THE CUP AND THE FALCON

THE CUP AND THE FALCON

BY ALFRED LORD TENNYSON POET LAUREATE

London MACMILLAN AND CO. 1884

[1]

THE CUP A TRAGEDY

[2]

“The Cup” was produced at the Lyceum Theatre, under the management of Mr. Henry Irving, January 3, 1881, with the following cast:—

GALATIANS.

ROMANS.

ACT I.

ACT II.

[3]

ACT I.

Scene I.—Distant View of a City of Galatia.

As the curtain rises, Priestesses are heard singing in the Temple. Boy discovered on a pathway among Rocks, picking grapes. A party of Roman Soldiers, guarding a prisoner in chains, come down the pathway and exeunt.

“To the admired Camma, wife of Sinnatus, the Tetrarch, one who years ago, himself an adorer of our great goddess, Artemis, beheld you afar off worshipping in her Temple, and loved you for it, sends you this cup rescued from the burning of one of her shrines in a city thro’ which he past with the Roman army: it is the cup we use in our marriages. Receive it from one who cannot at present write himself other than

“A Galatian serving by force in the Roman Legion.”

Scene II.—A Room in the Tetrarch’s House.

Frescoed figures on the walls. Evening. Moonlight outside. A couch with cushions on it. A small table with flagon of wine, cups, plate of grapes, etc., also the cup of Scene I. A chair with drapery on it.

“To the admired Camma,—beheld you afar off—loved you—sends you this cup—the cup we use in our marriages—cannot at present write himself other than

“A Galatian serving by force in the Roman Legion.”

[43]

Scene III.—Same as Scene I. Dawn.

Music and Singing in the Temple.

Music and Singing in Temple.

END OF ACT I.

[54]

ACT II.

Scene.—Interior of the Temple of Artemis.

Small gold gates on platform in front of the veil before the colossal statue of the Goddess, and in the centre of the Temple a tripod altar, on which is a lighted lamp. Lamps (lighted) suspended between each pillar. Tripods, vases, garlands of flowers, etc., about stage. Altar at back close to Goddess, with two cups. Solemn music. Priestesses decorating the Temple.

Music. Two Priestesses go up the steps before the shrine, draw the curtains on either side (discovering the Goddess), then open the gates and remain on steps, one on either side, and kneel. A Priestess goes off and returns with a veil of marriage, then assists Phœbe to veil Camma. At the same time Priestesses enter and stand on either [64] side of the Temple. Camma and all the Priestesses kneel, raise their hands to the Goddess, and bow down.

THE END.

[86]

[87]

THE FALCON

[88]

“The Falcon” was produced at the St. James’s Theatre, under the management of Messrs. Hare and Kendal, in December 1879, with the following cast:—

[89]

THE FALCON.

Scene.—An Italian Cottage. Castle and Mountains seen through Window.

Elisabetta discovered seated on stool in window darning. The Count with Falcon on his hand comes down through the door at back. A withered wreath on the wall.

So, my lord, the Lady Giovanna, who hath been away so long, came back last night with her son to the castle.

Ah, the women, the women! Ah, Monna Giovanna, you here again! you that have the face of an angel and the heart of a—that’s too positive! You that have a score of lovers and have not a heart for any of them—that’s positive-negative: you that have not the head of a toad, and not a heart like the jewel in it—that’s too negative; you that have a cheek like a peach and a heart like the stone in it—that’s positive again—that’s better!

Sh—sh—Filippo!

[95]

Here has our master been a-glorifying and a-velveting and a-silking himself, and a-peacocking and a-spreading to catch her eye for a dozen year, till he hasn’t an eye left in his own tail to flourish among the peahens, and all along o’ you, Monna Giovanna, all along o’ you!

Sh—sh—Filippo! Can’t you hear that you are saying behind his back what you see you are saying afore his face?

Let him—he never spares me to my face!

No, my lord, I never spare your lordship to your lordship’s face, nor behind your lordship’s back, nor[96] to right, nor to left, nor to round about and back to your lordship’s face again, for I’m honest, your lordship.

Come, come, Filippo, what is there in the larder?

Shelves and hooks, shelves and hooks, and when I see the shelves I am like to hang myself on the hooks.

No bread?

Half a breakfast for a rat!

Milk?

[97]

Three laps for a cat!

Cheese?

A supper for twelve mites.

Eggs?

One, but addled.

No bird?

