A THOUSAND YEARS AGO Percy Mac Kaye HART MCMORIA J, UBRARY- (garttBU Utttucraitg Slibtarg Stltara, Sfew ^ork LIBRARY OF LEWIS BINGLEY WYNNE A. B., A.M., COLUMBIAN COLLEGE. '71. "73 WASHINGTON. D. C. THE GIFT OF MRS. MARY A. WYNNE AND JOHN H. WYNNE CORNELL '96 1922 Digitized by Microsoft® The Drama League Series of Plays VOLUME II Cornell University Library Cornell University L PS 3525.A1802T5 1915 A thousand years aa%,,;affi?,,|l&^^^^^^ 3 1924 021 771 534 All books are subject to recall after two weeks. Olin/Kroch Library DATE DUE nw^ p8"'"!596 Digitized by I Microsoft® This book was digitized by Microsoft Corporation in cooperation with Corneii University Libraries, 2007. You may use and print this copy in iimited quantity for your personai purposes, but may not distribute or provide access to it (or modified or partiai versions of it) for revenue-generating or other commerciai purposes. Digitized by Microsoft® Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021771534 '^ Digitized by Microsoft® THE AUTHOR AND THE CAST Taken at a rehearsal of the first New York production From Left to Right. Top Rou- : Calaf, Harlequin, Scaramouche, Percv MacKaye, Turandot, Capocomico, Altoum, Tea-Bearer. Bottom. Row : Punchinello, Zelima, Pantaloon, Barak (in foreground), Court Attendant. Digitized by Microsoft® A THOUSAND YEARS AGO A ROMANCE OF THE ORIENT BY PERCY MACKAYE WITH AN INTRODUCTION BY CLAYTON HAMILTON "Here in China the world lies a-dream, like a thousand Years ago, and the place of our dreams is eternal " GARDEN CITY 1915 NEW YORK DOUBLEDAY, PAGE & COMPANY Digitized by Microsoft® ^/^ Copyright, 1914 , hy PERCY MACKAYE ALL RIGHTS RESERVED BY THE SHUBERT THEATRICAL CO. In its present form this play is dedicated to the reading public only, and no performances of it may be given. Any piracy or infringement will be prosecuted in accord- ance with the penalties provided by the United States Statutes : — Sec. 4966. — Any person publicly performing or representing any dramatic or musical composition, for which copyright has been obtained, without the consent of the proprietor of the said dramatic or musical composition, or his heirs or assigns, shall be liable for damages therefor, such damages in all cases to be as- sessed at such sum, not less than one hundred dollars for the first and fifty dollars for every subsequent performance, as to the Court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or per- sons shall be guilty of a misdemeanor, and upon conviction be imprisoned for a period not exceeding one year. — U.S. Revised Statutes, Title 60, Chap. 3. Digitized by Microsoft® TO HEKMANN HAGEDORN Singer of flashing swords Lover of olden songs ' Miming Romance, seductive Adventure Amorous Magic, improvised Comedy And all the love-charming, blood-thirsty Enchantments Our prosy old workaday world has lost wind of " IvJ Digitized by Microsoft® THE AUTHOR Percy MacKaye, the author of this play, was born m New York City, March 16, 1875 — a son of Steele MacKaye. He graduated from Harvard with the class of 1897 and shortly afterward spent two years in Italy and at the University of Leipzig. In 1904 he joined the Cornish (New Hampshire) Colony and has since devoted himself to literary and dramatic work. He is a member of the National Institute of Arts and Letters. Following is a list of his published works : The Canterbury Pilgrims: A Comedy. The Canterbury Tales of Chaucer. Fenris, the Wolf : A Tragedy. Jeanne D'Arc: A Tragedy. Sappho and Phaon: A Tragedy. The Scarecrow: A Tragedy of the Ludicrous. Lincoln Centenary Ode. Mater: An American Study in Comedy. The Playhouse and the Play. Essays. A Garland to Sylvia: A Comedy. Anti-Matrimony: A Satirical Comedy. Yankee Fantasies. Five One-Act Plays. To-Morrow. a Play in Three Acts, Poems. Uriel, and Other Poems The Civic Theatre. Sanctuary: A Bird Masque. A Thousand Years Ago [vi] Digitized by Microsoft® Cast of the Play as produced in New York, at the Shubert Theatre, January 6, 1914 A THOUSAND YEARS AGO A Romance of the Orient BT PERCY MACKAYE "Here in China, the Tvortd ties a-dreant, tike a thousand Years ago, and the ptace of our dreams is eternat" _ (The play is an original comedy, suggested by the Persian romance in The Thousand and One Tales," wherein is recited the adventures of ( a!al', Prince of Astrakhan, and the beautiful Princess of China.) CAST OF CHARACTERS Asiatic TURANDOT, Princess of Pekin Rita Jolivet ALTOUM, her father. Emperor Frederick Warde ZELIMA, her slave Fania Marinoff CALAF, Prince of Astrakhan Jerome Patrick BARAK, his servitor Frank McCormack CHANG, Eunuch Edmund Roth European §?,^?.^^x?,HS'??l rSheldon Lewis PANTALOON I Vagabond Players from Italy. \ ^{['/^^Vhoml^" HARLEQUIN J Uoseph C "mith CAPOCOMICO, their leader Henry E. Dixey LOROS OF THE ROYAL DiVAN Hugh Nixon, John P. Savage, Anthony Romack, Reginald Simpson Beggars William H. Dupont and W. Bradley Ward [vii] Digitized by Microsoft® SOLDIEKS OF PeKIN David Earle, Charles Muche, Thomas Edwards, Joseph Reed, Howard Jackson, Carl Textoris, Joseph Weston, James Bannister Tea Bearers Franlclin Montgomery and John Leons CoDRT Attendants Philip Sheridan and Robert W. Gest Female Attendants Marie Benton, Daisy Miller, Ruth Pierson, Constance Howard, Elsie Oates and Sybil Maitland SCENES Act I City Gate at Pekin Act II Scene 1: Room in the Imperial Harem Scene i: Great Hall of the Emperor Act III Scene 1: Turandot's Crystal Resting Room Scene 2: Turandot's Dream Scene S: Crystal Resting Room. Turandot Wakens Scene 4: Calaf s Bedchamber Act IV Great Hall of the Emperor. (The same as Act II, Scene «) Play produced under the direction of Mr. J. C. Huffman Interpretative music composed by William Furst [ viii] Digitized by Microsoft® PREFACE The present play is an original comedy, of which certain elements in the plot have been suggested by the old Persian tale which is the theme of the eigh- teenth century Italian comedy "Turandotte," by Carlo Gozzi, translated into German by Friedrich Schiller. It is not a revision or rewriting of that work. It is an entirely new play. Since, however, some modern productions have re- cently been made in Germany, England and America, under the title of "Turandot," it is fitting to make clear the relation which my play bears to those and to the older productions of Gozzi and Schiller. In January, 1762, "Turandotte" by Carlo Gozzi was first acted by the Sacchi company of players at Venice. It was one of a number of "improvised comedies" — or Commedie delV Arte Improvisata — composed by Gozzi in his single-handed artistic war against the more naturalistic works of Goldoni, his contemporary. [ix] Digitized by Microsoft® PREFACE The plots of these comedies, or Fiabe, were de- rived from nursery or folk-tales. They were acted by masked, or semi-masked players. Their tech- nique was based on the old Italian form of scenari. This form is described by John Addington Symonds, in the Preface to his "Memories of Count Carlo Gozzi," as follows: "Comparative study of these scenari shows that the whole comedy was planned out, divided into acts and scenes, the parts of the several personages described in prose, their entrances and exits in- dicated, and what they had to do laid down in detail. The execution was left to the actors; and it is difficult to form a correct conception of the acted play from the dry bones of its ossatura. ' Only one thing afflicts me,' said our Marston in the Preface to his Malcontent: 'to think that scenes invented merely to be spoken, should be inf orcively published to be read.' And again in his Preface to the Fawne: 'Comedies are writ to be spoken, not read; remem- ber the life of these things consists in action.' If that was true of pieces composed in dialogue by an English playwright of the Elizabethan age, how far more true is it of the skeletons of comedies, which avowedly owed their force and spirit to extempora- Digitized by Microsoft® PREFACE neous talent! Reading them, we feel that we are viewing the machine of stakes and irons which a sculptor sets up before he begins to mould the figure of an athlete or a goddess in plastic clay. "The scenario, like the plat described for us by Malone and Collier, was hung up behind the stage. Every actor referred to it while the play went for- ward, refreshing his memory with what he had to represent, and attending to his entrances." Written as scenari Gozzi's acted Fiabe were emi- nently successful in their day, and established his works as models of a dramatic taste which, toward the last of the eighteenth century, it became the desire of cultivated Germans to introduce into their own country. With this object in view, Goethe and Schiller selected "Turandotte" as a foreign comedy worthy to be translated and adapted for production at the Weimar Theatre. Accordingly Schiller recast in poetic form a German version of Gozzi's play, made by Werthes, and produced it at Weimar, in honor of the birthday of the Grand Duchess, wife of Karl August, on January 30, 1804. In details of this re- casting he was assisted by Goethe. [xi] Digitized by Microsoft® PREFACE The attempt, however, thus to "elevate the taste of the German public" was not successful. More than one hundred years later. Dr. Max Reinhardt produced in Berlin a play based on Schil- ler's "Turandot" made by Karl Voellmueller. In 1912 an English translation of this version by Jethro Bithell was produced in America by the Shubert Theatrical Company, and after a brief run on the road was withdrawn from the stage, ^n January, 1913, it was also produced for a short run in London by Sir George Alexander. Considering the version as it stood to be in need of changes for their purposes, the owners of the American rights requested me to suggest and make the changes. To this I replied that to make altera- tions or adaptations of the version did not appeal to me, but if the owners would like to give me entire freedom to write a new and original play on the theme of the Persian folk-tale used by Gozzi suit- able to the scenic settings of Reinhardt's production, I should be glad to do so. This freedom was courteously given, and the present play was written in the late spring and early summer of this year, and placed in rehearsal in October. In writing my play, then, I have used for my own [xul Digitized by Microsoft® PREFACE purposes the folk-tale material treated differently by Gozzi, and in so doing I have entirely recon- ceived the story and its situations, omitting many characters of the old tale, introducing and creating several new ones, and characterizing all from a fresh standpoint.* The chief male character of my play, for instance, Capocomico, is wholly new. The name is that which was given to the director or choregus of the old Italian troupes of the Commedia dell' Arte, concerning which Symonds writes in his Preface before referred to: "The Choregus was usually the Capo Comico, or the first actor and manager of the company. He impressed his comrades with a certain unity of tone, brought out the talents of promising comedians, enlarged one part, curtailed another, and squared the piece to be performed with the capacities he could control. 