Act 1 - Cyrano de Bergerac - Edmond Rostand

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Episode Transcript

(00:00):
Act one. A representation at theHotel the Burgonia. A hall of the
Hotel the Burgonia in sixteen forty asort of tennis court arranged and decorated for
a theatrical performance. The hall isoblong unseen obliquely, so that one of

(00:20):
its sides forms a back of theright foreground, and meeting the left background,
makes an angle with the stage,which is partly visible. On both
sides of the stage are benches.A curtain is composed of two tapestries which
can be drawn aside. Above aharlequin's mantle are the royal arms. There

(00:42):
are broad steps from the stage tothe hall. On either side of these
steps are the places for the violinists, footlights, two rows one over the
other of side galleries, the highestdivided into boxes. No seats in the
pit of the hall, which isthe real stage of the theater. At
the back of the pit I e. On the right foreground some benches forming

(01:06):
steps, and underneath a staircase whichleads to the upper seats, an improvised
buffet ornamented with little lusters, vases, glasses, plates of tarts, cakes,
bottles, etc. The entrance tothe theater is in the center of
the background. Under the gallery ofthe boxes, a large door half opened

(01:27):
to let in the spectators. Onthe panel of the store in different corners,
and over the buffet red black cardsbearing the words lacloris. At the
rising of the curtain, the hallis in semi darkness and still empty.
The lusters are lowered in the middleof the pit, ready to be lighted.

(01:49):
Scene one, the public arriving bydegrees, troopers, burghers, lackeys,
pages, a pickpocket, the doorkeeper, etc. Followed by the marquises,
couge breze, the bouffe girl,the violinists, etc. A confusion

(02:12):
of loud voices is heard outside thedoor. A trooper enters, his steely,
the doorkeeper following him. Hello,you there your money? I enter
gratis? Why why I am theking's household cavalry faith to another trooper who
enters, and you, I paynothing? How so I am a musketeer.

(02:32):
The play will not begin till two. The pitcher is empty. Come
about with the foils to pass thetime. Defense with the foils they've brought.
First Lucky entering Flanca. Second Luckyalready there, shad Bag showing him
cards and dice which he takes fromhis doublet she here we heard jendace.

(02:57):
He seats himself on the floor.Let's play doing the same good he with
you. Villain taking from his pocketa candle end which he lights and sticks
on the floor. He made freeto provide me chirp his light to be
master's expense. A guardsman to ashopgirl who advances twas purely done to come

(03:19):
before the lights were lit. Hetakes around the waist. Second trooper receiving
a trust a hit lab, followingthe girl a kiss. The shopgirl struggling
to free herself. They are drawingher to a dark corner. No fear.
No one can see. A mansitting on the ground with others who

(03:40):
have brought their provisions. By comingearly, one can eat in comfort.
The burger conducting his son, letus sit here, son taking a bottle
from under his cloak, and alsoseating himself on the floor. A tippler
may well quaffs Burgundy. He drinksin the Burgundy hotel to his son faith.

(04:01):
A man might think he had fallenin a bad house. Here he
points with a skein to the drunkard. What with topers? One of the
fencers in breaking off, jostles him. Brawlers. He stumbles into the midst
of the card players gamblers, theguardsmen behind him, still teasing the shopgun
come one kiss, hurriedly putting hisson away by all the holies. And

(04:26):
this, my boy, is thetheater where they played, wrote true erewhile
Aye and Cornelie. First page,second page, third page, hand in
hand, enter dancing the farandole andsinging. Laden the doorkeeper sternly to the

(04:46):
pages, you pages there, noneof your tricks, Oh so such a
suspicion, briskly to the second page. The moment the doorkeeper's back is turned.
Have you strength, hi, andthe fishhook? With it we can
angle for wigs. Then up thenthe gallery, the big pocket gathering about
them some evil looking youths. Barkye young cut purses London air well,

(05:12):
I give you your first lesson inthieving. Second page, Calling up to
the others in the top galleries,you there, have you any peace,
shooters? Third page, from above, I have we and peace with all.
He blows and peppers them with peace. The young man to his father,
What peace do they give us?Chlorice? Who may the author be?

(05:35):
Master Boffazar Borrow It is a play. He goes arm in arm with
the sun. The big pocket tohis pupils, have a care above all
of the lace knee ruffles cut themoff. A spectator to another, showing
him a corner in the gallery.I was up there the first night of
the seed, making with his fingersthe gesture of filching us or watches coming

(06:00):
down again with the sun. Ah, you shall presently see some renowned actors
making the gestures of one who pullssomething stialtily with little jerks thus or handkerchiefs.
Mountfleree shouting from the upper gallery lightup below there bella rose la pey
le beau, prey jodelais. Thirdpitch in the pit. Here comes the

(06:26):
buffet girl. The buffe girl takingher place behind the buffet oranges, milk,
raspberry water, cedar bitters. Ahubbub outside the door has heard.
First marquis make place, brutes,First Lackey astonished to marquises, ain't your
pit eliver a minute? Or hereenter a band of young marquises. First

(06:50):
marquis, seeing that the hall ishalf empty, what now? So we
make our entrance like a pack ofwoolen drapers, peaceably without disturbing the folk
or wearing on their tuls oh fivefive, recognizing some other gentlemen who have
entered a little before him, Quickie, greetings and embraces through to our word.

