez encore un sourire d'enfant... Oui, oui... je me rap- pelle... Je revois le jardin avec ses lauriers et ses roses... { Vivement et d'un ton Ughrement enfantin.) Nous y avons joud plus d'un apr^s-midi quand le sable dtait chaud et convert de soleil... PRINZIVALLE Douze fois, j'ai comptd... Je dirais tous nos jeux et toutes vos paroles... VANNA Puis un jour j'attendis, car je vous aimais bien, vous 6tiez grave et doux comme une petite fille et vous me regardiez comme une jeune reine... {Tristement.) Vous n Stes pas revenu... Act II MONNA VANNA 39 PRINZIVALLE You know me not again? — Do I recall you nothing? — Ah! strangely the flight of time effaces childhood mar- vels! You were a child of eight and I a boy of twelve; long ago was that day when you and I did meet. VANNA Where was that? PRINZIVALLE In Venice, one Sundiy in June, my father, the old goldsmith, took a necklet, a rope of pearls, unto your mother. While she appraised the jewels, I played, roaming the garden. And so I found you there, near to a marble fountain. A little golden ring had fallen into the pool. While you wept on the bank, I plunged me into the pool, though nearly overwhelmed' — yet I regained the bauble and placed it on your hand. — You clapped your hands with joy, rewarding me with kisses! VANNA, as in some distant dream. A boy with golden hair, by name Gianello. — ^Are you Gianello? PRINZIVALLE Yes! VANNA Is this the boy I knew? {Scanning his features closely.) But stay — perchance — there is something — for still you seem to smile as you smiled when a boy! Yes, yes! I do remember — I see it all once more, the garden with laurels and roses! (With childish enthusiasm.) We played there more than once upon an afternoon, on the path that was hot with the rays of the sun. PRINZIVALLE Twelve daysy» I took count. — ^Each whim I could re- hearse, and all your childish sayings. VANNA Then one day I did wait, because I loved you well; grave of mien came you, gentle as a little girl, and paid me royal court, serving your queen of boyhood. {Sadly.) But you came not again. 40 MONNA VANNA Acte 2"« PRINZIVALLE Mon p^re m'emmena... II allait en Afrique... Nous nous sommes 6gar6s li-bas dans les ddserts... Quand je revis Venise, votre mere 6tait morte, le jardin d6vast6... J'appris que vous 6pousiez im grand seigneur toscan... Dfeesp^rd, je louai mon 6p6e; mon nom devint c616bre parmi les mercenaires. J'attendis d'autres temps sans plus rien esp^rer, jusqu'au jour ou Florence m'envoya devant Pise... VANNA, chaleureusement. Que les hommes sont faibles et laches quand ils aiment!... Ne vous y trompez point : je ne vous aime pas et ne saurais dire si je vous eusse aim6... Mais cela fait bondir et crier dans mon coeur I'^me mime de I'amour, lorsque je vois qu'un homme qui paraissait m'aimer n'eut pas plus de courage -en face de I'amour!... PKINZIVALLE J'avais eu du courage... mais il 6tait trop tard. VANNA II n'est jamais trop tard lorsqu'on trouve I'amour qui remplit une vie... II ne renonce point; quand il n'at- tend plus rien, il esp^re toujours... quand il n'espfere plus, il s'^vertue encore... Si j'avais aim6 comme vous, j'aurais dit au destin r "Va-t'en, c'est moi qui passe..." J'aurais forc6 les pierres h prendre mon parti. PRINZIVALLE, ckerckant la main de Vanna, et avec une anxieuse emotion. Tu ne I'aimes plus, Vanna?... \'ANNA Qui? PRINZIVALLE, presque sans voix. Guido... VANNA Vous vous trompez, je I'aime... Je I'aime d'un amoar moins Strange que celui que vous croyez avoir, mais sans doute plus dgal, plus fidfele et plus sOr„. Cet amour Act II MONNA VANNA 41 PRINZIVALLE J couW not come again: I had gone with my father. Through Africa we roamed afar the desert plains. When I returned at last, your mother was long dead— the garden was a waste — they told me you were to wed with some great Tuscan lord. In my despair, I took ser- vice as hireling; ray name did win me honour in mercenary ranks. Without hope I lived on, for an hour that might come, till the day when Florence sent me forth against Pisa. VANNA, with great warmth. Oh, that men should be weaklings and cowards when they love! — Deceive not yourself: For I love vou not, nor can tell if you be a man I could have loved. But there leaps up and cries out aloud in my heart love it- self, love's very soul, when I behold a man who prated of love for me with so little of courage when love stands in his path! PRINZIVALLE I had courage enough — ^but it was then too late. VANNA The hour is ne'er too late when one lights on the love that can fill a whole life! Love renounces naught; when it looks for no more, it endures still in hope; when it hopes no more, love still strives on for ever. Had I found a love such as yours, I had cried unto fate: "Be- gone ! 'Tis I who pass here !" And more, I had compelled the stones to take my side! PRINZIVALLE, with feverisk anxiety, groping for Vanna's hand. You love him no more, Vanna? VANNA Whom? PMNZiVALLE, in a breath. Guide. VANNA You do misjudge, I love him — I love him with a love less strange than that which you profess to bear, and yet it is more calm, faithful, true and assured. And 42 MONNA VANNA Acte 2'»« est celui que le sort in*a donn6; je n'^tais pas aveugle lorsque je I'acceptai. Je n'eii aurai pas d'autre... et si quelqu'un le brise, ce ne sera pas moi... Cast pourqiioi je vous laisse sans crainte cette main. PRINZIVALLE, irts amoureusement. Ah! j'aurais mieux aim6 que I'amour I'eflt conquise!... Mais qu'importe aprfe tout!... Elle est k moi, Vanna!... je la tiens dans les miennes, j'en respire la vie... je m'enivre un instant d'une illusion trop douce... j'en 6treins la ti^de fraicheur... je la prends, je I'dtends, je la ferme, comme si elle allait me r^pondre dans la langue secffete et magique des amants; et je la couvre de bai- sers sans que tu la retires... Tu ne m'en veux done pas de la cruelle 6preuve? ' VANNA J'aurais fait de mSme, peut-§tre mieux ou pis, si j'avais kik k ta place... PRINZIVALLE Mais alors, quand tu vins sans defense, dans la nuit, te livrer au barbare inconnu, ta chair n'a pas fr6mi, ton coeur n'a pas tremble?... VANNA Non; il f allait venir... PRINZIVALLE Et quand tu m'apergus, tu n'as pias hdsit6?... VANNA Je n'ai rien vu d'abord, j'6tais trop 6gar6e... PRINZIVALLE Oui... mais aprSs, Vanna? VANNA Apr^?... C'etait tout autre chose, et je savais d^ja... Mais toi, quand tu me vis p6n6trer sous la tente, quel Act II MONNA VANNA 43 this love is the portion ?issigned me by fate; in no hour of blindness I accepted the gift. So will I have none other. — If there be one to break it, it shall not be myself. Hence unf earing I here do surrender this hand. PRINZIVALLE Ah ! Fuller joy were mine if but love could have won it! — but it serves my need! And I care not! — This hand is mine, Vanna! I can hold it in mine, I breathe life of its fragrance! I am lost for a space in the maze of sweet illusion, as I drink of the fresh cooling draught! Mine to hold — and to open! To close — and to open, e'en as though it fain would make me answer in that mystical tongues-all unknown, save to lovers. And though I cover it with kisses, yet you show no reluctance — ^you bear me no despite for this cruel ordeal? VANNA As much I would have purposed, perchance more, fair or ill, had my love been as yours. PRINZIVALLE But when you were come all defenceless, in the night, to be prey of an unknown savage, you shrank not from the task, your heart nor sank, nor quailed? VANNA No, I could not choose but come. PRINZIVALLE When face to face with me, you faltered not, then? VANNA I saw nothing at first, I was dazed and bewildered. PRINZIVALLE Yes, but what then, Vanna? VANNA What then? — All was changed in a moment, then all at once I knew.