'When a new play has to be given,' says another writer on this subject, 'the first actor calls the troupe together in the morning. He reads *Since the date of the commission for my play, the translation of "Turandot" by Jethro Bithell has been published in America by Duffield & Company, New York, so that the Gozzi-Schiller-Voell- mueller dramatic version of the folk-tale is thus made available for English readers. [ xiii 1 Digitized by Microsoft® PREFACE them out the plot, and explains every detail of the intrigue. In short, he acts the whole piece before theni, points out to each player what his special business requires, indicates the customary sallies of wit and traits of humor, and shows how the several parts and talents of the actors can be best combined into a striking work of scenic art.' " The four "Maskers" of my play, followers of Capocomico, are, of course, my own renderings of the types familiar to the old Italian comedies. For their dialogue in the introductory scene of this modern comedy in English, I have invented for them (or rather made use of, for the first time, for modern actors) a form of spoken verse suggestive perhaps of the voluble, capricious, unnaturalistic spirit of fantasy common to them: embodied espec- ially in their leader and spokesman, Capocomico. Needless to say, " A Thousand Years Ago " his- torically speaking, there were no disciples of the school of la Commedia deU'Arte to invade old China, but fantasy and comedy are older (and younger) than the schools. As Capocomico himself remarks to Punchinello : " Here is China the world lies a-dream, like a thousand Years ago, and the place of our dreams is eternal." [xiv] Digitized by Microsoft® PREFACE To the stage production of the play Mr. J. C. Huffman has brought the admirable powers of his vital directorship. The theatrical rights are owned and reserved by the Shubert Theatrical Company, of New York. Percy MacKaye. CoKNisH, New Hampshire, November, 1913. txr] Digitized by Microsoft® Digitized by Microsoft® INTRODUCTORY NOTE The author, in his preface, has explained the pedi- gree of "A Thousand Years Ago." It is the chief advantage of long pedigrees that they allure us from the contemplation of the present to the investigation of the past; and, for students of dramatic literature, perhaps the most important feature of this present play is that the tracing of its ancestry leads us back to one of the most interesting periods in the history of the theatre. In his quotations from John Addington Symonds, the great English authority on the Renaissance in Italy, Mr. MacKaye has already set before us the main features of the Commedia delV Arte Improvisata, which flourished in Italy for several centuries; but a few additional notes may be appended for the benefit of those who wish to extend their study of this type of drama. Two books upon the subject are readily accessible and may be strongly recommended. One of these is the "Histoire du Theatre Italien" by Louis Riccoboni, and the other is a volume entitled " Masques et Bouffons" by Maurice Sand, the son of [xvii] Digitized by Microsoft® INTRODUCTORY NOTE Georges Sand, the famous novelist. Both of these books contain interesting illustrations of the stock characters in Italian comedy; and the pictures in "Masques el Bouffons" are reproduced in colors. The Cammedia dell' Arte attained its climax about the year 1600, but its career was extended well along into the eighteenth century by the interested activity of the very fertile and very popular playwright. Carlo Gozzi. The essential feature of this type of drama was that the lines were improvised by the actors as they worked their way through the scenes of an intrigue which had been carefully plotted in advance. Throughout the seventeenth century in Italy, the general public showed little patience with the Commedia Erudita (the phrase may be translated into contemporary slang as "High-brow drama"), in which the lines were written out by a man of letters and repeated by the actors parrot- wise. Such plays, though they might have been composed by poets as eminent as Torquato Tasso, were condemned by the populace because they lacked what seemed the essential element of spon- taneity. It will not be difficult for us to understand the attitude of the Italian public toward this dis- tinction, if we apply a similar test to our own con- [ xviii ] Digitized by Microsoft® INTRODUCTORY NOTE temporary art of after-dinner speaking. We de- mand of our after-dinner speakers that they shall cull their phrases as they go along, and we respond with dulness to a speech that has been evidently written out and learned by rote. The president of one of our great American universities has been quoted as saying that any professor who writes and learns a lecture is merely insulting the printing- press; there can be no advantage in speaking on a subject unless the speaking be spontaneous: and this was the attitude of the old Italian public toward the actors that addressed it from the stage. A single set sufficed for most of the improvised Italian comedies. This set represented a public square in an Italian town, a meeting-point of several streets; and the houses of the leading characters were solidly built with doors and windows fronting on the square. With the action set in such a public place, the playwright could experience no embar- rassment in motivating his entrances and exits; any characters could meet at any time in the neutral ground of the stage; and the practicable doors and windows of the surrounding houses could be em- ployed by acrobatic actors in the exhibition of exciting scenes of elopement or of robbery, [xix] Digitized by Microsoft® INTRODUCTORY NOTE One of the most definitive features of the Corn- media delV Arte was the fact that, though the plays presented differed greatly from each other in subject- matter and in plot, they invariably employed the same set of characters. The individual actor ap- peared in many different plays, wearing always the same costume and the same mask. Harlequin made love to Columbine in play after play; the Doctor, from Bologna University, repeated the same sort of pedantries in plot after plot; and the Captain Spa- vento (a lineal descendant of the Miles Gloriosus of Plautus) swaggered through story after story. Individual actors became so completely identified with the stock characters they assumed upon the stage that they bore in private life the conventional names of their impersonations. A letter is extant which was sent by Henry Fourth of France (the gallant Henri Quatre of Navarre) to a famous actor of Italy inviting him to bring his company to Paris; and this letter is simply addressed to Harlequin, since the royal patron had no knowledge of the actor's actual name. Similarly, the famous Scar- ramuccia from whom the immortal Moliere learned the rudiments of his craft as a comedian — an actor described in a rhymed chronicle of the time as "Ze [XX ] Digitized by Microsoft® INTRODUCTORY NOTE roi des comSdiens et le comSdien de rois" — has come down to us in history under the title of Scaramouche, with no recollection of his parental name. The modern stage exhibits many analogies to this identification of an actor with a single role. For instance, in the old days of the association of Weber and Fields, these comedians always appeared in precisely the same parts, regardless of any difference of subject-matter in the comic scenes that they pre- sented. Mr. Weber invariably depicted a fat little man who was easily gullible; and the leaner and more strenuous Mr. Fields was forever getting the better of him and using him as a butt for ridiculous persecution. At the present time, Mr. William Col- lier approaches very nearly the method of the old Italian actors. Regardless of the particular points of any play in which he chooses to appear, he always represents precisely the same character — a peren- nial dramatization of his individual traits as a come- dian; and he also habitually exercises the Italian actor's license of improvisation in the presence of an assembled audience. Five of these standard acting types of the Corn- media delV Arte are revivified by Mr. MacKaye in his new play on Gozzi's old theme. The most inter- [xxi] Digitized by Microsoft® INTRODUCTORY NOTE esting figure is the Capocomico — the leader of the troupe, who devises the scenari of the plays which they present and rehearses the other actors in the business of their respective parts. This creation of the author's is an evocation of a famous figure from a nigh-forgotten page of the storied past of the theatre, and may serve easily as a starting point for a series of very interesting researches under- taken by individual students of the history of the drama. Though Mr. MacKaye's play has been written appropriately in English verse, aptly varied In its forms to be spoken by the modern actor, the reader should remember that this drama is designed to appeal more emphatically to the eye than to the ear. It should be regarded as a modification of that type of Decorative Drama which was exhibited by Professor Reinhardt in his masterly production of the pantomime of "Sumurun." For his background, Mr. MacKaye has chosen an old tale of the Arabian Nights which is hung before the eye as a fantastic bit of oriental tapestry; and in the foreground he has exhibited in silhouette the sharper colors of the prancing figures of his group of Italian comedians. More subtly, this play may be conceived as a [ xxii ] Digitized by Microsoft® INTRODUCTORY NOTE parabolic comment on a problem of the theatre at the present time. The histrionic disciples of Carlo Gozzi, the eighteenth century champion of tradi- tional romance, are depicted as having lost their fight in Venice against the dramatist Goldoni, who, as a follower of Moliere, was regarded at that time as the leader of the realistic movement; and, des- pairing of being accepted any longer in the country of their birth, these romantic outcasts have sought refuge in the distant orient, an orient to be considered in no sense as historic or realistic, but as purely fantastic. At the present time, our theatre has been conquered (for the moment) by sedulous re- corders of the deeds of here and now; we find the drama in the throes of a new realism, more potent in its actuality than the tentative and groping realism of Goldoni; and our romantic playwrights, like these old adventurous and tattered histrions of Carlo Gozzi, have recently sought refuge in the fabulous and eye-enchanting orient. Hence the success, in recent seasons, of such romantic compositions as " Kismet" and" Sumurun" and "The Yellow Jacket" To escape from the obsession of Broadway and the Strand we now turn eagerly to the gorgeous east, just as these discarded comedians of Gozzi's sought [ xxiii ] Digitized by Microsoft® INTRODUCTORY NOTE a new success within the enchanting and alluring gates of the city of Pekin. Furthermore, by restoring to our stage the old European tradition of masks in his group of "Mas- kers," Mr. MacKaye flings a prophetic shaft in the age-long tourney between symbolism and naturalism in the arts of the theatre. Clayton Hamilton. [ndrj Digitized by Microsoft® A THOUSAND YEARS AGO Digitized by Microsoft® Digitized by Microsoft® A Thousand Years Ago CHARACTERS Asiatic TURANDOT Princess of Pekin Altoum Her father, Emperor Zelima Her slave Calaf Prince of Astrakhan Barak His servitor Chang . Eunuch European scaramouche Punchinello Pantaloon Harlequin [MutejJ Capocomico . Their leader > Vagabond Players from Italy [3] Digitized by Microsoft® SCENES Act I. City Gate at Peldn. Act n. Scene 1 : Room In the Imperial Harem. Scene 2: Great Hall of the Emperor. Act ni. Scene 1: Anteroom of Harem. Scene 2: Calaf's Bedchamber. Act IV. Great Hall of the Emperor. [The same as Act II, Scene 2.] [4] Digitized by Microsoft® ACT FIRST Digitized by Microsoft® Digitized by Microsoft® ACT FIEST Outside a city gate, at Pehin. Above the gate, in a row, severed heads of young men are impaled on stakes. On the wall, at one side, more heads of older men, with grizzled locks, stare down: among them, conspicuous, one tvith a white beard. It is early morning; the sun just rising. The gate is closed. From behind is heard barbaric martial music. Outside, from the right, drums roll, and Chinese soldiers enter, accompanied by a few beggars and peas- ants. Pausing before the gate, they sound a trumpet. The gate is opened and they pass within, followed by all, except two beggars, a young man and a middle aged. The gate remains open. The middle-aged beggar points upward at the head with the white beard. The younger starts, and prostrates himself beneath it with a deep cry. [7] Digitized by Microsoft® A THOUSAND YEARS AGO Outside, on the left, a twanging of stringed instru- ments sounds faint hut merry. It draws nearer, and quickly the players come running on — jive tattered, motley vagabonds in masks: Scaramouche, Harlequin, Punchinello, Pantaloon and Capocomico. The last, leading them with his baton, stops in the gateway, before which Harlequin executes a ballet-step dance, while Scaramouche, Pantaloon, and Punchi- nello play accompaniment on guitar, mandolin and zither. Breaking qff, Punchinello begins to improvise an imitation of Harlequin's dance, but being beaten over his hump with a thwacking stick by Harlequin, retreats -with grotesque pantomime. At their merriment, the younger beggar, rising, draws away with the elder, making a tragic gesture toward the white-bearded head on the wall. Perceiving them, Capocomico silences the musicians and approaches the younger beggar curiously. Stepping between them, the older beggar salaams and asks alms. Laughing, Capocomico turns his empty pouch wrong- side-out and bows obsequiously, extending his own palm. The other Maskers do likewise, sticking out their tongues. I8] Digitized by Microsoft® A THOUSAND YEARS AGO Shrinking from them, the younger beggar draws the older away with him, and goes qff, left. CAPOCOMICO [Waving them adieu] Mohammed, Confucius, Buddha, befriend you! — [Turning to his troupe] Behold, my cronies, beggars — beggars Bow down to us! Lo, they take us for lordlings! Ha, what did I tell you? Our tables are turning: In China henceforward we shall be emperors. SCABAMOUCHE By the carcase of Charlemagne, I'm dog-aweary Of twanging these gutstrings for breakfast. PANTALOON And us, too. Of dancing from Venice to Pekin, for sixpence. — My slippers need soling. PtTNCHINELLO My poor hump is hollow! CAPO. Our journey is ended! Nimble Sir Harlequin, [9 1 Digitized by Microsoft® A THOUSAND YEARS AGO [Bowing to each] My lord Pantaloon, signore Punchinello, Magnificent Scaramouche — enter your Kingdom! SCAKAMOTJCHE Enter it! — Now, by the eye-balls of Argus Where is this same kingdom, Signore Capocomico? My kingdom is Breakfast: Show me the gateway! CAPO. [Pointing] Behold it before you! Within there, the table Of Fortune is spread for us, served by her hand- maids — Miming Romance, seductive Adventure, Amorous Magic — improvised Comedy, And all the love-charming, blood-thirsting Enchant- ments Our prosy old workaday world has lost wind of. SCARAMOUCHE Ha, beard of Balshazzar! that warms me a bellyful! 