Half a tit and a hern’s bill.

Let be thy jokes and thy jerks, man! Anything or nothing?

[98]

Well, my lord, if all-but-nothing be anything, and one plate of dried prunes be all-but-nothing, then there is anything in your lordship’s larder at your lordship’s service, if your lordship care to call for it.

I knew it would come to this. She has beggared him. I always knew it would come to this! (Goes up to table as if to resume darning, and looks out of window.) Why, as I live, there is Monna Giovanna coming down the hill from the castle. Stops and stares at our cottage. Ay, ay! stare at it: it’s all you have left us. Shame upon you! She beautiful! sleek as a miller’s mouse! Meal enough, meat enough, well fed; but beautiful—bah! Nay, see, why she turns down the path through our little vineyard, and I sneezed three times this morning. Coming to visit my lord, for the first time in her[100] life too! Why, bless the saints! I’ll be bound to confess her love to him at last. I forgive her, I forgive her! I knew it would come to this—I always knew it must come to this! (Going up to door during latter part of speech and opens it.) Come in, Madonna, come in. (Retires to front of table and curtseys as the Lady Giovanna enters, then moves chair towards the hearth.) Nay, let me place this chair for your ladyship.

Can I speak with the Count?

Ay, my lady, but won’t you speak with the old woman first, and tell her all about it and make her[101] happy? for I’ve been on my knees every day for these half-dozen years in hope that the saints would send us this blessed morning; and he always took you so kindly, he always took the world so kindly. When he was a little one, and I put the bitters on my breast to wean him, he made a wry mouth at it, but he took it so kindly, and your ladyship has given him bitters enough in this world, and he never made a wry mouth at you, he always took you so kindly—which is more than I did, my lady, more than I did—and he so handsome—and bless your sweet face, you look as beautiful this morning as the very Madonna her own self—and better late than never—but come when they will—then or now—it’s all for the best, come when they will—they are made by the blessed saints—these marriages.

Yes, my lord, for wasn’t my lady born with a golden spoon in her ladyship’s mouth, and we haven’t never so much as a silver one for the golden lips of her ladyship.

Have we not half a score of silver spoons?

Half o’ one, my lord!

How half of one?

I trod upon him even now, my lord, in my hurry, and broke him.

[115]

And the other nine?

Sold! but shall I not mount with your lordship’s leave to her ladyship’s castle, in your lordship’s and her ladyship’s name, and confer with her ladyship’s seneschal, and so descend again with some of her ladyship’s own appurtenances?

Why—no, man. Only see your cloth be clean.

My lord, we have but one piece of earthenware to serve the salad in to my lady, and that cracked!

I did take it, my lord, but what with my lady’s coming that had so flurried me, and what with the fear of breaking it, I did break it, my lord: it is broken!

White? I warrant thee, my son, as the snow yonder on the very tip-top o’ the mountain.

And yet to speak white truth, my good old mother, I have seen it like the snow on the moraine.[121]

Here’s a fine salad for my lady, for tho’ we have[124] been a soldier, and ridden by his lordship’s side, and seen the red of the battle-field, yet are we now drill-sergeant to his lordship’s lettuces, and profess to be great in green things and in garden-stuff.

I thank you, good Filippo.

Here’s a fine fowl for my lady; I had scant time to do him in. I hope he be not underdone, for we be undone in the doing of him.

I thank you, my good nurse.

[125]

And here are fine fruits for my lady—prunes, my lady, from the tree that my lord himself planted here in the blossom of his boyhood—and so I, Filippo, being, with your ladyship’s pardon, and as your ladyship knows, his lordship’s own foster-brother, would commend them to your ladyship’s most peculiar appreciation.

I can tell you, my lady, I can tell you.

Filippo! will you take the word out of your master’s own mouth?

Was it there to take? Put it there, my lord.

Ay, and I left two fingers there for dead. See, my lady! (Showing his hand).

I see, Filippo!

And I have small hope of the gentleman gout in my great toe.[131]

And me too! Ay, the dear nurse will leave you alone; but, for all that, she that has eaten the yolk is scarce like to swallow the shell.

THE END.

Printed by R. & R. Clark, Edinburgh.

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THE WORKS OF LORD TENNYSON

POET LAUREATE.

A NEW COLLECTED EDITION.

CORRECTED THROUGHOUT BY THE AUTHOR.

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LORD TENNYSON’S WORKS.

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