— But you, when you saw me enter your 44 MONNA VANNA Acte 2™ fetait ton dessein? Comptais-tu done vraiment abuser jusqu'au bout de I'affreuse d6tresse? PRINZIVALLE Ah! je ne savais pas ce que je comptais faire! Je me sentais perdu, et je voulais tout perdre, et je te haissais k cause de I'aniour... Certes, je I'aurais fait si ce n'eflt 6t6 toi... II eflt suffi d'un mot, d'un geste, d'un rien, pour enflammer la haine et d6chalner le monstre... Mais, d^s que je te vis... je vis en m^me temps que c'6tait impossible... VANNA Moi, je le vis aussi... et ne te craignis plus!... PRINZIVALLE II me semblait que je changeais moi-m6me, que je sortais enfin d'une longue prison, que les portes s'ou- vraient, que des fleurs et des feuilles 6cartaient les barreaux, que I'air pur du matin p6n6trait dans mon ime et.baignait mon amour... VANNA Moi aussi, je changeais... J'6tais bien ^tonn^e de pouvoir te parler, comme je t'ai parld, dfes le premier moment... Les hommes ont toujours un d6sir dans les yeux, qui ne permettrait pas de leur dire qu'on les aime et qu'on voudrait savoir ce qu'il y a dans leur coeur. Et dans tes yeux aussi, il y a un d6sir; mais il n'est pas le m6me; il ne rdpugne point, et il ne fait pas peur... J'ai senti tout de suite que je te connaissais sans que je me souvinsse de t'avoir jamais vu... PRINZIVALLE Aurciis-tu pu m'aimer, s'il n'eflt 6t6 trop tard? VANNA Si je pouvais te dire que je t'aurais aim6, ne serait-ce pas t'aimer d6j^, Gianello? Et tu sais, comme moi, que ce n'est point possible... Mais nous parlous ici comme si j'^tais seule au monde! Nous oublions trop tout ce Act II MONNA VANNA 45 tent what purposed you then? Thought you in very truth to exact the full toll from despair and starvation? PRINZIVALLE Ah! I knew not at all what I thought upon doing! Counting myself for lost, I would bring all to ruin. Hatred I bore to you because love had been mine. — Yes, were it not you, I had compassed mine end! There was so small a thing, a gesture, a word, needed to fire the hati-ed and to unchain the monster. Yet, when I saw your face, I saw in that hour that the thought was im- possible! VANNA I saw it, too — ^and feared you then no more! PRINZIVALLE To me it seemed as though I were transformed ; that prisoned long, I now won my freedom once more, that the gates opened wide; there were leaves, there were blossoms that parted the bars, and the pure air of morn found a way to my soul and did bathe all my love! VANNA I, too, was changed. I was filled with amaze to hold converse with you as I spoke even now, when I came to your tent. — ^AU men do wear a look of desire in their eyes, such that suffers us not to profess if we do love them, or if we fain would learn what is the thought in their heart. And though in your eyes, too, is a look of desire, 'tis in no wise the same, it repels me not, nor makes me afraid. — I felt it iji a moment, felt I had known you once, though I could not remember when or where I had met you. PRINZIVALLE Could you have loved me, had it not' been too late? VANNA If I could tell you that I could have loved you, should I not confess I love you now, Gianello? And you know well as I, it is not mine to love you! — But we speak of myself as though life took no count of others! Too much 46 MONNA VANNA Acte 2'»« qu'un autre souffre pendant que nous sommes 1^ k sourire au pass6... Quand je sortis de Pise, la douleur de Guido, I'an goisse de sa voix la p&leur de sa face... Je ne puis plus attendre!... L'aurore doit 8tre proche et j'ai hSte de savior... Mais j 'entends que Ton marche... Quelqu'un fr61e la tente... On chuchote k I'entrfee... — ficoute... 6coute... VEDio, au dehors. Maltre!... Mattre! PRINZAVILLE C'est la voix de Vedio!... Entre!... qu'est-ce?... VEDIO, d Ventree de la tente. J'ai couru... Fuyez, maitre! il est temps... Messer Maladura, le second commissaire, est revenu... II am^ne six cents hornmes... ce sont des Florehtins... je les ai vus passer... Le camp est en 6moi... II apporte des ordres... il vous proclame traltre... il cherche Trivulzio... PRINZIVALLE Viens, Vanna... VANNA Oil me faut-il aller? PRINZIVALLE Vedio, avec deux hommes silrs, te conduira dans Pise... Et toi, oii iras-tu? VANNA PRINZIVALLE Je ne sais... peu importe! le monde est assez grand pour m'offrir un refuge... VEDIO Mattre! prenez garde... lis tiennent la campagne tout autour de la ^alle, et toute la Toscane est pleine d 'espions. .. VANNA Viens k Pise! Act II MONNA VANNA 47 we forget all that another suffers while we beguile the hour with a smile at the past. In my going from Pisa, the despair of Guido, his sobs and his moans, his pallor and anguish — I can tarry no longer! — The morning should be at hand now, and I yearn to know the truth! — But 1 hear steps approaching — a hand grasps at the hangings— there is murmur of voices. Listen! listen! VEDio, without. Master! Master! PRINZIVALLE 'Tis the voice of Vedio! — Enter! enter! VEDIO, at the door of the tent. I have sped! — Fly, master, ere too late! — Messer Mala- dura, the Second Commissioner, comes to the camp, — and with him come from Florence — a full six hundred men. I saw them pass by — the camp is in a tumult! — He is armed with dispatches — ^he proclaims you a trai- tor — ^he calls for Trivulzio! PRINZIVALLE Come, Vanna! VANNA Whither am I to go? PRINZIVALLE Vedio, with two trusty men, shall conduct you to Pisa. VANNA And you, whither go you? PRINZIVALLE I know not — 'tis no matter! The world has room enough to afford me a refuge. VEDIO Master! Have a care! The Florentines have seized all the country around us, all Tuscany is watched and spies lurk in their hordes. VANNA Come to Pisa! 48 MONNA VANNA Acte 2°^ PRINZIVALLE Avec toi?... Je ne puis... Et que fera Guido? VANNA II sait, autant que toi, ce qu'il doit k un hSte.,. Vienst Viens ! PRINZIVALLE Non. VANNA Pourquoi? Que crains-tu done? PRINZIVALLE . C'est pour toi que je crains... VANNA Pour moi?... que je sois seule ou que tu m'accompa- gnes, levdanger est le mSme... C'est pour toi qu'il faut craindre... Tu viens de sauver Pise; il est juste qu'elle te sauve... Tu y, vas sous ma garde, et je r6ponds de toi... PRINZIVALLE, risolu. Je t'accompagnerai! {Prinzivalle, suivi de Vanna, se dirige vers I'entrSe de la tenie et Vouvre tout grande. — Une rumeur lointaine, que domine un bruit de cloches exaltSes, envahit brusquement le silence de la nuit, tandis que, par la baie mouvante de la tente, on voit d. I'horizon Pise tout itluminSe semie de feux de joie et projetant, dans I'azur encore sombre, un tnorme nimbe de clartS.) LE CHCEUR, dans la coulisse. Gloire k Vanna! Gloire k Vanna! PRINZIVALLE Vanna!... Regardel... VANNA Qu'est-ce, Gianello?... Oh! je coraprends aussi!... Ce sont les feux de joie qu'ils viennent d'allumer pour Act II MONNA VANNA 49 PRINZIVALLE With you? — I cannot!