'Twas all for the likes of such merry contraptions We were kicked out of Europe. [10] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. Precisely, my bully -boy! What would you? — At home, half the world is dys- peptic With pills of reformers and critics and realists. Fun for its own sake? — Pho, it's old-fashioned! Art with a mask on? — Unnaturalistic, They warn you, and scowl, and wag their sad peri- wigs. — So we — the unmatched, immortal, Olympian Maskers of Antic, — we, troop of the tragical. Symbolical, comical, melodramatical Commedia deW Arte — we, once who by thousands Enchanted to laughter the children of Europe — Behold us now, packed out of town by the critics To wander the world, hobble-heel, tatter-elbowed, Abegging our way — four vagabond-players. And one master director — ■ me, Capocomico ! PUNCHINELLO But why did you fetch us to China? CAPO. Because, my Punchinello, in China there are no technicians To measure our noses and label them false ones, [11] Digitized by Microsoft® A THOUSAND YEARS AGO Or question our subplots and call them fictitious. Here in China the world lies a-dream, like a Thousand Years Ago, and the place of our dreams is eternal. Here in China Romance still goes masquing serenely With dragons, magicians, clowns, villains and heroes. So that five motley fellows like us may resume our Old tradetricks, and follow our noses to fortune! — For a taste point your own. Punch, up there at the gate-stone! PXJNCHINELLO [Staring up at the heads] What pretty young princes! — But where are the rest of them? SCARAMOUCHE By Saladin ! They've plenty of room for their break- fast! PANTALOON It makes me light-headed to look at them. CAPO. Comrades, Consider, I ask you, where else but in China May an audience view so romantic a prologue? These gentlemen open the comedy: Yonder Behold, in the sunrise, they flaunt their grim Secret For us to unravel: — Who are they? What means it That here, on a gateway of Pekin, these gory [12] Digitized by Microsoft® A THOUSAND YEARS AGO Oracular heads stare downward in silence? And yonder — those others? Who's he in the white beard? — Love, jealousy, murder — what is their mystery? By the ghosfc of old Gozzi, now what are we good for Unless we untangle their shadowy intrigues ! — Follow me, then, my playboys! Before the next sunrise Your pouches shall burst with the gold of their Secret. — Follow me ! — Yonder heads are our mascots to fortune ! [Striking their instruments and running through the gate, they all disappear within. As their tinklings die away, the two beggars reenter, from the left] THE YOUNGER BEGGAK [Prostrating himself again before the white bearded head, rises with up-lifted arms] Father! — O slaughtered King of Astrakhan, Timur, my father! — THE OLDER BEGGAR [Furtively] Calaf ! Have more care; There may be ears to listen. 113] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF [Distractedly] Let them hear! — Oh, he has held me, Barak, on his knee. And as a Httle boy I clutched that beard With playful fingers: golden brown it was In those days, and the first bright silver hair When I had found and plucked it out — , his eyes — Oh, those poor staring eyes ! — they laughed with light. And with those mummied lips, — red, then, as wine — He kissed my cheek, and his warm, happy tears Wet my own face, chUdish with wonder. — Ah, My father! BARAK Hush! The soldiers of Altoum Surround us here. CALAF Altoum! damned emperor Of China — I will be avenged on him Who killed my father, and destroyed our kingdom! BARAK And what are you to be avenged on him? — A beggar. [14] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF I am prince of Astrakhan! BARAK No longer; he is dead. Remember, prince. How you were drowned a year ago. That night Altoum destroyed your capitol in war. You leaped in flight into the river Yen And perished there. — Do not forget. CALAF Forget? Forget that night? That night I died indeed. And rose from out the river's chilly death Into strange paradise: A garden, walled With roses round : A moon, that zoned with pearl A spirit there: a lady, garbed in gold And her more golden smile! Wrapt in disguise — A beggar's cloak, which you had hid me in, The river's ooze still staining me with slime — • On me — me, outcast and destroyed, she smiled, And tossed for alms the white rose from her hair! — [Taking from his bosom a withered rose, he looks on it rapturously] My deathless rose! [15] Digitized by Microsoft® A THOUSAND YEARS AGO BARAK The rose of Turandot Is dangerous as her smile. CALAF Ah, were it not That Turandot is daughter of Altoum, I would have been avenged before to-day. — But he who killed my father — is her father. And she is more than life or death, and mightier Even than a father dead and unavenged: She is love. BARAK Ah, desperate boy, you nurse this love On worse than poison. Calaf, hark to me. Have I not served you and your royal father Faithfully? CALAF More than faithfully: lovingly. BAEAK Then by my love of you, I beg you, boy. Crush your mad love for Turandot, which must Lead only to your death, and hasten with me Far from your enemy's city. CALAF My enemy's? [16] Digitized by Microsoft® A THOUSAND YEARS AGO BAKAK Altoum, if he should find you living, would Spike your head — yonder. Ah, be wise, my prince ! Root out this rashness. Throw that rose away. See, it is withered — dead. So let your love be! CALAF [Smiling] Only a lover rightly loves the rose! Withered, you tell me ? — dead ? How dull is the sense Which does not feel the soul! For me, Barak, This flower still blooms, and round it all the air Is sweet with spirit-perfume, even to swooning. BARAK [Rising] Then it is vain. — My middle age has lost Its smell for magic. Well, then, I must be Content to play the beggar with my prince. CALAF Yes, it is vain. For, still I'll wear her rose. And, in this beggar's cloak she smiled upon. Still haunt her perilous city. — I have heard This morning she shall pass this eastern gate Coming from the palace. — So, my old dear friend. Wait with me here, for I can only live By feeding on the glimpses of her face. [17] Digitized by Microsoft® A THOUSAND YEARS AGO BABAK Come, then, this way and beg, for folk are coming. [They draw toward the gate. Barak, start- ing fearfully, drags Calaf away left] Great heaven — the emperor! CALAF The emperor! Wait, Barak. Stop ! — No further. [On the edge of the scene, they crouch by the wall, like beggars. Through the gate enter Altoum amid Chinese courtiers, accompanied by Cafocomico and followed by the other Maskers] ALTOUM [To Capocomico] An instant is enough For inspiration, and you have inspired Fresh hopes in me. CAPO. That is my specialty, Your majesty. ALTOUM Yet it is strangely sudden: — You and your motley troop spring in my path [18] Digitized by Microsoft® A THOUSAND YEARS AGO Like gorgeous mushrooms from exotic soils, And tempt me by your brilliance and surprise To taste your newness. — Well, I am desperate : Old remedies have lost their tonic; home Physicians have proved quacks. I know them all You — I know not. Therefore I will accept Your services. CAPO. We are practitioners In every specialty, my liege. If we Fail to perform our utmost promise — well, [Pointing to the gate] Our heads are decorative; they will adorn Your majesty's collection. ALTOUM Nay, not mine. Those grizzled heads of warriors on the wall Are mine: the trophies of my victories. But those above the gate — those youthful brows Of tragic lovers, hapless in their love — Those are my daughter's. BARAK [To CalaJ] Do you hear, my prince? His daughter's! Oh, take heed! [19] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. Your majesty Allures me. Is your daughter — ALTOUM Hush! Come closer. [He leads Capocomico away from the cur- tain, right. Calaf follows furtively, heedless of Barak's gestures] Sly daughter is my cause of desperation. In all but her I have been fortunate: In peace, most prosperous; in war, my worst Of rivals, Timur, king of Astrakhan — [Pointing at the wall] Yonder you see his head! None of his house Survives to avenge him, for his only son Perished by drowning. CALAF [To Barak, who imjilores him to draw bach] God! if I remain, I'll kill him. BAKAK [Dravdng him away] Come! [They go within the gate] [20] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. Was this long since, my liege? ALTOUM This day one year ago. — Some months I kept Old Timur caged before I bleached him there. — And strangely it was on that very night I conquered Astrakhan the change began. CAPO. The change — my liege! — what change? ALTOUM In Turandot, My daughter. Always till that time her mind Was tender-mannered as her face is fair. Till then, there was no creature living whom She would have harmed, even with a thought of pain — Least of all those who loved her. But that night, Groping by moonlight from her rose garden Into my war tent, half distractedly She forced from me a promise — CAPO. What to do? ALTOUM To make this edict: For a year and a day. All royal suitors of her hand in marriage [21] Digitized by Microsoft® A THOUSAND YEARS AGO Must answer first three riddles put by her: To him who answers right she shall be wed; But all who answer wrong shall straightway die And their dissevered heads be spiked in scorn High on the city's gate. CAPO. [Looking at the gate] So those are they Who answered wrong! ALTOUM None yet has answered right. CAPO. But why, my liege — ALTOTJM Why did I give consent To publish the mad edict? This is why: I worship Turandot. There is no whim Of hers I would not grant to make her happy, — But ah! — how can I make her so? CAPO. Is she Unhappy, then, in her success? ALTOUM At times She weeps to hear the headsman's gong, but when [22] Digitized by Microsoft® A THOUSAND YEARS AGO Her lovers cry to her for pity, straight Her eyes grow cold with sudden cruelty And give the sign for death. CAPO. Have you no clue For this? ALTOUM [Distractedly] No clue? Gods of my ancestors, Have I not sought a thousand counsels, all In vain ! ■ — A gentle girl, a dove of maidens. Sudden transformed to be a thing of talons — A harpy -tigress ! Clue? What clue have I For murder in the bosom of a dove? — CAPO. Softly, my liege. That is my specialty. ALTOUM So I have heard from specialists before; Yet now I feel new hope. If you shall find This clue — whether it be some hidden, strange Indisposition, or some secret reason Concealed by her — and if you find the cure, — To you, and to these motley friends of yours, [23] Digitized by Microsoft® A THOUSAND YEARS AGO I will bequeath power and provinces And wealth unbounded. But — pay heed. Sir Capo! If you shall fail to find this cause and cure. By holy Confucius, I will doom you all To tortures and slow death. So to perform Your task, I grant one day — until the hour Of noon to-morrow. Are you satisfied To undertake the task? If not, begone! CAPO. Your majesty, I am most itching pleased To undertake it — on conditions. ALTOUM What? CAPO. For this one day I must be emperor. In place of you, and these my motley friends — Prime-ministers. ALTOUM My star! — What then. Sir? CAPO. Then, My liege, I most devoutly stake my head And theirs, with these our masks thereto pertaining. Not merely to ascertain the cause and cure Of your fair daughter's malady, but also — [24] Digitized by Microsoft® A THOUSAND YEARS AGO For this, my liege, is my true specialty! — I undertake to see her happily Plight in a perfect marriage of romance. ALTOUM Great Buddha! Now, this quickens my stale blood — To meet one man of live audacity! Ha! bid me abdicate — usurp