(07:11):
First we are here before the candlesare lit. A indeed enough I
am of an ill humor. Nowyou marquis, see for your consolation.
They are coming to lighthop, welcomingthe entrance of the lighter. They form
in groups round the lusters as theyare let. Some people have taken their
seats in the galleries. Linier adistinguished looking room with disordered shirt friend arm

(07:39):
in arm with Christian. The nouveletChristian, who is dressed elegantly, but
rather behind the fashion, seems preoccupiedand keeps looking at the boxes. Scene
too the same Christian Linier. Thendragoneu and Libre not drunk as yet.
Aside to Christian, I may introduceyou Christian nods an baron the naviette,

(08:01):
bows applauding as the first lester islighted and drawn up. Quigi to Brizze,
looking at Christio. This is apretty fellow. First Marquis, who
has overheard too, Linie introducing themto Christio. My lords the Quigi the
brissee Christia bobing delights its first marquisto second. He is not ill to

(08:24):
look at, but sets he isnot costumed in the latest mode Linie to
Quigi. This gentleman comes from Turan. Yes, I have scarce been twenty
days in Paris. Tomorrow I joinedthe guards in the cadets, watching the
people who are coming into the boxes. There is the wife of the Chief
Justice oranges milk first Violin tuning upQuigi Christia pointing to the hall which is

(08:48):
filling fast to scurout to it.Yes, indeed, ah, the great
world they recognize. So nin thedifferent elegantly dressed ladies who hunted the boxes,
vowing Lord to them. The ladiessend smiles and answer Madame de Madame
de d adored by us all,Madame de Chavigni, who was ports with

(09:09):
the poor hearts. Ah. So, Monsieur de Corney has come back from
Rouen. The young man to hisfather is the academy here, oh,
I I see several of them.There is Badou Bosa and Ciro de la
Chambre, Poor Charai, Colombi,Bourse, Bourdain our Boud, all names

(09:33):
that will live tis fine attention.Here come our pre suisie barthelird. You're
im Dante Casadan's felixiere. Ah,how exquisitive panty names are? Do you
know them all? Marquis? Imarquis, I do everyone drawing Christian aside?
Friend, I but came here togive you pleasure. The lady comes,

(09:56):
not, I will take me againto my pet vice. No,
no, you, who are aballad maker to court and city alike,
can tell me better than any whothe lady is for whom I die of
love? Stay yet a while strikinghis bow on the desk, gentleman violinists.
He raises his bow backaroons lemon drink, the violence begin to play.

(10:20):
Ah, I fear me. Sheis coquettish and over nice and fastidious,
I who am so poor of wits? How dare I speak to her?
How address her? This language theyspeak today, ay and write confounds me.
I am but an honest soldier andtimid withal She has ever her place

(10:43):
there on the rights the empty box. See you, liney making us of
the goal. I must go dedeininghim. Nay, stay, I cannot
does you see it? Awaits meat the tavern, and here one dies
of thirst. The buffy go passingbefore him with a tree orange drink o
milk, pah reve salt. Stayto Christian, Now I will remain a

(11:07):
while. Let me taste this reevesalt. He sits by the buffy.
The girl posed some out for him. At the entrance of a plump little
man, joyously excited to Christian tisthe famous tavern keeper Ragunau. Ragueneau pressed
in the sunday clothes of a pastrycook, going up quickly, Dolinier,

(11:28):
sir, have you seen messieur deSerrano introducing him to Christian the pastry cook
of the actors and the poets.Oh, welcome, you do me too
great honor. Nay, hold yourpeace, Messinas, that you are true.
These gentlemen employ me on credit.He is himself a poet of a

(11:48):
pretty talent, so they tell memad after poetry. Tis true that for
a little ode you give a tartoh, a tart let, brave fellow,
he would fain, fain excuse himself. And for a triolet, now
did you not give an exchange somelittle rolls? Severely? They were milk

(12:09):
rolls. And as for the theater, which you love, oh to distraction?
How pay you your tickets? Huh? With cakes your place tonight?
Come tell me in my ear whatdid it cost you? Four custards and
fifteen cream puffs? He looks aroundon all sides. Monsieur de Syra noo

(12:30):
is not here to strange? Whyso Montfleurie plays night? Tis true that
that old wine barrel is to takefeed On's part tonight. But what matter
is that? To Cyrano? Howknow you not? He has got a
hot hate for Montfleurie, and sohas forbid him strictly to show his face

(12:50):
on the stage for one whole month, drinking his fourth glass. Well,
Montfleurie will play. He cannot hinderthat, oh, oh, that I
have come to see? Who isthis Syrah? Now? A fellow well
skilled in all tricks of fence yousee, of noble birth, ah,
noble enough. He is a cadetin the guards, pointing to a gentleman

(13:13):
who's going up and down the hallas of searching for someone. But it
is his friend Yonder who can besttell you. He calls them Lebret lab
comes towards them. Seek you forthe point? Rack, I am uneasy?
Is it not? True that heis the strangest of men, true
that he is the choicest of earthbeings, poet, soldier, philosopher,

(13:39):
musician, And of how fantastic apresence marriage would puzzle even our grim painter
Philip to compan it, to portrayhim methinks whimsical, wild comical, as
he is. Only Jacques Callot,now dead and gone, had succeeded better
and had made of him the maddestfighter of all his visored crew. With
his trip will plumed beaver and sixpointed doublet the sword points sticking up beneath

(14:03):
his mantle like an insolent cocktail.He's prouder than all the fierce artibands of
whom Gascony has ever been and willever be. The prolific alma mater above
his Toby rough. He carries anose. Ah, good, my lords,
what a nose is his? Whenone sees it, one is fain
to cry aloud, nay tis toomuch. He plays a joke on us.

(14:28):
Then one laughs says he will anontake it off, But no,
Misieur de Beajerraccue always keeps it on, throwing back his head. He keeps
it on and cleaves in too.Any man who dares remark on it his
sword tis one half of the fate, shears, shrugging his shoulders. He
will not come, I say hewill, and I wager a fowl a

(14:50):
lah ragnol good murmurs of admiration.In holl Roqueson has just appeared in her
box. She seats herself in thefriend the duena at the back. Christia,
who is paying the buffegel, doesnot see her entrance, Ah,
gentleman, she is fearfully, terriblyravishing. When one looks at her,

(15:15):
one thinks of a peach smiling ata strawberry, And what freshness a man
approaching her tuna might chance to geta bad chill at heart, raising his
head, seize roxong and catches linneeby the arm. Tis she ah is
it? She? I tell mequick, I am afraids tastings, deba
salte insips. Magdalene Robert Roxanne,so called a subtle wit, A precious

(15:43):
woe is me three an orphan,the cousin of Syrano, of whom we
were now speaking at this moment.An elegant nobleman with blue ribbon across his
breast, enters the box and talkswith Rosas standing who is yonder man who
has become Tipsie thinking at him naha, con de guiche enamored of her,

(16:08):
but wedded to the niece of armandRichieux would fain marry Roxanne to a certain
sorry fellow one Monsieur de Valvert,a viscount and accommodating. She will none
of that bargain. But de Guicheis powerful and can persecute the daughter of
a plain, untitled gentleman. Moreby token, I myself have exposed this

(16:30):
cunning plan of his to the worldin a song which ha ha oh he
must rage at me the end hithome. Listen. He gets up,
staggering and races his glass, readyto sing. Now, good nights,
where go you to Monsieur de Valvert, never care, it is he who
will kill you, showing him Roxamby a look, stay where you are.

(16:55):
She is looking at you. Itis true, he stands looking at
her. The group of pickpockets seeinghim thus, head in air and open
mouthed, drawn near to him.Tis I who I'm going? I'm a
first and they expect me in thetaverns. He goes out. Really lebre
who has been all around the hall, coming back to Ragueneau, reassured.

(17:19):
No sign of Silvano. All thesame. I hope he's left to me
that he has not seen the playbill. Scene three the same, all but
liney de guiche, valver Demo Flory. First marquis watching de Guiche, who
comes down from rocke saus box andcrosses the pet, surrounded by obsequious noblemen,

(17:42):
among them the visconn the wild werehe pays a fine court, your
de guiche Foh another gascon. Ibut the cold supple gascon. That is
the stuff's success is made of.Believe me, we had best make our
bow to him. They go towardde Guiche, What fine ribbons? How
call you the color? Count deGouche, give me my dawling or timid

(18:03):
faun? Tis the color called sickSpaniard faith. The color speaks truth,
for thanks to your valor, thingswill soon go ill for Spain and Flanders.
I go on the stage, Willyou come? He goes toward the
stage, followed by the marquises andgentleman. Turning, he calls, come
you valvert. Christian, who iswatching and listening, starts on hearing this

(18:29):
name. The viscounts Ah, Iwill throw full in his face. My
He puts his hand in his pocketand finds that the hand of a pickpocket
who is about robin? He turnsround, hey, oh, holding him
tightly. I was looking for aglove, smiling piteously, and you find
a hand. Changing his tone quicklyand in a whisper. Let me but

(18:52):
go, and I will deliver youa secret. Still holding him? What
is it when year, he whohas just left you simply well, his
life is in peril. A songwritten by him has given offense in high
places. And a hundred men Iam of them, are posted to night,
A hundred men by whom posted Imay not say a secret, shrugging

(19:15):
his shoulders, Oh, the greatdignity of the profession. Where are they
posted? At the Porte de Nesley? On his way homeward, warning him,
letting go off his wrists? Butwhere can I find him? Run
round to all the taverns, thegolden wine press, the pine cone,
the belt that bursts, the twotorches, the three funnels, and at

(19:38):
each leave a word that shall puthim on his guard. Good I fly,
ah, the scoundrels, one hundredmen against one, looking lovingly at
drug song Nah to leave her lookingwith rage a wilder and him. But
save an here I must, hehurries out de guiche, the visco,

(19:59):
the mud pieces have all disappeared behindthe curtain to take their places on The
bench is placed on the stage.The pit is quite full. The galleries
and the boxes are also crowded.The burger whose veg is drawn up on
the end of a string by apage in the upper gallery, my wig,
he is bob bravo pages ha,ha ha, furious, shaking his

(20:23):
fist, young villain. Total silence. What means this sudden silence? A
spectator says something to him in alow voice. It's true, I have
dressed heard it on good authority.Murmur spreading through the hall. Hush is

(20:44):
it here? No, I saythe box froud, the cardinal, the
cardinal, the cardinal, the devil. We shall have to behave ourselves.
A knock has heard upon the stage. Every on is motionless. A pause,
uig in the silence behind the curtain. Snuff that candle, putting his

(21:07):
head through the opening in the curtain. A chair. A chair is passed
from hand to hand over the headsof the spectators. The marquise take it
and disappears after blowing some kisses tothe boxes. Silence. Three knocks are
heard on the stage. The curtainopens in the center tableau, the marquises

(21:27):
and insolent attitudes seated on each sideof the stage. The scene represents a
pastoral landscape. Four little lusters likethe stage. The violence plays softly.
Librey in a low voice to RaganuMont comes on the scene. I tis
he who begins sila, No,he's not here. I have lost my

(21:51):
wager better. An air on thedrone pipes is heard, and Mountfleury enters
enormously stout in an arcadia in shepherd'sdress, a hat breadth with roses drooping
over one year, blowing into aribbon drawn pipe applauding, free moun flooding.

(22:12):
After bowing low begins the part offeathers solitaire, suppress crita swoman nonexidable,
a key los sirrano from the middleof the pet villain, did I
not forbid you to show your facehere for a month? General stupor.

(22:33):
Everyone turns round murmurs, hey whatwhat? The people stand up in the
boxes to look to say Sir Kingof Clowns leave the stage this instant.
Oh, but do you dare defyme? Different voices from the pet and
the boxes piece enough, play nothingin a trembling voice, more fiercely.

(23:04):
Well, chief of all the blackGuard, must I come and give you
a taste of my cane. Ahand holding a cane starts up over the
heads of the spectators in a voicethat trembles more and more. The cane
is shaken off the stage. Oh, choking sirrano appearing suddenly in the pit,

(23:27):
standing on a chair, his armscrossed, his beaver cocked fiercely,
his mustached bristling is no is terribleto see? Ah, I shall be
angry in a minute sensation seeing fourthe same serrano. Then Belarus, Jurilet
more flurry to the marquises, cometo my help my lords carelessly, go

(23:48):
on, go on, fat man, take warning. If you go on,
I shall feel myself constrained to cuffyour face. Have done, And
if these words hold not their tongue, shall feel constrained to make them taste
my cane. Yeah, mount flurry. If he goes not quick, I
will cut off his ears and slithim up. But out he goes,

(24:11):
yet, is he not gone yethe makes the gesture of turning up his
scuffs. Good. I shall mountthe stage now buffet wise to carve this
fine Italian sausage dust. Trying tobe dignified, you outrage Solia in insulting
me very politely. If that muse, sir, who knows you not at

(24:37):
all, could claim acquaintance with you, oh believe, seeing how urn like,
fat and slow you are, thatshe would make you taste her buskin
soul. Come burrows. Play tothose who are calling out, I pray
you have a care. If yougo on my scabbard soon will render up

(24:59):
its played the circle rundom widence,drawing back to sittley leave the stage,
coming near and grumbling, Oh didsomeone speak? They draw back again,
So it's Lucky singing at the backs. Please his tyrannies, bigford hyants,

(25:23):
water come players love Cloris. Letme but hear once more that foolish rhyme.
I slaughter every man of you.Oh Sampson, yes, Sampson,
will you lend your job, sir? A lady in the boxes outrageous,

(25:48):
scandalous, tis most annoying, fairgood sport. Silence, I order me
ow, I order silence. Alland challenge the whole pit collectively. I
read your names, approach young heroeshere, each in his turn. I

(26:14):
cry the numbers out. Now whichof you will come to ope the lists?
You sir? No, you no. The first duelist shall be dispatched
by me with honors due. Letall who long for death hold up their
hands a silence, modest you fearto see my naked blade. Not one

(26:37):
name, not one hand good.I proceed, turning towards the stage,
But more floody waits in an agony. The theater's too full congested. I
would clear it out. If notputs his hand on his sword. The
knife must act. I Sirranu leaveshis chair and said, as himself in

(26:59):
the middle of the sir which hasformed, I will clap my hands thrice,
thus full moon. At the thirdclap, it clips yourself A clapping
his hands one A lady in theboxes stay, stay, I think gentlemen,

(27:21):
two I think wisest. Three moreflurry disappears as through a trap,
tempest of laughs, whistling, cries, et cetera. Serrano delighted, sits
back in his chair, arms crossed. Come back, and if you dare
call for the orator. Belarus comesforward, and boss Ah bellerose my noble

(27:45):
lords, advancing, speaking through hisnose, calves, go on, go
on, No, bravos, sirs. The fat tragedian, whom you all
love, felt God was obliged togo come back. No, yes,

(28:07):
the young man to Sirrano, Butpray, sir, for what reason?
Say hate you? Montfurrey, graciouslystill seated, youthful gander. No,
I have two reasons. Either willsuffice primo an actor villainous who mouths and
heaves up like a bucket from awhale. The verses that should bird like

(28:30):
fly secundo, that is my secret. The burga behind him, shameful,
you deprive us of the clarice.I must insist, turning his chair towards
the burga respectfully, old mule,The verses of old The barrow are not
worth it what I'm glad to interrupt. A lady in the boxes are barrow,

(28:53):
my dear? How dares he ventureturning his chair towards the boxes gallantly?
Yes, radiate bloom, hold toour lips, the cup of dreams
intoxicating, he'd like, Or whendeath strikes, charm death with your sweet
smiles inspire our verse, but criticizeit not. We must give back the

(29:17):
entrance phase, turning his chat towardsthe stage, these you make the first
intelligent remark? Would I rend thespie'ssacred mantle? Nay? He rises and
throws the bag on the stage.Catch then the purse, I throw and
hold your peace, ah, catchingthe purse dexterously unveighing it. At this

(29:41):
price, you've authority to come eachnight and stop Chlorice, sir, even
if you chase us in a pack, Clear out the hole, Get you
all gone at once. The peoplebegin to go out, while Stirrano looks
on with satisfaction. But the coutsoon stop on hearing the following scene and
remind that they are the women who, with their mantles on, are already

(30:04):
standing up in the boxes, stopto listen, and finally received themselves libre
to Serranos the board coming up toSerrano, the actor Montfleury's shameful. Why
he's protected by the Duke of Candal. Have you a patron? No,
no patron, none what no greatlord to shield you with his name?

(30:26):
No? I have told you twice, Must I repeat, no, no
protector? His stand on his swordprotectress here, but you must leave the
town. Well that depends. TheDuke has a long arm, but not
so long as mine when it islengthened out shows his sword as Thus you
think not to contend? Tis myidea. But show your heels now,

(30:51):
But I or tell me why youstare so at my nose? Staggered?
I walking straight up to him.Well, what is there? Strange?
Drawing back your grace mistakes? Oh? Now? Is it soft and dangling
like a trunk? Seely? Inever? Is it crooked like an owl's

(31:11):
beak? Do you see a wartupon the tip? Nay? Or a
fly that takes the air? There? What is there to stare at?
Oh? What do you see?But I was careful not to look knew
better? And why not look atit? And if you please? I
was? Oh it discuss you,sir. It's hue unwholesome, seems to
you, sir? Or it's shape? No, on the contrary, Why

(31:36):
then that air disparaging? Perchance?You think it large? Stammin No?
Small? Quite small? Minute?Minute? What now accuse me of a
thing? Ridiculous? Small? Mynose Heaven helped me tiss enormous old flathead
empty headed meddler, know that Iam proud possessing such a us tis well

(32:00):
known. A big nose is indicativeof a soul, affable and kind and
courteous, liberal, brave just likemyself, and such as you can never
dare to dream yourself, Rascal contemptible, for that witless face that my hand
soon will come to cuff is allas empty. He cuts him of pride,

(32:23):
of aspiration, of feeling, poetry, of godlike spark, of all
that appertains to my big nose.He turns him by the shoulders, suiting
the action to the wood as whatmy boot will shortly come, and kicking
help call the guard. Take notice, boobies, all who find my visages

(32:45):
center ornament a thing to jest atthat it is my wont And if the
jester's noble ere we part to lethim taste my steel and not my boot.
De guiche Coo with the marquises hascome down from the stage, but
he becomes a nuisance the viscondivada,shrugging his shoulders, swearer will no one,

(33:08):
putting down no one. But wait, I'll treat him to one of
my quips. See here he goesup to serrano, who was watching him
und with a concerted air. Sir, your nose is hmm, it is
very big, very hah. Isthat all? What do you mean?

(33:29):
Ah? No, young blade,that was a trifle short. You might
have said at least a hundred thingsby varying the tone like this. Suppose
aggressive, sir, if I hadsuch a nose, i'd amputated. Friendly.
When you stop must annoy you dippingin your cup. You need a

(33:49):
drinking ball of special shape. Descriptivetis a rock, a peak, a
cape, A cape forsooth, tisa peninsular curious serves that oblong capsular for
scissor, sheath or pot to holdyour ink. Gracious, you love the
little birds. I think I seeyou've managed, with a fond research to

(34:14):
find the tiny claws A roomy perchtruculent. When you smoke your pipe,
suppose that the tobacco smokes out fromyour nose. Do not neighbors as the
fumes rise higher, quite rrestruct Thechimney is a fire. Consider it.
Take care your head bowed low bysuch a weight, lest head or heels

(34:36):
you go tender pray. Get asmall umbrella made lest its bright color in
the sun should fade. Pedantic,That beast Aristophanes names hippo camel elephantoles must
have possessed just such a solid lumpof flesh and bone beneath his foreheads.
Bump, cavalier, the last andfriend. That hook to hang your hat

(35:01):
on tis a useful crook. Emphaticno wind, Oh majestic nose can give
thee cold save when the mistral blows, dramatic when it bleeds. What a
red sea admiring sign for fumery?Lyric? Is this a conch? A

(35:23):
triton? You simple? When isthe monument on view rustic? That thing
a noose? Marry come up?Tis a dwarf pumpkin or a prize turnip,
military point against cavalry. Practical?Put it in a lottery, assuredly
it would be the biggest prize.Or parodying Piramis's size, Behold the nose

(35:47):
that mars the harmony of its master'sphiz blushing its treachery. Such, my
dear sir, is what you mighthave said, had you of wit or
letters the least jot but o mostlamentable man. Of wit you never had
an atom, And of letters youhave three letters only they spell a s

(36:08):
s ass. And had you hadthe necessary wit to serve me all the
pleasant trees I quote before this nobleaudience, even so you would not have
been let to utter one, naynot the half a quarter of such jest.
I take them from myself, allin good part, but not from

(36:29):
any other man that breathes trying todraw away the dismayed, viscous, come
away vicomte, choking the date herehis arrogance, A country loud too,
who has got no gloves, whogoes out without slave knots ribbins lace true,
All my elegances are within. Ido not prank myself out puppy like

(36:51):
my toilet is more thorough, ifless gay, I would not sally forth
half washed out, A front uponmy cheek, a conscience, yellow eyed,
bilious from its sodden sleep, aruffled on her scruples, grimed and
dull. I show no bravery ofshining gems. Truth, independence are my
fluttering plumes. Tis not my form. I lace to make me slim,

(37:15):
but brace my soul with efforts,as with stays covered with exploits, not
with ribbon knots my spirit bristling highlike your mustaches. I traversing in the
crowds and chattering groups, make truthring bravely out like clash of spurs.
But sad, I wear no gloves, and what of that? I had

(37:36):
one remnant of an old worn pair, and knowing not what else to do
with it, I threw it inthe face of some young fool face scoundrel,
rascally flat footed out, speaking ofhis hat and bowling as if the
visco had introduced himself. Ah,and I sa no savia equile de bisrac

(37:59):
laughter buffon, calling out as ifhe had been seized with a cramp.
I who was going away, turnsback. What on earth is the fellow
saying? Now? But grimaces ofpain? It must be moved. It's
getting stiff. I vow this comesof leaving it in idleness. I what

(38:22):
ails you? The cramp? Crampin my sword? Drawing a sword good?
You shall feel a charming little strokecontemptuously poet, I poets, sir,
in proof of which, while wefence presto all extemporary, I will
compose a ballad. A ballad belike you know not what a ballad is,

(38:47):
but reciting as if repeating a lesson. Know then that the ballad should
contain three eight first couplets, stamping, oh, still reciting, and and
avoir of four lines you. Iwill make one while we fight, and

(39:08):
touch you at the final line,no no declaiming the duel in Hotel of
Burgundy, fought by duck and agood for naught? What may that be?
And if you please the title room, good sports, make place,

(39:30):
fair play, no noise table.A circle of curious spectators in the pit.
The marquises and office is mingled withthe common people. The page is
climbing on each other's shoulders to seebetter all the women standing up in the
boxes to the right. De Guicheand his retinue left liberate, ragno,

(39:51):
serrano, etc. Shutting his eyesfor a second. Wait while I choose
my rhymes. I have them now, He suits the action to each word.
I gayly doff my beaver low andfreeing hand, and heel my heavy
mantle off. I throw, andI draw my polished steel, graceful as

(40:14):
phoebus, round, I wheel alertas scaramouch A word in your ear,
sir, spark, I steal atthe Auvoi's end I touch the better for
you had you lay low where skewermy cock in the heel, in the

(40:34):
heart you're a ribbon blue below inthe hip, and make you kneel.
Oh for the music of clashing steel. What now I hit? Not much,
twill be in the punch the strokeI steal when at the auvoir,
I touch, Oh for a rhyme, a rhyme, And oh you wriggles

(40:54):
torch, white my eel, Arhyme, A rhyme, the white feather
you show tuck, I urry thepoint of your steel, the point you
hope to make me feel. Iopened the line love. Clutch your spit,
sirs gully, and slow your zeal. At the avois end I touch,

(41:17):
he decames solemnly avoir Prince, prayheaven for your soul's will. I
move apace, no such and suchcut over faint trusting, what oh you
real? The viscos taggers. Serranosalutes at the end, I touch,

(41:42):
acclamations up loss in the boxes,flowers and handkerchiefs are thrown down. The
officers sarround Serrano, congratulating him.Ragan, who dances for joy Librey,
is happy but anxious. The viscousprince hold him up and bare him away
ah to superb a pretty stroke,a marvel in novelty, Oh madman presses

(42:07):
round Sirrano, chorus of let's mecongratulate quite unsurpassed. There is a hero
for you. Advancing to Sirrano withoutstretched hand, Sir permit not could be
finer. I'm a judge. Ithink I stand the faith to show my

(42:31):
admiration. He goes away to Quigi. Who is that gentleman? Why darth
dangnan to Sirano, digging is aword with you. Wait, let the
rabbel go to Belarus. May Istay respectfully without doubt? Chriser heard outside
Juliet, who has looked out.They hoot Montfleuri solemnly sick, transit to

(42:55):
the portus, sweep clothes all butleave the lines. We sup, but
later on we must return for arehearsal of tomorrow's fast. Jud Let and
Belleros go out, bobbing low toSerrano. The porter to Serrano, you
do not tie, sir No.The porter goes out because proudly because changing

(43:17):
a stone. As the porter goesaway, I have no money with the
action of throwing a bag. Howthe bag of crowns paternal bounty in a
day dark sped, how live thenext month? I have nothing left,
folly, but for a graceful action. Think the buffetger coughing behind her counter

(43:40):
Serrano and Lubra turn. She comestimidly forward. Sir, my heart mislikes
to know you fast showing the buffet. See all you need, sir yourself
taking off his head, gentle child, although my guests gone pride with else,
forbid to take the least bestow fromyour hands, by fear of wounding

(44:02):
you allwaighs that pride and builds.Except he goes to the buffet a trife
least few grapes. She offers himthe whole bunch. He takes a few.
Nay, but this bunch. Shetries to give him wine, but
he stops her a glass of waterfair and half. He gives back the

(44:24):
other arf what fool away takes somethingelse. I take your hand to kiss.
He kisses her hand as though shewere a princess. Thank you,
kind sir. She curtsies good night. She goes out, seeing five Serrano
Libre now talks. He stands atthe buffet and placing before him first the

(44:49):
macar dinner, then the grapes,dessert, then the glass of water wine
he seats himself. So and nowto table a. I was hungry,
friend, nay ravenous eating You saidthese fops would be belligerent. Will if
you heed them only turn your head? Ask people of good sense if you

(45:12):
would know the effect of your fineinsolence finishing his macarl enormous, the cardinal
radiant. The cardinal was there,must have thought it originally faith. But
he's an author. Will not failto please him that I should marrow brother
author's play. You make too manyenemies by far eating his griefs? How

(45:35):
many think you I have made tonight? Forty? No less, not counting
ladies, Count Montfleury first the bourgeois, then de Guiche, the Viscount Barrow,
the academy. Enough, I ammore joyed. But these strange ways,
where will I lead you at theend? Explain your system? Come,

(45:58):
I in a labyrinth, was lost, too many different paths to choose
I took, which, oh,by far the simplest path, decided to
be admirable in all shrugging his shoulders, so will be it? But the
motive of your hate de Mountfloye,Come tell me rising this Silenus, big

(46:22):
bellied, of course, still deemshimself apparel a danger to the love of
lovely ladies. And while he sputtersout his actor's part makes sheep's eyes at
their boxes, goggling frog. Ihate him since the evening he presumed to
raise his eyes to hers, heseemed I saw a slight cross slavery,

(46:45):
or a flower's pettles. Stupefied.Oh now, what can it be?
Laughing bitterly that I should love changinga stone? I love? And may
I know you never said come nowbethink you The fond hope to be beloved

(47:05):
even by some poor graceless lady isby this nose of mine. For I
bereft me this lengthy nose, whichor where'er I will pokes yet a quarter
mile ahead of me? But Imay love? And who tis Fate's decree?
I love the fairest. How wereit otherwise the fattest, aye,

(47:28):
the fairest of the world, mostbrilliant, most refined, most golden haired.
Who is this lady? She's adanger, mortal, all unsuspicious,
full of charms, unconscious like asweet perfumed rose, a snare of nature
within whose petals, Cupid lurks inambush. He who has seen her smile

(47:53):
has known perfection, instilling into trifles, graces, essence, vinity in every
careless gesture. Not Venus itself canmount her conch blown seaward, as she
can step into her shares of Portiers, nor Diane Fleet across the woods spring

(48:14):
flowered light as my lady, orthe stones of Paris Sapristi. All is
clear as spider webs. Your cousinMadeleine Robin rock sand well, but so
much the better tell her, soshe saw your triumph here this ready night.
Look well at me, then tellme with what hope this vow protuberance

(48:37):
can inspire my heart. I donot love me with illusions, Yet at
times I'm weak in evening hours.Dim I enter some fair pleasance, perfume
sweet with my poor, ugly devilof a nose. I scent springs essence
in the silver rays. I seesome night a lady on his arm,

(48:58):
and think, just haunter thus beneaththe moonshine, I were fain to have
my lady too, beside thought soresto ecstasy, Oh sudden fall, the
shadow of my profile on the wall, my friend, my friend. At
times tis hard, tis bitter,to feel my loneliness, my own ill

(49:20):
favor taking his hand, you weep, No, never think how vilely suited
A down this nose, a tear, its passage tracing. I never will,
while of myself I'm mastered. Letthe divinity of tears, their beauty
be wetted to such common, uglygrossness. Nothing more solemn than a tear

(49:42):
sublimer. And I would not,by weeping turn to laughter, the grave
emotion that that here engenders. Neverbe sad. What's love? A chance
of fortune? Shaking his head?Look I a Caesar to woo Cleopatra,
Tito, to aspire to Bernici,your courage and your wit. The little

(50:05):
maid who offered your refreshment, evennow her eye did not employ you.
You saw well impressed, true,Well, how then I saw a Roxanne
herself was death pale. She watchedthe duel tale, her heart, her
fancy already caught. Put it tothe touch that she may mark my face.
That is the one thing on thisearth. I fear introducing someone to

(50:29):
Serrano, Sir, someone asks foryou, seeing the Duenna God her Duenna
Scene six, Serrano Libre, theDuenna, the Duenna, but the lubo.
I was bid ask you where acertain lady could see her valiant cousin.
But in secret owl see me cudsaying I, sir, she has

(50:53):
somewhat to tell, somewhat still cut, saying I private matters, staggering,
Ah, my God. Tomorrow,at the early blosh of dawn, we
go to hear mass at Saint Rochleaning against Libre, My God, after
what place? For a few minutes, speech confused where ah, but ah,

(51:19):
my God, say I reflect Whereat the pastry house of Ragueno,
where lodge is he the rue godSaint Honore going good? Be you there?
At seven without fail, the duennagoes out. Scene seven. Libre,

(51:44):
then actors, actresses, Kuiji,Breza, Line, the porter,
the violinists, falling into Libre's arms, rendezvous from her. You're sad no
more, Let the world go burn. She knows I live. Now you
be calm, I hope beside himselffor joy. Calm, I now calm.

(52:07):
I'll be frenetic, frantic, leapingmad, Oh for an army to
attack a host. I have tenhearts in my breast, a score of
arms, not worse to Cleveland Twainno giants. Now. For a few
moments, the shadows of the actorshave been moving on the stage. Whispers
are heard, the rehearsal is beginning. The violinists are in their pleases.

(52:29):
Hello there, silence, we rehearse, we go. He moves away by
the big door. Enter TJ.Brez and some officers holding a bliney who
is drunk? Someone No, well, what now? Unless they thrust They're
bringing you, recognizing him, Lenie, what has changed? He seeks you?

(52:52):
He dare not go home? Whynot? Showing him a crumpled letter.
This letter warns me that a hundredmen revenge that threatens me that song,
you know, at the port toNessler. To get to my own
house, I must pass there.I dare not give me leave to sleep

(53:15):
tonight beneath your roof, Allow ahundred men, you're sleeping your own bed.
But in a terrible voice, showinghim the lighted land and held by
the porter who's listening curiously take thelantern, Linnie seizes it. Let us
start. I swear that I willmake your bed tonight myself to the officers

(53:36):
follow some stay behind. His witnessesa hundred less tonight would be too few.
The actors and actresses and their costumeshave come down from the stage,
and I'm listening. But why embroilyourself, le bray, whose golds that
worthless drunkard slapping Linny on the shoulder. Wherefore for this cause, this why

(54:00):
I'm barrel this cask of burgundy didon a day and action full of grace.
As he was leaving church, hesaw his love take holy water.
He who is afeared at water's taste, ran quickly to the stoop and drank
it all to the last drop.Indeed, that was a graceful thing.
I was it not? Fullest actressto the others, But why a hundred

(54:23):
men against one poor rhymer? Marchto the officers, gentlemen, when you
shall see the charge, bear meno sucker none, what air the odds
sucking actress jumping from the stage,Oh, I shall come and see come
then, third actress jumping down toan old actor, And you come all

(54:45):
the doctor isabel Leander Come for youshall add in a motley swarm the farst
Italian to this Spanish drama dancing forjoy. Bravo a mantle, quick,
hey, come on play us.Some march gentlemen of the band. The
violinists join the procession which is forming. They take the footlights and divide them

(55:09):
for torches, brave officers, nextwomen in costume, and twenty paces on.
He takes his place, I allalone beneath the plume that Glory lends
herself to deck my beaver, proudas Scipio. You hear me, I

(55:30):
forbid you, sucker me one twothree, porter opened wide the doors.
The porter opens the doors A viewof old Paris and the moonlighters scene Ah
Paris wrapped in night, half nebulous. The moonlight streams or the blue shadowed

(55:51):
roofs a lovely frame for this wildbattle scene. Beneath the vapor's floating scarves,
the same trembles miss serious like amagic mirror. And shortly you shall
see what you shall see standing onthe threshold to the part the nail.

(56:12):
Turning to the actress, did younot ask, young lady? For what
cause? Against this rhymer? Fivescore men were sent? He draws his
sword. Was that they knew himfor a friend of mine? He goes
out. Lennie staggers first after him, then the actresses on the officer's arms,
the actors. The procession starts tothe sound of the violence, under
the faint light of the candles curtain. End of Act one,