— For is not Guido there? VANNA He knows, even as you, what is due to a guest. — Come! come! PRINZIVALLE No! VANNA But why? What do you fear? PRINZIVALLE 'Tis for you that I fear — VANNA For me? Whether alone or with you for companion, I must run the same danger. 'Tis for you we should fear. To-night you did save Pisa. 'Tis but right that Pisa save you! You go forth in my keeping, my life shall stand for yours. PRINZIVALLE, determined. Together we will go! {Prinzivalle, followed by Vanna, goes to the door of the tent, and flings it wide open. — A distant murmur, above which is heard the clang of bells, breaks abruptly on the silence of the night; through the swaying curtains is seen Pisa il- luminated, beacons appearing everywhere and throwing a huge glare into the gloom of the sky.) CHORUS, in the distance. Praise to Vanna! Glory to Vanna! PRINZIVALLE Vanna! — ^See yonder! VANNA What is it, Gianello?— Oh! I understand! Those are the fires of joy which they have set alight, giving your 50 MONNA VANNA Acte 2™ c616brer ton oeuvre!... Les murs en sont couverts, les rempart? sont en flamme! PRINZIVALLE Le campanile brflle comme une torche heureuse!... Toutes les tours resplendissent et ripondent aux 6toiles!... VANNA Les rues forment des routes de lumifere dans le del... Je reconnais leurs traces; je les suis dans I'azur! PRINZIVALLE Voici la Piazza et son d6me de feu... VANNA Et le Campo-Santo qui fait une He d'ombre!... PRINZIVALLE On dirait que la vie, qui se sentait perdue, revient en toute hate et nous rappelle aussi. VANNA Ecoute... 6coute done... N'entends-tu pas les cris et le d61ire immense qui monte comme si la mer avait envahi Pise?... et les cloches qui chantent comme au jour de mes noces?... Ah! je suis trop heureuse, et deux fois trop heureuse, devant ce bonheur que je dois k celui qui m'a le mieux aimte!... Viens, mon Gianello... viens, mon Gianello!... Voici le seul baiser que je puisse te donner. {Elle lui donne un baiser sur le front.) PRINZIVALLE, tr^s tendrcment et avec ravissement. Oh! ma Giovanna!... II passe les plus beaux que I'amour esp6rait!... Mais qu'as-tu? Tu chancelles... tes genoux fl^chissent... Viens, appuie-toi sur moi; mets ton bras sur mon ecu... VANNA, avec la plus grande Smotion. Ce n'est rien... je te suis... C'est I'^blouissement... Act II MONNA VANNA SI deed their homage! A blaze covers the walls, all the ramparts are flaming! PRINZIVALLE See how the campanile burns like a torch of triumph' See how the towers shine resplendent and make answer to the stars! VANNA • f ^l,^t''^ets form paths of light that soar high in the air! There, I can mark their outline in the blue of the sky! PRINZIVALLE Behold, the Piazza and its turret of fire! VANNA There lies the Campo Santo, and forms an island of shadow! , PRINZIVALLE One would say it is life, freed from the thought of death, returned eager and joyous, calling us too once more. VANNA Listen! Do you not hear? Do you not hear the cries and the mighty delirium arising, as if the sea had o'erflowed unto Pisa? — ^Ah, those bells that are singing as they sang at my marriage! Ah, the joy and the gladness, sweet and rare and surpassing! This joy were too great, that I owe unto him who best knew how to love me! Come, my Gianello, come, my Gia- nello! To you I give this' kiss, for none other is mine to give. -(She kisses him on the brow.) PRINZIVALLE, very tenderly, in ecstasy. Oh! my Giovanna! — ^The boon surpasses all that love dared to hope! But you pale, and you falter — ^you scarce can stand! — Come, you shall lean upon me, lay your arm upon mine. VANNA, with deep emotion. It is naught — I will come. — I was dazed — I had over- 52 MONNA VANNA Acte 2™ J'avais trop demand6 aux forces de la femme... Soutiens- moi, porte-moi, pour que rien ne retarde mes premiers pas heureux... Ah! que la nuit est belle dans I'aurore qui se l^ve!... Httons-nous, il est temps... II nous faut arriver avant que la joie soit 6teinte!... lis sortent enlacSs, tandis que les acclamations se poursuivent au loin, dans la ville enfite.) RIDEAU Act u MONNA VANNA 53 wrought the strength of a woman. Lead me on, bear me on, that our steps be not hindered in this first hour of joy! Ah! then is night the fairest when early day is dawning! Haste away, it were time, it were well to arrive before the rejoicing be faded! {They go out together, the distant rejoicing continues!) CURTAIN. ACTfi TROISlfiME Une salle d'apparat dans le palais de Guido Colonna. Hautes f entires, colonnes^ de marbre, portiques, tentures, etc. A gauche, au secOftd^ plan, une vaste terrasse dont les balustrades portent de grands vases fleuris et & laquelle donne acchs un double escalier extirieur. Au centre de la salle, entre les colonnes, de larges degris de marbre con- duisent d, cette mime terrasse, d'oH Von dScouvre une partie de la mile. SCfeNE PREMlfeRE GUIDO, MARCO, BORSO et TORELLO GUIDO J'ai fait ce que vous avez voulu, ce qu'elle a voulu, ce que tous ont voulu. Je me suis tu, je me suis cach6, j'ai retenu mon souffle, comme ferait le l^che pendant que les voleurs saccagent sa maison... Et j'ai 6t6 honnSte dans mon avilissement... Vous avez fait de moi un marchand scrupuleux... Tenez, void I'aurore... Je n'ai pas boug6 jusqu'ici... J'ai pes6 et comptd I'infamie!... II fallait faire honneur au march6 et payer tous vos vivres... Maintenant j'ai pay6... et vous avez mang6... Main- tenant je suis libre, je redeviens le maltre, et je sors de ma honte... MARCO Mon fils, je ne sais pas ce que vous comptez faire, et nul ne peut soulager une douleur comme la v6tre... {Avec une grande tristesse.) Maintenant que la ville est sauv6e, nous regrettons presque ce salut qui vous coflta si cher; et malgr^ nous, ^pour ainsi dire, nous baissons la tite devant celui qui porte seul, injustement, toute la peine... Je ne sais que vous dire... Mais si ma voix que vous avez aim^e, peut vous convaincre encore, je vous en THIRD ACT (State