my throne — A one day's emperor! — Good; be it so. Agreed: — But on your head the consequences! CAPO. May the consequences let my head be on! — Where shall I find your daughter? [A deep bell sounds vrithin the walls. Calaf reenters vnth Barak] ALTOUM Hark! the gong! CAPO. What gong? ALTOUM The gong of death: the execution. Another hapless lover has guessed wrong The fateful riddles. Now the headsman holds His head, and Turandot is coming here In state, to impale the gory token — yonder. [25] Digitized by Microsoft® A THOUSAND YEARS AGO BABAK [To Calaf] You hear! — You hear? CALAF O happy lover, whom The dearest of women honors so in death! BARAK Madness! ALTOUM [To Capocomico] By heaven, I am impatient of Such slaughter. See you stop it. CAPO. [Nodding loftily] We shall bear In mind your supplication. Sir. — Meanwhile My crown! [He extends his hand for Altoum's crown. Altoum, startled, smiles, takes it off and hands it to him] ALTOUM Gods of my ancestors! CAPO. [Putting on the crovm] And now Present to us our court! [26] Digitized by Microsoft® A THOUSAND YEABS AGO ALTOUM [Bows, laughing] Well said, my liege! [Turning to the Chinese courtiers, he beckons them] Doctors and ministers of the royal Divan! Witness our will: — Until to-morrow noon We abdicate our throne, and in our place Appoint, with all our high prerogatives. Our friend and servant — Capocomico. Salute your emperor! CAPO. [Nodding affably] Emperor, pro tern! THE CHINESE COUBTIEKS \With murmurs of astonishment, pros- trate themselves before Capocomico] Salaam! CAPO. Not at all. Delighted! We will now Present our friend and servant — Scaramouche, Prime-Minister ! [27] Digitized by Microsoft® A THOUSAND YEARS AGO [The courtiers salaam before Scara- mouche, who puts his hand on his heart and blows them a kiss from his drawn sword-point] And next, Sir Harlequin, Prime-Minister ! [The courtiers repeat. Harlequin re- plies with a ballet-curtsy] His lordship, Pantaloon, Prime-Minister ! [The courtiers repeat. Pantaloon shuf- fles nervously] And Signore Punchinello, Prime-Minister ! [The courtiers repeat. Punchinello, tap- ping his nose, bows sagely. The four Maskers assume toploftical airs and gather about Capocomico] And now, Prime-Minister, are your four heads All dumb? Your emperor awaits advice. SCAEAMOUCHE By the belly of Baal, your majesty, I move We all adjourn to breakfast. [28] Digitized by Microsoft® A THOUSAND YEARS AGO PANTALOON [Quickly] Second the motion! PUNCHINELLO Hear! hear! Applause! [Harlequin dances to the gate] CAPO. [Correctively] No applause in court! The motion Rests on the table — [To Scaramouche] with your breakfast. — Now More pressing matters urge : Our imperial Daughter — Princess of Pekin — comes. ALTOXJM [Gasping] Your daughter! CAPO. Daughter, pro tern ! — [To all] The princess Turandot: Salute her! [To the intermittent toll of the deep gong, soldiers enter with procession to slow, [29] Digitized by Microsoft® A THOUSAND YEARS AGO martial music. Amongst them, with regalia, a Headsman hears on a pike the head of a young man, which he places beside the others over the gate. Finally, accompanied by female slaves, comes Turandot, dressed like her fol- lowers in garb of gloomy splendor. In the crowd Calaf gazes at her pas- sionately. With him is Barak. The Chinese courtiers prostrate them- selves. The Markers boio in European fashion] THE CHINESE COURTIERS AND CROWD Turandot! Salaam! CAPO. [Speaks familiarly to the emperor] Altoum, Present to us our newly adopted daughter! ALTOUM Turandot, heaven to-day has interposed To grant your prayers. Listen! TURANDOT {Looking with wonder at Capocomico and the Maskers] I am listening, Sire. [30 1 Digitized by Microsoft® A THOUSAND YEARS AGO ALTOUM 'Tis your strange prayer never to marry. Well, Henceforth I vow no more to oppose your whim. One year has passed and one day yet remains Of my rash law that dooms your lovers to death. [He points to the new head upon the wall] For that one day, to celebrate my vow And do you pleasure, I have appointed these Princes of Faraway, to usher in Our new regime. Sir Capocomico Is now your emperor; these are your court To make a festa of the law's last day. — After to-morrow you are free forever. TURANDOT Sire, are you jesting.!* CAPO. Signorina, all We dream or do is jesting, and ourselves The butts of the jester. We are antics all. To advertise it is my specialty. Therefore, if we be kings or deuces hangs On how the clever jester cuts his pack. This cut I'm king, and [31] Digitized by Microsoft® A THOUSAND YEARS AGO [Pointing to the Maskers] red is trumps, not black. So doff your mourning, daughter. TUBANDOT If I am dreaming, Or you are jesting, this is the pleasantest jest My heart has dreamed in all one doleful year. Princes of Faraway, I welcome you. This bloody sport of spiked lovers' heads — I'm tired of playing it. Those heartless fools That sought to wed a princess 'gainst her wiU — Look how they read my riddle on the air! Love is a slippery necklace. — Bring me laughter. My one day's Sire, and I will bow me low And kiss your garment. CAPO. Go and change your own, then, To match our motley. TUHANDOT I will go — and laugh In going. [To her slaves] Come! [Turandot starts to return within the gate. Pushing through the crowd, Calaf [32] Digitized by Microsoft® A THOUSAND YEARS AGO prostrates himself before her, vnth a passionate cry] CALAF Alms ! — alms for hearts That beg! [Reaching toward her, Calaf holds up the withered rose. Gazing, Turandot pauses an instant, moves past, but, looking back, stag- gers, trembling] TUKANDOT Ah me! [Swaying, she swoons in the arms of her slave, Zelima] ZKLIMA My lady! CAPO. [Rushing toward her, with Altoum] Quick! She's falling! ALTOUM Turandot! — Kill the beggar. TUKANDOT [Faintly, recovering] No, 'tis nothing. [33] Digitized by Microsoft® A THOUSAND YEARS AGO [To Capocomico] Here, give him this. CAPO. [Taking it, astounded] Your ring.? TURANDOT A token. Sire. — A token of our new regime: to all My people — blessing, and to beggars — love. [She goes out] ALTOUM [Going with her] Attend her well, Zelima. [All follow after, and at a gesture from Capocomico, pass out. Near the gate the Maskers pause and wait for Capo- comico, who returns to Calaf] CAPO. Fellow, rise! [Calaf staggers to his feet] Your most high princess graciously bestows This alms — a ring, in token of her love To all the world. [34] Digitized by Microsoft® A THOUSAND YEARS AGO [Taking it, Calaf falls again to the ground. Barak comes to him. Capocomico watches, and beckons, twink- ling, to the Maskers] Now heaven witness this : — He also swoons. My play-boys, catch your cue. Who said Romance is buried? Here is China Where princesses and beggars swoon to meet! — [Surreptitiously, he takes from Calaf s side a wallet. Then beckons the Maskers.] Prime-Minister, follow your emperor! [He departs with the Maskers] BAKAK [With solicitude] Calaf — my prince! [He raises him to a sitting posture] CALAF [Dazedly] Herring! BABAK We must be gone — Danger surrounds us here. [35] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF [Rising] Her ring for token! But ah! — he said "to all the world." BABAK Be quick! CALAF [With suddenness] I will. This instant I will follow her. BARAK Follow her! — what, to death? CALAF Death or delight, Either or both, for death itself were joy For her sake. BARAK Do you wear that ring in hope? A beggar? CALAF No, she gave it as an alms, "To all the world." The princess of the world Would never stoop in love to wed with less Than royal blood. — There is no hope for me, A beggar. [36] Digitized by Microsoft® A THOUSAND YEAES AGO BARAK How, then — ? CALAF T. will go as prince — As Calaf, prince of Astrakhan, I'll go To guess her riddles — like those others. BARAK No! That would be doubly death. Your head is forfeit If you are even found. CALAF Few know me here, or none. In Pekin; yet though every dog should know me I'll do it. — Here, keep safe this beggar's cloak: I love it for her sake. This ring and rose Guard as your life. Come now; help me remove This stain and straggled beard. Then wait for me. Till I have won my love — or perish there! [Pointing to the heads on the gate, he rushes into the city.] BARAK [Following him] Lord of mad lovers, save him! Curtain. [37] Digitized by Microsoft® Digitized by Microsoft® ACT SECOND Digitized by Microsoft® Digitized by Microsoft® ACT SECOND Scene I: A Room in the Harem On a low bench Zelima is seated, sewing a gorgeously embroidered garment. About her are other female slaves. At the back stands Chang, the chief Eunuch. ZELIMA [Stops sewing and listens] There! Hark! I hear it again. CHANG I can hear nothing. ZELIMA You're growing deaf, Chang. Some one is knock- ing — softly. CHAN'^ [Opening the door, left] No one is here. ZELIMA Below — at the outer door. See who it is. [41] Digitized by Microsoft® A THOUSAND YEARS AGO CHANG I will see. [He goes out, closing the door. Zelima sews for a moment; then rises, puts away her needle and spreads out tlie garment, surveying it. From the right Turandot enters, splen- didly arrayed. She runs impetuously to Zelima and embraces her] TUEANDOT Zelima! Zelima! Little Zelima! ZELIMA [Affectionately] My lady! TURANDOT Dance with me! — Dance! ZELIMA I heard a knocking, my lady. TUBANDOT [Pressing her left side] You heard it — here. My lover is knocking, and I have let him in. [42] Digitized by Microsoft® A THOUSAND YEARS AGO ZELIMA [Frightened] You've let him in, my lady? TUBANDOT [Laughing] Into my heart! He came a-begging. Oh, does he love me, Zelima? ZELIMA [Concernedly] He kept your rose. TUBANDOT The rose I tossed from my garden In Astrakhan, one year ago to-night — Isn't he handsome, Zelima? ZELIMA [With conscientious pause] Handsome, my lady? TUBANDOT Splendid and fair like a prince! ZELIMA He is a beggar. TUBANDOT I spoke of his soul — his eyes. His eyes are sap- phires; All other men's are clay. [43] Digitized by Microsoft® A THOUSAND YEARS AGO ZELIMA [Dubiously] His face was dirty. TUKANDOT [Slapping Zelima's arm] Stop it, you dunce! His face was nobly tanned By sun and rugged wind. ZELIMA I thought his beard — TURANDOT His beard — God did his best: I want no better. ZELIMA You — want a beard, my lady? TURANDOT Stupid Zelima! Where's my new robe? I'll wear it to-day — for hun. ZELIMA [Helping her on with ike embroidered garment] You like it? TURANDOT Are not gold and gorgeousnfess For joy? To-morrow ends my year and a day. [44] Digitized by Microsoft® A THOUSAND YEARS AGO Then no more suitors — no more severed heads! I shall be free then — free to search for him Through all the city. ZELIMA Search for a beggar! Why, My lady? TUBANDOT Must I scratch your silly eyes out To make them see? — Of all men that love women, I will have none for husband — if he'll have me — ■ But him, the man to whom I gave my ring. ZEUMA Holy Confucius save you, lady! You, Princess of Pekin, wed a beggar! TXJEANDOT Hush! Unless I dream so and rejoice to-day Then I must wake and tear my flesh for grief That I was born Princess of Pekin. Oh, Little Zelima, let me dream I am A beggar-maid, or he, my beggar — a prince! ZELIMA I hope your royal father hears no word Of this, my lady. He would kill your lover Sooner than you should wed him. [45] Digitized by Microsoft® A THOUSAND YEARS AGO TDBANDOT I know it well. So I have kept my secret this long year, And let full many a brave prince lose his head To hide my true love. Do not make me weep Again for pity and despair. For now Fresh hope has come. This Capocomico Has changed my father's heart to set me free To-morrow. Only one more day is left; You only know my secret; none can guess it; And for this final day there is no suitor To claim my hand. [Chang enters, left, in perturbation. Tur- andot looks up inquiringly] WeU — well? CHANG Another suitor Has come, my lady. TITRANDOT Nay, alas! ZELIMA What, — here? Is he at the door? [46] Digitized by Microsoft® A THOUSAND YEARS AGO CHANG Not him, — the emperor Is at the door. He comes to tell you, lady. And asks admittance. TUKANDOT What, my father! CHANG [Fidgetting] Not Your royal father: The new emperoi Is here. TXIRANDOT Sir Capo here! ZELIMA [Appalled] Here, in the harem! CHANG What should I do, your highness? TUBANDOT [Staring] What can it mean? CAPO. [Entering, left] The new regime, fair ladies! [To Zelima, who runs with the other slave girls toward the door, right] [47] Digitized by Microsoft® A THOUSAND YEARS AGO I beseech you, Do not be timid: All true love romances Are hatched in harems. 'Tis my specialty. [Dressed in robes of royal splendor, Capocomico stands smiling at them] TUKANDOT Sir, this intrusion breaks our ancient law. CAPO. To-day — O lovely daughter! — / am the law And legalize intrusion. [To Chang] You may go. [Chang pauses, dubious, but at a gesture from Capo, departs hastily. Zelima goes timorously to Turandot, whose eyes flash] TURANDOT Will you make entrance here against our wills. Or why, then, have you come? CAPO. [Smiling] For a beggar's sake. [48] Digitized by Microsoft® A THOUSAND YEARS AGO TUHANDOT [With sudden start] A beggar's? CAPO. What I bring will fill four ears — No more. TUBANDOT [Faintly] Zelima, wait within — close by. [Zelima goes out, right with the slave girls) Well, Sire, what do you bring me? CAPO. Riches, child, In a ragged wallet. [He takes out Calafs wallet, and holds it toward her.] TXJEANDOT [Starting] This! Why bring me this? CAPO. Hold it, and feel how heavy. TUBANDOT [Slowly takes it, peering in] Why, 'tis empty. [49] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. What is so heavy as an empty heart Hollow with yearning! This has yearned for love Until it cracked. Look there — those sorry gashes TUKANDOT What should I do with it? CAPO. Heal its wounds, and fill it With royal favor. TtTRANDOT [Reticent] Sire, you talk in riddles. CAPO. Daughter, you kill in riddles. — Will you kill. Or heal, this beggar's heart I bring? TURANDOT Ah me! [No longer suppressing her feelings, she kisses the wallet passionately.] How have you guessed my soul? How have you guessed? CAPO. The souls of lovers are my specialty. — When princesses grow pale, and beggars swoon, Then I bring forth my wallet — and prescribe. TURANDOT Alas — he swooned? Where is he? Is he ill? [50] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. Unnecessary quest'ions, chUd: Of course He swooned. Where is he? He's in love. Of course, and so of course is deathly ill. TUKANDOT Oh, by the simple truth you've torn from me, Do not, I beg, speak sideling, but straight out : That beggar whom I love — how fares he now? Where have you left him? CAPO. By the city gate. There, when he saw your ring, he fell in swoon; And so I left him. TURANDOT [Passionately] Find him! Find him for me. And I will give you kingdoms! CAPO. Kingdoms, child. Are shaky things. Give me your confidence: Then I will find him for you. TURANDOT All my faith. My gratitude and wonder — they are yours ! — When will you fetch him? [51] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. Soft! To achieve for you Joy in a perfect marriage of romance — That is my vow. 'Tis yours, for a single day. To swear me loyalty. TURANDOT I swear it. — Ah, But do not tell my father. He would kill My hopes. CAPO. Your father — -I will educate; And for your low-born lover, I'll despatch The eight proud legs of my prime-minister To stalk the city till they stumble on him. By nightfall, I will give you news what luck They meet. Meantime, you must prepare once more Your riddles for your final suitor. TUBANDOT [A'pfalled] What! CAPO. Keedur, the young khan of Beloochistan, Waits in the hall below, to try his fate To-day. [52] Digitized by Microsoft® A THOUSAND YEARS AGO TUHANDOT Keedur? Another! Must another Still die on this last day? Oh, misery! And I to run the awful risk once more! — When must this be? CAPO. This hour, in the great hall Of the imperial Divan. Rest you merry, My child, and whet your riddles sharp. — Good-bye ! TURANDOT [Detaining him by a swift gesture] Not yet! Stay yet a little: Help me! CAPO. How? TURANDOT To shape my riddles so no man that lives Can answer them. CAPO. [Bows, smiling] Why, that's my specialty. TURANDOT [Slowly, with desperation.] Capo, those riddles hold his life or mine : If Keedur guesses them — I'll kill myself. Curtain [53] Digitized by Microsoft® A THOUSAND YEARS AGO Scene II: Great Hall of the Emperor's Divan. On either side is a high tower, with entrance. Down scene on the left stands the Emperor's throne, opposite the throne of Turandot. As the curtain rises, Scaramouche, Punchinello, Pantaloon, and Harlequin enter, dragging in Barak by four purple ropes attached to his neck. Barak carries a ragged bundle. At the centre he falls, prostrating himself before them. The four Maskers are dressed sumptuously in Chi- nese garments, worn over their own tattered garbs of motley, which — at times, when they gesticulate or move abruptly, — are fantastically visible. BARAK Mercy and clemency, your highnesses ! PtnsrCHINELLO Your highness, slave! Address thy vermin speech To the Prime-Minister. BARAK To which, O Lord? [54] Digitized by Microsoft® A THOUSAND YEARS AGO SCAKAMOUCHE By the eye of Og and head of Hamongog, To MS, thou quaking mongrel! Howl thy prayers Quadrately to thy quadrigeminal master! BARAK [Revolving himself fearfully] Mercy, O Master! PANTALOON First confess thyself! Where is he? PUNCHINELLO Where's thy fellow beggar? Speak! SCAHAMOUCHE Tooth of the Turk! — Disgorge him! [Harlequin thwacks Barak on the head vnth his flat- stick] BARAK Lord, I know not. I am an old poor man. I have no fellow To beg with me. PANTALOON Thou lousy bag of lies ! He swooned beside thee at the city gate. [55] Digitized by Microsoft® A THOUSAND YEARS AGO PUNCHINELLO He took the Princess' ring for alms. Where is he? SCARAMOUCHE [Tightening his rope] By Sardanapalus ! Squeeze off his neck And pick the secret from his gullet. BABAK [As Harlequin bangs him again] Spare me! [Enter, left, Capocomico] CAPO. Hah ! here's our beggar's crony. — Where's thy mate. Old gaffer? BABAK Spare me, lord! I have no mate — I beg alone. CAPO. Where was he found — this fellow? SCARAMOUCHE Godbodikins! We caught him gutter-skulking Behind the palace. CAPO. What's here in this pack? [56] Digitized by Microsoft® A THOUSAND YEARS AGO BARAK [Fearfully clutching his bundle] Old rags, your mightiness: poor worthless pickings. CAPO. Conduct him to my quarters. Search him there And look what this contains. [The four begin to drag him out with the ropes] BARAK A — yi ! Alas ! PUNCHINELLO [Mocking him] A — yi, old pickings ! SCARAMOUCHE [Pulling] Sacrasacristan ! Heave-ho, my hearts ! CAPO. Hold him in custody Till I can question further. BARAK [Crying aloud] Calaf, save me! PANTALOON We'll save 'ee in salt, old calf ! [57] Digitized by Microsoft® A THOUSAND YZKRS AGO SCABAMOUCHE Yank-ho, there! [They drag him out, left] CAPO. [Stands meditating] Calaf! [Hardly have they disappeared, when Calaf enters hastily, right, looking about him with a startled expression. He is dressed in princely regalia, and his face is shaved. Seeing Capo, he pauses abruptly, and makes obeisance] CAPO. Greetings, Sir Keedur! — You are searching here.'' CALAF [Embarrasssed] Nothing, your majesty. It seemed I heard A voice here cry in terror. CAPO. Cry — on whom ? CALAF Nay, Sire, I do not know. CAPO. 'Twas just a beggar That cried at being expelled. [58] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF Expelled? — Where to? CAPO. [With a flitting smile] You — care to know? CALAF Nay, Sire, why should I care? CAPO. Nay, why indeed? You caught me querying. CALAF [Turning to leave] Forgive that I disturbed your thoughts. CAPO. My thoughts Were trying to construe the beggar's cry. "Calaf, save me!" he called. CALAF [Pausing, with a faint start] Ah — Calaf? So! CAPO. An odd coincidence, for 'tis one year To-night since Calaf, prince of Astrakhan, Perished by drowning in the river Yen. — \With slow emphasis] He was the Emperor's arch-enemy. [591 Digitized by Microsoft® A THOUSAND YEARS AGO CALAF [Calmly] An odd coincidence ! CAPO. And still more odd It might be — might it not? — if Keedur, Khan Of far Beloochistan, had chanced to know Or meet this Calaf . CALAF Still more odd. CAPO. Perchance He never did! CALAF [Fidgetting slightly] I never met him, Sire. CAPO. [With a quick glance] That being so, we must no more delay Your audience with the princess. My ear itches. Methinks by that your suit will prosper; let me Conduct you to your place of waiting. Come, And by the way, I will confide to you — I have a specialty. [60 1 Digitized by Microsoft® A THOUSAND YEARS AGO CALAF In what. Sire? CAPO. [Smiling, as they go out] Riddles. [Enter Altoum and Chang. They look after Capo as he departs] ALTODM In the harem, with my daughter — ? CHANG [Obsequiously] Even so, O Majesty. ALTOtIM And closeted, you say, An hour with her ! CHANG An hour, O Majesty. ALTOUM But you kept watch: The Princess, she was not Alarmed? CHANG Her royal highness seemed Moved in her spirit, O Majesty. [611 Digitized by Microsoft® A THOUSAND YEARS AGO ALTOUM Moved? So! Well, Chang, inform me further what you note. To-day this stranger reigns as Emperor. Obey him. [Capo reenters, right] CHANG [Salaaming to a gesture of dismissal from Altoum] As your Majesty decrees. [Exit] ALTOUM. [Greets Capo cordially] Hail, friend ! You wear my Empire as you'd worn it Life long. CAPO. [Laughing] I'll wear it longer if you like. ALTOUM Perchance I'll let you. As for me, I feel Lighthearted as a schoolboy playing truant. This abdicating gives me appetite For holidays. — And what success so far? [62] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. So far — perfection. ALTOUM Have you, then, discovered My daughter's malady? CAPO. I've diagnosed Already, and prescribed. ALTOUM [Eagerly] What is the ailment? CAPO. Ah! question the doctor when he makes the cure. - Another twenty hours ! ALTOUM To rule is sweet, I see. Good luck attend your reign! If so, I have four kingdoms waiting for your fellows. And for yourself a petty empire — but. Forget not — Sire! For failure I've prepared Five torture chambers and a sharpened axe. CAPO. Tomorrow, then, four kingdoms shall have kings ! As for the petty empire, I'll return it [63] Digitized by Microsoft® A THOUSAND YEARS AGO With compliments, and count myself well quit To have served your Majesty and true Romance. [Kettledrums are sounded within] Now, then, to pass the first ordeal. — Pray follow! ALTOUM [Attending Mm, left] This suitor Keedur — I like well his looks And bearing. What if he should guess the riddles? CAPO. That lies now with the Fates — and they obey me. [They go out. To the sound of kettledrums, tambourines and music outside, the scene is now for a moment empty. Then from both entrances two processions enter simultaneously. From the right enter Eunuchs and female slaves of the harem; from the left Chinese soldiers and courtiers of the Emperor's suite. With ceremonial, salaaming and flare of music, the persons in the proces- sions group themselves on either side about the thrones. [64] Digitized by Microsoft® A THOUSAND YEARS AGO Entering last in their separate proces- sions come Turandot and Capocomico — the latter accompanied by Altoum, as a subordinate. On the right throne Turandot sits, on the left — Capocomico. All the others prostrate themselves, except Altoum,who stands beside a lesser seat, at the right of Capo's throne. Having taken their positions, at a signal from Capo, all are served with tea in little cups, which they sip simultane- ously thrice, then resume their former obeisances. To this gathering now enter three of the Maskers — Scaramouche, Punchi- nello and Pantaloon — bearing sever- ally three golden platters, on which stand little jeweled boxes, closed. Behind them follows Harlequin, who bears a great parchment roll, which — vyith bows and ballet-dancings — he lays before the throne of Capo; then takes his stand at Capo's left. Lastly Calaf enters, alone. i[65] Digitized by Microsoft® A THOUSAND YEARS AGO Bowing to the throne, he remains in the centre, where he gazes rapt at Tur- andot. Capo now rises, and Altoum seats him- self] CAPO. Powers of our royal Divan and our Harem, Once more, in token of our sovereign will, We are assembled. Let the law be read! {He sits. Harlequin, stepping forward with a flourish, presents the roll of parchment to Punchinello, who, ex- changing with him his platter for the script, reads in a shrill voice] PUNCHINELLO To high Confucius and our ancestors — Worship and awe! The edict of Altoum In re the royal princess Turandot Perpends: To suitors of her august hand Who guess her riddles — marriage, riches, joy ! To all who fail — shame, execution, death! None save of royal blood shall qualify. [Harlequin receives back the roll from Punchinello, and resumes his place] [66] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. Who seeks the august hand of Turandot? CALAF [Standing forward] I, Keedur, Khan of great Beloochistan. CAPO. Keedur, full many noble youths before you Have made this trial; all have failed — and died. Have you considered well their doom, O Khan? CALAF There is no doom for me but loss of her; If then I fail, death can but ease my doom. TUKANDOT [In a low voice] His eyes, Zelima! Oh, I