apartment in Guido Colonna's palace. Tall windows i marble columns, porticos, hangings, etc. On the left, at back, a spacious terrace with huge vases of flowers on the balustrades; it is approached from the outside by a double staircase. In the centre of the hall, broad ntdrble steps lead between the columns to this terrace, from.which can be seen a part of the town.) FIRST SCENE GUIDO, MARCO, BORSO and TORELLO GUIDO I have done as you desired, as she desired, and as all did desire. I have been mute and have kept me hid, and I have held my breath,; like a coward skulking when rogues are abroad and thieves plunder his house. — And I have paid in honour fullest forfeit of my shame. A huckster am I now, and exact in my dealings. — Behold, the day is breaking — I have never stirred until now — I have counted and weighed my dishonour! — It, be- hooved us to honour the pledge and to pay for all your food. Now, in truth, I have paid — you have enjoyed your fill. Now again am I free, I am once more the master and cbme fbrth from my shaming. MARCO My son, I may not know the purpose of your mind, and none has power to assuage so great a pain as you do suffer. {In great sorrow^) But now, though the town- bq delivered, we are fain to deplore this reprieve for which yo'ii paiid so dear ; spite of ourselves, be well assured, we do'bow our heads, shamed by the man who unjustly and alone bore all the burden.-^What to say I know not. Biit if my voice, which you did love of old, can but persuade you still, I do beseech you, my son, take you 56 MOJNJNA VAJNMA Acre o— prie, mon fils, ne suivez pas aveugl6ment les conseils de la colore et du malheur. Vanna va revenir... d&es- p6r6e... heureuse... Ne la jugez pas aujourd'hui, ne re- poussez personne. GUIDO Est-ce tout?... Enfin! ce n'est plus I'heure des paroles mielleuses, et il n'est plus personne qu'elles puissent tromper!... Ce que je vais faire est bien simple... Un homme a pris Vanna! Vanna n'est plus k moi tant que cet homme existe. Pour elle... je lui pardonnerai... (Sombre.) quand il ne sera plus. (DSsignant son phre.) Mais il y a quelqu'un que je ne verrai plus sans honte et sans horreur... II y a ici un homme qui devait itre le guide et le soutien d'un noble et grand bonheur... il en est devenu I'ennemi et la ruine. Cet homme, je le maudis, le renie et le chcisse. MARCO Mon fils, maudissez-moi pourvu que vous lui pardon- niez! {RSsignS.) Je m'en vais, mon enfant, vous ne me verrez plus... Mais puisque je pars ainsi sans que rien me demeure qu'on me puisse envier, je ne vous ferai plus qu'une seule prilre... Qu'il me soit permis delavoirune dernifere fois se jeter dans vos bras. Ensujte, je partirai sans me plaindre et sans vous croireinjuste... II est bon que dans les mis^res humaines, le plus vieux prenne sur ses 6paules tout ce qu'il peut porter, puisqu'il n'a plus que quelques pas k faire pour qu'on le soulage du fardeau. {On entend au loin les acclamations de la foule, qui se rapprochent de plus en plus : Monna Vanna! Gloire k Vanna! Notre Monna Vanna! Gloire k Vanna! Gloire!) MARCO C'est Vanna! C'est elle!... Elle revient! Elle est 1^!... lis I'acclament, 6coutez!... 6coutez! {Borso et Torello le suivent sur le terrasse, tandis que Guido reste seul; appuyi contre une colonne il regarde au loin.-^- Durant toute cette fiH de schne les clameurs du dehors redoublent et se rapprochent rapidement.) Act III MONiSTA VANNA 57 good heed, follow not blindly the counsel of anger and grief.— Vanna will return— despairing, but happy.— Pause a while, nor judge her to-day, but withhold your reproaches. GUIDO Have you done?— The hour is overpast for these honey-tongued phrases! There lives no more the man whom such words can deceive!— That which I shall do IS no riddle. A man did take Vanna! Vanna is mine no more while this man is living. As for her— I will pardon her (grimly) when he is no more. (Indicating Marco.) But there yet is one I shall never see more with- out loathing or unashamed. There is in our midst a man, one who should be as the guide, counsel and stay of happiness and good — but of late is become their foe and their ruin. On him I lay my curse, I disown him in scorn and in hate! MARCO Let fall your curse on me, if only you will pardon her! (Resigned, brokenly.) I will go, my child; you shall see me no more. — But since I go from you thus, and all that men could envy me is gone, I crave this alone, to make this one entreaty: that you give me leave, for the last time, to look on her face when she leaps to your arms. And straightway will I depart uncoinplaining, nor will I deem you wrong me. — It is meet, when man's pain and sorrow are heavy, that the oldest take upon his shoulders all he has strength to bear, for he has now but few more steps to go and he shall be eased of all the load. (In the distance are heard the acclamations of the approaching multitude: "Praise to Vanna! Glory to Vanna! Glory, praise to Vanna!'') MARCO 'Tis Vanna ! 'Tis she ! — she is returned ! she is there ! — They acclaim her, do you hear? — do you hear? (Borso and Torello follow him to the terrace, while Guido remains alone, leaning abstractedly against a column. As the scene goes on the uproar out- side is redoubled, rapidly comingMearer.) S8 MONNA VANNA Acte S-"* MARCO, sur la terrasse. Oh! la place, les rues, les branches, les fengtres sont couvertes de t^tes et de bras qui s'agitent... Mais od done est Vanna?... Je ne ,vois qu'un nuage qui s'ouvre et se referme... Borso! mes pauvres yeux trahissent mon amour. Oil est-elle? La vois-tu?... Je veux aller k sa rencontre. BORSO, le retenant. Ne descendez pas!... La foule est trop 6paisse et ne se contieht plus... Vanna approche, ell? est 1^, nous regarde et sourit!... MARCO Mais vous la voyez done quand je ne la vols pas?... Ah! mes yeux presque morts qui ne distinguent rien!... Pour la premiere fois, je maudis la vieillesse qui m'ap- prit tant de choses pour me cacher celle-ci! BORSO On la porte en triomphe! On dirait qu'elle 6claire la foule qui racclame! TORELLO Mais quel est done cet homme qui marche k c6t6 d'elle?... BORSO Je ne sais... Je ne le connais pas... Son visage est cach6... MARCO j£coutez le d61ire... Tout le palais tressaille, et les fleurs des grands vases tombent sur les balustres... Vanna! ma Vanna!... est-ce toi que je vols sur la pre- miere marche?... Monte, Vanna!... monte! monte parmi les fleurs! Monte! monte, Vanna! plus belle que Judith et plus pure que Lucrece. {II court aux vases de marbre dont il arrache & pleines mains les fleurs gu'il jette au •pied de I'escalier.) Moi aussi j'ai des fleurs pour saluer ,1a vie!... Moi aussi j'ai des lys, des lauriers et des roses pour couronner la gloire! (Les acclamations deviennent plus dilirantes. Les cloches sonnent d toute vole6.) Act III MONNA VANNA 59 MARCO, on the terrace. Oh! The square, and the streets, the branches, the windows, are all covered with heads and with arms that are swaying!-But where is Vanna?-I see naught save a cloud that opens and then doses. Borso, my sight- less eyes betray my great love! Where is she?— Can you see her?— I would go forth, I would recdve her! BORSO, restraining him. Nay, go you not down ! The throng surges and presses, now no more m control.— Vamia comes nearer, she is there! Now she sees us and smiles! MARCO But you see her smile, e'en though I see it not!— Ah! my eyes are near death, now so feeble and dim!— The hour is come at last when I rail on the dotage that has taught me so much, only to cheat me of this! BORSO They bear her in triumph! One would say she il- lumines the throng doing her homage! TORELLO But who is yonder man I see walking beside her? BORSO I know not — nor can tell who he is — for his face is concealed. MARCO Do you hear the delirium? — Even the walls are trem- bling and the flow'rs in the vases break and fall on the stairway! Oh, my Vanna, my Vanna! It is you that I see there at the foot of the terrace? Onward, Vanna! Onward, ascend, treading the flowers! Onward, Vanna! more comely than Judith and more pure than chaste Lucretia! (Running to the marble vases, he snatches handfuls of flowers and flings them to the foot of the stair- ttwe.) I, no less, I have flowers, here I give my greeting to life! I have flowers, laurel and rose and lily; here do I crown your glory! {T*he claniour and delirium increase. The crash of bells swells to its height.) 60 MONNA VANNA Acte 3'^' SC£NE II Les MtMES, PRINZIVALLE, VANNA ( Vanna, accompagnie de Prinzivalle, paratt au haute de I'escalier et se jeite dans les bras que lui tend Marco sur la dernihre marche.. La foule envahait I'escalier, la terrasse, les portiques, mais se tient cependant d une certaine distance du groupe form^ par Vanna, Prinzivalle, Marco, Borso et Torello.) VANNA, dans les bras de Marco. Mon pfere, je suis heureuse... MARCO, I'embrassant itroitement. Et moi aussi, ma fille, puisque je te revois!... Laisse- moi te regarder k travers nos baisers... Je te vois plus radieuse que si tu revenais des sources de ce ciel qui chante ton retour... Et I'horrible ennemi n'a pas pu te ravir un rayon de tes yeux, un sourire de tes Ifevres!... VANNA Mon pfere, je vous dirai... Mais oh done est Guido?... II ne sait pas encore... MARCO Viens, Vanna, il est la... et je veux te jeter dans ses bras! (A ce moment, Guido s'avance au-devant de Vanna. Celle-ci va parler et fait un mouvement pour s'Slancer dans ses bras; mais Guido, d'un geste brusque, I'arrite et la repousse, et, s'adressarit d ceux qui I'entourent :) GUIDO, d'une voix brhie, stridente et impirieuse. Laissez-nous! VANNA Non, non!... Attendez tous!... Guido, tu ne sais pas... Je veux te dire, je veux leur dire ^;tous!... Guido, je reviens pure et personne ne peut... GUIDO, Vinterrompant, la repoussant, et Slevant la voix dans la coUr^e qui le gagne. Toi, ne m'approche pas, ne me touche pas encore!... Act III MONNA VANNA 61 SCENE II The same, with PRINZIVALLE and VANNA {Vanna, accompanied by Prinzivalle, appears at the head of the staircase, and flings herself into Marco's out- stretched arms. The crowd pours into the palace, filling the staircase, terrace and corridors, but keeps at a distance from the group formed by Vanna, Prinzivalle, Marco, Borso and Torello.) VANNA, in Marco's arms. My father, I am so happy ! MARCO, embracing her affectionately. And I, too, my daughter, seeing you once more! — Let me look on your face through our kisses and tears. You shine even more radiant than if you had come from the depths of the sky that sings your return. And though vile was your foe, he could rob you of naught, nor one ray of your eyes, nor one smile of your lips so gentle! VANNA My father, you shall know all. — But where is Guido? For as yet he knows nothing — MARCO Come, Vanna, he is there — I would fling you into his arms! {At this moment, Guido comes forward and faces Vanna; she is about to speak, and makes a move- ment to rush into his arms: but Guido brusquely repulses her and thrusts her aside, then turns to the crowd surrounding him.) GUIDO, brusquely, in sharp, imperious tones. Get you gone! VANNA No, no! Let all remain! — Guido, you know not yet — I wish to tell you, I wish to tell them all! — Guido, I come back stainless, and no man living can — GUIDO, interrupting her, repulsing her, and raising his voice in the toils of4iis wrath. You, come not near me, nor dare again to touch me! 62 MONNA VANNA Acte 3"'« (// s'avance vers la foule qui a commencS d'envahir la salle ei qui recule devant lui.) Avez-vous entendu?... Je vous prie de sortir et de nous laisser seuls... Allez-vous- en, mangez! Allez-vous-en, buvez!... Moi, j'ai d'autres soucis, et je garde des larmes que vous ne verrez pas... Allez-vous-en, vous dis-je!... (Mouvernents silencieux dans lafoute qui disparatt peu d peu.) II en est qui s'attardent?... {Prenant violemment son plre par le bras.) Vous aussi! vous surtout! vous plus que tous les autres, puisque c'est votre faute!... {Apercevant Prinzivalle qui n'a pas bougS.) Et vous?... Qui gtes-vous, qui restez Ik comme une statue voil^e?... £tes-vous done la honte ou la mort qui attendent?... N'avez-vous pas compris qu'il faut voiis en ailer?... (// s'empare de la hallebarde d'un garde comme pour frdpper Prinzivalle.) VANNA, I'arrStant dans son geste. Ne le touchez pas! GUiDO, surpris, sans voix. Ah! Vanna?... Toi, Vanna?... D'oii te vient cette force?... VANNA C'est lui qui m'a sauv6e... GUIDO Ah! II t'a sauv6e... apr^s... quand il 6tait trop tard... VANNA D'un seul mot tu sauras... II m'a sauv6e, 6pargn6e, respect^e... II revient sous ma garde... j'ai donn^ ma parole, ta parole, la n6tre... GUIDO Mais qui est-ce? qui est-ce? . ...■ _ VANNA Prinzivalle... '^ GUIDO Qui?... Lui?... Prinzivalle, celui-ci?.„ Act III . MONNAVANNA *63 \ (Advancing to the crowd of '^intruders, which gives way ^iefore him.) Heard you not what I said? I beseech you to go, to leave us here alone! — Get you gone and eat! Get you gone and drink! — I have other cares, keeping watch over tears that you may not see — ^Then get you gone, I bid you! (The throng melts feway in silence.) Are there those who would linger? (Seizing Marco violently by the arm.) And you, too! More than all! Yes, you more than all others, since this is your trespass! (Catching sight of Prinzivalle, who has not stirred.) .And you? — ^what man are you, who loiter there, standing like a veiled statue? — Are you perchance dishonour or death in attendance? — Could you not hear my words that charged you to begone? (He seizes a sentinel's halberd, to strike him.) VANNA, stopping him. Touch him not! GUiDO, surprised, in a hollow voice. Ah, Vanna?— you, Vanna? — How come you by spch strength? VANNA 'Tis he who saved me! GUIDO Ah! What if he saved you? — 'twas after — and when it was too late — VANNA I beseech you, listen!— for it needs but a word. This man did save and spare and respect me.— He js come in my charge, I have given my promise, given yours, too, and ours — GUIDO But who is he? Who is he? VANNA Prinzivalle! GUIDO What? — He?— Prinzivalle— that man? 64 MONNA VANNA Acte 3™ ^ VANNA Oui, oui; il est ton h6te... il a confiance en toil... II est notre sauveur!... GUIDO, courant d la terrasse el criant & tue-tHe. Prinzivalle! Prinzivalle!... Nous tenons I'ennemi!... VANNA, essayant en vain de V inter rompre. Non, non, 6coute-moi!... GUIDO Vite! accourez tous!... Cast lui! c'est bien lui! VANNA Guido!... ce n'est pas cela!... GUIDO Ma Vanna nous I'amene pour que^ notre vengeance efface notre honte!... VANNA Guido ! Guido ! dcoute-moi, te dis-je !... (Affolie.) Non !... non!... Guido! Je t'en supplie!... Je' n'irai dans tes bras que lorsque tu sauras!... (Lafoule rentre rapidement.) GUIDO, dans une exaltation febrile et cherchant d, I'enlacer. O Vanna! ma Vanna! Tu es grande et je t'aime! Et je comprends ta ruse plus puissante que son crime! Le triomphe est splendide! II suivait tes baisers douce- Taent, {Raillant presque.) tendrement, comme un agneau qui suit une branche de fleurs! Qu'importent les baisers qu'on donne dans la haine!... VANNA, ^perdue et le repoussant. Non, non! Guido! 6coute-moi! Je t'aime!... Guido! je t'en supplie... d'un seul mot tu sauras! £coute-moi, te dis-je!... Je n'ai jamais menti, mais aujourd'hui je dis la v6rjt6 profonde, celle qu'on ne dit qu'une fois et qui Act III MONNA VANNA 65 VANNA Yes, yes, he is your guest now, and on you is his trust!— And he saved us all! GUipo, running to the terrace, and shouting at the top of his voice. Prinzivalle! Prinzivalle! We have captured the foe! VANNA, vainly endeavouring to interrupt him. No, no, hear me out! — GUIDO Hasten ! Come hither all ! 'Tis he ! yes, 'tis he ! VANNA Guido! — you misunderstand! — GUIDO My Vanna brings him hither that the vengeance we wreak may blot out our dishonour! VANNA Guido! Guido! Listen to me, I beseech you! — {Distraught.) No! no !^— Guido! I do implore you! — Nor will I come to your arms save when you know the truth! {The crowd rushes in.) GUIDO, in feverish excitement, trying to take her in his arms.) Oh, Vanna! my Vanna! You are glorious and I love you! I understand your cunning, that surpassed all his misdoing! Truly great is the triumph! He was led by your kiss, {jestingly) by your charms, by your grace, as 'twere a lamb that follows a garland of flowers! Why grieve over the kisses one gives a foe in hatred! VANNA, repulsing him, distraught. No, no, Guido! Hear me speak! Guido! I do beseech you! — For it needs but a word! Hear me speak, I implore you! — ^Though I have never lied, yet do I speak to-day the profoundest truth, such as may be spoken 66 MONNA VANNA Acfte 3"^ tue ou fait vivre... Cet homme pouvait tout puisqa'on m'avait donii6e... II ne m'a pas touchte et je sors de sa tente comme je Serais sortie de la maison d'un fr^fe... GUIDO Et pourquoi? VANNA, simplement. Parce qu'il m'aime..^ GUIDO II t'aime! Ah! c'6tait done cela que tu devais nous dire... c'^tait 1^ le miracle!... {Mattrisant son SmoHon.) Ainsi, quand il t'a eue presque nue, sous sa tente, et seule, toute la nuit, cet homme ne t'a pas prise?... VANNA Non!... GUIDO II ne t'a pas touchfe, ne t'a pas embrassde?... VANNA Je ne lui ai donn6 qu'un baiser sur le front... il me I'a rendu... GUIDO Regarde-moi, Vanna... Je ne vois pas ton but, ou si c'est le d^lire de cette horrible nuit... VANNA Ce n'est pas le ddlire, mais c'est la v&it6... GUIDO La vdrit6, grand Dieu!... Ah! je ne bherche qu'elle!... Mais il faudrait pourtant qu'elle fflt presque humaine!.'.. {Interpdlant la foule.) Avez-vous entendu?... Vous, vous devez la croire, vous, qu'elle a sauv6s!... Dites, la croyez- vous?... Que tous ceiix qui la croient sortent done de la foule! MARCO, s'ilangant au milieu de la seine. Je la crois!... Act III MONNA VANNA 67 but once and brings death or life.— This man could have done all, since I had been given — yet he forebore to \ touch me, and I come from his tent even as I would have come from the home of a brother. GUIDO And why? VANNA, simply. Because he loves me. GUIDO He loves you ! Ah ! so it was this that you were fain to tell us! — ^And this was the miracle! {Mastering his emotion.) And though you were with him, in this cloak, in his tent, alone all through the night, this man did not aflront you? VANNA No! GUIDO He did not even touch you, he did not even kiss you? VANNA I did but give him a kiss on the brow. He returned it. GUIDO Loc^ in mine eyes, Vanna!— I understand you not, nor knov if this be madness wrought by that awful night — VANNA This is indeed no madness! No, it is the truth. GUIDO In heaven's name, the truth!— Ah! It is all that I seek!— But I will have no truth that is past man s be- lieving! {With a challenge to the crowd.) Heard you the words she said?— You should at least believe her, you whom she has saved! Tell me, do you believe her?— Let all those that believe stand forth from the throng! MARCO, rushing forward. I believe her! 68 MONNA VANNA Acte 3»* GUIDO Vous, vous Stes leur complice!... {A la foule.) Mais les autres, les autres! Oil sont-ils ceux qui croient?... {A Vanna.) Ceux mSme qui murmuraient n'osent pas se montrer... Et moi, moi... je devrais... (Presqtie sans voix.) Non, non!... A present je sais tout. Oui, c'est la v6rit6, ou plut6t c'est ramour... {Douloureux.) Je ne sais ce qq'une nuit a pu faire d'une femme que j'avais tant aim6e... Je^ comprends maintenant... Tu voulais le sauver... {Elevant la voix.) Ecoutez-moi, vous tous! C'est la derni^re fois!... Je veux faire un serment!... {J^puisS par la souffrance.) Vous voyez cette femme et vous voyez cet homme?... II est certain qu'ils s'aiment!... lis sortiront d'ici, librement, sans outrage... ils iront oil I'amour conduira leur dilire, pourvu que cette femme me dise la v6rit6 qui est la seule possible. As-tu compris, Vanna? Cet homme t'a-t-il prise?... Oui ou non, r^ponds- moi; c'est tout ce que je veux... VANNA J'ai dit la v6rit6... II ne m'a pas touch6e... GUIDO C'est bien! vous avez dit... Vous I'avez condamn6. (Se rapprochant des gardes et leur dSsignant Prinzivalle.') Cet homme m'appartient : prenez-le, liez-le, descendez avec lui jusqu'aux derniers cachots qui sont sous cette salle... J'y descends avec vous. {A Vanna.) Vous ne le verrez plus, et je viendrai vous dire ses derni^res paroles. VANNA, se jetant au milieu des gardes qui saisissent Prinzivalle. Non! non! il est k moi!... J'ai menti! j'ai menti!... II mja prise!... il m'a prise!... 11 m'a eue!... il m'a prise!... {Ecartant les gardes.) Ecartez-vous, vous autres! Ne prenez pas ma part! II n'appartient qu'^ moi!... Je veux que mes mains seules... L&chement, bassement it m'a prise! il m'a prise!... PRINZIVALLE, s'efforgant de coUvrir sa voix. Elle ment! Elle ment! EUe ment pour me sauver, mais aucune torture... Act III MONNA VANNA 69 GUIDO You! but you are their accomplice! " {To the crowd.) But the others, the others ! Where are they who believe? {To Vanna.) E'en those who did make lament have not dared to stand forth! And I, I— should be first'— {Brokenly.) No, no ! Now indeed I know all ! yes, this is the truth, or, more like, this is love. — I knew not that a night could thus work on a woman, one whom I loved so well. — I see it now — ^you thought to save him. {Rais- ing his voice.) Listen, all of you! While I speak this last word! — I would swear me an oath! {Exhausted by suffering.) See you here, this woman, see you also this man? — 'Tis sure they love each other! — ^They shall go forth from this house without hurt, without insult. — They shall go whither love guides the path of their madness, provided this woman do tell me that truth which is the one truth possible. You understand, Vanna? This man and yourself? — ^Yes or no, answer me; 'tis all I desire — VANNA I have spoken the truth. He laid no hand upon me. Guroo Enough! You have said it. You- have spoken his doom. {Calling Guards and pointing out Prinzivalle.) This man is mine ! Do you seize him, and bind him, then go with him down to the furthermost cells that lie beneath this palace! I will come with you. {To Vanna.) You shall not see him more. Word from him will I bring you, you shall hear his last message. VANNA, flinging herself upon the Guards who have seized Prinzivalle. No! no! He is mine! I have lied! I have lied! He has shamed me to the depths of dishonour! {Thrusting the Guards aside.) Stand aside, you others! Nor take my'share from me ! He is for me alone ! My hands, mine and none others! — Cowardly, dastardly — ^he has shamed me! he has shamed me! PRINZIVALLE, Striving to drown her words. She lies! She lies! She lies that I may live, but no pain and no torture — 70 MONNAVANNA Acte 3>»« VANNA Taiisez-vous!... {Se tournant vers le peuple.) II a peur!... (S'approchant de Prinzivalle comme pour lui lier les mains.) Donnez-moi les cordes, les chalnes et les fers!... C'est moi qui le garotte, c'est moi qui le livre!... {A voix basse, d Prinzivalle, tandis qu'elle lui lie les mains.) Tais-toi, il nous sauve!... Tais-toi, il nous unit!... Je t'appairtiens, je t'aime!... Laisse-moi t'enchainer... Je te d^livrerai!... Je serai ta gardienne!... Nous fuirons... Taisez-vous!... {S'adressant d, la foule. II m'implore k voik basse!... (DScouvrani le visage de Prinzivalle.) Re- gardez ce visage!... Regardez-le, c'est lui!... II est hideux et liche!... (Voyant que ^les gardes font un mouvement pour emmener Prinzivalle.) Non! non! laissez-le moi!... C'est ma part! C'est ma proie! Je la veux pour moi seule!... Gardez-le! Tenez-le!... Vous voyez qu'il veut fuir!... GUIDO Pourquoi est-il venu?... Pourquoi as-tu menti?... VANNA, hisitant et cher chant ses mots. J'ai menti... Je ne sais... Je ne voulais pas dire... Car, j'avais peur de toi... Maintenant, tu le veux... Et bien... oui!... c'est vrai, oui, il m'a prise bassement, l^chement... J'ai voulu le tuer et nous avons lutt6... Mais il m'a d6sarm6e... Alors j'ai entrevu ma ven- geance et je lui ai souri... {Presqv^ en raillerie, avec fSlonie.) II a cru mon sourire... II esp^rait me prendre et c'est moi qui I'ai prisl... {Dans la joie du triomphe.) Le voil^ dans sa tombe et je la scellerai!... {Comme dans une voluptueuse cruautS.) Le voil^ dans mes mains qui ne s'ouvriront plus!... {Avec une joie contenue et passionnie.) Ah! mon beau Prinzivalle! Nous aurons des baisers comme on n'eii a pas eu{ GUIDO, s'approchant. Vanna!.. Vanna!... VANNA Regarde-le de pr^s... II 6tait plein d'espoir. II m'a crue tout de suite, lorsque je lui ai dit : "Prinzivalle, je t'aime!" Ah! I m'aurait suivie jusqu'au coeur de I'enfer! Act III MONNAVANNA 71 VANNA r^^^^^V"^''!,' -^^"^r^S to the crowd.) He is afraid! (Approaching Prtnzivalle as if to bind his hands.) Give me the fetters, the thongs and the gyves! 'Tis I who must bind him Tis I who have trapped him! {Whisper- tng to Prtnzivalle, while she binds his hands.) Be still '— He saves us!— Be still!— He unites us! I am yours- I love you! Let me shackle your limbs! I will plan your escape! I will make me your keeper! We will flyl— Say no word. (Addressing the crowd.) He is plead- mg for mercy! (Uncovering Prinzivalle's face.) Look you all on his face! Look on it well, 'tis he! A craven cur and monster! (Seeing that the. Guards are about to remove Prinzivalle.) No! no! leave him to me! — 'Tis my share! — 'Tis my prey! — He is mine and mine only!— Guard him well ! Keep him close, lest he think to escape ! GUIDO But why is he come? — ^And why have you lied? VANNA, hesitating and picking out her words. I have lied — I know not — I did not wish to tell you. — For I was afraid of you. — But now, 'tis your will. And so — ^Yes! 'tis true, yes, he has shamed me, he was vile, he was false! I made effort to kill him, long did I strive with him! But at length he disarmed me. — ^And then I devised vengeance upon him, turning to him with smiles. (Lightly and maliciously.) He believed on my smiling. He even thought to win me. Now, 'tis I who have won! — (Revelling in her triumph.) Look on him, brought to his tomb! I shall seal it myself! (With a show of passionate cruelty.) Now my hands hold him fast, closed to open no more ! (In the full delight of her passion.) Ah ! My own Prinzivalle! Such kisses shall be ours as none have ever known! GUIDO, approaching her. Vanna! Vanna! VANNA Look on him closer still!— Full and high was his hope!— Straightway did he believe me, when I said unto him: "Prinzivalle, I love you!" Ah ! he had followed me then 72 MONNAVANNA Acte 3°« Je I'embrassais ainsi. {Elle embrasse ardemment Prinzi- valle.) Gianello! Je t'aime! Rends-moi done mes baisers!... Ce sont ceux-ci qui comptent!... II me les rend encore!... Ah! le rire est trop prfes d'une pareilleliorreur!... Main- tenant, c'est mon homme!... Seigneur! il est k mbi devant Dieu et les autres!... Je le veux, je I'aurai!... C'est le gain de ma nuit et c'est un gain splendide! {Elle chancelle et se retient d, une colonne.) Prenez garde, jetombe!... Je portetropde joie!... {D'une voixhaletante.) Mon p^re, je vous le donne, vous 6tes son gardien... Que Ton trouve un cachot, un cachot si profond que persoiine ne puisse... Et j'en aurai la cI4!... et j'en aurai la cl6!... Je la veux tout de suite!... Que personne n'y touche!... C'est ma part, c'est ma part et je la veux in- tacte!... II m'appartient enfini... {On emmbne Prinzi- valle.) Adieu! mon Prinzivalle... Ah! nous nous re- verrons!... {Tandis que Guido se trouve au milieu des soldats qui emmhnent brutalement Prinzivalle, Vanna pousse un cri, chancelle et tombe dans les bras de Marco qui s'est precipiti pour la soutenir.) MARCO, trhs vite et d, mi-voix, tandis gu'il se penche sur Vanna qu'il soutient. Oui, j'ai compris, Vanna... J'ai compris ton mensonge... Tu as fait I'impossible... C'est juste et tres injuste, comme tout ce que Ton fait... Et la vie a raison... Reviens ^toi, Vanna... II faut mentir encore, puisqu'on ne nous croit pas... {Appelant Guido.) Guido, elle t'appelle... Guido, elle se reveille... GUIDO, accourant et prenant Vanna dans ses bras. Ma Vanna!... Elle sourit... Ma Vanna, r6ponds-moi... Je n'ai jamais dout6... Maintenant, c'est fini, tout va s'oublier dans la bonne vengeance... C'dtait un mauvais rgve!... VANNA, ouvrant les yeux, d'une voix tres faible. Oil est-il?... ovt est-il?... Ah! je sais... {Soudainement.) Mais donnez-moi la cl6... la cI6 de sa prison... II ne faut pas que d'autres... Act III MONNA VANNA 73 to the heart of hell! And I kissed him, so! (Kissing Prinzivalle passionately.) Gianello! I love you! Re- turn me kiss for kiss! For these are all that count! (Turning to Guido.) Mark him again return them! — Ah! A laugh is no neighbour for such thoughts of horror! — Now in truth he is mine! — Oh, Lord! He is for me, before God and the others! He is mine! 'Tismy due! - 'Tis the wage of my night, and is the wage of triumph ! (She reels and leans against a column for sup- port.) Have a care, I falter! The joy overweighs me! (Panting.) My father, to you I give hfm, his guardian are you! Let a dungeon be found, a dungeon so deep that no man shall be able — And I shall hold the key! Give it to me on this instant! — Let no other hand touch it! — 'Tis my share, I would not have it minished! — He is mine own at last! (Prinzivalle is led out.) Farewell, my Prinzivalle! — ^Ah! we shall meet yet once more! (While Guido is concerned with the Guards, who are brutally removing Prinzivalle, Vanna utters a cry and falls into the arms of Marco, who rushes to her assistance.) MARCO, very rapidly in a low voice, leaning over Varma as he supports her. Yes, I knew, Vanna! — ^And I saw through your false- hood. You have done the impossible. — 'Tis just, and yet most unjust, like all things that we do. — ^And in life all is right. — Come to yourself, Vanna! We must ever be lying, since we are not believed. (Calling Guido.) Guido, she calls you — Guido, once more she awakens! GtHDO, rushing forward, and taking Vanna to his arms. My Vanna!— She smiles! — My Vanna, make answer! — I ndver doubted you — and at last, it is done, and all shall be forgot in a righteous vengeance!— 'Tis all an ill dream! VANNA, Opening her eyes, in a very weak voice. Where is he?— Where is lie?— Ah! I know!— But give me the key— the key of his cell;— I would not suffer others — 74 MONNA VAN;NA Acte 3'°f GUIEjO Les geirdes vont venir, ils te la remettront. VANNA Je la veux pour moi seule, afin que je sache bien,.. Afin que personne autre... C'fetait un mauvais rSve... Le beau va commencer... le beau va commencer! RIDEAU Act III MONNAVANNA 75 GUIDO The guards shall come, and give it into your hands. VANNA I alone must hold it, so shall I be full sure — ^And so none others — *Twas all an ill dream — ^The fair dream is at hand — the fair dream is at hand! CURTAIN. ACTE QUATRIEME Un cachot. Au fond, lourde parte de fer. A gauche, sous les voUtes, une petite porte basse. Au lever du rideau, Prinzivalle, contre un pilier des voUtes, cherche d se dSgager-des Uens dont Va chargS Vanna. PRINZIVALLE Les chaines de Vanna! Elle les avaient noudes comme des chatnes de fleurs!... Chaines de deliverance dont m'a charg6 I'amour! Les hceuds que j'ouvre ici se refer- ment Icl-haut, dans I'ardent avenir de notre long bonheur ! Et plus je me d^livre, plus je me sens lid!... Voilcl! mes mains sont libres et se tendent vers elle!... Mais elle, que fera-t-elle?... N'a-t-elle pas trop d'espoir et trop de confiance?... Elle ne sait pas encore que la haine est souvent plus forte que I'amour et qu'il y a des portes que la mort seule entr'ouvre... (A gauche s'ouvre brusquement la porte basse, et Vanna parait sur le seuil. Prinzivalle, I'apercevant, s'ilance vers elle.) ' Vanna! ma Vanna!... (lis s'embrassent iperdument.) • VANNA, se dSgageant. Silence!... nous n'avons qu'un instant... lis ne savent pas que j'ai la eld de I'autre porte... Viens!... PRINZIVALLE Oii allons-nous?... VANNA Viens!... Viens!... (Elle va d la porte du fond et I'ouvre. Des rayons de soleil. inondent la prison.) Regarde!... Re- garde!... FOURTH ACT {A dungeon. At the back, a heavy iron door. On the left, under the arches, a small low door. As the curtain rises, Prinzivalle, near one of the pillars, is trying to free himself from the chains with which Vanna has bound him.) PRINZIVALLE The chains of my Vanna! wherewith she fastened my limbs as with a garland of flowers! Fetters wrought for my freedom and set on me by love! The knots un- ravelled here will be tangled again in the passionate hours of our long happiness! And the more I win freedom, the closer I feel me bound! — ^At last! My hands are free now, and outstretclied to enclose her! — But she, what is her purpose? Is she not too full of hope, too confident and trusting? — It is not in her to know that hatred is more strong even than love; naught knows she of portals opened by death alone — {The door on the left opens suddenly and Vanna appears on the threshold. Prinzivalle, seeing Vanna, rushes towards her.) Vanna! My Vanna! {They embrace passionately.) VANNA, freeing herself. Be silent! — ^but a moment is ours — they do not know I hold the key to the second door. — Come! PRINZIVALLE Whither go we? VANNA Come! come! {She goes to the door at back and opens it. Sunlight floods the cell.) Behold! behold! 78 ' MONNAVANNA Acte 4'»« PRINZIVALLE, Sbloui. Oil sommes-nous?... VANNA Hors des murs!... Dans la plaine!... Hors de Pise et de I'ombre oil nous avons souffert!... Viens, viens! c'est le grand jour!... Viens!... Viens!.., c'est tout I'espace et toute notre vie! {lis sortent enlacis et disparaissent dans la clarU.) RIDEAU Act IV MONNA VANNA 79 PRiNZivALLE, dumbfounded. Where are we? VANNA Past the walls — ^in the open! — Beyond Pisa arid the darkness where there was pain for us! — Come! come! Daylight is there! — Come! come! — ^AU space is yonder and -all our life is there! {They go out into the light, locked in each other's arms, and disappear from view.) CURTAIN. ^S$5S5-^^^KS^ mil VIVAUDOU i Pau-is New York larfumear 9M ONS. V. VIVAUDOU wishes the women of America to know and to use his wondrous creations. Their appeal is to women of discriminating taste. Mavis Lady Mary Pour la France La Boheme Lilas Arly *^^^^^^^iT^