would he'd look Another way. ZELIMA It is a lovely youth. CAPO. Think well, you are young. You may even still withdraw ^.nd live these many years. [67] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF [His eyes meeting Turandot's, who looks at him anxiously] If I must die, I shall have lived forever in this instant. CAPO. Then let the trial proceed. TUKANDOT Fair stranger, first Hear me, and so relent. CALAF. My spirit, lady. Stands tiptoe to your words. TURANDOT You have not well Considered what you seek; but I, who know. Can better advise you. Turandot you seek. But I, who know this Turandot, can tell you She is a lady of too little worth To cause the noble lineage in your blood To die. She neither wants you, nor your death. Now leave her, Sir, and give her leave to wish you Joy of your twice escape. [68] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF I hear you, yet I hear like one who dies out on the desert And dreams he hears sweet water tinkling. — Lady, I parch and drink dream-water. Would you dash That boon from my soul's lips? TURANDOT Nay, then, no more ! Hear now my riddles. — But, I pray you, look not This way, but elsewhere. CALAF I will close my eyes And look upon you, listening. — ■ I am ready. [Closing his eyes, he waits with a faint smile] TURANDOT Tell me, O friend: What is that flower Which, dying, steals its lover's breath. And being dead, still blooms in death, Living beyond its little hour To grow more sweet in fragrance as it grows In memory? [ Turandot gazes pityingly . Calaf speaks with closed eyes] [69] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF A withered rose. [Turandot starts suddenly from her throne and sinks hack, whispering to Zelima. Capo despatches Harle- quin to Turandot, who gives him tremblingly a key, which he carries to Scaramouche] CAPO. Unlock the secret box. SCARAMOUCHE [As Harlequin unlocks the little box on his platter and presents to him a strip of parchment from within it, reads akmd] A withered rose. [A murmur runs through the assembly\ ALTOUM Now by my star, well guessed! CAPO. [With a gesture for silence] The second riddle! TURANDOT [With emotion] Stranger, you are the first of all my suitors [70] Digitized by Microsoft® A THOUSAND YEARS AGO That ever reached the second. — I have spoken T« you in pity, but my pity now Is for myself, lest you should guess too well. Cease, then, I beg you. Rest content with passing Your rivals. Go! And I will give you triumph In your departure. ALTOUM Shame ! Fair play, my daughter ! CAPO. Silence, my lord Altoum! — What says the Khan? CALAF I answer here by law, risking my death. Therefore, O lady, since my love of you Surpasses life, I claim my right of law. TUBANDOT [Her eyes flashing] By heaven, cold prince, I see I wasted pity Upon a heart of ice. Meet, then, your fate! I will not weep to watch the headsman's axe. CALAF I trust you will not, princess. — I am ready. T UBANDOT [To Zelima] O fiend ! My fingers itch to scratch him. [71] Digitized by Microsoft® A THOUSAND YEARS AGO [ToCalaf] Hear, then: Reveal, O youth: What is that fetter Which, chaining, sets its captive free. But broken, makes of liberty A weary bondage, little better Than death, to one whose spirits mount and sing In manacles? [Calaf remains silent, ■pressing his closed eyes in thought. Altoum leans for- ward. The people mutter low. Tur- andot gazes disdainfully. Soon, letting his raised hands fall, Calaf speaks with tense calmness.] CALAF A lover's ring. TUKANDOT [Cries out] What's that? [Clutching Zelima's arm] My God! here is some treachery. CAPO. Open the second lock ! [Harlequin unlocks the little box held by Punchinello, wtio reads aloud] [72] Digitized by Microsoft® A THOUSAND YEARS AGO PtJNCHINELLO A lover's ring. [A great murmur goes up from the assembly] ALTOUM Wondrous ! The fates are with him. TUBANDOT [Rising, fiercely] Not the fates — The fiends are with him. I cry out upon This answer. Some perfidious hand Has tampered with those locks. CAPO. Respect this hall And presence, Princess: We shall judge alone. TUBANDOT False friend, is this your pay for all my trust. And this the perfect joy you bid me hope for? [To Altoum] Father, I cry on you to right this wrong! ALTOUM The wrong is yours to flout your own decree. But right or wrong, my power is hushed: Not here But yonder sits the Emperor of China. [73] Digitized by Microsoft® A THOUSAND YEARS AGO TCBANDOT Why, this is monstrous. I am sold a slave By an abdicated father and a motley Who apes the emperor in a player's mask! — I'll put no further riddle. CAPO. [Smiling] As you like. Princess, but let us keep our humors. If There be no final riddle, Keedur wins : The priests are ready to perform your wedding. TtTRANDOT [Trembling with rage] My wedding! — Ah, then, I am duped indeed. And must submit to treachery. But you — O subtle Khan, dream not to shame me so. And win. I will not live to be your wife. — Do you still claim your riddle? CALAT \Who has stood in utter calmness] I am ready. TUHANDOT [In fury] Then may your answer spike your head in death! [74] Digitized by Microsoft® A THOUSAND YEARS AGO [Clutching her throne, she speaks with voice quivering] Reply, O Prince: What may that be Which, hght of heart, causes despite. But heavy-laden, renders light Its bearer, making care so free That kings might give their crowns to call it Their treasure house? [A deep hush falls on the assembly. Calaf stands, silent, swaying. Slowly he totters and falls on the steps of Capo's Throne. There, as Harlequin raises him. Capo whispers swiftly at his ear. Suddenly then, fixing his eyes on Turandot, who stands pale and rigid, Calaf speaks thrillingly.] CALAF A beggar's wallet. TUBANDOT [With a low cry, holding her side] [75] Digitized by Microsoft® Ah! A THOUSAND YEARS AGO CAPO. [To Harlequin] Quickly! — The third key! [Swiftly Harlequin unlocks the box held by Pantaloon, who reads aloud] A beggar's wallet. TUKANDOT [Turning, desperately] Zelima! ZELIMA [Screaming] Lady! [Snatching from Zelima a little dagger, she lifts it and strikes at her own breast. Leaping to the throne, Calaf intercepts her and turns the dagger against himself ] CALAF Not you, my love! CAPO. Disarm them! ALTOUM Turandot! [Amid uproar, the four Markers rush upon Calaf and wrest from him the dagger] [76] Digitized by Microsoft® A THOUSAND YEARS AGO TUKANDOT [With fierce disdain] Coward hearts! CALAF [Uplifting his hands to Capo] Sire, hear my plea! CAPO. Order and silence! — Speak, Sir Keedur. CALAF Sire, If I have won this ordeal by the law — Declare it. CAPO. You have won. CALAF Then I renounce All I have won, and place before this court A. counter plea. Shall it be granted? CAPO. What Do you petition? CALAF Sire, since it would shame me And her, to take this noble princess' hand [77] Digitized by Microsoft® A THOUSAND YEARS AGO Without her heart, I quit my claim, but ask In substitute, a boon : — I, whom you call Sir Keedur, Khan, am royal and a prince. But I am not Khan of Beloochistan. Keedur is not my name. TURANDOT So, treachery Once more! ALTOUM Peace, daughter'. CAPO. [To Calaf] Speak. What is your plea? CALAF This, Sire : Since I have answered now three riddles Of Turandot, that she — to make fair play — Shall answer one of mine. If she shall guess it, I then depart, but if she fail, I stay — And wed her. TURANDOT [Scornfully to Capo] Ha! This jesting, Sire, fits well Your new regime. [78] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. [To Calaf] What is your riddle? CALAF This: Reveal, O Lady: What is he. His true-born name. His father's fame. Who, desperate for love of thee. Assumed from far Beloochistan The false name — Keedur, Khan? TTJBANDOT Nay sir, I'd scorn to answer. What you are, Or who, or whence — to me henceforth 'tis nothing. CAPO. Softly, quick tongue! To us the game seems fair. Sir nameless lover, you shall have your plea. 'Tis granted. TTJRANDOT [Trembling with rage] What! — miracle of shame! Perfidious Masker! CAPO. This your riddle shall Be answered here to-morrow by this lady, [79] Digitized by Microsoft® A THOUSA>nD YEARS AGO Or else you shall be wedded to her here Before high noon. TUEANDOT [Descending swiftly from the throne] Fools! I defy you — both! [Flinging her sceptre at Capo's feet, she rushes out] CAPO. [Rising] Follow her! [At his gesture, the four Maskers follow after. Amid loud murmur and com- motion Calaf stands staring at the empty throne] Curtain [801 Digitized by Microsoft® ACT THIRD Digitized by Microsoft® Digitized by Microsoft® ACT THIKD * Scene I: An anteroom in the harem. Night. In the centre of the columned room is a table, on which — softly illumined — stands a large crystal bowl, filled with swimming gold fishes. Nearby, Turandot sits weeping, Zelima beside her. Outside, the shrill voice of Punchinello is heard singing to the twang of stringed instruments: Lady, Lady, let fall your tears No more, no more, for foolish fears. But let in your tru£ playfellow, For Sorrow's a thief Brings Love to grief. But a merry heart makes him mellow. And a merry heart, 0, a merry heart Never yet kept fond lovers apart. Nor pinched the shoe of their Punchinello. TURANDOT [Savagely] Drive them away, Zelima! Drive them away! . *See Appendix. [83] Digitized by Microsoft® A THOUSAND YEARS AGO PUNCHINKLLO, 8CABAMOUCHE, AND PANTALOON [Singing together outside] And a merry heart, O, a merry heart Never yet kept fond lovers apart! ZEUMA [Going to the door, puts her head out] Begone ! [She returns to Turandot. The twang- ing outside decreases, hut still contin- ues] Take courage, Lady. TUKANDOT Oh, I have lost Courage and faith and kindness. All is dark — Dark and disgrace. ZELIMA 'Tis no disgrace to win A husband. TURANDOT Win him! — To be tricked and sold In slavery to one I love not — • lose The one I love, and truckle to the word Of an upstart — a false, masquing popinjay Of an emperor! — Yet, no disgrace! Ah me, [84] Digitized by Microsoft® A THOUSAND YEARS AGO Why did your little dagger fail me? Now I have no pluck of soul to try once more. ZELIMA The gods forbid! 'Twere very wicked. Lady: And him, that saved you, and gave back your free- dom So gentlemanly! TUKANDOT Ha I and caught me again With his own riddle ! Heaven, I hate him. Yet — Zelima, did you see his eyes? ZELIMA [Nodding] Most strangeUke They were. TUEANDOT I must not think upon his eyes. Or I might hate him less. No, only one Of all men wears the gazes which I love. And he is lost to me. ZELIMA Why lost, my Lady? The emperor promised you to search the city And find your beggar. [85] Digitized by Microsoft® A THOUSAND YEARS AGO TUBANDOT Capo's promises Are like himself — all lies. Nay, I must answer This false Khan's riddle, or be doomed to-morrow. But how? — "His true-born name, his father's fame — " Where shall I find the clue? Ah, heartless fate And stony hearted men! THE VOICE OF PUNCHINELLO [Sings outside to the instruments] O Lfidy, Lady, lift up your moan No more, no more 'gainst hearts of stone. But let in your blithe playfellow ! TUBANDOT [Wildly] Go ! Stop them ! THE VOICE OF PUNCHINELLO For a stubborn will Makes Love to be ill. But a merry heart makes him well, O! And a merry heart — ZELIMA [Opening the door] Stop Your noises ! [86] Digitized by Microsoft® A THOUSAND "i-EARS AGO PUNCHINELLO [Outside] — O, a merry heart Never yet kept fond lovers apart. Nor tweaked the nose of their Punchinello. ZELIMA Cease! Her royal highness orders — PUNCHINELLO, SCAEAMOUCHE AND PANTALOON [Pushing past Zelima, enter the room bearing bright Chinese lanterns, and singing in chorus] A merry heart, O, a merry heart Never yet kept fond lovers apart! [Joined by Harlequin, they pause to- gether before Turandot and, pointing simultaneously their left toes, strike sharply their instruments with a sweeping bow] TURANDOT What fresh presumption of your brazen lord Is this? PUNCHINELLO This is our homage, Lady, Lady! [87] Digitized by Microsoft® A THOUSAND YEARS AGO [Thrumming their instruments again, they accompany a dance of Harle- quin, who by his pantomime indicates to Turandot the bowl of gold fishes, while Punchinello lilts shrilly:] And thus our Harlequin: He's showing How all our hearts be overflowing With little, lovely, golden wishes For your delight — as fine as fishes ! TUBANDOT Go — go! [Harlequin draws back] Why have you come? PUNCHINELLO To celebrate Our lord Sir Capo's great discovery. PANTALOON [Mysteriously] He's found. TUBANDOT Who's found? SCARAMOUCHE [Darkly] By the yawn of Jonah's whale, We have disbellied him from Pekin's maw And blackest hollowness. [88] Digitized by Microsoft® A THOUSAND YEARS AGO PUNCHINELLO He's trapped, my Lady! TUEANDOT [Chafing] Wai you tell who? PUNCHINELLO [In a loud whisper] The beggar. SCARAMOUCHE AND PANTALOON [Sepulchrally] Hush! TURANDOT [Faintly] A beggar! SCAKAMOUCHE [Spealcs at her ear] The louse-gray mongrel with the chalkish beard - We've got him kennelled, ha! TUEANDOT An old man? PANTALOON [Nodding] Pickled! [89] Digitized by Microsoft® A THOUSAND YEARS AGO TUBANDOT Alas! What are these tidings? Have you searched Only to find an old poor man? CAPO. [Who has entered behind them] They found Your beggar's gaffer, Lady. — Barak he Is called, and lies imprisoned now below. Where I will learn from him about your lover. TURANDOT [Bitterly] So you come too. Have you, then, come to break Once more the vow you made? CAPO. [Quietly] A single day. Lady, you swore me faith and loyalty; Yet in one little hour you cast away Your faith, to call me traitor. TUKANDOT Had I cause. Or no? CAPO. Is there good cause to break an oath? [90] Digitized by Microsoft® A THOUSAND YEARS AGO TURANDOT You broke your own. You vowed to achieve for me Joy — joy, and perfect marriage with my love. — Am I, then, joyful? Am I with my love? CAPO. A single day; a single day, I said! TUBANDOT So by to-morrow I must wed this Khan, This nameless prince — unless I guess his name. CAPO. Why not, then, guess it? TURANDOT [Glancing quickly] How? CAPO. [Indulgently] Will you renew Your broken allegiance? TURANDOT I am desperate. I will do anything to free myself. — What shall I do? CAPO. First swear me faith again. [91] Digitized by Microsoft® A THOUSAND YEARS AGO TURANDOT I swear it. Now tell! CAPO. How easily ladies swear When they are in love ! — Prime-Minister, retire ! [The four Maskers, homing, withdraw to the background, where they are entertained by Zelima, whom they instruct to play upon their instruments with a low strumming] In the general practice of my specialties. Lady, I often recommend for love A sleeping-charm — like this. [Capo takes from his sleeve a small vial and hands it to Turandot] TTJKANDOT What should I do With this.? CAPO. This, if 'tis poured upon the sleeping lips Of man by a maid, or maiden by a man. Will make the sleeper murmur in his dream Whatever secret thing his soul conceals When it is asked of him. [92] Digitized by Microsoft® A THOUSAND YEARS AGO TUBANDOT [After a pause, gives a sudden cry of joy] Ah, now I see! — But how can I find access to this Khan When he is sleeping? CAPO. I am emperor, And by my new regime, at midnight, all The guards retire, and in the men's hall, men May pass unnoticed by the others. TUEANDOT [Searchingly] Men? CAPO. [Calls, beckoning] Here, Harlequin! — I pray you, princess, stand Back to back with this boy. [Turandot looks puzzled, and then turns and stands back to back with Harle- quin. Capo measures their heights vyith his flattened hand. They sepa- rate and Capo indicates Harlequin] A hair's breadth higher. \With a questioning glance at Turandot] A hair's breadth ! Will you risk it — by a hair? [93] Digitized by Microsoft® A THOUSAND YEARS AGO TURANDOT [Grovnng suddenly radiant] O wonderful! — At midnight, did you say? CAPO. [Smiling] Now are we friends — and may I kiss your hand? TURANDOT [Ardently] No, I will kiss yours! [She seizes Capo's hand and kisses it. He laughs softly] Curtain [94] Digitized by Microsoft® A THOUSAND YEARS AGO Scene II: A bedchamber, mysteriously lighied. The room is vast and magnificent. In the centre, by a divan couch, Calaf is seated in deep brooding.] CALAF If she should guess! — If she should fail to guess! If she should fail to guess! — If she should guess! endless, awful night, you are like thought — Hollow, unanswering and full of echoes! And like my heart you, too, are sleepless, yearning With dim and palpitating mystery. If she should guess? — Then would I doubly lose My love — my life. If she should fail to guess? Then how might I dare hold her to my bond And wed against her will? — If she should guess — If she should fail — Ah, God ! The night gives back Only my emptiness, and moment builds On moment mountains of hell, and here I sit Alone. [Rising, he reaches his arms with a low cry] Alone! [95] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. [Entering in the dimness] There is no loneliness Where thoughts are merry. CALAF [Staring at him for a moment] Merry ! — Sire, I have Forgot the meaning of that word. CAPO. Recall it. Then, quickly, for I bring you pleasant news. CALAF [Eagerly] From her? from her, Sire? CAPO. From Turandot. The lady loves you. CALAF Loves me! You are mad. Or jesting. CAPO. To the sober-serious Jesting's a sort of madness. — But no matter. The lady loves you none the less. [96] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF How is it Possible? CAPO. You've forgot my specialty So soon? — or am I skilled in guessing riddles? CALAF I should have failed without you. CAPO. Will you try me Again? CALAF But how — CAPO. Come hither in more light. [Calaf moves out of the deeper shadow. Capo tips Calaf s face upwards, examining it] What color are your eyes? CALAF I do not know. CAPO. [Nods approvingly] Sapphire. — That might describe them, with some license Of love and rhetoric. [97] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF What have my eyes To do with guessing riddles? CAPO. Much to do! They have to close and go to sleep, before The guessing. Softly now: lie down and close them Until tomorrow. CALAF Would I might! CAPO. Then do so ! For on tomorrow morn, I promise you Delight — and perfect marriage with your love. CALAF friend, I am too weary to refuse. 1 will lie down and dream it is tomorrow. [He lies on the couch. A far chiming is heard] What bell is sounding? CAPO. Midnight. — Merry dreams! [Capo steals out. Calaf closes his eyes and is still. The room is silent and dim. After a few moments, out of [98] Digitized by Microsoft® A THOUSAND YEAKS AGO the darkness there emerges, scarlet and pied, the Figure of Harlequin, who tiptoes toward the couch. At a sigh from Calaf, the Figure starts back, returning more reticently. Again Calaf murmurs in his sleep:] CALAF Turandot! Lady beloved! [Standing in a shaft of vague light, the Figure of Harlequin lifts cautiously a vial and, unstopping it, dances softly three times around the divan; then pauses close to Calaf, who mur- murs once more] Princess ! Love. THE FIGUHE OF HARLEQUIN [Chants in a low voice] Reveal, O dreamer: What is he. His true-born name. His father's fame. Who, desperate for love of me. Assumed from far Beloochistan The false name — Keedur, Khan! [Bending above the dreaming form of [99 1 Digitized by Microsoft® A THOUSAND YEARS AGO Calaf, the Figure sprinkles from the vial upon his lips; then draws back and listens] CALAF [Murmurs louder in his sleep] Be gracious unto me: Calaf, the son Of Timur, King of Astrakhan! THE FIGUKE OF HARLEQUIN [Laughing silverly] Aha! Calaf! Calaf, the son of Timur, King Of Astrakhan! CALAF [Starting up on the divan] Who calls me? THE FIGURE [Lifting a mandolin strung from the shoulder, strikes a swift chord and bounds away toward the door] Ahaha! CALAF [Leaping to the floor, and following] What are you? Stop! [100] Digitized by Microsoft® A THOUSAND YEARS AGO [The Figure pauses] Come from your shadow! [The Figure takes a timid step forward, and stops] You! You, the dumb player, servant of our lord The emperor! What brings you here? THE FIGURE Aha! Reveal, O Lady: What is he His true-born name. His father's fame — CALAF How's that? Can the dumb speak? THE FIGURE Calaf, the son OfTimur — hail! CALAF By heaven, a spy! [He springs toward the door. The Figure tries to pass him but, thwarted, leaps back] Not yet! You shall not go till I have plucked the face Out of that mask. [101] Digitized by Microsoft® A THOUSAND YEARS AGO [At the door he turns the key and takes it] The door is locked. Reveal Yourself! [The Figure draws away. He strides toward it. It escapes] Light footed imp! Now by my soul. You shall not live to blab beyond these walls The secret you have stolen from my sleep. [He starts again toward the Figure. It dances away from him, striking the strings of its mandolin. Round the great couch and about the shadowy room he pursues it, ever eluding him. Suddenly he pauses, and stares] Stay! Am I, then, asleep? Are you indeed Some imp of dreamland, sent to plague my soul With fever shuttle-dances, a pied phantom Painting the dark, and tinkling with your timbrel These rafters of my riddle-tortured brain? — If she should guess — If she should fail to guess ! — O Night, it is your Echo, mocking me: 'Tis but a Question, and beneath that mask There are no lips to answer! [Desperately, he throws himself down by [102] Digitized by Microsoft® A THOUSAND YEARS AGO the couch, burying his face against it. After a inoment,the Figure approaches, cautious, surveys his prone form closely, bends as if to snatch at his robe, but draws back and stands hesi- tant; then vdth a gesture half frightened, removes its mask, and speaks low] THE FIGURE Calaf, son Of Timur — grace! Give me the key! [Turning, Calaf slowly staggers to his feet, gazing with awe on the face of Turandot] CALAF O Dream! Dream of my love transmuted to a boy — O little dream in motley, speak once more ! TURANDOT The key ! Unlock the door, and let me forth. CALAF My lady — and her voice ! Yet, shining boy. Before my soul loses belief in you, Still let me wonder, looking on your image. And worship at your shrine — Saint Harlequin ! [He kneels before her] [103] Digitized by Microsoft® A THOUSAND YEARS AGO TtTRANDOT I do not ask for worship — but a key. ' CAIiAF The key you ask for locks the gate of heaven And we are shut within. Love builds him bars To stablish heaven where lovers are locked in. TXJBANDOT Lovers? You dare much. CALAF [Rising] He dared more, to say You love me, and I dared believe. TURANDOT [Amazed] Who dared To say it? CALAF He who shuttles through our lives, Unriddling and riddling, like a restless loom — The motley emperor. TURANDOT Capocomico ! He is a jester. Sir. [104] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF Did he, then, jest To furnish you that vial in your hand And charm the fateful secret from my lips Into your power? Ah, if you do not love me. Why have you stolen here now to drag my name From dreams — Calaf, your father's enemy. Doomed unto death? TUBANDOT [Struggling with herself] Nay, ask not. CALAF Turandot, Princess of Pekin, stoops not to betray Her enemy, nor steal a riddle's answer Thief wise by night, to slay her enemy. The thought is slander. No ! — Therefore you love me: So you have robbed — to save me. TUKANDOT Turn your eyes Away! CALAF Is it not so. Lady beloved? [105] Digitized by Microsoft® A THOUSAND YEARS AGO TUBANDOT Oh, ask not with your eyes ! — Nor with your thoughts Ask not why this bold Harlequin is here Thief wise by night, to steal your secret name; But let me go! CALAF {Holding out the key, gazes at her] Will you, then, go? TUBANDOT [Reaches for it, but pauses and turns back her hand, screening her face] Your eyes ! They blind the space between. I cannot grope The key I reach for. CALAF Will you go? TUBANDOT The air Is dim, but bright with pathways to your face, And where they lead I falter, like a moth To where the lamp shines. CALAF [In hushed triumph] You will stay! [106] Digitized by Microsoft® A THOUSAND YEARS AGO TURANDOT O dark! What light and darkness and the murmur of waters Lure me toward you? CALAF Night and yearning stars And rush of winds blend us, beloved. Listen! Look in my eyes, O love ! — Lean to my lips ! TUEANDOT [Closing her eyes] I lean: Let me not fall! CALAF Thus will I save you! [Reaching his arms passionately, he kisses her] TURANDOT [Starting back, with a cry] Ah me! I am betrayed. CALAF By Buddha, I swear — TURANDOT Destroyed. O shame of all my vows forsworn, Where have I fallen? 1107] Digitized by Microsoft® A THOUSAND YEARS AGO CALAF On your lover's heart. Look, it is I. TUBANDOT Who's there? CALAF Calaf, your prince. TURANDOT Calaf ! — Now shame put acid on my lips And sere them of your kiss ! A prince hath touched me! you poor bloody heads on Pekin's wall. Have you, then, died for this? — and Turandot Shamed by a prince at last! CALAF Lady, I beg — TURANDOT Not that ! — Ah, do not stab me with that word, And make me bleed for one who begs. — The key. Give me the key! CALAF Mistress, your words go by me Like leaves blown wildly. I cannot gather them. [108 1 Digitized by Microsoft® A THOUSAND YEARS AGO TtTEANDOT Sir prince, I blow them wildly, and I care not Whither they whirl. CALAF Love changes blood to wine. The kiss of our communion hath turned wine To madden you. TUBANDOT The key! CALAF [Giving her the key] Take it, my lady. So you may know your freedom and my love. And me your lover, Calaf . TUBANDOT Calaf, not My lover. — Calaf, or Keedur, Khan, you are Mine enemy in my power. — Until to-morrow. Good-night ! [She hastens toward the door. Grasping her arm, his eyes glow passionately] CALAF You came here to betray me? — Speak! [109] Digitized by Microsoft® A THOUSAND YEARS AGO TUBANDOT I came to win your secret, and to shame you Tomorrow at the trial. Let me pass. CALAF No! We are in each other's power. Let doom Strike on us both together. [Inexorably he compels her. She sinks on the couch] TUBANDOT In your power! What, I? You would not dare — CALAF Who would not dare.? Infinite ages climbed to this little moment; Infinite ages shall sink after it. I stand here on its peak to make it mine. — Open the door! TUBANDOT [Trembling] Open it? — What will you do? CALAF Now shall the rafters of your palace ring With "Turandot, the Harlequin, Calaf's lo\er. Stolen to his arms beside his midnight couch!" [110 1 Digitized by Microsoft® A THOUSAND YEARS AGO TURANDOT [Shrinking from his gesture] Touch me not! CALAF [Seizing her] Wine! Your kiss turns in my blood To wine of fire poured foaming, and the flames Burn outward toward your Hps. TURANDOT Kiss not again! Be merciful, and hear me! CALAF Mercy cries To God, not to our enemy. — Your lips! TURANDOT [With fearful appeal] My lover, then! CALAF [Drawing back amazed] Your lover! TURANDOT Yea — my love! Your eyes — another blazes in your eyes. [Ill] Digitized by Microsoft® A THOUSAND YEABS AGO CALAF Another! Who? TUBANDOT The noblest in this world: I love him. I have sworn it. Yet — O Yet — My flesh cries out to yours, my soul to yours. My hps, my lips to yours. CALAF [Clasping her] Ha, mine at last! TUBANDOT [Repulsing him] Clasp me not, lest I cling to you. — No more! I vdll not. I am his. No kiss of yours Can quench his burning image. Let me go! But ah, the spell and rapture of your arms — Reach them where yearning lovers starve in hell. And bless them. — Stop ! My body and soul are his. I hate you — I hate you — hate you! [She rushes into the dark. Calaf reaches — groping — udth a wild cry. Curtain [112] Digitized by Microsoft® ACT FOURTH Digitized by Microsoft® Digitized by Microsoft® ACT FOURTH The scene is the same as the second act, scene second, except that the back of the great hall of the emperor's Divan is now hidden by a decorated curtain. The assembly is gathered as before: Capocomico, Turandot and Altoum seated on their larger and lesser thrones. Before them. Harlequin, Scaramouche, Punchinello and Pantaloon are performing a dance. At its conclusion Capocomico rises, and addresses the Maskers. CAPOCOMICO Enough! Go, bring the nameless prince before us. [Dismissing them with a gesture, he turns toward Altoum] Altoum, — our greater emperor, the Sun, Sits higher even than our august selves. And soon shall set his throne at highest noon. Then must I abdicate my one day's reign, First having sealed your daughter's perfect marriage. Ending in joy her doleful year and a day. 1115] Digitized by Microsoft® A THOUSAND YEARS AGO Therefore, in those brief minutes which are left me To consummate these little things, I pray you Deign of your courtesy to take my seat And let me do the honors. ALTOXJM [Rising from his lesser place] As you will! Till noon, my thanks for hospitality. CAPO. Oh, not at all ! [Pointing to his seat] Pray, make yourself at home. [As they pass each other to change places, Altoum speaks to Capo in lower voice] Have you performed your task, and saved your head.'' CAPO. My head was never more attached to me. TUBANDOT [Bending from her throne] A word, my liege? CAPO. Nay, but a hundred, lady ! [He goes to her side. She speaks to him low] [116] Digitized by Microsoft® A THOUSAND YEARS AGO TURANDOT Have you kept faith with me? Ah — is he found — My heart's desire? CAPO. Your heart's desire is found. And waits for you. TUKANDOT [Excitedly] Where is he? CAPO. Lo, he comes! [Pointing toward the entrance, he goes to the lesser throne. With music of their stringed instruments, the four Maskers usher in Calaf, haggard and dishevelled. Turandot starts, with a cry and look of bewilderment at Capo. Capo addresses Altoum and the Divan] Your Majesty and lords, the nameless prince Awaits to learn his name from Turandot. CALAF [Stepping forward fiercely] He waits not, for his name has been betrayed To her — and you, false jester, have betrayed it. [117] Digitized by Microsoft® A THOUSAND YEARS AGO ALTOUM [Amid commotion] What's that? CALAF My liege, why should I play the fool In a Masker's comedy? Death holds less scorn Than being duped to dance in a puppet-show To tinkling mandolins. ALTOUM Speak out your grievance! CALAF I stand here in your power, and his. — At midnight, By secret sprinkling of a sleeping-charm, This masker sent to rob my dreaming lips Of the answer to my riddle — ALTOUM Gods! to rob? Your proofs of this! CALAF The proofs stand up in me. I who did deem it heaven to love your daughter Have proved it hell. Your daughter knows my secret. And all the ravage hidden in my name, [118] Digitized by Microsoft® A THOUSAND YEAES AGO Yet am I nothing, my damnation — nothing To her, who loves another. ALTOUM [Startled] What — other? Who? CALAF "The noblest in the world." — O noble world. There aspiration earns its crown of scorn, And baseness wins nobility! In such, I'd liever be a beggar. But enough ! My fate indeed is nothing, and my name — My name is — TtTKANDOT Stop ! your riddle goes unanswered. Go you in peace — and friendship. You, Sir Capo, Who keep your faith so strangely, set before me The heart of my desire. CAPO. He stands before you. TURANDOT Trick me not also. Keep your promise still. This man is Calaf, Son of Timur, not My heart's desire. [119] Digitized by Microsoft® A THOUSAND YEARS AGO ALTOTJM [Rising, wrathful] How! Calaf, Son of Timur! CALAF Not drowned my liege, in water — but in grief. ALTOUM My darkest enemy. — So, Capo, this Is he whom you would wed within my house To my own daughter — Prince of Astrakhan! Now by my star, the doom upon his head Shall fall on yours — and doubly. I, it seems, T, too, am duped! TUEANDOT [Brokenly] He has betrayed us all. CAPO. A single day is short to make all snug. The Lord took six. ALTOUM A single day is all My word allowed. I see! You bungled, fool. Striving to save your neck, but now your time Hangs at the stroke, and you have failed me. Doom Falls on you and your fellows ! [120] Digitized by Microsoft® A THOUSAND YEARS AGO THE MASKERS [Trying unsuccessfully to salaam] Mercy, Sire! CAPO. [Behind his hand chiding them] Where are your manners, my Prime-minister? Venetian bows are still the mode in court. Whilst we are emperor. [Giving a sign to Harlequin, who runs out, he turns to Altoum] O Sire — elect! Before the ominous gong sounds in mine ears That ushers me unto oblivious rags To stroll the world again, let me rejoice That you have turned your wrath from this brave youth Upon my humble head. — Congratulations! And with exchange of courtesies, I pray you Felicitate me and these fellow-players On the happy curtain of our comedy. [At his gesture, Punchinello and Panta- loon run to the curtain at back] ALTOUM Say rather — tragedy. [121] Digitized by Microsoft® A THOUSAND YEARS AGO CAPO. We stand corrected: Or say — romance, where true love laughs through tears: Name it Romance, and grant us your applause. [Punchinello and Pantaloon draw the curtain, revealing an oriental altar, with idol, beside which stand two priests] What's there? ALTOUM CAPO. The altar for our ceremony: The Wedding of the Princess and the Beggar. [Reenter Harlequin, bringing in Barak, who rushes to Calaf and embraces him] My prince! BABAK CALAF [Overwhelmed] Barak — old friend! [122] Digitized by Microsoft® A THOUSAND YEARS AGO TURANDOT [To Zelima] Look, look, 'tis he! My beggar's gaffer. ALTOTJM [Before whom Harlequin presents three tokens] What are these? CAPO. Our trophies: The secret of your daughter's malady — [Leading Calaf beimldered before Tur- andot] Lady, receive them with your heart's desire: A ring, a rose, a beggar's wallet. TXJBANDOT You — Are you my beggar? cAlaf [Taking from Barak his old cloak] I am he who won In Astrakhan — this rose, at Pekin gate — This ring, and in this ragged beggar's cloak You once did smile upon, I now depart. [123] Digitized by Microsoft® A THOUSAND YEARS AGO TUKANDOT Stay, love — You are my noblest in the world! [Calaf turns in wonder and kneels to her. She bends and embraces him. A great gong resounds] CAPO. [Presenting his crown to Altoum] My liege, I abdicate. And you applaud-f* ALTOUM Yea, marvel. Capo. Kingdoms will I give To these your fellows. THE MASKEBS [Bowing Venetian] Hail! ALTOUM And to yourself — Whate'er you ask for. CAPO. Then, my liege and lady, I beg — this withered rose. CALAF [Giving it to him] Only a flower.'' [lU] Digitized by Microsoft® A THOUSAND YEAES AGO CAPO. Lovers, that lives beyond its little hour In memory. — Adieu! — My players, rule Your kingdoms still in masks. — Now for the world! [Tossing his gorgeous emperor's cloak to Harlequin, he springs away in his tattered motley] TURANDOT [Calls after him] What seek you there.? CAPO. [Kissing to her and Calaf the withered rose] More roses and romance ! Curtain END OF PLAY [125] Digitized by Microsoft® Digitized by Microsoft® APPENDIX TURAJSTDOT'S DREAM Digitized by Microsoft® Digitized by Microsoft® TURANDOT'S DREAM In the acted performance of this play, the third act com- mences with a scene which sets forth, wholly in pantomime, a dream of Turandot, representing — by suggestions of mystic light and sound — the state of her distracted mind, trying to solve the riddle of Keedur Khan. The pantomime takes place in two imaginative settings — a mountain top and an oriental street — blending the one into the other. Out of darkness first appears the outline of the dark summit, against a blue-gray radiance of sky. Etched upon this Zelima enters, like a shadow-phantom, beckoning. Following her to strange music Turandot appears, unsub- stantial as shadow, painted opaque on the glowing back- ground.likesome silhouetted, featureless figure on anancient vase, imbued as by magic with motion and antique gesture. Bowing in awe above the brink of darkness, the figure of Turandot is led downward (and forward) into obscuring mists, tinged with green lights and gules. Out of the mist, voices — shrill, bizarre, bell-toned, menacing, mysterious — echo the words: "Khan, Keedur Khan, Khan, Klhan!" While the female forms grope below, the figure of Capocomico now appears on the summit, beckoning to his four maskers, whose shadow-forms gesticulate weirdly toward Turandot. "Reveal, O Lady: What is he — His true-born name, His father's fame — ?" Through the interpretive music, the teasing words of the riddle are chanted by the varied voices, amid strange hiatuses filled with mocking laughter. [129] Digitized by Microsoft® APPENDIX Lastly, alone, appears the shadow form of Calaf, who follows the Maskers downward into the mist, searching with arms outgroped toward Turandot. There, as the unreal forms pass and disappear, the silhouette of Capocomico stands fluting on the mountain top, while below echoes the basso and falsetto laughter of the Maskers, and the low taunting cry: "Keedur Khan!" As this tableau shuts in darkness, there comes vaguely to light in the foreground a street scene. Here, at a gateway, beggars with yokes are huddled; before the gate, a moving frieze of dream figures, noiseless, pass fantastically: Chinese soldiers, high stepping; Turandot again, downcast, gliding like a captive with Zelima; Calaf, swift searching in pursuit; the Maskers, lithe, grotesque, pointing after him; rearguard ed by Capocomico — blithely dominant in gesture, triumphant with fantasy. Last of the dream images he also, fades in darkness, out of which rise the merry strains of a chorus: "O Lady, Lady, let fall your tears No more, no more for foolish fears, But let in your blithe playfellow " and Turandot, sobbing beside Zelima on her bench in the harem, awakes from her haunting dream of Keedur Khan. Zelima bends over her. "Alas.my lady, whatails you? You cried in your swoon!" The merry voices of the Maskers outside sing louder. "Oh, I have dreamed, Zelima! Drive them away!" Thus follows the first spoken scene of Act Third, as here printed. As acted, the stage management and lighting of this pantomime have been movingly devised by Mr. J. C. Huffman. Here in description its visionary quality can only be suggested. [130] Digitized by Microsoft® THE COUNTBT LIFE PBESS QABDEN CITT, N.Y. Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft®