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Great Galeoto - Jose Echegaray y Eizaguirre · Great Expectations

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  Speaker 1: Prolog of The Great Gallioto by jose Echegaraii Ezzaguire, translated
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  Speaker 1: by Hannah Lynch. This is a LibriVox recording. All LibriVox
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  Speaker 1: recordings are in the public domain. For more information or
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  Speaker 1: to volunteer, please visit liprivox dot org. The Great Galiotto
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  Speaker 1: a play in three acts with a prolog. Persons of
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  Speaker 1: the drama.
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  Speaker 2: Theodora, wife of Don Julian, read by Lindsay Clarke.
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  Speaker 3: Don Julian read by Gregg Giordano.
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  Speaker 4: Dona Mercedes, wife of Don Severo, read by Sonya.
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  Speaker 5: Don Severo read by arn Mapstone.
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  Speaker 6: Papito their Son read by Adrian Stephens, Ernest read by Todd.
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  Speaker 4: Rueda, Witness read by Sandra.
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  Speaker 7: Schmidt, Gone Julian's Servant read by Andrew Kennedy. Servant to
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  Speaker 7: Ernest read by Joanna Michael Hoyt.
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  Speaker 1: Stage directions read by Abay. Scene Madrid of our Day
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  Speaker 1: prologue a study to the left, a balcony on right,
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  Speaker 1: a door in the middle, a table stone with papers
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  Speaker 1: and books and a lighted lamp upon it. Towards the right,
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  Speaker 1: a sofa night scene one Ernest seated at table and
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  Speaker 1: preparing to write nothing impossible.
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  Speaker 8: It is driving with the impossible. The idea is there.
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  Speaker 8: My head is fevered with it. I feel it. At moments,
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  Speaker 8: an inward light illuminates it, and I see it. I
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  Speaker 8: see it in its floating form, vaguely outlined, and suddenly
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  Speaker 8: a secret voice seems to animate it, and I hear
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  Speaker 8: sounds of sorrow, sonorous sighs, shouts of sardonic laughter, a
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  Speaker 8: whole world of passions, alive and struggling. They burst forth
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  Speaker 8: from me, extend around me, and the air is full
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  Speaker 8: of them. Then then I say to myself, Now tis
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  Speaker 8: the moment. I take up my pen, stare into space,
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  Speaker 8: listen attentively, restraining my very heart beats, and bend over
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  Speaker 8: the paper. Ah, But the irony of impotency, The outlines
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  Speaker 8: become blurred, the vision fades, the cries and sighs faint away,
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  Speaker 8: and nothingness, nothingness encircles me. The monotony of empty space,
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  Speaker 8: of inert thought, of dreamy lassitude, and more than all,
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  Speaker 8: the monotony of an idle pen and lifeless paper that
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  Speaker 8: lacks the life of thought.
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  Speaker 3: Ah.
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  Speaker 8: How varied are the shapes of nothingness, And how in
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  Speaker 8: its dark and silent way it marks creatures of my stamp,
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  Speaker 8: so many many forms, canvas without color, bits of marble
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  Speaker 8: without shape, confused noise of chaotic vibrations. But nothing more irritating,
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  Speaker 8: more insolent, meaner than this insolent pen of mine. Throws
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  Speaker 8: it away, nothing worse than this white sheet of paper. Oh,
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  Speaker 8: if I cannot fill it, at least I may destroy it,
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  Speaker 8: vile accomplice of my ambition and my eternal humiliation. Thus
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  Speaker 8: thus smaller and.
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  Speaker 4: Still smaller tears up paper.
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  Speaker 8: And then how lucky that nobody saw me. For in truth,
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  Speaker 8: such fury is absurd, unjust. No, I will not yield.
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  Speaker 8: I will think and think until either I have conquered
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  Speaker 8: or am crushed. No, I will not give up. Let
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  Speaker 8: me see, Let me see if in that way?
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  Speaker 1: Scene two, Earnest, don't Julian on the right, in evening
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  Speaker 1: dress with overcoat upon his arm. Don't Julian at the
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  Speaker 1: door without entering.
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  Speaker 3: I say, Earnest, Don Julian still working? Do I disturb you?
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  Speaker 8: Ernest rising, disturb me? What a question? Don Julian come in?
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  Speaker 8: Come in? And Theodora.
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  Speaker 1: Don Julian enters.
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  Speaker 3: We have just come from the opera. She has gone
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  Speaker 3: upstairs with my brother to see something or other that
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  Speaker 3: Mercedes has bought. And I was on my way to
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  Speaker 3: my room when I saw your light, so I stopped
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  Speaker 3: to say good night?
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  Speaker 8: Was there a good house?
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  Speaker 3: As usual? All our friends inquired after you. They wondered
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  Speaker 3: you were not there too. That was kind of them,
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  Speaker 3: Not more than you deserve? And how have you improved
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  Speaker 3: the shining hours of solitude and inspiration?
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  Speaker 8: Solitude? Yes, inspiration, no, it shuns me, though I call
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  Speaker 8: on it, never so humbly and fondly.
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  Speaker 3: It has failed at the rendezvous.
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  Speaker 8: And not for the first time either. But if I
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  Speaker 8: have done nothing else, at least I have made a
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  Speaker 8: happy discovery.
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  Speaker 3: What that?
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  Speaker 8: How I am a poor devil the deuce?
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  Speaker 3: That's a famous discovery.
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  Speaker 8: Nothing less?
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  Speaker 3: But why are you so out of sorts with yourself?
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  Speaker 3: Is the play you talked of the other day not
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  Speaker 3: going on?
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  Speaker 8: How can it? The going on is done by the
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  Speaker 8: going out of my wits?
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  Speaker 3: How is this? Both the drama and inspiration are faithless
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  Speaker 3: to my poor friend?
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  Speaker 8: This is how I stand. When I first conceived the idea,
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  Speaker 8: I imagined it full of promise. But when I attempted
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  Speaker 8: to give it form and vest in it, an appropriate
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  Speaker 8: stage garb. The result shows something extraordinary, difficult, undramatic, and impossible.
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  Speaker 3: How is it impossible? Come tell me you've excited my curiosity.
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  Speaker 1: Sits down on the sofa.
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  Speaker 8: Imagine the principal personage, one who creates the drama and
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  Speaker 8: develops it, who gives it life and provokes the catastrophe,
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  Speaker 8: who broadly fills and possesses it, and yet who cannot
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  Speaker 8: make his way to the stage.
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  Speaker 3: You see so ugly, then so repugnant or bad?
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  Speaker 8: Not so bad as you or I may be not worse,
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  Speaker 8: neither good nor bad, and truly not repugnant. I am
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  Speaker 8: not such a cynic, neither a misanthrope, nor one so
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  Speaker 8: out of love with life as to fall into such unfairness.
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  Speaker 3: What, then, is the reason?
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  Speaker 8: The reason, Don Julian, is that there is no material
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  Speaker 8: room in the scenario for this personage.
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  Speaker 3: Holy Virgin, What do you mean, Is it, by chance
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  Speaker 3: a mythological drama with titans in it?
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  Speaker 8: Titans, yes, but in the modern sense of the word,
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  Speaker 8: that is to say, that is to say, this person
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  Speaker 8: is everybody everybody.
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  Speaker 3: You are right, there is no room for everybody on
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  Speaker 3: the stage. It is an incontrovertible truth. That has more
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  Speaker 3: than once been demonstrated.
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  Speaker 8: Then you agree with me.
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  Speaker 3: Not entirely. Everybody may be condensed in a few types
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  Speaker 3: and characters. This is matter beyond my depth. But I
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  Speaker 3: have always understood that the masters have more than once
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  Speaker 3: accomplished it.
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  Speaker 8: Yes, but in my case it is to condemn me
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  Speaker 8: not to write my drama. Why, for many reasons it
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  Speaker 8: would be difficult to explain, above all at this late.
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  Speaker 3: Hour, Never mind, give me a few look.
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  Speaker 8: Each individual of this entire mass, each head of this monster,
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  Speaker 8: of a thousand heads, of this Titan of the century,
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  Speaker 8: whom I call everybody, takes part in my play for
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  Speaker 8: a flying moment, to utter but one word, fling, a
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  Speaker 8: single glance. Perhaps his action in the tail consists of
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  Speaker 8: a smile. He appears, but to vanish, listless and absent minded,
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  Speaker 8: he acts without passion, without anger, without a guile, often
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  Speaker 8: for mere distraction's sake. What then, these light words, these
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  Speaker 8: fugitive glances, these indifferent smiles, all these effervescent sounds, and
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  Speaker 8: this trivial evil, which may be called the insignificant rays
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  Speaker 8: of the dramatic light condensed to one focus, to one group,
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  Speaker 8: result in conflagration or explosion, in strife and in victims.
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  Speaker 8: If I represent the whole by a few types or
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  Speaker 8: symbolic personages, I bestow upon each one that which is
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  Speaker 8: really dispersed among many, And such a result distorts my idea.
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  Speaker 8: I must bring types on the stage whose guile repels
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  Speaker 8: and is the less natural, because evil in them has
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  Speaker 8: no object. This exposes me to a worse consequence to
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  Speaker 8: the accusation of meaning to paint a cruel, corrupted and
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  Speaker 8: debate society, when my sole pretension is to prove that
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  Speaker 8: not even the most insignificant actions are in themselves insignificant
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  Speaker 8: or lost for good or evil. For concentrated by the
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  Speaker 8: mysterious influences of modern life, they may reach to immense effects.
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  Speaker 3: No more, my friend, all this is metaphysics, a glimmer
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  Speaker 3: of light, perhaps, but through an infinite of cloud. However,
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  Speaker 3: you understand these things better than I do. Letters of exchange, shares,
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  Speaker 3: stock and discount. Now that's another matter.
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  Speaker 8: No, No, you've common sense, and that's the chief thing.
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  Speaker 3: You flatter me, earnest, but you follow me not in
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  Speaker 3: the least there ought to be a way out of
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  Speaker 3: the difficulty.
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  Speaker 8: If that were all, what more, tell me, what is
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  Speaker 8: the great dramatic spring.
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  Speaker 3: My dear fellow, I don't exactly know what you mean
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  Speaker 3: by a dramatic spring. All I can tell you is
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  Speaker 3: that I have not the slightest interest in plays where
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  Speaker 3: love does not preponderate above all unfortunate love. I have
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  Speaker 3: enough of happy love at home.
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  Speaker 8: Good, very good. Then in my play there can be
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  Speaker 8: little or no love.
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  Speaker 3: So much the worse. Though I know nothing of your play,
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  Speaker 3: I suspect it will interest nobody, so.
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  Speaker 8: I have been telling you. Nevertheless, it is possible to
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  Speaker 8: put in a little love and jealousy too.
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  Speaker 3: Ah. Then with an interesting intrigue, skillfully developed, and with
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  Speaker 3: some effective situations.
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  Speaker 8: No, nothing of the sort. It will be all simple, ordinary,
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  Speaker 8: almost vulgar, so that the drama will not have any
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  Speaker 8: external action. The drama evolves within the personages. It advances
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  Speaker 8: slowly to day, takes hold of a thought, tomorrow of
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  Speaker 8: a heartbeat, little by little undermines the will.
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  Speaker 3: But who understands all this? How are these interior ravages manifested?
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  Speaker 3: Who recounts them to the audience? In what way are
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  Speaker 3: they evident? Must we spend a whole evening hunting for
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  Speaker 3: a glance, A sigh, a gesture, a single word, My
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  Speaker 3: dear boy, this is not amusement. To cast us into
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  Speaker 3: such depths is to hurl us upon philosophy.
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  Speaker 8: You do but echo my own thoughts.
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  Speaker 3: I have no wish to discourage you. You best know
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  Speaker 3: what you are about there, though the play seems rather colorless, heavy, uninteresting.
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  Speaker 3: Perhaps if the denumon is sensational and the explosion.
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  Speaker 8: Eh sensation explosion hardly, and that only just upon the
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  Speaker 8: fall of a curtain.
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  Speaker 3: Which means that the play begins when the curtain falls.
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  Speaker 8: I am inclined to admit it, but I will endeavor
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  Speaker 8: to give it a little warmth.
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  Speaker 3: My dear lad What you have to do is to
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  Speaker 3: write the second play, the one that begins where the
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  Speaker 3: first ends. For the other, according to your description, would
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  Speaker 3: be difficult to write and is not worth the trouble.
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  Speaker 8: Tis the conclusion I have come to myself.
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  Speaker 3: Then we agree, thanks to your skill and logic. And
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  Speaker 3: what is the name?
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  Speaker 8: That's another difficulty I can find none.
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  Speaker 3: What do you say, no name either?
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  Speaker 8: No, unless, as Don Homogenes says, we could put it
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  Speaker 8: into Greek for a greater clarity of a surety.
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  Speaker 3: Ernest you were dozing when I came in you have
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  Speaker 3: been dreaming nonsense.
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  Speaker 8: Dreaming, yes, nonsense. Perhaps I talk both dreams and nonsense.
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  Speaker 8: But you are sensible and always right.
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  Speaker 3: In this case it does not require much penetration. A
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  Speaker 3: drama in which the chief personage cannot appear, in which
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  Speaker 3: there is hardly any love, in which nothing happens but
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  Speaker 3: what happens every day, that begins with the fall of
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  Speaker 3: the curtain upon the last act, and which has no name.
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  Speaker 3: I don't know how it is to be written, still
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  Speaker 3: less how it is to be acted, how it is
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  Speaker 3: to find an audience, nor how it can be called
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  Speaker 3: a drama.
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  Speaker 8: Nevertheless, it is a drama if I could only give
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  Speaker 8: it proper form, and that I can't do.
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  Speaker 3: Do you wish to follow my advice?
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  Speaker 8: Can you doubt it? You, my friend, my benefactor, my
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  Speaker 8: second father. Don Julian, come, come, Ernest.
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  Speaker 3: Don't let us drop into a sentimental drama on our
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  Speaker 3: own account instead of yours, which we have declared impossible.
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  Speaker 3: I asked you if you would take my advice, and
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  Speaker 3: I said yes, then leave aside your plays, go to bed,
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  Speaker 3: rest yourself, and come out shooting with me tomorrow. Kill
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  Speaker 3: a few partridges, and that will be an excuse for
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  Speaker 3: your not killing one or two characters and not exposing
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  Speaker 3: yourself to the same fate at the hands of the public.
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  Speaker 3: After all, you may thank me for it.
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  Speaker 8: I'll do no such thing. I mean to write that play.
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  Speaker 3: But my poor fellow, you've conceived it in mortal sin.
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  Speaker 8: I don't know, but it is conceived. I feel it
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  Speaker 8: stir my brain. It clamors for life, and I must
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  Speaker 8: give it to the world.
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  Speaker 3: Can't you find and in other plots?
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  Speaker 8: But this idea?
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  Speaker 3: Send it to the devil?
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  Speaker 8: Ah, Don Julian, you believe that an idea which has
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  Speaker 8: gripped the mind can be effaced and destroyed in our pleasure.
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  Speaker 8: I wanted to think out another play, but this accursed
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  Speaker 8: idea won't give it room until it itself has seen
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  Speaker 8: the light.
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  Speaker 3: God, grant you a happy delivery.
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  Speaker 8: That's the question, as Hamlet says.
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  Speaker 1: Don Julian in a low voice with an air of
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  Speaker 1: comical mystery.
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  Speaker 3: Couldn't you cast it into the literary foundling hospital of ananymity?
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  Speaker 8: Don Julian, I am a man of conscience, good or bad.
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  Speaker 8: My children are legitimate. They bear my.
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  Speaker 1: Name, Don Julian, Preparing to go.
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  Speaker 3: I have nothing more to say, what must be done
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  Speaker 3: will be done.
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  Speaker 8: I wish it were so. Unfortunately it is not done.
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  Speaker 8: But no matter. If I don't do it, somebody else.
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  Speaker 3: Will then to work. And good luck. It may nobody
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  Speaker 3: rob you of your laurels.
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  Speaker 1: Scene three, Ernest, Don Julian and Theodora. Theodora outside Julian.
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  Speaker 3: Julian, it's Theodora.
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  Speaker 1: Are you there, Julian, Don Julian going to the door.
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  Speaker 3: Yes, I'm here.
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  Speaker 1: Come in, Theodora entering.
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  Speaker 2: Good evening, Ernest.
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  Speaker 8: Good evening, Theodora was the singing, good as usual?
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  Speaker 2: And have you been working.
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  Speaker 8: Much as usual? Nothing?
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  Speaker 2: Then you'd have done better to come with us, they
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  Speaker 2: all asked after you.
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  Speaker 8: It's see, is that everybody is interested in me?
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  Speaker 3: I should think so. Since everybody is to be the
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  Speaker 3: principal personage of your play, you may imagine if they
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  Speaker 3: are anxious to be on good terms with you. The
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  Speaker 3: play Hush tis a mystery. Ask no questions, neither title
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  Speaker 3: nor characters, nor action nor catastrophe. The sublime, Good night, Ernest,
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  Speaker 3: come Theodora, ad you.
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  Speaker 8: Don Julian till tomorrow.
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  Speaker 1: Good night, Theodora to Don Julian.
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  Speaker 2: How preoccupied Mercedes.
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  Speaker 3: Was and Savarro was in a rage. Why I wonder,
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  Speaker 3: how do I know? On the other hand, Pepito chattered
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  Speaker 3: enough for.
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  Speaker 2: Both hm he always does and nobody escapes his tongue.
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  Speaker 3: He's a character for Ernest's.
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  Speaker 1: Play Excellent Theodora and Don Julian by right scene four.
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  Speaker 8: Let Don Julian say what he will. I won't abandon
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  Speaker 8: the undertaking. That would be signal cowardice. Never retreat, always.
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  Speaker 1: Forward, rises and begins to walk about in an agitated way,
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  Speaker 1: then approaches the balcony.
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  Speaker 8: Protect me, Knight, in thy blackness rather than in the
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  Speaker 8: azure clearness of day, are outlined the luminous shapes of inspiration.
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  Speaker 8: Lift your roofs, you thousand houses of this great town
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  Speaker 8: as well for a poet and dire necessity, as for
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  Speaker 8: the devil on two sticks, who so wantonly exposed you.
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  Speaker 8: Let me see the men and women enter your drawing
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  Speaker 8: rooms and boudoirs in search of the Knight's rest after
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  Speaker 8: fevered pleasures abroad. Let my acute hearing catch the stray
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  Speaker 8: words of all those who inquired for me of Don
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  Speaker 8: Julian and Theodora. As the scattered rays of light, when
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  Speaker 8: gathered to a focus by diaphanous crystal, strike flame and
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  Speaker 8: darknesses forged by the crossed bars of shadow. As mountains
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  Speaker 8: are made from grains of earth, and seas from drops
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  Speaker 8: of water. So will I use your wasted words, your
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  Speaker 8: vague smiles, your eager glances, and build my play of
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  Speaker 8: all those thousand trivialities dispersed in cafes, at reunions, theaters
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  Speaker 8: and spectacles, and that float now in the air. Let
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  Speaker 8: the modest crustal of my intelligence be the lens, which
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  Speaker 8: will concentrate light and shadow, from which will spring the
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  Speaker 8: dramatic conflagration and the tragic explosion of the catastrophe. Already
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  Speaker 8: my play takes shape. It has even a title now,
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  Speaker 8: for there under the ramp shade I see the immortal
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  Speaker 8: work of the immortal Florentine. It offers me an Italian
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  Speaker 8: what in good Spanish it would be risky and fu
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  Speaker 8: ta audacity, either to write on a paper or pronounce
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  Speaker 8: on the stage. Fransasca and Paolo assist me with the
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  Speaker 8: story of your loves.
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  Speaker 1: Sits down and prepares to write the play.
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  Speaker 8: The play begins first page. There tis no longer white.
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  Speaker 8: It has a name, writing the great Gallioto.
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  Speaker 1: Writes feverishly end of prolog Act one of the Great
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  Speaker 1: Gallioto by jose Echigaraii Zaghire, translated by Hannah Lynch. This
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  Speaker 1: is a LibriVox recording. All LibriVox recordings are in the
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  Speaker 1: public domain. For more information or to volunteer, please visit
• 23:02
  Speaker 1: lipprebox dot org. The Great Galiotto a play in three
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  Speaker 1: acts with a prolog Act one scene a drawing room
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  Speaker 1: in Don Julian's house at the back of stage, a
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  Speaker 1: large door, and beyond a passage separating it from the
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  Speaker 1: dining room door which remains closed throughout the act. On
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  Speaker 1: the left, a balcony, and beyond it a door. On
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  Speaker 1: the right, two doors on the stage, a table, an
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  Speaker 1: arm chair, handsome and luxurious mounting hour towards sunset. Scene one,
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  Speaker 1: Theodora and Don Julian. Theodora near the balcony. Don Julian
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  Speaker 1: seated on the sofa, lost in thought.
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  Speaker 2: What a lovely sunset, what clouds and light and what
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  Speaker 2: a sky. Suppose it were true as the poets say,
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  Speaker 2: and our fathers believed that our fate is stamped upon
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  Speaker 2: the azure heaven? Were the mystery secret of human destiny
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  Speaker 2: traced by the stars upon the sapphire sphere, and this
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  Speaker 2: splendid evening should hold the cipher of ours. What happiness
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  Speaker 2: it must disclose? What a smiling future? What a life
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  Speaker 2: in our life? And what radiance in our heaven? Is
• 24:27
  Speaker 2: it not so? Julian?
• 24:29
  Speaker 1: She approaches, Don, Julian.
• 24:31
  Speaker 2: Ah plunged in thought. I see come and look out?
• 24:37
  Speaker 2: What no word for me?
• 24:39
  Speaker 1: Don, Julian? Absently?
• 24:41
  Speaker 3: What is it?
• 24:43
  Speaker 1: Theodora coming near?
• 24:45
  Speaker 2: You have not been listening to me.
• 24:47
  Speaker 3: I have my heart ever, you are its magnet and
• 24:51
  Speaker 3: its center. But my mind is apt to be besieged
• 24:55
  Speaker 3: by preoccupations, cares business.
• 25:00
  Speaker 2: They are the plague of my life, since they rob me,
• 25:03
  Speaker 2: if not of my husband's affections, at least of some
• 25:06
  Speaker 2: of his attention. But what is the matter, Julian? Something
• 25:11
  Speaker 2: worries you? Is it serious that you are so solemn
• 25:15
  Speaker 2: and so silent? If it should be trouble, Julian, remember
• 25:19
  Speaker 2: that I have a right to share it. My joys
• 25:21
  Speaker 2: are yours, and your sorrows are no less mine sorrows troubles?
• 25:27
  Speaker 3: Are you not happy? Do I not possess in you
• 25:31
  Speaker 3: the living embodiment of joy? With those cheeks so ruddy
• 25:35
  Speaker 3: in the glow of health, and those dear eyes clear
• 25:40
  Speaker 3: like your soul and resplendent as the sky. And I
• 25:45
  Speaker 3: the owner of all you good, pain or shadow or grief.
• 25:51
  Speaker 3: Teach me I am other than the happiest man alive.
• 25:56
  Speaker 2: Is it a business annoyance? Perhaps?
• 25:58
  Speaker 3: Money? Never yet for sleep or appetite to forsake me.
• 26:03
  Speaker 3: I have never felt aversion, much less contempt for it.
• 26:07
  Speaker 3: So it follows that the article has flowed easily into
• 26:11
  Speaker 3: my coffers. I was rich, I am rich, and until
• 26:16
  Speaker 3: Don Julian of Gara Gagara dies of old age, please
• 26:21
  Speaker 3: God and his own good fortune, he will remain, if
• 26:26
  Speaker 3: not the wealthiest, certainly the surest banker of Madrid, Cadiz
• 26:32
  Speaker 3: and Oporto.
• 26:34
  Speaker 2: Then what is your preoccupation?
• 26:37
  Speaker 3: I was thinking tis a good thought too.
• 26:40
  Speaker 2: Naturally, since tis yours.
• 26:43
  Speaker 3: Flatterer, you would spoil me.
• 26:47
  Speaker 2: But I am still unenlightened.
• 26:49
  Speaker 3: There is an important matter I want to.
• 26:51
  Speaker 2: Achieve, connected with the new works.
• 26:55
  Speaker 3: No, it has nothing to do with stone or iron.
• 27:00
  Speaker 2: What's then?
• 27:02
  Speaker 3: It is a question of kindness, A sacred dette of
• 27:05
  Speaker 3: old date.
• 27:07
  Speaker 2: Oh, I can guess now, So you mean earnest You
• 27:12
  Speaker 2: are right? Yes, yes, you must poor lad. He's so
• 27:18
  Speaker 2: good and noble and generous.
• 27:20
  Speaker 3: Quite his father's son, the model of a loyal Hidalgo, and.
• 27:25
  Speaker 2: Then so clever, only twenty six and a prodigy. What
• 27:30
  Speaker 2: doesn't he know?
• 27:31
  Speaker 3: No, I should think he did know. That's nothing. Rather,
• 27:37
  Speaker 3: that's the worst of it. While he is wandering in
• 27:40
  Speaker 3: the sphere of sublime thought, I fear he's not likely
• 27:44
  Speaker 3: to learn much of a world so deceptive and prosaic
• 27:48
  Speaker 3: as ours, which takes no interest in the subtleties of
• 27:52
  Speaker 3: the mind until three centuries after genius has been buried.
• 27:57
  Speaker 2: But with you for a guide, Julian, you don't intend
• 28:00
  Speaker 2: to abandon him yet?
• 28:01
  Speaker 3: Awhile, surely, Oh God forbid, I should be black hearted. Indeed,
• 28:07
  Speaker 3: if I would so readily forget all I owe his father,
• 28:11
  Speaker 3: don Juan of Aceto risked for my family, name and wealth,
• 28:16
  Speaker 3: I almost his life. Should this lad need mine, he
• 28:21
  Speaker 3: might ask it and welcome twould be but just payment
• 28:26
  Speaker 3: of the debt my name represents.
• 28:29
  Speaker 2: Well, said Julian. It is like you.
• 28:33
  Speaker 3: You remember about a year ago I heard my good
• 28:36
  Speaker 3: friend was dead and his son was left badly off.
• 28:40
  Speaker 3: I lost no time, caught the train to Gerona, nearly
• 28:44
  Speaker 3: used force and carried the boy back here. When he
• 28:48
  Speaker 3: stood in the middle of this room, I said to him,
• 28:52
  Speaker 3: you are master here. You may command me and mine.
• 28:57
  Speaker 3: Since I owe your father everything, you must regard me
• 29:02
  Speaker 3: in the light of his representative. If I fall short,
• 29:06
  Speaker 3: my desire is to come as near as possible to him.
• 29:10
  Speaker 3: As for the amount of affection I have to dispose of,
• 29:14
  Speaker 3: we'll see if I don't outrace him.
• 29:17
  Speaker 2: There, Ah, I remember it well. The soft hearted fellow
• 29:22
  Speaker 2: burst out crying and clung to you like a child.
• 29:25
  Speaker 3: He's but a child, as you say, that's why we
• 29:29
  Speaker 3: must think and plan for him. And twas of that
• 29:33
  Speaker 3: I was so seriously thinking a moment ago. I was
• 29:36
  Speaker 3: mediating a half formed project, while you, dear wanted me
• 29:41
  Speaker 3: to contemplate a panorama of radiant cloud and scarlet sun
• 29:47
  Speaker 3: that cannot compare with the sun that shines in my
• 29:50
  Speaker 3: own heaven.
• 29:52
  Speaker 2: I cannot divine your idea. What is it you project
• 29:55
  Speaker 2: doing for Ernest?
• 29:57
  Speaker 3: Well, those are my words.
• 29:59
  Speaker 2: But is this something yet undone that you expect to discover?
• 30:03
  Speaker 2: He has lived with us for the past year like
• 30:05
  Speaker 2: one of ourselves. Were he your son or a brother
• 30:09
  Speaker 2: of mine, could you show him more tenderness. I'm more affection.
• 30:13
  Speaker 3: Here's much, but not enough, not enough.
• 30:17
  Speaker 2: I fancy you.
• 30:19
  Speaker 3: Are thinking of the present, and I of the future.
• 30:23
  Speaker 1: Theodora spoken playfully with volubility, grace, blushes, and lively gesture
• 30:31
  Speaker 1: according to the actress's talents.
• 30:34
  Speaker 2: Oh, the future that is easily settled. See, he lives
• 30:39
  Speaker 2: here with us as long as he likes. For years
• 30:42
  Speaker 2: it is his home. Then when the just and natural
• 30:46
  Speaker 2: law prompts him to fall in love and desire another,
• 30:49
  Speaker 2: we will marry him. You will nobly share your wealth
• 30:52
  Speaker 2: with him, and she will lead them from the altar
• 30:55
  Speaker 2: to their own house, he and she. The proverb you
• 30:59
  Speaker 2: know says wise for each wedded pair a house. He
• 31:03
  Speaker 2: will live just a little away from us, and that
• 31:05
  Speaker 2: will be no reason for our forgetting him or loving
• 31:08
  Speaker 2: him less. I see it all distinctly. They are happy,
• 31:12
  Speaker 2: and we even happier. They have children, of course, and
• 31:16
  Speaker 2: we perhaps more well, at least one little girl who
• 31:20
  Speaker 2: will fall in love with ernest son, and to whom
• 31:23
  Speaker 2: we will marry her. By and by, But.
• 31:27
  Speaker 3: Where in Heaven's name you are going to stop?
• 31:31
  Speaker 2: You spoke of his future, Julian, and I've sketched it.
• 31:34
  Speaker 2: If not this one, I will neither approve nor accept it.
• 31:38
  Speaker 3: How like you, Theodora.
• 31:39
  Speaker 2: But ah, there's a butt already.
• 31:43
  Speaker 3: Listen, Toodora. It is but a debt. We owe to
• 31:46
  Speaker 3: look after the poor fellow as if he were a relative,
• 31:50
  Speaker 3: and our obligation runs with the exactions of our affection.
• 31:55
  Speaker 3: So much for himself, so much for his father's son.
• 31:59
  Speaker 3: But every human action is complex, has two points of view,
• 32:05
  Speaker 3: and every medal has its reverse, which means, Theodora, that
• 32:10
  Speaker 3: you must understand it is a very different matter to
• 32:14
  Speaker 3: give and receive favors, and that in the end, Ernest
• 32:19
  Speaker 3: might feel my protection a humiliation. He's a high spirited,
• 32:25
  Speaker 3: fine lad, a trifle haughty perhaps, and it is imperative
• 32:30
  Speaker 3: there should be an end to his present position. We
• 32:34
  Speaker 3: may if we can do more for him, but we
• 32:38
  Speaker 3: must seem to do less. How so we'll see. Oh,
• 32:44
  Speaker 3: but here he comes.
• 32:46
  Speaker 1: Looks down the stage Hush Scene two. Don Julia, Theodora
• 32:53
  Speaker 1: and Earnest behind.
• 32:55
  Speaker 8: Welcome Non Julian, and Theodora.
• 33:00
  Speaker 1: Salutes absently, sits down near the table in pensive silence.
• 33:06
  Speaker 1: Don Julian approaching him.
• 33:09
  Speaker 3: What's the matter? Nothing, You look as if something ailed you.
• 33:15
  Speaker 3: Your preoccupation reveals it. No trouble, I hope, nonsense, nor disappointment, none, whatever,
• 33:25
  Speaker 3: I don't annoy you.
• 33:27
  Speaker 8: Hugh Good Heavens.
• 33:30
  Speaker 1: Rises and comes toward him effusively.
• 33:34
  Speaker 8: You speak out of the writer, friendship and affection, and
• 33:37
  Speaker 8: you read me through and through. Yes, sir, there is
• 33:42
  Speaker 8: indeed something the matter. I will tell you if you,
• 33:46
  Speaker 8: and you also Theodora, out of your pity, will hold
• 33:50
  Speaker 8: me excused. I am an ungrateful, fool, on mere boy
• 33:55
  Speaker 8: in truth, deserving neither of your kindness nor of your affe.
• 34:01
  Speaker 8: Possessing such a father and such a sister. I ought
• 34:04
  Speaker 8: to be happy, with no care for the morrow. But
• 34:09
  Speaker 8: it is not so. I blush to explain it. Can't
• 34:14
  Speaker 8: you understand? Yes, yes, you must see how false my
• 34:18
  Speaker 8: position is. I live here on alms, Such a word
• 34:24
  Speaker 8: Theodora affronts us. I expressed myself ill. But it is so.
• 34:32
  Speaker 3: I say it is not so. If any one in
• 34:35
  Speaker 3: this house lives upon alms and those no slight ones,
• 34:39
  Speaker 3: it is I and not you.
• 34:43
  Speaker 8: I am acquainted, sir, with the story of two loyal
• 34:46
  Speaker 8: friends and of some money matters long forgotten. It does
• 34:50
  Speaker 8: honor to my father and to his Idelic race. But
• 34:54
  Speaker 8: I am ashamed in profiting by it. I am younged
• 34:58
  Speaker 8: on Julian. And and although I may not be worth much,
• 35:02
  Speaker 8: there ought still to be some way for me to
• 35:04
  Speaker 8: earn my bread. It may be pride or folly, I
• 35:08
  Speaker 8: cannot say, but I remember what my father used to say.
• 35:13
  Speaker 8: What you can do yourself, Never ask another to do
• 35:18
  Speaker 8: what you can earn, Never owe to anyone else.
• 35:22
  Speaker 3: So that my services humiliate and degrade you. You count
• 35:27
  Speaker 3: your friends importunate creditors.
• 35:30
  Speaker 2: Reason may be on your side, ernest, and in knowledge
• 35:33
  Speaker 2: you are not deficient. But believe me in this case,
• 35:37
  Speaker 2: the heart alone speaks with wisdom.
• 35:39
  Speaker 3: Your father did not find me so ungenerous or so proud.
• 35:44
  Speaker 8: Ah.
• 35:45
  Speaker 2: Friendship was then a very different thing.
• 35:48
  Speaker 8: Theodora.
• 35:50
  Speaker 1: Theodora to Don Julian, what a noble anxiety he displays.
• 35:55
  Speaker 8: I know I seem ungrateful, I feel it, and an
• 36:00
  Speaker 8: idiot boot forgive me, Don Julian.
• 36:04
  Speaker 3: His head is a forge Teodora.
• 36:08
  Speaker 1: Also, apart to Don Julian, he doesn't live in this.
• 36:12
  Speaker 2: World just so.
• 36:15
  Speaker 3: He's full of depth and learning and lets himself be
• 36:18
  Speaker 3: drowned in a pool of water.
• 36:22
  Speaker 1: Ernest meditatively true.
• 36:25
  Speaker 8: I know little of life, and am not well fitted
• 36:28
  Speaker 8: to make my way through it. But I divine it
• 36:32
  Speaker 8: and shudder, I know not. Why shall I founder on
• 36:36
  Speaker 8: the world's pool is upon the high sea. I may
• 36:41
  Speaker 8: not deny that it terrifies me far more than the
• 36:44
  Speaker 8: deep ocean. The sea only reaches the limit set by
• 36:48
  Speaker 8: the loose sand. Over all space travel the emanations of
• 36:52
  Speaker 8: the pool. A strong man's arms can struggle with the
• 36:55
  Speaker 8: waves of the sea, but no one can struggle against
• 36:59
  Speaker 8: the subtle miasthma. But if I fall, I must not
• 37:05
  Speaker 8: feel the humiliation of defeat. I wish and pray that
• 37:10
  Speaker 8: at the last moment, I may see the approach of
• 37:13
  Speaker 8: the sea that will bear me away. At its will
• 37:17
  Speaker 8: see the sword that is to pierce me, the rock
• 37:20
  Speaker 8: against which I am to be crushed. I must measure
• 37:24
  Speaker 8: my adversary's strength and despise it falling, despise it dying
• 37:31
  Speaker 8: instead of tamely breathing the venom scattered through the ambient air.
• 37:36
  Speaker 1: Don Julian to Teodora.
• 37:39
  Speaker 3: Didn't I tell you he was going out of his mind?
• 37:43
  Speaker 2: But Ernest, where are you wondering?
• 37:46
  Speaker 3: Yes? What has all this to do with the matter.
• 37:50
  Speaker 8: Sir, I have come to the conclusion that others, seeing
• 37:55
  Speaker 8: me housed and fed here, are saying of me what
• 37:59
  Speaker 8: I long have thought. They see me constantly driving out
• 38:03
  Speaker 8: with you in the morning, walking with Theodora or Mercedes
• 38:07
  Speaker 8: in your opera box, hunting on your lands, and daily
• 38:11
  Speaker 8: occupying the same place at your table, though you would
• 38:16
  Speaker 8: like to think otherwise. In one way or another, the
• 38:19
  Speaker 8: gossip runs, who is he? Is he a relation?
• 38:25
  Speaker 3: Not so?
• 38:26
  Speaker 8: The secretary still less a partner. If a partner, it
• 38:31
  Speaker 8: may be accepted he brings little or nothing to the
• 38:35
  Speaker 8: general fund, So they.
• 38:37
  Speaker 3: Chatter by no means you are raving.
• 38:42
  Speaker 8: I beg to contradict you.
• 38:44
  Speaker 3: Then give me a name, sir, one will do.
• 38:49
  Speaker 8: There is one at hand upstairs.
• 38:53
  Speaker 5: Name him don Severa, my brother.
• 38:58
  Speaker 8: Exactly your brother? Will that Suffice? Or shall we add
• 39:04
  Speaker 8: his respected wife Dona? Mercedes and Papeite are their son.
• 39:10
  Speaker 8: What have you to say, then.
• 39:12
  Speaker 3: That Severo is a fool, Mercedes an idle chatterer, and
• 39:18
  Speaker 3: a lad a puppy.
• 39:20
  Speaker 8: They only repeat what they hear.
• 39:23
  Speaker 3: It is not true. This is false reasoning between gentlemen.
• 39:29
  Speaker 3: When the intention is honorable. What can the opinion of
• 39:32
  Speaker 3: the world really matter. The meaner it is, the loftier
• 39:37
  Speaker 3: are disdain of it?
• 39:39
  Speaker 8: Tis nobly said and is what all well bred men feel.
• 39:44
  Speaker 8: But I have been taught that gossip, whether inspired by
• 39:48
  Speaker 8: mouse or not, which is according to each one's natural tendency,
• 39:53
  Speaker 8: begins in a lie and generally ends in truth. Does gossip,
• 39:58
  Speaker 8: as it grows disclose the hidden sin? Is it a
• 40:02
  Speaker 8: reflex of the past? Or does it invent evil and
• 40:06
  Speaker 8: give it existence? Does it set its occursed seal upon
• 40:10
  Speaker 8: an existent fault or merely breed that which was not
• 40:14
  Speaker 8: yet and furnished the occasion for wrong? Should we called
• 40:18
  Speaker 8: the slender, infamous or severe? The accomplice or the divulger,
• 40:24
  Speaker 8: the public avenger or the tempter? Does he arrest or
• 40:28
  Speaker 8: precipitate our fall wound through taste or duty? And when
• 40:34
  Speaker 8: he condemns is it from justice or from spite? Perhaps both?
• 40:40
  Speaker 8: Non Julian who can say, though time, occasion, and facts
• 40:45
  Speaker 8: may show.
• 40:47
  Speaker 3: See here, Ernest, I don't understand an iota of all
• 40:51
  Speaker 3: this philosophizing. I presume 'tis on such nonsense. You waste
• 40:56
  Speaker 3: your intelligence. But I don't want you to be vexed
• 40:59
  Speaker 3: or where worried. It's true, you really wish for austere
• 41:04
  Speaker 3: independence to stand alone at a post of honor.
• 41:09
  Speaker 8: Don Julian answer me, yes.
• 41:14
  Speaker 3: Then count it gained at this very moment. I have
• 41:18
  Speaker 3: no secretary. I am expecting one from London, but nobody
• 41:22
  Speaker 3: would suit me better than asserts a young fool who
• 41:26
  Speaker 3: is enamored of poverty. His work and salary will of
• 41:31
  Speaker 3: course be settled as any one else's, though he be
• 41:35
  Speaker 3: a son to one who cherishes him as such.
• 41:40
  Speaker 1: Don Julian, Don Julian, affecting comical severity.
• 41:45
  Speaker 3: Remember I am an exacting business man, and I have
• 41:49
  Speaker 3: not the habit of giving my money away for nothing.
• 41:53
  Speaker 3: I intend to get as much as possible out of you,
• 41:56
  Speaker 3: and work you hard. In my house, the bread of
• 42:00
  Speaker 3: just labor alone is consumed by the clock ten hours
• 42:06
  Speaker 3: starting at daybreak. And when I choose to be severe,
• 42:10
  Speaker 3: you will see that Severo himself is no match for me.
• 42:15
  Speaker 3: So before the world you pose as the victim of
• 42:19
  Speaker 3: my selfishness. But in private, dear boy, ever the same,
• 42:24
  Speaker 3: the center of my dearest affections.
• 42:28
  Speaker 1: Unable to maintain form a tone, Don Julian breaks off
• 42:31
  Speaker 1: and holds his hand out to Earnest. Earnest deeply moved.
• 42:37
  Speaker 8: Don Julian, you accept, then I am yours.
• 42:42
  Speaker 1: To command Theodora to Don Julian. At last you have
• 42:47
  Speaker 1: tamed the savage Earnest to Don Julian.
• 42:52
  Speaker 8: Anything for your sake?
• 42:54
  Speaker 3: So what I have you? Always, Earnest? And now I
• 42:57
  Speaker 3: have to write to my London correspondent and thank him.
• 43:01
  Speaker 3: And while recognizing the extraordinary merit of his Englishmen, whom
• 43:06
  Speaker 3: he extols to the skies, regret that I have already engaged.
• 43:10
  Speaker 1: A young man walks toward the first door on the
• 43:14
  Speaker 1: right hand.
• 43:16
  Speaker 3: This is how we stand for the present, but in
• 43:19
  Speaker 3: the future it will be as partners.
• 43:23
  Speaker 1: Returns with an air of mystery.
• 43:26
  Speaker 2: Stop Julian, I beg of you. Can't you see that
• 43:29
  Speaker 2: he will take alarm.
• 43:30
  Speaker 1: Don Julian goes out on the right and laughs to himself,
• 43:34
  Speaker 1: looking back at Earnest. Scene three, Theodora and Earnest towards
• 43:42
  Speaker 1: the end of the last scene, twilight has fallen, so
• 43:46
  Speaker 1: that at this moment the room is in deep shadow.
• 43:50
  Speaker 8: I am dazed by so much kindness. How can I
• 43:54
  Speaker 8: ever repay it?
• 43:56
  Speaker 1: He sits down on the sofa, displaying great emotion, Theodora
• 44:01
  Speaker 1: walks over and stands beside him.
• 44:04
  Speaker 2: By ejecting the spirit of pride and distrust, by being
• 44:08
  Speaker 2: sensible and believing that we truly love you, that we
• 44:11
  Speaker 2: will never change, and by putting full faith in all
• 44:15
  Speaker 2: Julian's promises. His word is sacred. Earnest, and in him
• 44:19
  Speaker 2: you will always have a father, in me a sister.
• 44:24
  Speaker 1: Scene four, Theodora, Ernest, Donia, Mercedes, and don Severro. The
• 44:31
  Speaker 1: latter remains standing behind as they enter. The room is
• 44:35
  Speaker 1: quite dark save for a glimmer of light shard from
• 44:38
  Speaker 1: the balcony. With her, Ernest and Theodora have moved.
• 44:43
  Speaker 2: How good you are, and you what a boy? After today,
• 44:48
  Speaker 2: I hope you have done with this sadness.
• 44:49
  Speaker 1: Ey quite Mercedes outside, speaking low, how.
• 44:56
  Speaker 4: Dark it is.
• 44:57
  Speaker 5: Come away, Merced.
• 45:01
  Speaker 1: Mercedes, crossing the threshold. There is nobody here, Severro detaining her.
• 45:08
  Speaker 5: Yes, there is both.
• 45:10
  Speaker 1: Stand awhile peering Theodora.
• 45:15
  Speaker 8: My whole life, a thousand lives, would still not be
• 45:18
  Speaker 8: enough to offer you in return for your kindness. Don't
• 45:23
  Speaker 8: judge me by my morose temper. I cannot lend a
• 45:26
  Speaker 8: showy front my affections. But believe me I do know
• 45:31
  Speaker 8: how to love and hate as well. My heart can
• 45:35
  Speaker 8: be the bursting under the lash of either sentiment.
• 45:39
  Speaker 1: Mercedes to Severro.
• 45:42
  Speaker 4: What are they saying?
• 45:43
  Speaker 5: Something odd? But I hear imperfectly.
• 45:50
  Speaker 1: Theodora and Ernest go out on the balcony, speaking.
• 45:53
  Speaker 5: Low, Disarnest, and she, I suppose is Theodora. Their eternal
• 46:03
  Speaker 5: tricks always together. I can stand no more of this
• 46:09
  Speaker 5: and their words. I mustn't put it off any longer.
• 46:15
  Speaker 4: True, Several, come away. It is certainly your duty, since
• 46:19
  Speaker 4: everybody is talking.
• 46:21
  Speaker 5: Yes, I must open Julian's eyes to day at once.
• 46:27
  Speaker 4: The fellow has impudence enough and.
• 46:30
  Speaker 5: To spare by all that's holy.
• 46:33
  Speaker 4: So as she, poor girl, she's but the child, leave
• 46:39
  Speaker 4: her to.
• 46:39
  Speaker 2: Me another house. Surely, No, you wouldn't leave us. What
• 46:46
  Speaker 2: an idea. Julia would never.
• 46:47
  Speaker 1: Consent, Severo to Donia, Mercedes.
• 46:52
  Speaker 5: I should think not. Indeed, neither would I. Ah, Theo, Dora,
• 47:00
  Speaker 5: you didn't see me. This is how you receive your.
• 47:04
  Speaker 1: Guests, Theodora coming from the balcony.
• 47:09
  Speaker 2: Don Severo, I'm delighted.
• 47:12
  Speaker 4: Is there no dinner this evening? It's near the hour?
• 47:16
  Speaker 1: Mercedes too, Yes, Theodora, Severo aside she.
• 47:22
  Speaker 5: Is a capital actress. What a creature.
• 47:27
  Speaker 2: I must ring for lights.
• 47:29
  Speaker 1: Touches the bell on the table.
• 47:32
  Speaker 5: Quite so everyone likes plenty of lights, Madame, bring the lamps.
• 47:39
  Speaker 1: Gennaro exit.
• 47:41
  Speaker 5: Servant, he who follows the narrow path of loyalty and duty,
• 47:48
  Speaker 5: and is always that which he appears to be, need
• 47:53
  Speaker 5: never fear the light, nor blush in its glare.
• 47:59
  Speaker 1: The servant to enter is with lamps. The stage is
• 48:02
  Speaker 1: brilliantly illuminated, so.
• 48:06
  Speaker 2: I should think, and such I imagine is the general opinion.
• 48:10
  Speaker 1: Looks at Mercedes.
• 48:12
  Speaker 5: I suppose, so, hello, don Ernest, what were you doing
• 48:20
  Speaker 5: out there? Were you with Theodora when we came in?
• 48:26
  Speaker 8: I was here, as you see.
• 48:30
  Speaker 5: The juice youre it is rather dark to see.
• 48:36
  Speaker 1: Approaches him with outstretched hand, looking fixedly at him. Theodora
• 48:41
  Speaker 1: and Mercedes converse apart. Severo Aside.
• 48:47
  Speaker 5: His face is flushed, and he appears to have been crying.
• 48:53
  Speaker 5: In this world only children and lovers weep, and Julian.
• 49:00
  Speaker 1: Oh, he went away to write a letter, Ernest, aside as.
• 49:05
  Speaker 8: Though I have patience to spare, this man tries me hard.
• 49:10
  Speaker 1: Severro to Theodora.
• 49:13
  Speaker 5: I am going to see him there is still time
• 49:17
  Speaker 5: before dinner.
• 49:18
  Speaker 1: Plenty, Severo Aside, rubbing his hands and looking back at
• 49:24
  Speaker 1: Ernest and Theodora.
• 49:26
  Speaker 5: Good then to work, goodbye.
• 49:31
  Speaker 1: Goodbye, Severro rancorously from the door, my faith. Scene five, Theodora, Donia, Mercedes,
• 49:43
  Speaker 1: and Earnest. The ladies occupied the sofa, and Ernest stands
• 49:47
  Speaker 1: near them. Mercedes to Earnest.
• 49:51
  Speaker 4: We did not see you today, No, madam, no Pepito. No,
• 49:59
  Speaker 4: he is upstairs.
• 50:00
  Speaker 1: Alone, Ernest aside.
• 50:03
  Speaker 8: Let him stop there.
• 50:05
  Speaker 1: Mercedes gravely and mysteriously to Theodora.
• 50:09
  Speaker 4: I wish he would go.
• 50:11
  Speaker 2: I want to speak to you. Indeed, yes, it is
• 50:16
  Speaker 2: something very serious. Well begin Why doesn't he go? I
• 50:22
  Speaker 2: don't understand you.
• 50:24
  Speaker 1: Courage takes her hand and clasps it affectionately. Theodora looks
• 50:30
  Speaker 1: at her in somber question.
• 50:33
  Speaker 4: Send him about his business.
• 50:35
  Speaker 2: If you insist, Ernest, will you do me a favor gladly?
• 50:40
  Speaker 8: With a thousand wills?
• 50:43
  Speaker 1: Mercedes aside, one worth still too many.
• 50:48
  Speaker 2: Then go upstairs to Pepito. But it might bore you
• 50:52
  Speaker 2: to carry a message by.
• 50:55
  Speaker 1: No means, Mercedes Aside.
• 50:59
  Speaker 4: In what sweet soft voice he speaks to her.
• 51:04
  Speaker 2: Tell him, ask him if he has renewed our subscription
• 51:07
  Speaker 2: at the opera. As I told him.
• 51:09
  Speaker 8: He knows about it with pleasure this very moment.
• 51:14
  Speaker 2: Thanks, Ernest.
• 51:15
  Speaker 8: I'm sorry, nonsense.
• 51:18
  Speaker 1: Exit adieu. Scene six, Theodora and Donia Mercedes.
• 51:26
  Speaker 2: Something serious, you alarm me, Mercedes, such mystery, What can
• 51:31
  Speaker 2: it mean?
• 51:33
  Speaker 4: It is indeed very serious.
• 51:36
  Speaker 2: Concerning whom all of you, All of us Julian, Ernest
• 51:42
  Speaker 2: and you all three?
• 51:45
  Speaker 4: Yes, all three short pause.
• 51:49
  Speaker 1: Both women stare at each other.
• 51:53
  Speaker 2: Then make haste.
• 51:54
  Speaker 1: Mercedes aside.
• 51:57
  Speaker 4: I should like to, but no, I must go gently
• 52:01
  Speaker 4: in this unsavory affair. Listen, Theodora. My husband is after
• 52:07
  Speaker 4: all your husband's brother, and in life and death our
• 52:11
  Speaker 4: fortunes are won, so that we owe one another in
• 52:15
  Speaker 4: all things, protection, help and advice. Is it not so?
• 52:19
  Speaker 4: To day it may be I who offer assistance, and
• 52:22
  Speaker 4: to morrow, should I need it, I unblushingly claim it
• 52:26
  Speaker 4: of you.
• 52:27
  Speaker 2: You may count upon it, Mercedes. But come to the
• 52:30
  Speaker 2: end of the matter, now.
• 52:31
  Speaker 4: Up to to day, Theodora. I shrank from this step,
• 52:35
  Speaker 4: but Severo urges me. It can't go on. He insists,
• 52:39
  Speaker 4: my brother's honor and my own self esteem forbid me
• 52:43
  Speaker 4: to witness that which fills me with shame and sorrow.
• 52:47
  Speaker 4: On all sides am I assailed with innuendos, with the smiles,
• 52:51
  Speaker 4: the covert glances, and the reproaches of my friends. There
• 52:55
  Speaker 4: must be an end to this low gossip about us.
• 52:59
  Speaker 4: Continue pray, then heed me.
• 53:02
  Speaker 1: They exchange a prolonged gaze.
• 53:05
  Speaker 2: Tell me what is the gossip?
• 53:08
  Speaker 4: The murmuring of the river tells us that its waters
• 53:11
  Speaker 4: are swollen.
• 53:14
  Speaker 2: I understand nothing of your river and its swollen waters,
• 53:17
  Speaker 2: But do not drive me wild.
• 53:20
  Speaker 1: Mercedes aside, poor child.
• 53:24
  Speaker 4: My heart grieves for her. So you do not understand me.
• 53:29
  Speaker 2: I not in the least.
• 53:32
  Speaker 1: Mercedes aside, how stupid she is?
• 53:37
  Speaker 4: You make a laughing stock of him?
• 53:40
  Speaker 2: Of whom o?
• 53:41
  Speaker 4: Why of your husband? Of course?
• 53:44
  Speaker 1: Theodora impetuously rising.
• 53:48
  Speaker 2: Julian, What a falsehood? What wretch could say? So Julian
• 53:53
  Speaker 2: would strike.
• 53:53
  Speaker 1: Him, Mercedes endeavoring to soothe her and make her sit down.
• 54:00
  Speaker 4: You would need a good many hands, then, for if
• 54:02
  Speaker 4: reports speak truly, he would have to strike the entire town.
• 54:07
  Speaker 2: But what does it all mean? What is the mystery?
• 54:10
  Speaker 2: And what is this talk of the town?
• 54:13
  Speaker 4: So you're sorry?
• 54:15
  Speaker 2: I am sorry, But what is it?
• 54:18
  Speaker 4: You see, Theodora, you are quite a child. At your age,
• 54:22
  Speaker 4: one is so often thoughtless and light, And then such
• 54:25
  Speaker 4: bitter tears are afterwards shed. You still don't understand.
• 54:31
  Speaker 2: Me, No, what has such a case to do with me?
• 54:35
  Speaker 4: It is the story of a scoundrel and the story
• 54:39
  Speaker 4: of a lady.
• 54:40
  Speaker 2: Whose name her name? Oh, what does it matter?
• 54:46
  Speaker 1: Theodora moves away from Mercedes, who shafts her seat on
• 54:49
  Speaker 1: the sofa to follow her. The double movement of repugnance
• 54:53
  Speaker 1: and aloofness on Theodora's part and of insistence and protection
• 54:58
  Speaker 1: on Mercedes is very.
• 55:01
  Speaker 4: The man is a shabby hearted betrayal, who, for one
• 55:04
  Speaker 4: hour of pleasure would thrust upon the woman a life
• 55:07
  Speaker 4: of sorrow, the husband's dishonor the ruin of a family.
• 55:11
  Speaker 4: And she left shamed and condemned to social penitence, in
• 55:15
  Speaker 4: the world's disdain and too keener punishment, still at the
• 55:19
  Speaker 4: whip of her own conscience.
• 55:22
  Speaker 1: Here, Theodora, avoiding Mercedes, reaches the edge of the sofa,
• 55:27
  Speaker 1: bows her head and covers her face with both hands.
• 55:31
  Speaker 1: At last she understands Mercedes, aside.
• 55:36
  Speaker 4: Poor little thing, she touches me. This man is not
• 55:41
  Speaker 4: worthy of you. Too, Dora.
• 55:44
  Speaker 2: But Madam, what is the drift of all this blind emotion?
• 55:47
  Speaker 2: Do not imagine that my eyes are dimmed with fear
• 55:50
  Speaker 2: or horror or tears. They burn with a flame of anger.
• 55:54
  Speaker 2: To whom can such words be addressed? What man do
• 55:57
  Speaker 2: you mean? Is it perchance?
• 56:00
  Speaker 4: Earnest Ah pause?
• 56:05
  Speaker 1: And the woman I not so Mercedes nods, and till
• 56:10
  Speaker 1: your daughter rises again.
• 56:12
  Speaker 2: Then listen to me. Though I may offend you, I
• 56:15
  Speaker 2: know not who is the viola, the inventor of this tale,
• 56:19
  Speaker 2: or you who repeat it. Shame upon the meanness that
• 56:22
  Speaker 2: formed the idea, and shame upon the villainy that spreads it.
• 56:25
  Speaker 2: It is so abominable, so fatal, that I almost feel
• 56:29
  Speaker 2: myself criminal, because I cannot instantly reject the thought and
• 56:32
  Speaker 2: forget it. Heavens could I suppose or credit such baseness
• 56:37
  Speaker 2: because of his misfortunes. I loved him, and he was
• 56:40
  Speaker 2: like a brother to me, And Julian was his providence,
• 56:44
  Speaker 2: and he's so noble and thorough.
• 56:46
  Speaker 1: A gentleman stands staring at Mercedes, then turns away her
• 56:51
  Speaker 1: face aside how.
• 56:53
  Speaker 2: She inspects me. I scarcely like to say a good
• 56:56
  Speaker 2: word for him to her. My God, I'm compelled, a
• 57:00
  Speaker 2: ready to act a.
• 57:00
  Speaker 4: Part, be calm child.
• 57:04
  Speaker 2: Oh what anguish? I feel cold and inconsolable, stained in
• 57:09
  Speaker 2: this way by public opinion. Oh, my dearest mother, and you, Julia,
• 57:15
  Speaker 2: and my heart's beloved.
• 57:17
  Speaker 1: She falls sobbing into a chair on the left, and
• 57:21
  Speaker 1: Mercedes strives to console her.
• 57:24
  Speaker 4: I did not imagine, forgive me, don't cry there. I
• 57:29
  Speaker 4: didn't really believe it was serious. I knew your past
• 57:32
  Speaker 4: exonerated you. But as the case stands, you must admit
• 57:36
  Speaker 4: that out of every hundred, a hundred would accuse you
• 57:40
  Speaker 4: and Julian of excessive rashness, or say you had led
• 57:44
  Speaker 4: the world to conclude the worst. You a girl of twenty, Julian,
• 57:48
  Speaker 4: a man of forty and earnest between you, with his
• 57:52
  Speaker 4: head full of romantic thoughts on the one hand, a
• 57:55
  Speaker 4: husband given up to business on the other, a youth
• 57:58
  Speaker 4: to dreams every day bringing its opportunity, and you there,
• 58:03
  Speaker 4: unoccupied in the flush of romance. It was wrong for
• 58:07
  Speaker 4: people to conclude the worst because they saw you walking
• 58:10
  Speaker 4: with him, and saw him so often at the theater
• 58:13
  Speaker 4: with you. But Theodora in reason and justice, I think
• 58:17
  Speaker 4: that if the world was bent on seeing evil, you
• 58:21
  Speaker 4: furnish the occasion. Permit me to point out to you
• 58:26
  Speaker 4: that the fault which society most fiercely chastises, pursues most
• 58:30
  Speaker 4: relentlessly and cruelly and in every very imaginable way, both
• 58:35
  Speaker 4: in man and woman, is don't frown, So Theodora is timerity.
• 58:43
  Speaker 1: Theodora turning to Mercedes without having heard her, and you
• 58:48
  Speaker 1: say that Julian is.
• 58:49
  Speaker 4: The laughing stock of the town.
• 58:51
  Speaker 2: And you, oh, I, that's no matter. But Julian, oh,
• 58:58
  Speaker 2: oh so good, so chivalrous, if he only knew.
• 59:02
  Speaker 4: He will know, For at this very moment, Severo is telling.
• 59:06
  Speaker 1: Him what Julian inside that will do.
• 59:13
  Speaker 3: Oh goodness, let me alone, come.
• 59:17
  Speaker 1: Away quickly, Mercedes, rushing with Theodora towards first door on
• 59:23
  Speaker 1: the right.
• 59:24
  Speaker 4: Yes, yes, quickly, what folly?
• 59:28
  Speaker 1: Theodora and Mercedes go to the right, Theodora stopping suddenly.
• 59:34
  Speaker 2: But wherefore, since I am not guilty. Not only does
• 59:38
  Speaker 2: miserable calumnies stain us, but it degrades us. It is
• 59:42
  Speaker 2: so steeped and evil that, against all evidence, its very
• 59:45
  Speaker 2: breath takes the bloom of our consciences. Why should an
• 59:49
  Speaker 2: idle terror cast its mean influence over me.
• 59:52
  Speaker 1: At this moment, Non Julian appears on the threshold of
• 59:56
  Speaker 1: the first door on the right hand side, and behind
• 59:59
  Speaker 1: him stands Don Severro Julian Theodora. She runs over to
• 1:00:05
  Speaker 1: him and he folds her in a passionate embrace.
• 1:00:09
  Speaker 3: Here in my arms, dearest, it is the home of
• 1:00:13
  Speaker 3: your honor.
• 1:00:15
  Speaker 1: Scene seven. Theodora, Donia, Mercedes, Don Julian and Don Severro.
• 1:00:21
  Speaker 1: Don Julian and Donia Mercedes formed the center group.
• 1:00:26
  Speaker 3: Let it pass for this once, but please God, there's
• 1:00:30
  Speaker 3: an end of it. Whoever in future shall stain this
• 1:00:34
  Speaker 3: face with tears.
• 1:00:35
  Speaker 1: Pointing to Theodora.
• 1:00:38
  Speaker 3: I swear and mean it will never again cross the
• 1:00:42
  Speaker 3: threshold of my house, though he should be my own brother.
• 1:00:47
  Speaker 1: Pause. Don Julian sooths and comforts to DOORA.
• 1:00:53
  Speaker 5: I only mentioned common report.
• 1:00:57
  Speaker 3: Infamous it may be, so it is.
• 1:01:02
  Speaker 5: Well, let me tell you what everyone.
• 1:01:06
  Speaker 3: Says, filth abominable eyes.
• 1:01:11
  Speaker 5: Then repeating them.
• 1:01:13
  Speaker 3: Tis not the way to put an end to them.
• 1:01:17
  Speaker 1: Pause.
• 1:01:19
  Speaker 3: You are wrong, right more than right. A fine thing
• 1:01:25
  Speaker 3: it would be if I let you carry the mire
• 1:01:27
  Speaker 3: of the street into my drawing room.
• 1:01:30
  Speaker 5: But I will do so.
• 1:01:33
  Speaker 3: You shall not you bear my name enough and your honor,
• 1:01:41
  Speaker 3: Remember that you are in my wife's presence.
• 1:01:45
  Speaker 1: Pause. Don Severo in a low voice to Don Julian.
• 1:01:51
  Speaker 5: If our funthers saw you, what do you mean?
• 1:01:55
  Speaker 3: Severro, Hush, here's.
• 1:01:58
  Speaker 1: Ernest Toyodo aside.
• 1:02:01
  Speaker 2: How dreadful? If he should know?
• 1:02:05
  Speaker 1: Theodora turns away her face and holds her head bent.
• 1:02:09
  Speaker 1: Don Julian looks at her questioningly. Scene eight, Theodora, Donia mercedes,
• 1:02:17
  Speaker 1: Don Julian, Don Severo, Ernest and Pepito, grouped from left
• 1:02:22
  Speaker 1: to right. On entering. Pepito stands on Don Julian's side,
• 1:02:27
  Speaker 1: and Ernest walks over to Theodora. Ernest looking at Don
• 1:02:32
  Speaker 1: Julian and Theodora aside.
• 1:02:35
  Speaker 8: He and she. It is no illusion? Can it be
• 1:02:41
  Speaker 8: what I feared? What that fool told me?
• 1:02:45
  Speaker 1: Referring to Pepito, who at that moment enters behind.
• 1:02:49
  Speaker 8: It was not his invention.
• 1:02:52
  Speaker 1: Pepito staring strangely about.
• 1:02:55
  Speaker 6: My salutations to all and good appetite as it is
• 1:02:59
  Speaker 6: dinner time. Here are the tickets too, doora Don Julian thanks.
• 1:03:03
  Speaker 1: Pepito accepts them mechanically. Earnest to Don Julian in a
• 1:03:09
  Speaker 1: low voice.
• 1:03:10
  Speaker 8: What's the matter with Theodora nothing. She is pale and
• 1:03:16
  Speaker 8: has been crying.
• 1:03:18
  Speaker 3: Don't busy yourself about my wife.
• 1:03:22
  Speaker 1: Pause. Don Julian and Earnest exchange glounces. Ernest aside the wretches.
• 1:03:31
  Speaker 8: They've completed their work.
• 1:03:33
  Speaker 1: Peppito in a low voice to his mother, pointing to Ernest.
• 1:03:38
  Speaker 6: He ought to have a straight jacket. I quisted him
• 1:03:41
  Speaker 6: about Tyodora. Pooh, po my word. I thought it'd kill me.
• 1:03:46
  Speaker 1: Earnest aloud with resolution and sadness.
• 1:03:50
  Speaker 8: Don Julian, I have thought over your generous offer, and
• 1:03:55
  Speaker 8: much as I've already abused your kindness, it goes sorely
• 1:03:59
  Speaker 8: again me to refuse it now. But Sir, I feel
• 1:04:04
  Speaker 8: that I ought to reject this post you offer me.
• 1:04:08
  Speaker 8: Why because I am so fashioned, a poet and a drimmer.
• 1:04:14
  Speaker 8: My father, Sir, trained me for no career. I want
• 1:04:18
  Speaker 8: to travel. I am restless and liable to revolt. I
• 1:04:22
  Speaker 8: am not capable of settling down like another, like a
• 1:04:26
  Speaker 8: new Columbus, I am bitten by the spirit of adventure.
• 1:04:30
  Speaker 8: But we will appeal to Don Severo. He will decide
• 1:04:33
  Speaker 8: if I am right.
• 1:04:35
  Speaker 5: You speak like the book of wisdom and a man
• 1:04:39
  Speaker 5: of sense. I have been thinking as you do for
• 1:04:44
  Speaker 5: a long while.
• 1:04:46
  Speaker 3: Since when have you felt this itch for new worlds
• 1:04:49
  Speaker 3: and travel? When did you make up your mind to
• 1:04:52
  Speaker 3: leave us? And the means? Where are they?
• 1:04:56
  Speaker 5: He wants to go away to some place more to
• 1:05:01
  Speaker 5: his taste than here, to be, just, Julian, The rest
• 1:05:07
  Speaker 5: is your affair. Give him as much as he wants to,
• 1:05:11
  Speaker 5: for this is no time for economy.
• 1:05:15
  Speaker 1: Earnest to Don Severro.
• 1:05:18
  Speaker 8: I don't traffic with dishonor nor receive alms.
• 1:05:22
  Speaker 1: Pause.
• 1:05:24
  Speaker 8: Well, it must be so, and as our parting would
• 1:05:28
  Speaker 8: be a sad one, for in this life, who knows
• 1:05:31
  Speaker 8: I may never come back and may not see them again,
• 1:05:35
  Speaker 8: it is better that we should shake hands now here,
• 1:05:38
  Speaker 8: Don Julian, and have it over. Thus we snap the tie,
• 1:05:43
  Speaker 8: and you forgive my selfishness.
• 1:05:46
  Speaker 1: Don Severro.
• 1:05:47
  Speaker 5: Aside how they stare at one.
• 1:05:50
  Speaker 1: Another theodora aside, what a noble fellow? Earnest to Don Julian.
• 1:06:00
  Speaker 8: Why do you withhold your hand? It is our last adieux.
• 1:06:04
  Speaker 1: Don Julian goes toward him with outstretched hands. Don Julian
• 1:06:10
  Speaker 1: embraces him.
• 1:06:11
  Speaker 3: No, lad, the question well considered, This is neither the
• 1:06:16
  Speaker 3: first nor the last. It is the cordial embrace of
• 1:06:20
  Speaker 3: two honorable men. You must not mention your mad project again.
• 1:06:26
  Speaker 5: Then he is not going away.
• 1:06:29
  Speaker 3: Never. I have not the habit of changing my mind
• 1:06:33
  Speaker 3: or the plans I have matured because of a boy's
• 1:06:36
  Speaker 3: caprice or a madman's folly. And I have still less
• 1:06:40
  Speaker 3: intention of weakly subjecting my actions to the town's idle gossip. Julian, enough,
• 1:06:49
  Speaker 3: dinner is served.
• 1:06:51
  Speaker 8: Father, I cannot.
• 1:06:53
  Speaker 3: But what if I believe you can? Or does my
• 1:06:56
  Speaker 3: authority begin to bore you? I beg you come. Dinner
• 1:07:01
  Speaker 3: is ready. Give your arm to Theodora and take her in.
• 1:07:06
  Speaker 1: Earnest looking at her, but holding back to Theodora.
• 1:07:11
  Speaker 3: Earnest yes, as usual, there.
• 1:07:16
  Speaker 1: Is a movement of uncertainty on both sides. Finally, Earnest
• 1:07:21
  Speaker 1: approaches and Teodora takes his arm, but neither dares to
• 1:07:25
  Speaker 1: look at the other, and both are abrupt and violently agitated.
• 1:07:30
  Speaker 1: Don Julian to Pepito, and.
• 1:07:33
  Speaker 3: You the deuce, Why don't you offer your arm to
• 1:07:37
  Speaker 3: your mother? My good brother Savarro will take mine. So
• 1:07:43
  Speaker 3: quite a family party, and now let pleasure flow with
• 1:07:47
  Speaker 3: the wine in our glasses. So there are gossips about well,
• 1:07:52
  Speaker 3: let them chatter and scream a farthing for all they
• 1:07:56
  Speaker 3: can say. I shouldn't object to a glass house, that
• 1:08:00
  Speaker 3: they might have the pleasure of staring in at Theodora
• 1:08:03
  Speaker 3: and Earnest together and learn how little I care for
• 1:08:07
  Speaker 3: their spite and their calumnies. Each man to his fancy.
• 1:08:13
  Speaker 1: And a servant in black suit and white tie.
• 1:08:17
  Speaker 3: Dinner is served.
• 1:08:19
  Speaker 1: The dining room door opens and displays a well appointed table.
• 1:08:24
  Speaker 3: Let us look after our life, since it will be
• 1:08:27
  Speaker 3: the affair of others to look after our death.
• 1:08:32
  Speaker 1: Come invites the others to pass Mercedes Theodora. I pray you,
• 1:08:40
  Speaker 1: Mercedes Donia. Mercedes passes in with Pepito and takes her
• 1:08:45
  Speaker 1: place at the table. Ernest and Theodora stand plunged in thought,
• 1:08:50
  Speaker 1: Ernest looking anxiously at her. Don Julian aside, he is.
• 1:08:56
  Speaker 3: Looking at her, and there are tears in her eyes.
• 1:09:02
  Speaker 1: Theodora, walking unsteadily and struggling with emotion, slowly follows the
• 1:09:07
  Speaker 1: others inside. Don Julian to Severo.
• 1:09:11
  Speaker 3: Are they talking together?
• 1:09:14
  Speaker 5: I don't know, but I think it very probable.
• 1:09:19
  Speaker 3: Why are they looking back at us? Both? Did you notice?
• 1:09:24
  Speaker 3: I wonder why you see?
• 1:09:27
  Speaker 5: You are growing reasonable at last.
• 1:09:30
  Speaker 3: No, I've caught your madness. Ah, how sure a thing is?
• 1:09:35
  Speaker 3: Calumny appears as straight to the heart end of.
• 1:09:41
  Speaker 1: Act one, Act two of the Great Galiotto by jose
• 1:09:51
  Speaker 1: Echegarayi Zahire, translated by Hannah Lynch. This is a LibriVox recording.
• 1:09:58
  Speaker 1: All LibriVox recordings in the public domain. For more information
• 1:10:02
  Speaker 1: or to volunteer, please visit liprebox dot org. Act too.
• 1:10:08
  Speaker 1: Scene represents a small room, almost poorly furnished door at
• 1:10:13
  Speaker 1: the end. On the right another door, and on the
• 1:10:16
  Speaker 1: left a balcony, a bookcase, a table, an armchair on
• 1:10:21
  Speaker 1: the table, Don Julian's portrait in a frame beside it,
• 1:10:25
  Speaker 1: an empty frame both small and a like on the table,
• 1:10:30
  Speaker 1: an unlighted lamp, the Divina Comedia open at the Francesca episode,
• 1:10:36
  Speaker 1: and close to it, a morsel of burnt paper, papers
• 1:10:40
  Speaker 1: scattered about, and the manuscript of a play. A few
• 1:10:44
  Speaker 1: chairs time day Scene one. Enter Don Julian, Don Severo,
• 1:10:53
  Speaker 1: and servant below.
• 1:10:55
  Speaker 5: Don Ernest is out, Yes, sir, he went outder No matter,
• 1:11:02
  Speaker 5: We'll wait. I suppose he will be in sooner or later.
• 1:11:07
  Speaker 7: I should think so. Nobody could be more punctual than
• 1:11:10
  Speaker 7: he that will do certainly, sir, If you want anything,
• 1:11:15
  Speaker 7: you'll find me downstairs.
• 1:11:16
  Speaker 1: Exit Servant Scene two, Don Julian and Don Severro, Don
• 1:11:23
  Speaker 1: Severro looking round, How.
• 1:11:26
  Speaker 3: Modest poor is a better word?
• 1:11:31
  Speaker 1: What a lodging opens the door and peeps.
• 1:11:35
  Speaker 5: In an al cove, this study and an outer room.
• 1:11:41
  Speaker 5: And that's all.
• 1:11:43
  Speaker 3: And thereby hangs the devil's own tale of human ingratitude,
• 1:11:49
  Speaker 3: of bastard sentiment, of miserable passions, and a blackguard columny.
• 1:11:56
  Speaker 3: And whether you tell it quickly or at length, there's
• 1:11:59
  Speaker 3: never an end to it.
• 1:12:01
  Speaker 5: It is the work of chance.
• 1:12:04
  Speaker 3: Not so, my dear fellow. It was the work of
• 1:12:08
  Speaker 3: well I know whom meaning me, yes, you as well,
• 1:12:15
  Speaker 3: and before you the empty pated idlers whom it behooved
• 1:12:20
  Speaker 3: to busy themselves shamelessly about my honor and my wife's.
• 1:12:25
  Speaker 3: And I coward, mean and jealous. I let the poor
• 1:12:29
  Speaker 3: fellow go, despite my evidence of his upright nature. I
• 1:12:35
  Speaker 3: responded to his nobler conduct by black ingratitude. Yes, ingratitude.
• 1:12:42
  Speaker 3: You see my ostentatious wealth, the luxury of my surroundings
• 1:12:47
  Speaker 3: and equipages, and the credit of my firm. Well do
• 1:12:52
  Speaker 3: you know where all that comes from?
• 1:12:55
  Speaker 5: I had quite forgotten, justly.
• 1:12:59
  Speaker 3: Said forgotten, such as the natural reward of every generous action,
• 1:13:05
  Speaker 3: of every unusual impulse that prompts one man to help
• 1:13:10
  Speaker 3: another quietly, without a flourish of trumpet or self advertisement,
• 1:13:16
  Speaker 3: just for friendships or for honesty's sake, You.
• 1:13:20
  Speaker 5: Are unjust to yourself to such an excess have you
• 1:13:25
  Speaker 5: pushed gratitude that you have almost sacrificed honor and fortune
• 1:13:30
  Speaker 5: to it? What more could be expected, even of a saint.
• 1:13:36
  Speaker 5: There's a limit to all things good and evil. He
• 1:13:41
  Speaker 5: is proud and obstinate, and however much you may oppose him,
• 1:13:48
  Speaker 5: tis nonetheless a fact that he's his own master. If
• 1:13:53
  Speaker 5: he chooses to leave your palace in a fit of
• 1:13:57
  Speaker 5: despair for this shant tis his right. I admit, my
• 1:14:03
  Speaker 5: dear boy, that it is very sad. But then who
• 1:14:07
  Speaker 5: could have prevented it?
• 1:14:10
  Speaker 3: The world in general, if it would mind its own
• 1:14:13
  Speaker 3: business instead of tearing and rending reputations by the movement
• 1:14:18
  Speaker 3: of its tongue and the sign of its hand, What
• 1:14:21
  Speaker 3: did it matter to the public, If we, fulfilling a
• 1:14:25
  Speaker 3: sacred duty, treated Ernest I as a son and Theodora
• 1:14:31
  Speaker 3: as a brother. Is it reason enough to assume the
• 1:14:34
  Speaker 3: worst and trumpets scandal because a fine lad sits at
• 1:14:39
  Speaker 3: my table, walks out with my wife, and has his
• 1:14:43
  Speaker 3: seat in my opera box? Is by chance impure love
• 1:14:48
  Speaker 3: the soul supreme bond between man and woman? In this
• 1:14:52
  Speaker 3: world of clay? Is there no friendship, gratitude, sympathy, esteem,
• 1:14:59
  Speaker 3: that youth and beauty should only meet in the mire?
• 1:15:03
  Speaker 3: And even supposing that the conclusion of the fools was
• 1:15:07
  Speaker 3: the right one, is it their business to avenge me?
• 1:15:11
  Speaker 3: I have my own eyes to look after my own
• 1:15:13
  Speaker 3: affairs and to avenge my wrongs. Have I not courage
• 1:15:18
  Speaker 3: steal and my own right hand? Well?
• 1:15:23
  Speaker 5: Accepting that outsiders were wrong to talk, did you expect me,
• 1:15:28
  Speaker 5: who am of your blood and bear your name, to
• 1:15:32
  Speaker 5: hold my tongue?
• 1:15:34
  Speaker 3: By heavens, No, But you should have been more careful.
• 1:15:39
  Speaker 3: You might have told me alone of this sorry business
• 1:15:42
  Speaker 3: and not have set flame to a conflagration under my
• 1:15:46
  Speaker 3: very roof.
• 1:15:47
  Speaker 5: I aired to excessive affection, I admit. But while I
• 1:15:52
  Speaker 5: confess that the world and I have done the mischief,
• 1:15:56
  Speaker 5: it my inventing the situation, and I weakly crediting and
• 1:16:02
  Speaker 5: by giving voice to the shabby innuendos you.
• 1:16:06
  Speaker 1: Julian approaches him and speaks with tender interest.
• 1:16:12
  Speaker 5: Have nothing to reproach yourself with. You have the consolation
• 1:16:18
  Speaker 5: of having acted throughout as a gentleman.
• 1:16:22
  Speaker 3: I cannot so easily console myself. While my heart gives
• 1:16:26
  Speaker 3: shelter to that same story which my lips and my
• 1:16:30
  Speaker 3: intelligence reject. I indignantly turn away from the world's columny,
• 1:16:36
  Speaker 3: and to myself, I say, what if it should be
• 1:16:39
  Speaker 3: no lie? If perchance the world should be right? So
• 1:16:44
  Speaker 3: I stand in strife between two impulses, sometimes judge, sometimes accomplice.
• 1:16:51
  Speaker 3: This inward battle wears me out savarrow doubt increases and expands,
• 1:16:57
  Speaker 3: and my heart groans, while before my bloodshot vision stretches
• 1:17:02
  Speaker 3: a reddened field delirium. No tis not raving you see,
• 1:17:10
  Speaker 3: I bear myself to you as a brother. Think you
• 1:17:14
  Speaker 3: Ernest would have left my house if I had firmly
• 1:17:17
  Speaker 3: stood in his way and opposed his crossing the threshold.
• 1:17:22
  Speaker 3: If so, why does a traitorous voice keep muttering in
• 1:17:26
  Speaker 3: my disturbed consciousness? Tware wise to leave the door open
• 1:17:30
  Speaker 3: to his exit and lock it well afterwards, For the
• 1:17:35
  Speaker 3: confiding man is but a poor guardian of honor's fortress.
• 1:17:41
  Speaker 3: In my heart, I wish what my lips deny, come back,
• 1:17:45
  Speaker 3: earnest aloud and to myself, do not come back. And
• 1:17:50
  Speaker 3: while I show him a frank front, I am a
• 1:17:53
  Speaker 3: hypocrite and a coward, watchful and worn with mistrust. No
• 1:17:59
  Speaker 3: sorow this is not to act like an honest man.
• 1:18:04
  Speaker 1: He drops into the arm chair beside a table in
• 1:18:06
  Speaker 1: deep dejection.
• 1:18:09
  Speaker 5: It is how any husband would act who had a
• 1:18:11
  Speaker 5: beautiful young wife to look after, especially one with a
• 1:18:16
  Speaker 5: romantic temperament.
• 1:18:19
  Speaker 3: Don't speak so of Theodoro. She is a mirror that
• 1:18:23
  Speaker 3: our breath tarnishes by any imprudent effort to bring it
• 1:18:27
  Speaker 3: to our level. It gave back the sun's pure light
• 1:18:31
  Speaker 3: before the million vipers of the earth gathered to stare
• 1:18:35
  Speaker 3: at it. To day they crawl within the glass in
• 1:18:39
  Speaker 3: its divine frame, but they are in substantial shadows. My
• 1:18:44
  Speaker 3: hand can wave them away, and once more you will
• 1:18:48
  Speaker 3: see the clear blue of heaven.
• 1:18:52
  Speaker 5: All the better. No, not so, then, what the deuce
• 1:18:58
  Speaker 5: do you want?
• 1:19:00
  Speaker 3: Oh so much? I told you that this inward struggle
• 1:19:04
  Speaker 3: of which I spoke is changing me to another man.
• 1:19:08
  Speaker 3: Now my wife finds me, always sad, always distant. I
• 1:19:13
  Speaker 3: am not the man I was, and no effort will
• 1:19:17
  Speaker 3: ever make me so again. Seeing me so changed, she
• 1:19:22
  Speaker 3: must ask, where is Julium? This is not my dear husband.
• 1:19:27
  Speaker 3: What have I done to forfeit his confidence? And what
• 1:19:30
  Speaker 3: shabby feeling causes this aloofness? A shadow lies between us,
• 1:19:37
  Speaker 3: ever deepening, and slowly, step by step we move more apart.
• 1:19:44
  Speaker 3: None of the old dear confidence, none of the old
• 1:19:49
  Speaker 3: delightful talks, smiles, frozen tones. Embittered in me through unjust resentment,
• 1:20:00
  Speaker 3: her through tearful grief. I wounded in my love, and
• 1:20:06
  Speaker 3: she by my hand wounded in her woman's dignity. There's
• 1:20:13
  Speaker 3: how we stand.
• 1:20:15
  Speaker 5: Then, you stand upon the verge of perdition. If you
• 1:20:19
  Speaker 5: see your position so plainly, why don't you remedy?
• 1:20:24
  Speaker 3: It tis of no use. I know I am unjust
• 1:20:28
  Speaker 3: to doubt her, Nay worse still, I don't doubt her now.
• 1:20:34
  Speaker 3: But who will say that I, losing little by little
• 1:20:39
  Speaker 3: and he gaining as steadily the lie of to day
• 1:20:43
  Speaker 3: will not tomorrow be truth.
• 1:20:46
  Speaker 1: He seizes done severo by the arm and speaks with
• 1:20:49
  Speaker 1: voluble earnestness and increasing bitterness.
• 1:20:54
  Speaker 3: I jealous, somber, unjust and hard. He noble and generous,
• 1:21:02
  Speaker 3: resigned and inalterably sweet, natured, with that halo of martyrdom, which,
• 1:21:10
  Speaker 3: in the eyes of women sits so becomingly on the
• 1:21:14
  Speaker 3: brow of a brave and handsome youth. Is it not
• 1:21:18
  Speaker 3: clear that his is the better part, and that my
• 1:21:22
  Speaker 3: loss is his gain? While I can do nothing to
• 1:21:27
  Speaker 3: alter the injustice of it, you see it too, And
• 1:21:31
  Speaker 3: if the ignoble talk of the town should compel those
• 1:21:35
  Speaker 3: two to treason, though they may not truthfully assert we
• 1:21:40
  Speaker 3: are not lovers, the force of repetition of the word
• 1:21:44
  Speaker 3: may eventually drive them to the fact.
• 1:21:48
  Speaker 5: If that's how you feel amount it, Julian, I think
• 1:21:51
  Speaker 5: the safest thing would be to let Ernest carry out
• 1:21:55
  Speaker 5: his project.
• 1:21:57
  Speaker 3: That I've come to prevent.
• 1:22:00
  Speaker 5: Then you are insane. He proposes to go to Buenos
• 1:22:05
  Speaker 5: Aire's nothing could be better. Let him go in a
• 1:22:12
  Speaker 5: sailing vessel, fresh wind to his sail and good speed.
• 1:22:19
  Speaker 3: Do you wish me to show myself so miserably ungrateful
• 1:22:23
  Speaker 3: and jealous before Theodora? Don't you know, Savarro, that a
• 1:22:28
  Speaker 3: woman may despise a lover and love him still, but
• 1:22:32
  Speaker 3: not so a husband. Contempt is his dishonor you would
• 1:22:37
  Speaker 3: not have my wife follow the unhappy exile across the
• 1:22:42
  Speaker 3: ocean with sad regrets. And I should I see the
• 1:22:46
  Speaker 3: trace of a tear upon her cheek. The mere thought
• 1:22:50
  Speaker 3: that it might be for Earnest would drive me to
• 1:22:54
  Speaker 3: strangle her in my arms.
• 1:22:58
  Speaker 1: Speaks with rancor.
• 1:22:59
  Speaker 5: And what is it?
• 1:23:02
  Speaker 3: Then?
• 1:23:02
  Speaker 5: You do want?
• 1:23:04
  Speaker 3: I must suffer the care of unraveling the nut belongs
• 1:23:09
  Speaker 3: to the world that conceived the drama solely by looking
• 1:23:13
  Speaker 3: at us. So fertile is its glance for good and ill?
• 1:23:19
  Speaker 5: Don Severo, moving back, I think somebody is coming.
• 1:23:24
  Speaker 1: Servant from without, not seen on the stage.
• 1:23:28
  Speaker 7: Donnest cannot be much Later into.
• 1:23:30
  Speaker 1: Pepito, Scene three, Don Julian, Don Severo, and Pepito. You here,
• 1:23:40
  Speaker 1: Pepito aside.
• 1:23:42
  Speaker 6: By Jove, I see they know all about it. We
• 1:23:45
  Speaker 6: are all here. How do you do? Uncle? How do father? Easy?
• 1:23:50
  Speaker 6: They know what's in the wind, what brings you? But
• 1:23:54
  Speaker 6: I suppose you are looking for Earnest?
• 1:23:57
  Speaker 5: What else could bring us here?
• 1:24:00
  Speaker 3: I dare say, you know what this man man is
• 1:24:03
  Speaker 3: up to?
• 1:24:04
  Speaker 6: What he's up to? Well? Yes, rather I know as
• 1:24:07
  Speaker 6: much as another.
• 1:24:09
  Speaker 5: And it's tomorrow.
• 1:24:12
  Speaker 6: No tomorrow, he is going away, so it must be today.
• 1:24:16
  Speaker 1: Don Julian surprised, what do you say?
• 1:24:21
  Speaker 6: That's what Pepe Husida told me last night at the club.
• 1:24:24
  Speaker 6: He's a nobraid a second, so he ought to know.
• 1:24:28
  Speaker 6: Why do you stare so oddly? Didn't you know?
• 1:24:31
  Speaker 1: Don Julian, hastily covering his brother's movement. Everything we Don
• 1:24:39
  Speaker 1: Julian aside, hold.
• 1:24:41
  Speaker 3: Your tongue, Savarrow. He starts tomorrow and today he stakes
• 1:24:45
  Speaker 3: his life, and we are here, of course, to prevent
• 1:24:49
  Speaker 3: both the duel. In the departure, Don.
• 1:24:54
  Speaker 1: Julian makes it evident that he's only sounding Pepito's knowledge
• 1:24:57
  Speaker 1: of facts, and that he's on aware of the pending departure.
• 1:25:02
  Speaker 1: What's you, don Julian aside to Severo, I.
• 1:25:08
  Speaker 3: Know nothing about it, but I shall presently.
• 1:25:12
  Speaker 6: Pepito aside, Come, I haven't been such a duffer after all.
• 1:25:17
  Speaker 1: Don Julian, speaking with an air of certainty.
• 1:25:21
  Speaker 3: We know there is a viscount, yes, with whom Ernest
• 1:25:26
  Speaker 3: proposes to fight. A certain trustworthy person has informed us,
• 1:25:31
  Speaker 3: who was at once apprized of it. They say, 'tis
• 1:25:35
  Speaker 3: a serious matter.
• 1:25:37
  Speaker 1: Pepito nots a.
• 1:25:39
  Speaker 3: Disgraceful quarrel in the presence of several witnesses.
• 1:25:45
  Speaker 1: Pepito nots again the.
• 1:25:47
  Speaker 3: Lie direct and a deluge of bad language.
• 1:25:52
  Speaker 1: Pepito interrupts excitedly, planed of his more accurate information.
• 1:25:57
  Speaker 6: Language indeed a blow bigger than a monument on which
• 1:26:02
  Speaker 6: side Ernest struck the Viscount.
• 1:26:06
  Speaker 3: Of course, Ernest struck the Viscount. I thought you knew that, Savarro,
• 1:26:11
  Speaker 3: the Viscount insulted him. Patience is not the lad's strong point,
• 1:26:16
  Speaker 3: hence the blow exactly.
• 1:26:20
  Speaker 1: Don Julian confidently.
• 1:26:23
  Speaker 3: I told you we knew the whole story. Then anxiously,
• 1:26:28
  Speaker 3: the affair is serious.
• 1:26:31
  Speaker 6: Most serious. I don't like discussing it. But since you
• 1:26:35
  Speaker 6: know so much, there is no need for further.
• 1:26:37
  Speaker 3: Mystery, none whatever.
• 1:26:40
  Speaker 1: He approaches Pipito eagerly. Pepito, after a pause, adopts an
• 1:26:46
  Speaker 1: ominous air to announce bad news.
• 1:26:49
  Speaker 6: It is a matter of life and death.
• 1:26:55
  Speaker 1: Looks round triumphantly. Don Julian and Don Severo start.
• 1:27:00
  Speaker 6: The Viscount is neither a chicken nor a skulk. He
• 1:27:04
  Speaker 6: can handle a sword.
• 1:27:06
  Speaker 3: And the quarrel, what was it near Braida is supposed
• 1:27:11
  Speaker 3: to be?
• 1:27:12
  Speaker 6: It was hardly a quarrel. I'll tell you the facts.
• 1:27:15
  Speaker 1: Both men draw near eagerly.
• 1:27:18
  Speaker 6: Ernest you know, means to leave Madrid to morrow and
• 1:27:21
  Speaker 6: take passage in the cid. Lying in Cadiz. Louise Alcaraz
• 1:27:26
  Speaker 6: had promised him a letter of introduction, and the poor
• 1:27:30
  Speaker 6: fellow went off to meet him at the cafe and
• 1:27:32
  Speaker 6: get it with the best of intentions. Louise wasn't there,
• 1:27:36
  Speaker 6: so he waited. Some of the frequenters of our Karaz's table,
• 1:27:41
  Speaker 6: who did not know him, were in the full swing
• 1:27:44
  Speaker 6: of glorious slander and did not notice his clenched teeth,
• 1:27:49
  Speaker 6: And they mentioned meant a reputation blasted broad handed, ready tongued.
• 1:27:54
  Speaker 6: Every living soul passed in their review in this asylum
• 1:27:59
  Speaker 6: of charity, in the midst of more smoke than an
• 1:28:02
  Speaker 6: express train, omits between lifted glasses and dropped cigarette ashes,
• 1:28:08
  Speaker 6: with here and there a lump of sugar. The marble
• 1:28:11
  Speaker 6: was converted for the nonce into a dissecting table. Each
• 1:28:16
  Speaker 6: woman dishonored another glass of the old tap, a shout
• 1:28:20
  Speaker 6: of laughter for each tipler's cut. In fore clippings, these
• 1:28:24
  Speaker 6: lads left reputations ragged, and the ladies rent to tatters.
• 1:28:29
  Speaker 6: Yet what did it all come to? They but echoed
• 1:28:32
  Speaker 6: society at a cafe table. I don't say all this
• 1:28:36
  Speaker 6: for myself, nor think it. But twas how Ernest spoke
• 1:28:39
  Speaker 6: when he recounted the.
• 1:28:40
  Speaker 3: Quarrel to me, well make an end of it.
• 1:28:44
  Speaker 6: The end of it is that between name and name
• 1:28:48
  Speaker 6: there was mention of one that Ernest could not endure.
• 1:28:52
  Speaker 6: Who dares to ridicule an honorable man? He shouts, someday
• 1:28:56
  Speaker 6: retorts a lady, and name's a woman. His head was
• 1:29:01
  Speaker 6: instantly on fire, and he flings himself upon the braider.
• 1:29:05
  Speaker 6: The poor viscount fell like a ninepin. And though you
• 1:29:09
  Speaker 6: have an agramante's camp, the day's business is now a
• 1:29:13
  Speaker 6: duel in a room somewhere, I don't know where.
• 1:29:16
  Speaker 1: Don Julian, seizing his arms.
• 1:29:19
  Speaker 3: The man was I, sir, and tiodorra the woman? How
• 1:29:26
  Speaker 3: have we fallen? She myself, our love.
• 1:29:32
  Speaker 1: Sits down and covers his face with both hands.
• 1:29:35
  Speaker 5: What have you done, you blockhead?
• 1:29:39
  Speaker 6: Didn't he say he knew all about it? And I
• 1:29:42
  Speaker 6: naturally believed.
• 1:29:43
  Speaker 3: Him dishonored, dishonored.
• 1:29:47
  Speaker 1: Severo approaching.
• 1:29:48
  Speaker 5: Him, Julian, my dear fellow.
• 1:29:53
  Speaker 3: It is true. I ought to be calm, I know,
• 1:29:57
  Speaker 3: but what heart can I have when faith is gone?
• 1:30:01
  Speaker 1: Seizes his brother's hand.
• 1:30:03
  Speaker 3: Just heaven, Why are we so disgraced? What reason have
• 1:30:08
  Speaker 3: they to turn and throw mud at us? No matter,
• 1:30:12
  Speaker 3: I know my duty as a gentleman. I can count
• 1:30:15
  Speaker 3: on you, Savarro.
• 1:30:17
  Speaker 5: On me till death. Julian.
• 1:30:21
  Speaker 1: They shake hands cordially. Julian to Pepito.
• 1:30:26
  Speaker 6: The duel for three o'clock.
• 1:30:30
  Speaker 1: Julian aside, I'll kill him, Yes, I'll kill him.
• 1:30:36
  Speaker 5: To Severo, come whither.
• 1:30:40
  Speaker 3: To look for this viscount? Do you mean? I mean
• 1:30:44
  Speaker 3: to do what I ought and can, to avenge myself
• 1:30:48
  Speaker 3: and save Don Juan of Acido's son to Pepito. Who
• 1:30:53
  Speaker 3: are the seconds?
• 1:30:55
  Speaker 6: Our Caias and Rueida?
• 1:30:57
  Speaker 3: I know them.
• 1:30:58
  Speaker 1: Both, pointing to Pepito.
• 1:31:01
  Speaker 3: Let him stay here so that in the event of
• 1:31:04
  Speaker 3: Ernest's return.
• 1:31:06
  Speaker 1: Of course, Don Julian to Pepito.
• 1:31:10
  Speaker 3: Without arousing his suspicion, find out where the duel takes place.
• 1:31:15
  Speaker 1: You hear, Don Julian to his brother, Come.
• 1:31:19
  Speaker 5: What's the matter with you? Julian?
• 1:31:23
  Speaker 3: Tis a long while since I felt so overjoyed.
• 1:31:28
  Speaker 1: Catches Severo's arm feverishly.
• 1:31:31
  Speaker 5: The deuce overjoyed. You will beside yourself.
• 1:31:38
  Speaker 3: I shall meet that fellow Nebraida, Yes, observe. Until to
• 1:31:45
  Speaker 3: day calumny was impalpable. There is no seizing its shape.
• 1:31:50
  Speaker 3: I have now discovered it, and it has taken a
• 1:31:54
  Speaker 3: human form. There it is at hand in the person
• 1:31:58
  Speaker 3: of a viscount, swallowing blood and gall for the past
• 1:32:03
  Speaker 3: three months, the devil and now fancy face to face,
• 1:32:10
  Speaker 3: he and.
• 1:32:10
  Speaker 1: I, Excellant Don Julian and Don Severo. Scene four.
• 1:32:17
  Speaker 6: Well, here we are in a nice fix, and all
• 1:32:21
  Speaker 6: for nothing. However, in spite of my uncle's belief, it
• 1:32:25
  Speaker 6: was little short of madness to leave a resplendent creature
• 1:32:29
  Speaker 6: under the same roof, and in continual contact with a
• 1:32:33
  Speaker 6: handsome fellow like Ernest, with a soul on fire or
• 1:32:37
  Speaker 6: given to romanticism. He swears there's nothing in it, and
• 1:32:41
  Speaker 6: that his feeling for her is pure affection, that he
• 1:32:45
  Speaker 6: loves her like a sister, and that my uncle is
• 1:32:48
  Speaker 6: a father to him. But I am a sly fox,
• 1:32:53
  Speaker 6: and young as I am, I know a thing or
• 1:32:56
  Speaker 6: two of this world. I've no faith in this sort
• 1:32:59
  Speaker 6: of relation. When the brother is young and the sister
• 1:33:02
  Speaker 6: is beautiful, and brotherhood between them a fiction. But suppose
• 1:33:07
  Speaker 6: it were, as he says, all square. What do outsiders
• 1:33:11
  Speaker 6: know about that? Nobody is under any obligations to think
• 1:33:15
  Speaker 6: the best of his fellows. The pair are seen everywhere together,
• 1:33:19
  Speaker 6: and seeing them, haven't their neighbors a right to talk?
• 1:33:23
  Speaker 6: O s as ernest? We hardly ever went out alone once.
• 1:33:28
  Speaker 6: Perhaps that's enough. If a hundred persons saw them on
• 1:33:32
  Speaker 6: that occasion, it is quite the same as if they
• 1:33:35
  Speaker 6: had been seen in public a hundred times. Good Lord,
• 1:33:39
  Speaker 6: how are you going to confront all the witnesses to
• 1:33:41
  Speaker 6: prove whether it was once or often they chose to
• 1:33:44
  Speaker 6: give an airing to this? Pure sympathy and brotherly love
• 1:33:51
  Speaker 6: tis absurd, neither just nor reasonable. What we see we
• 1:33:55
  Speaker 6: may mention, tis no lie to say it. I saw
• 1:33:58
  Speaker 6: them once, says one, and I another one and one
• 1:34:03
  Speaker 6: make two, and I also that makes three, and then
• 1:34:07
  Speaker 6: a fourth and a fifth, and so summing which you
• 1:34:11
  Speaker 6: soon enough reach infinity. We see because we look, and
• 1:34:16
  Speaker 6: our senses are there to help us pass the time
• 1:34:18
  Speaker 6: without any thought of our neighbor. He must look out
• 1:34:22
  Speaker 6: for himself, and remember that if he shuns the occasion,
• 1:34:26
  Speaker 6: calumny and peril will shun him and take notice that
• 1:34:31
  Speaker 6: I admit the purity of the affection. And this makes
• 1:34:34
  Speaker 6: it so serious a matter now, in my opinion, the
• 1:34:38
  Speaker 6: man who could be near Theodora and not fall in
• 1:34:41
  Speaker 6: love with her must be us tone. He may be
• 1:34:45
  Speaker 6: learned and philosophical and no physics and mathematics, but he
• 1:34:50
  Speaker 6: has a body like another, and she's there with a
• 1:34:54
  Speaker 6: devine one and body a back us that's sufficient to
• 1:34:59
  Speaker 6: be found in act accusation on ah. If these walls
• 1:35:03
  Speaker 6: could speak, if earnest private thoughts scattered here could take
• 1:35:08
  Speaker 6: tangible form, By jove, what's this an empty frame? And
• 1:35:13
  Speaker 6: beside it don Julian's likeness in its fellow? Theodora was there,
• 1:35:19
  Speaker 6: the pendant of my respected uncle. Why has she disappeared
• 1:35:23
  Speaker 6: to avoid temptation?
• 1:35:25
  Speaker 1: Sits down at the table.
• 1:35:28
  Speaker 6: If that's the reason, it's bad, and still worse, if
• 1:35:31
  Speaker 6: the portrait has left its frame for a more honorable
• 1:35:34
  Speaker 6: place near his heart, come forth, suspected imps that float
• 1:35:39
  Speaker 6: about and weave invisible meshes ruthlessly denounce this mystic philosopher looks.
• 1:35:46
  Speaker 1: About the table and sees the open Dante here's another.
• 1:35:51
  Speaker 6: I never come here, but I find this Divine book
• 1:35:54
  Speaker 6: open on Ernest's table, The Divine Comedy, his favorite poem.
• 1:36:00
  Speaker 6: And I note that he seems never to get beyond
• 1:36:02
  Speaker 6: the Francesca page. I conceived two explanations of the fact.
• 1:36:08
  Speaker 6: Either the fellow never reads it, or he never reads
• 1:36:12
  Speaker 6: any other. But there's a stain like a tear drop
• 1:36:17
  Speaker 6: my faith, What mysteries and abysses, and what a difficult
• 1:36:22
  Speaker 6: thing it is to be married and live tranquility? A
• 1:36:26
  Speaker 6: paper half burnt, picks it up, there's still a morsel left,
• 1:36:31
  Speaker 6: goes over to.
• 1:36:32
  Speaker 1: The balcony, trying to read it. At this moment, Ernest
• 1:36:37
  Speaker 1: enters and stands watching him. Scene five, Pepito and Earnest.
• 1:36:43
  Speaker 6: What are you looking at, hullo, Ernest? Only a paper
• 1:36:48
  Speaker 6: I caught on the wing. The wind blew it away.
• 1:36:52
  Speaker 1: Ernest takes it and returns it after a short inspection.
• 1:36:56
  Speaker 6: Hm, I don't remember what it is verses you may remember,
• 1:37:03
  Speaker 6: reads with difficulty. The flame that consumes me aside Devora
• 1:37:11
  Speaker 6: rhymes with Theodora tis nothing important.
• 1:37:16
  Speaker 1: No, nothing throws away the paper, That.
• 1:37:20
  Speaker 8: Worthless bit of paper is a symbol of our life.
• 1:37:25
  Speaker 8: A few sobs of sorrow and a little flake of
• 1:37:28
  Speaker 8: ashes than they were verses. Yes, when I've nothing better
• 1:37:34
  Speaker 8: to do, sometimes my pen runs away with me. I
• 1:37:39
  Speaker 8: write them at.
• 1:37:40
  Speaker 6: Night, and to prick enthusiasm and get into harness. You
• 1:37:44
  Speaker 6: seek inspiration in the master's book, it would seem say
• 1:37:50
  Speaker 6: no more, tis truly a gigantic work. The episode of Francesca.
• 1:37:56
  Speaker 1: Pointing to the page ernest ironically and impatiently.
• 1:38:01
  Speaker 6: You can't guess wrong to day, not entirely, by jove,
• 1:38:06
  Speaker 6: Here where the book is open, I find something I
• 1:38:09
  Speaker 6: can't guess, and you must explain it to me. Reading
• 1:38:13
  Speaker 6: a love tale together to pass the time, we are
• 1:38:16
  Speaker 6: told that Francesca and Paolo reached that part where the
• 1:38:19
  Speaker 6: gallant author, proving himself no amateur in the business, sings
• 1:38:24
  Speaker 6: the loves of Launcelot and Queen Guinevere. The match fell
• 1:38:28
  Speaker 6: pat the kiss in the book was repeated by the
• 1:38:31
  Speaker 6: passionate youth on the girl's mouth, And at this point
• 1:38:35
  Speaker 6: of the story, with rare skill and sublime truth, the
• 1:38:39
  Speaker 6: Florentine poet tells us.
• 1:38:41
  Speaker 1: What happens, points to the line.
• 1:38:44
  Speaker 6: But this is what I do not understand. Galliato was
• 1:38:48
  Speaker 6: the book they were reading, and they read no more.
• 1:38:51
  Speaker 6: They stopped reading. That's easy enough to understand. But this Gaaliato,
• 1:38:57
  Speaker 6: tell me where he comes in and who see you
• 1:39:01
  Speaker 6: ought to know, since he has given his name to
• 1:39:03
  Speaker 6: the play that is to make you famous. Let me see.
• 1:39:08
  Speaker 1: Takes up the manuscript and examines it.
• 1:39:11
  Speaker 8: Gallioto was the go between for the Queen and Lancelot,
• 1:39:16
  Speaker 8: and in all loves the third may be truthfully nicknamed Galiotto.
• 1:39:22
  Speaker 8: Above all, when we wish to suggest an ugly word
• 1:39:25
  Speaker 8: without shocking an audience.
• 1:39:28
  Speaker 6: I see, but we have no Spanish word to express it.
• 1:39:32
  Speaker 8: We have one quite suitable and expressive enough. Tis an
• 1:39:36
  Speaker 8: office that converts desires into ducats, overcomes scruples, and is
• 1:39:42
  Speaker 8: fed upon the affections. It has a name, but to
• 1:39:46
  Speaker 8: use it would be putting a fetter upon myself, forcing
• 1:39:50
  Speaker 8: myself to express what, after all I would leave unsaid.
• 1:39:56
  Speaker 1: Takes the manuscript from Pepiton and flings it upon the table.
• 1:40:00
  Speaker 8: Each special case I have remarked, has its own especial
• 1:40:04
  Speaker 8: go between. Sometimes it is the entire social mass that
• 1:40:09
  Speaker 8: is Galioto. It then unconsciously exercises the office under the
• 1:40:14
  Speaker 8: influence of a vice of quite another aspect, But so
• 1:40:18
  Speaker 8: dexteriously does it work against honor and modesty that no
• 1:40:22
  Speaker 8: greater galioto can ever be found. Let a man and
• 1:40:26
  Speaker 8: woman live happily in tranquil and earnest fulfillment of their
• 1:40:30
  Speaker 8: separate duties. Nobody minds them, and they float along at ease.
• 1:40:36
  Speaker 8: But God be praised. This is a state of things
• 1:40:39
  Speaker 8: that does not last long. In Madrid, one morning somebody
• 1:40:44
  Speaker 8: takes the trouble to notice them, and from that moment
• 1:40:47
  Speaker 8: beholds society engaged in the business without aim or object,
• 1:40:52
  Speaker 8: on the hunt for hidden frailty and impurity. Then it
• 1:40:57
  Speaker 8: pronounces and judges, and there is no logic that can
• 1:41:01
  Speaker 8: convince it, nor living man who can hope to persuade it.
• 1:41:05
  Speaker 8: And the honestest has not a rag of honor left.
• 1:41:08
  Speaker 8: And the terrible thing is that while it begins in error,
• 1:41:13
  Speaker 8: it generally ends in truth. The atmosphere is so dense
• 1:41:19
  Speaker 8: misery so envelops the pair, such is the press and
• 1:41:23
  Speaker 8: torrent of slander, that they unconsciously seek one another, unite, lovelessly,
• 1:41:29
  Speaker 8: drift towards their fall, and adore each other until death.
• 1:41:34
  Speaker 8: The world was the stumbling stone of virtue and made
• 1:41:38
  Speaker 8: clear the way for shame was Galioto and aside, stay
• 1:41:46
  Speaker 8: what mad thought inflames me?
• 1:41:49
  Speaker 1: Pepito aside.
• 1:41:51
  Speaker 6: If that's the way he discourses to Theodora, Heaven help
• 1:41:55
  Speaker 6: poor don Julian. I suppose last night's verses doubt with
• 1:42:00
  Speaker 6: the subject, Yes they did. How can you waste your
• 1:42:05
  Speaker 6: time so coolly and sit there so calm doing nothing,
• 1:42:10
  Speaker 6: when in another hour you will be measuring swords with Nebrada, who,
• 1:42:14
  Speaker 6: for all his dandy's cane, is a man when put
• 1:42:17
  Speaker 6: upon his mettle. Wouldn't it be saner and wiser to
• 1:42:22
  Speaker 6: practice fencing instead of expounding questions of verse and rhyme.
• 1:42:27
  Speaker 6: You look so mighty cool that I almost doubt if
• 1:42:30
  Speaker 6: you regard your meeting with the viscount as serious.
• 1:42:34
  Speaker 8: No, for a good reason. If I kill him, the
• 1:42:39
  Speaker 8: world gains.
• 1:42:41
  Speaker 6: If he kill me, I gain, Well, that's good.
• 1:42:46
  Speaker 8: Don't say anything more about it.
• 1:42:49
  Speaker 1: Pippito aside, And.
• 1:42:51
  Speaker 6: Now I must warily find.
• 1:42:53
  Speaker 1: Out, approaches him and speaks in a low voice.
• 1:42:58
  Speaker 6: Is it for to day?
• 1:43:00
  Speaker 8: Yes?
• 1:43:00
  Speaker 6: To day outside the town?
• 1:43:03
  Speaker 8: No, there's no time for that. Besides, we wish to
• 1:43:08
  Speaker 8: keep it quiet in a house. Then, so I proposed
• 1:43:13
  Speaker 8: where upstairs there's a room on let upstairs with a
• 1:43:19
  Speaker 8: side window to which nobody can look. Under the circumstances,
• 1:43:24
  Speaker 8: it's better than a field and will be had for
• 1:43:27
  Speaker 8: a handful of silver.
• 1:43:29
  Speaker 6: And now all you need the swords. I hear voices
• 1:43:34
  Speaker 6: outside some day's coming the seconds. Maybe it sounds like
• 1:43:41
  Speaker 6: a woman's.
• 1:43:41
  Speaker 1: Voice approaches the door. Ernest approaching also.
• 1:43:47
  Speaker 8: But who's keeping them?
• 1:43:50
  Speaker 1: Scene six? Ernest, Pepito and servant servant?
• 1:43:55
  Speaker 7: Mysteriously, somebody wants to see you, sir? Who a lady?
• 1:44:01
  Speaker 8: How extraordinary?
• 1:44:03
  Speaker 1: Pepito aside to servant?
• 1:44:06
  Speaker 6: What does she want?
• 1:44:08
  Speaker 1: Servant to? Pepito, she's crying, Pepito aloud?
• 1:44:13
  Speaker 6: Is she young?
• 1:44:15
  Speaker 7: Really, sir? I can't say. It's very dark outside, and
• 1:44:18
  Speaker 7: the lady's face is so thickly veiled that the devil
• 1:44:21
  Speaker 7: himself couldn't tell what she's like. And she speaks so
• 1:44:23
  Speaker 7: low you can't even hear her.
• 1:44:25
  Speaker 8: Who can she be?
• 1:44:27
  Speaker 6: Who could want to see you?
• 1:44:29
  Speaker 3: Now?
• 1:44:30
  Speaker 8: I cannot think, Pepito aside.
• 1:44:34
  Speaker 1: This is startling, takes up his hat and holds out
• 1:44:37
  Speaker 1: his hand.
• 1:44:39
  Speaker 6: Well, I'll leave you in peace, good bye, and good
• 1:44:42
  Speaker 6: luck to the servant. What are you waiting for you.
• 1:44:46
  Speaker 7: Booby, for orders to show the lady in.
• 1:44:50
  Speaker 6: In such a case tis your business to anticipate them,
• 1:44:54
  Speaker 6: and afterwards, until the veiled one has departed, you mustn't
• 1:44:58
  Speaker 6: let anyone in unless the guy worth falling?
• 1:45:02
  Speaker 7: Then am I to show her in?
• 1:45:04
  Speaker 5: Yes?
• 1:45:05
  Speaker 6: To Pepito at the door, goodbye, goodbye.
• 1:45:09
  Speaker 1: Ernest excan servant and Pepito.
• 1:45:14
  Speaker 8: A lady on what pretext? What does this mean?
• 1:45:19
  Speaker 1: And to Theodora, thickly veiled, she stands without approaching.
• 1:45:25
  Speaker 8: Ah, there she is, Scene.
• 1:45:29
  Speaker 1: Seven, Theodora and Earnest she behind, not daring to advance,
• 1:45:35
  Speaker 1: He turned toward her.
• 1:45:37
  Speaker 8: You desire to speak to me, madam?
• 1:45:41
  Speaker 1: Kindly be seated, offers her a chair, Theodora unveiling.
• 1:45:47
  Speaker 8: Forgive me, Ernest Theodora, I'm wrong to come, am I not?
• 1:45:52
  Speaker 8: I can't say, since I don't know to what I
• 1:45:56
  Speaker 8: owe this honor? But what am I saying? Alas here
• 1:46:02
  Speaker 8: in my rooms, madam, reverence attends you. Then wish you
• 1:46:07
  Speaker 8: cannot find a greater But what wrong can you possibly fear?
• 1:46:12
  Speaker 3: Here?
• 1:46:12
  Speaker 8: Lady?
• 1:46:13
  Speaker 2: None? And there was a time, but that once is
• 1:46:17
  Speaker 2: for ever passed. No thought of doubt or fear was
• 1:46:20
  Speaker 2: then I might have crossed any room on your arm
• 1:46:23
  Speaker 2: without blush or fluttering pulse. But now they tell me
• 1:46:28
  Speaker 2: that you are starting for America to morrow, and I yes,
• 1:46:33
  Speaker 2: like those who go away, perhaps not to return. It
• 1:46:36
  Speaker 2: is so sad to lose a friend before Julian, before
• 1:46:40
  Speaker 2: the whole world, thinking only of our affection, I myself, Ernest,
• 1:46:45
  Speaker 2: would have held my arms out to you in farewell.
• 1:46:49
  Speaker 1: Ernest starants and quickly restrains himself.
• 1:46:52
  Speaker 8: Oh, dear Dora.
• 1:46:55
  Speaker 2: But now I suppose it is not the same thing.
• 1:46:58
  Speaker 2: There is a gulf between us.
• 1:47:00
  Speaker 8: You are right, Madam. We may no longer care for
• 1:47:04
  Speaker 8: one another, be no longer brother and sister. The mutual
• 1:47:09
  Speaker 8: touch of palm would leave our hands unclean. Tis all
• 1:47:13
  Speaker 8: forever past. What we have now to learn is to
• 1:47:18
  Speaker 8: hate one another.
• 1:47:20
  Speaker 4: Hate.
• 1:47:21
  Speaker 8: Surely not have I used that word? And to you,
• 1:47:26
  Speaker 8: poor child, yes, don't heed me. If you needed my life,
• 1:47:33
  Speaker 8: and the occasion offered itself, claim it, Theodora, For to
• 1:47:37
  Speaker 8: give my life for you would be it would be
• 1:47:40
  Speaker 8: my duty hate. If my lips pronounce the word, I
• 1:47:46
  Speaker 8: was thinking of the misery, I was thinking of the
• 1:47:48
  Speaker 8: injury I have unwittingly wrought one to whom I owe
• 1:47:51
  Speaker 8: so much. Yes, you Theodora must hate me, but I
• 1:47:57
  Speaker 8: ah no, They have.
• 1:48:00
  Speaker 2: Made me shed tears enough. Yes, you are right in
• 1:48:03
  Speaker 2: that earnest, But you I do not accuse. Who could
• 1:48:07
  Speaker 2: condemn or blame you for all this talk. You have
• 1:48:10
  Speaker 2: nothing to do with the venomous solicitude with which evil
• 1:48:13
  Speaker 2: minds honor us, nor with poor Julian's clouded temper. It
• 1:48:18
  Speaker 2: is sorrow that makes him restive, and his suffering wounds me,
• 1:48:22
  Speaker 2: for I know that it springs from doubt of my devotion.
• 1:48:26
  Speaker 8: That is what I cannot understand, and in him less
• 1:48:30
  Speaker 8: than in another, it is what drives me wild. By
• 1:48:34
  Speaker 8: the living God, I protest. It is not worthy of pity,
• 1:48:38
  Speaker 8: and there is no excuse for it that the man
• 1:48:41
  Speaker 8: should exist. Who could doubt a woman like you?
• 1:48:45
  Speaker 2: Poor fellow, He pays a heavy price for his savage.
• 1:48:49
  Speaker 1: Distrust Ernest horrified to find he has been blaming Don
• 1:48:54
  Speaker 1: Julian to Theodora.
• 1:48:56
  Speaker 8: What have I said? I don't accuse him.
• 1:49:00
  Speaker 1: I meant he hastens to exculpate Don Julian and modify
• 1:49:05
  Speaker 1: his former words.
• 1:49:07
  Speaker 8: Anybody might feel the same, that is, if he were
• 1:49:11
  Speaker 8: very much in love in our earthly egoism, don't we
• 1:49:16
  Speaker 8: doubt the very god in heaven? And the owner of
• 1:49:19
  Speaker 8: a treasure jealously watches it as gold and cannot but
• 1:49:23
  Speaker 8: fear for it, I, too, in his place, would be
• 1:49:27
  Speaker 8: full of doubt. Yes, even of my own brother.
• 1:49:32
  Speaker 1: Speaks with increasing fervor, and again restrains himself, perceiving that
• 1:49:36
  Speaker 1: he is on the brink of a peril he would avoid.
• 1:49:40
  Speaker 1: Theodora hears voices outside and rushes to the door.
• 1:49:44
  Speaker 8: Whither are you leading me, reppel heart? What depth have
• 1:49:48
  Speaker 8: I stirred? I accuse the world of calumny, and would
• 1:49:53
  Speaker 8: now prove it right?
• 1:49:55
  Speaker 2: Do you hear somebody is coming?
• 1:49:58
  Speaker 1: Ernest following her.
• 1:50:00
  Speaker 8: It is hardly two o'clock.
• 1:50:02
  Speaker 2: Can it be it is Julian's voice? He is coming in?
• 1:50:07
  Speaker 8: No, they have prevented him.
• 1:50:10
  Speaker 1: Theodora turns to Ernest, still frightened.
• 1:50:14
  Speaker 2: If it were.
• 1:50:14
  Speaker 1: Julian moves towards the bedroom door. Ernest detains her respectfully,
• 1:50:21
  Speaker 1: Should it.
• 1:50:21
  Speaker 8: Be he stay here? Loyalty is our shield. Were it
• 1:50:26
  Speaker 8: one of those who distrust us, then there Theodora.
• 1:50:31
  Speaker 1: Points to the door.
• 1:50:33
  Speaker 8: Ah, listening nobody, how my hot throbs, you need not
• 1:50:39
  Speaker 8: be afraid. The person who wanted to come in has
• 1:50:43
  Speaker 8: gone away, or it was an illusion. For God's sake, Theodora.
• 1:50:50
  Speaker 1: Advances up the stage.
• 1:50:52
  Speaker 2: I had so much to say to you, Ernest, and
• 1:50:55
  Speaker 2: the time has passed so quickly.
• 1:50:57
  Speaker 8: The time has flown. I want it, Theodora pray forgive me.
• 1:51:04
  Speaker 8: But is it prudent if any one came in? And
• 1:51:08
  Speaker 8: indeed I fear some one will.
• 1:51:11
  Speaker 2: That is why I came to prevent it, so that
• 1:51:15
  Speaker 2: I know everything. And I am stricken with horror at
• 1:51:18
  Speaker 2: the thought that blood should be shed on my account.
• 1:51:21
  Speaker 2: My head is on fire, then my heart is bursting.
• 1:51:25
  Speaker 1: Strikes her breast.
• 1:51:27
  Speaker 8: It is the affront that burns and shames you until
• 1:51:30
  Speaker 8: my hand has struck it. Nebrella's life. He wanted mud,
• 1:51:35
  Speaker 8: Well let him have it stained with blood. You would
• 1:51:39
  Speaker 8: kill him, certainly.
• 1:51:42
  Speaker 1: Represses Theodora's movement of supplication.
• 1:51:46
  Speaker 8: You can dispose of me and all else, but in
• 1:51:49
  Speaker 8: this one thing, do not ask me to feel compassion
• 1:51:53
  Speaker 8: for a man whose insult I remember, for my sake,
• 1:51:58
  Speaker 8: for your sake.
• 1:52:00
  Speaker 2: It would be such a horrible scandal.
• 1:52:03
  Speaker 8: That is possible.
• 1:52:05
  Speaker 2: You can say it so coolly and not endeavor to
• 1:52:07
  Speaker 2: avoid it, not even when it is I who implore you.
• 1:52:11
  Speaker 8: I cannot avoid it, but I can justize it. So
• 1:52:15
  Speaker 8: I think and say, and this is my business. Others
• 1:52:20
  Speaker 8: will look for the insult, ay for the punishment.
• 1:52:24
  Speaker 1: Theodora coming nearer and speaking softly, as if afraid of
• 1:52:28
  Speaker 1: her own voice.
• 1:52:30
  Speaker 8: And Julian, well, if he were to know about it,
• 1:52:35
  Speaker 8: you will know about it.
• 1:52:37
  Speaker 2: What will he say?
• 1:52:39
  Speaker 3: What that?
• 1:52:41
  Speaker 2: Only my husband, the man who loves me, has a
• 1:52:43
  Speaker 2: right to defend me.
• 1:52:45
  Speaker 8: Every honorable man has a right to defend a lady.
• 1:52:49
  Speaker 8: He may not even know her, be neither a friend,
• 1:52:52
  Speaker 8: nor a relative, nor a lover. It is enough for
• 1:52:55
  Speaker 8: him to hear a woman insulted? Why do I fight
• 1:52:58
  Speaker 8: this duel? Why do I defend her? Because I heard
• 1:53:03
  Speaker 8: the calumny? Because I am myself who is so base
• 1:53:08
  Speaker 8: as to give his protection by scare and measure? Was
• 1:53:11
  Speaker 8: I not there? Then? Whoever it was I or another
• 1:53:16
  Speaker 8: who was first on the scene.
• 1:53:19
  Speaker 1: Theodora listens, eagerly, dominated by him, and holds out her
• 1:53:23
  Speaker 1: hand to him.
• 1:53:25
  Speaker 2: That is noble and honorable and worthy of you.
• 1:53:28
  Speaker 1: Earnest then restrains herself and moves backward.
• 1:53:33
  Speaker 8: But it leaves Julian humiliated, He humiliated most surely?
• 1:53:40
  Speaker 2: Why for no reason whatever?
• 1:53:43
  Speaker 8: Who will say?
• 1:53:44
  Speaker 2: So everybody? But wherefore when the world hears of the
• 1:53:49
  Speaker 2: affront and learns that it was not my husband to
• 1:53:52
  Speaker 2: avenge me, and above.
• 1:53:54
  Speaker 1: All drops her eyes ashamed that it was.
• 1:53:58
  Speaker 2: You who took his place? Have we not then a
• 1:54:00
  Speaker 2: new scandal topping behold?
• 1:54:03
  Speaker 1: Ernest convinced, but protests.
• 1:54:06
  Speaker 8: If one had always to think of what people will say,
• 1:54:10
  Speaker 8: by heaven, there would be no manner or means of living.
• 1:54:13
  Speaker 8: Then it is so, nevertheless, just so tis horrible, then
• 1:54:21
  Speaker 8: yield impossible.
• 1:54:24
  Speaker 2: I beseech you.
• 1:54:26
  Speaker 8: No looking into the matter, as nobody can know what
• 1:54:30
  Speaker 8: will happen. It is better that I should face no brada.
• 1:54:34
  Speaker 8: For after all, if a fellow lack a sense of honor,
• 1:54:38
  Speaker 8: he can use a sword.
• 1:54:40
  Speaker 1: Theodora, wounded and humiliated in the protection Earnest seems to offer,
• 1:54:45
  Speaker 1: Don Julian.
• 1:54:47
  Speaker 8: My husband is not lacking in courage fatality. Again, either
• 1:54:52
  Speaker 8: I have expressed myself ill or you do not understand me.
• 1:54:57
  Speaker 8: I know his worth. But when a desperate injury lies
• 1:55:01
  Speaker 8: between men of courage, who knows what may happen? Which
• 1:55:05
  Speaker 8: of them may fall? And which may kill? And if
• 1:55:10
  Speaker 8: this man's sword must strike don Julian or Earnest, can
• 1:55:14
  Speaker 8: you doubt which it ought to be?
• 1:55:16
  Speaker 1: Questions her with sense sincerity.
• 1:55:20
  Speaker 2: You, Oh, no, not that either.
• 1:55:23
  Speaker 8: Why if it is my fate? Nobody loses by my
• 1:55:28
  Speaker 8: death and I lose still less?
• 1:55:32
  Speaker 2: For Heaven's sake, do not say that?
• 1:55:35
  Speaker 1: Barely able to repress her sobs?
• 1:55:38
  Speaker 8: What do I leave behind me? Neither friendship nor strong love?
• 1:55:44
  Speaker 8: What woman is there to follow my corpse? Shedding a
• 1:55:47
  Speaker 8: lover's tears?
• 1:55:49
  Speaker 2: Last night I prayed for you, and you say that nobody.
• 1:55:53
  Speaker 2: I could not bear you to die.
• 1:55:55
  Speaker 8: Ah, we pray for anyone, We only weep.
• 1:56:01
  Speaker 2: Earnest.
• 1:56:03
  Speaker 1: Earnest terrified by his own words. What Theodora moving further
• 1:56:08
  Speaker 1: away nothing, Ernest also moving away and looking nervously down.
• 1:56:16
  Speaker 8: I told you a little while ago I was half mad.
• 1:56:20
  Speaker 8: Do not heed me.
• 1:56:22
  Speaker 1: Both remain silent and pensive at some distance, not looking
• 1:56:27
  Speaker 1: at each other. Theodora starting and glancing anxiously down the
• 1:56:32
  Speaker 1: stage again, Earnest following her movement.
• 1:56:37
  Speaker 8: Somebody has come.
• 1:56:40
  Speaker 2: They are trying to get in.
• 1:56:41
  Speaker 1: Earnest listening.
• 1:56:44
  Speaker 8: There can be no doubt of it. There Deodora points
• 1:56:48
  Speaker 8: to the bedroom door. My honor is my shield, but
• 1:56:52
  Speaker 8: it is not your husband.
• 1:56:54
  Speaker 1: Not Julian Earnest leading her to the door. No, I
• 1:57:00
  Speaker 1: hope detains him with an air of supplication.
• 1:57:04
  Speaker 2: Will you give up this duel?
• 1:57:06
  Speaker 8: Give it up? When I've struck him?
• 1:57:09
  Speaker 2: I didn't know that.
• 1:57:11
  Speaker 1: Despairingly but understands that nothing can be done.
• 1:57:15
  Speaker 2: Then fly, I fly for my sake, for his sake,
• 1:57:20
  Speaker 2: for God's sake.
• 1:57:22
  Speaker 8: You must loathe me to propose such a thing to me.
• 1:57:25
  Speaker 2: Never one word? Only are they coming for you?
• 1:57:29
  Speaker 3: Now?
• 1:57:30
  Speaker 8: It is not yet time.
• 1:57:33
  Speaker 2: Swear it to me?
• 1:57:34
  Speaker 8: Yes, theodora, and you say you don't hate me?
• 1:57:40
  Speaker 1: Never, Pepito outside.
• 1:57:43
  Speaker 8: Nothing, I must see him quickly.
• 1:57:47
  Speaker 1: Yes, hides in the bedroom. Pepito outside?
• 1:57:52
  Speaker 6: Why do you prevent me?
• 1:57:55
  Speaker 8: Ah? Calumny is working to make the light ruth scene eight.
• 1:58:01
  Speaker 1: Ernest and Pepito, without his hat, exhibiting strong excitement.
• 1:58:07
  Speaker 6: Go to the devil. I will go in, Ernest.
• 1:58:12
  Speaker 8: What has happened?
• 1:58:13
  Speaker 6: I hardly know how to tell you, Yet I must speak.
• 1:58:18
  Speaker 6: My head is in a while Christ above, who would think.
• 1:58:22
  Speaker 8: Quickly a clear account of what has happened?
• 1:58:25
  Speaker 6: What has happened? A great misfortune? Don Julian heard of
• 1:58:29
  Speaker 6: the duel. He came here to look for you, and
• 1:58:32
  Speaker 6: you were out. He went away to find the Seconds
• 1:58:35
  Speaker 6: and marched them off to Nebraida's house. Nebraiders, how the
• 1:58:40
  Speaker 6: Lord send you sense Don Julian's way, of course, who
• 1:58:44
  Speaker 6: makes short work of convention and the will of others?
• 1:58:48
  Speaker 1: Go on, Pepito, going to the door.
• 1:58:52
  Speaker 6: They're coming. I believe who they that they're carrying. Don Julian,
• 1:58:58
  Speaker 6: you terrify me, explained at.
• 1:59:00
  Speaker 1: Once, catches his arm violently and drags him forward.
• 1:59:05
  Speaker 6: He compelled him to fight. There was no way out
• 1:59:08
  Speaker 6: of it. The Viscount cried very well. Between us two,
• 1:59:13
  Speaker 6: it was settled it should take place here. Don Julian
• 1:59:17
  Speaker 6: came upstairs. Your servants sent him away, protesting you were
• 1:59:21
  Speaker 6: engaged with a lady, and swearing nobody could enter. And
• 1:59:25
  Speaker 6: then Don Julian went downstairs, muttering better so I have
• 1:59:29
  Speaker 6: the better day's work for myself, and he my father,
• 1:59:33
  Speaker 6: an a braider, and the Seconds came back together and
• 1:59:36
  Speaker 6: went upstairs. They fought furiously, as men fight when their
• 1:59:42
  Speaker 6: intent is deadly and their enemy's heart is within reach
• 1:59:45
  Speaker 6: of the sword's point. And Aunt Julien no it must
• 1:59:50
  Speaker 6: be a lie here they are silence. Tell me who
• 1:59:55
  Speaker 6: it is, but speak softly.
• 1:59:58
  Speaker 1: There, ain't it Don Juli, Don Severo and Rueda. The
• 2:00:03
  Speaker 1: two men support Don Julian, who is badly wounded.
• 2:00:07
  Speaker 8: Heaven preserve us.
• 2:00:10
  Speaker 1: Scene nine, Ernest, Pepito, Don Julian, Don Severo and Rueda.
• 2:00:16
  Speaker 8: Don Julien my friend, my father, my benefactor.
• 2:00:22
  Speaker 1: Hurries excitedly toward him and speaks brokenly.
• 2:00:26
  Speaker 5: Ernest, Oh, ratged, I quick, come away, father, he is
• 2:00:34
  Speaker 5: fainting with pain.
• 2:00:36
  Speaker 8: For my sake, it is not so through me.
• 2:00:42
  Speaker 1: Pardon takes Don Julian's hand and bends on one knee
• 2:00:46
  Speaker 1: before him.
• 2:00:47
  Speaker 3: No need to ask, lad, you did your duty and
• 2:00:51
  Speaker 3: I did mine.
• 2:00:53
  Speaker 1: A couch loosens his hold of Don Julian, and Pepito
• 2:00:58
  Speaker 1: takes his place. Pepito pointing to the bedroom.
• 2:01:02
  Speaker 6: Let us carry him in there.
• 2:01:05
  Speaker 1: Ernest shouting terribly.
• 2:01:07
  Speaker 5: No breada, Let there be an end to folly. Is
• 2:01:11
  Speaker 5: it your intention to kill him? Out right?
• 2:01:15
  Speaker 8: Folly? Oh, we'll see I have two two A hang
• 2:01:19
  Speaker 8: now it is my right.
• 2:01:22
  Speaker 1: Rushes down the stage. Severo moving to the right.
• 2:01:26
  Speaker 5: We'll take him into your room and lay him on
• 2:01:29
  Speaker 5: the bed.
• 2:01:30
  Speaker 1: Ernest wheels round in terror where in here yes No
• 2:01:38
  Speaker 1: strides back and stands before the door. The group are
• 2:01:41
  Speaker 1: on the point of lifting don Julian desist and stare
• 2:01:45
  Speaker 1: at Ernest in indignant surprise.
• 2:01:48
  Speaker 5: You forbid it?
• 2:01:50
  Speaker 6: Are you mad?
• 2:01:52
  Speaker 5: Back? Can't you see? He's dying?
• 2:01:55
  Speaker 3: What is it? He doesn't wish.
• 2:01:58
  Speaker 1: It raises him saf Elphant looks at Ernest in distrust
• 2:02:02
  Speaker 1: and fear.
• 2:02:03
  Speaker 4: I don't understand it.
• 2:02:05
  Speaker 8: No, I he is dying, and implores me and doubts me.
• 2:02:12
  Speaker 1: Father, come, we must, pushes open the door above Ernest's shoulder.
• 2:02:19
  Speaker 1: Theodora is discovered.
• 2:02:22
  Speaker 8: My god, she.
• 2:02:26
  Speaker 1: A woman, Theodora, coming forward to her husband and embracing him.
• 2:02:32
  Speaker 2: Julian, who is it, pushes.
• 2:02:36
  Speaker 1: Her away to stare at her, drags himself to his
• 2:02:39
  Speaker 1: feet with a violent effort, and shakes himself free of
• 2:02:42
  Speaker 1: all aid. Gadra falls lifeless to the ground. End of
• 2:02:50
  Speaker 1: Act two, Act three of The Great Gallioto by jose
• 2:03:00
  Speaker 1: Echigeraii Zahire, translated by Hannah Lynch. This is a LibriVox recording.
• 2:03:07
  Speaker 1: All LibriVox recordings are in the public domain. For more
• 2:03:10
  Speaker 1: information or to volunteer, please visit LibriVox dot org. Act three,
• 2:03:17
  Speaker 1: the same decoration as first act. An armchair instead of
• 2:03:21
  Speaker 1: a sofa. It is night. A lighted lamp stands on
• 2:03:25
  Speaker 1: the table. Scene one. Pepito listening at the door on
• 2:03:30
  Speaker 1: the right, then comes back into the middle of the stage.
• 2:03:34
  Speaker 6: The crisis is pasted at last. I hear nothing, poor
• 2:03:39
  Speaker 6: Don Julian. He's in a sad way. His life hangs
• 2:03:43
  Speaker 6: in the balance. On one side, death awaits him, and
• 2:03:47
  Speaker 6: on the other another death, that of the soul of honor,
• 2:03:52
  Speaker 6: either a bit deeper than hopeless love the devil or
• 2:03:55
  Speaker 6: this tragedy is making me more sentimental than that fellow
• 2:03:59
  Speaker 6: with his play and verses. The tune of disaster, scandal, death,
• 2:04:05
  Speaker 6: treason and disgrace hums in my brain. By jove, what
• 2:04:10
  Speaker 6: a day and what a night, and the worst is
• 2:04:14
  Speaker 6: yet to come. Well, it certainly was madness to move
• 2:04:18
  Speaker 6: him in his condition, But when once my uncle gets
• 2:04:21
  Speaker 6: an idea into his head, there's no reasoning with him.
• 2:04:25
  Speaker 6: And after all he was right. No honorable man in
• 2:04:29
  Speaker 6: his place could have stayed. And he is a man
• 2:04:32
  Speaker 6: of spirit who is coming my mother.
• 2:04:36
  Speaker 1: I believe, yes, intend on Ya Mercedes. Scene two, Pepito
• 2:04:43
  Speaker 1: and don Ya Mercedes, where is severro.
• 2:04:47
  Speaker 6: He has not left my uncle for a moment. I
• 2:04:50
  Speaker 6: had no idea he was so attached to him. If
• 2:04:53
  Speaker 6: what I fear should happen, how is your uncle? He
• 2:04:57
  Speaker 6: suffers greatly, but says nothing. Sometimes he calls out tear
• 2:05:03
  Speaker 6: Dora in a low, harsh voice, and sometimes ernest. And
• 2:05:10
  Speaker 6: then he tugs violently at the sheets and lies quiet
• 2:05:13
  Speaker 6: again as a statue, staring vacantly into space. Now his
• 2:05:18
  Speaker 6: brow is bathed in the cold sweat of death, and
• 2:05:23
  Speaker 6: then fever seizes him. He sits up in bed, listens attentively,
• 2:05:28
  Speaker 6: and shouts that he and she are waiting for him,
• 2:05:31
  Speaker 6: and tries to jump out of bed to rush at them.
• 2:05:34
  Speaker 6: And all my father's entreaties and commands barely suffice to
• 2:05:38
  Speaker 6: restrain him or soothe him. There is no quieting him.
• 2:05:43
  Speaker 6: Anger raises hot through his veins, and thought is aflame.
• 2:05:48
  Speaker 6: It is shocking, mother to see the bitter way his
• 2:05:52
  Speaker 6: lips contract, and how his fingers close in a vice,
• 2:05:56
  Speaker 6: with head all wild, and pupils dilate, as though they
• 2:06:01
  Speaker 6: drank in with yearning and despair. Every shadow that floats
• 2:06:06
  Speaker 6: around the chamber.
• 2:06:08
  Speaker 4: How does your father bear it?
• 2:06:10
  Speaker 6: He groans, and breathes of vengeance. He too mutters the
• 2:06:15
  Speaker 6: names of Theodora and Earnest. I hope to God he
• 2:06:18
  Speaker 6: will not meet either, for if he should, small chance
• 2:06:22
  Speaker 6: there is of restraining his fury.
• 2:06:24
  Speaker 4: Your father is a good man.
• 2:06:27
  Speaker 6: Yes, but with a temper it.
• 2:06:30
  Speaker 4: Is not easily aroused. However, but when he has cause.
• 2:06:35
  Speaker 6: With all due respect, he's then a very fiery tiger.
• 2:06:39
  Speaker 4: Only when provoked.
• 2:06:41
  Speaker 6: I don't know about other occasions, but this time he
• 2:06:44
  Speaker 6: certainly has provocation enough. And Theodora, she is upstairs.
• 2:06:49
  Speaker 4: She wanted to come down and cried like.
• 2:06:51
  Speaker 6: A maudlin already repentant or erring.
• 2:06:56
  Speaker 4: Don't speak so unhappy girl. She is but a child.
• 2:07:01
  Speaker 6: Who innocent and candid, sweet and pure and meek kills
• 2:07:06
  Speaker 6: Don Julian. So that if I am to accept your
• 2:07:09
  Speaker 6: word and regard her as a child, and such is
• 2:07:12
  Speaker 6: her work on the edge of infancy, we may pray
• 2:07:15
  Speaker 6: God in his mercy, to guard us from her when
• 2:07:18
  Speaker 6: she shall have put on years.
• 2:07:21
  Speaker 4: She is hardly to be blamed. The infamy lies with
• 2:07:24
  Speaker 4: your fine friend, he of the dramas, the poet and dreamer.
• 2:07:29
  Speaker 4: He is who is the culprit.
• 2:07:31
  Speaker 6: I don't deny it.
• 2:07:33
  Speaker 4: Where is he?
• 2:07:34
  Speaker 6: Where is he at this moment, racing about the streets
• 2:07:37
  Speaker 6: and public places, flying from his conscience and unable to
• 2:07:42
  Speaker 6: get away from it.
• 2:07:43
  Speaker 4: He has a conscience, so it would.
• 2:07:46
  Speaker 6: Seem what a tragedy, a misfortune, such a deception, a
• 2:07:54
  Speaker 6: cruel one.
• 2:07:55
  Speaker 4: What shocking treason.
• 2:07:58
  Speaker 6: Unparalleled Julian Melancholy, Fate enter servant.
• 2:08:06
  Speaker 1: Scene three, Donia Mercedes, Pepito and Servant done.
• 2:08:11
  Speaker 6: Ernest, he dares this is too much. I thought you
• 2:08:17
  Speaker 6: had no business to think anything. He is only passing.
• 2:08:22
  Speaker 1: There is a cab waiting.
• 2:08:24
  Speaker 6: So what are we to do?
• 2:08:27
  Speaker 1: Let him come in, exit, Servant.
• 2:08:31
  Speaker 6: I'll give him his dismissal.
• 2:08:33
  Speaker 4: Do it cleverly.
• 2:08:35
  Speaker 1: Scene four, Donia Mercedes, Pepito and Ernest. Donia Mercedes seated
• 2:08:42
  Speaker 1: in the armchair, Pepito standing, and Earnest behind whom neither
• 2:08:47
  Speaker 1: salute nor look at Ernest.
• 2:08:50
  Speaker 8: Beside, hostile silence, anger and contempt. Through no fault of
• 2:08:57
  Speaker 8: my own, I now appear to them a prodigy of
• 2:09:01
  Speaker 8: evil and insolence. And they all despise me.
• 2:09:07
  Speaker 6: Listen to me.
• 2:09:07
  Speaker 1: Ernest turns round to him and speaks in a hard voice.
• 2:09:12
  Speaker 8: Well, I have to tell you to go away.
• 2:09:16
  Speaker 1: Perhaps, Pepito changing his tone.
• 2:09:20
  Speaker 6: Good heavens, what a notion. I only wanted to ask
• 2:09:23
  Speaker 6: you if it is true that you afterwards the viscount you.
• 2:09:30
  Speaker 1: Know, Ernest gloomily looking.
• 2:09:33
  Speaker 6: Away, Yes, how did it happen?
• 2:09:38
  Speaker 8: I ran downstairs half mad? I found them. We went
• 2:09:45
  Speaker 8: upstairs again, locked the door. Two men, two witnesses, two swords,
• 2:09:56
  Speaker 8: and afterwards I hardly know happened. Swords clashed, there was
• 2:10:03
  Speaker 8: a cry, a thrust, blood spouted, an assassin stood, and
• 2:10:11
  Speaker 8: a man lay stretched on the ground.
• 2:10:14
  Speaker 6: The devil sharp work. Did you hear? Mother?
• 2:10:18
  Speaker 4: More bloodshed?
• 2:10:20
  Speaker 6: The brater deserved it?
• 2:10:23
  Speaker 8: Ernest approaching her Mercedes, for pity's sake, one word, don Julian,
• 2:10:31
  Speaker 8: how is he if you could know what my anguish is?
• 2:10:35
  Speaker 8: My sorrow? What do they say that.
• 2:10:40
  Speaker 4: The wound since his removal is mortal and it would
• 2:10:43
  Speaker 4: be worse for him if you went near the bed
• 2:10:46
  Speaker 4: of suffering and death? Leave this house.
• 2:10:49
  Speaker 8: I must see him go instantly.
• 2:10:53
  Speaker 6: I will not what insolence Ernest to Pepito. It is befitting,
• 2:11:01
  Speaker 6: Turning respectfully to Mercedes.
• 2:11:04
  Speaker 8: Pardon me, madam, you see I am achieving the general
• 2:11:08
  Speaker 8: opinion of me for pity's sake, Earnest listen mercedes. When
• 2:11:15
  Speaker 8: a man such as I am is abused and for
• 2:11:19
  Speaker 8: no reason on earth, treated as a blagguard, and finds
• 2:11:23
  Speaker 8: himself snared with crime thrust upon him, tis indeed a
• 2:11:28
  Speaker 8: perilous case for others rather than for himself. I, in
• 2:11:35
  Speaker 8: this fierce struggle with miserable fate, have lost honor, friendship,
• 2:11:41
  Speaker 8: and love, and have now nothing more to lose but
• 2:11:45
  Speaker 8: the shabby shreds of an insipid and dreary existence. I
• 2:11:50
  Speaker 8: have come here solely to know if there is any hope,
• 2:11:54
  Speaker 8: only for that and then. But you cannot deny me
• 2:11:59
  Speaker 8: so slighter consolation, one word.
• 2:12:04
  Speaker 4: Very well, They say that he is better.
• 2:12:08
  Speaker 8: True, you are not deceiving me. You are sure, quite sure.
• 2:12:14
  Speaker 8: Oh you are merciful, you are kind. It is true,
• 2:12:18
  Speaker 8: quite true. May God spare him not his death, Let
• 2:12:24
  Speaker 8: him live and be happy once more. Let him forgive
• 2:12:28
  Speaker 8: me and embrace me once again. Only let me see him.
• 2:12:34
  Speaker 1: Falls into the arm chair beside the table, sobbing, and
• 2:12:37
  Speaker 1: covers his faith with his hands.
• 2:12:40
  Speaker 4: If your father should hear, if he should come out, courage, Earnest,
• 2:12:46
  Speaker 4: be sensible.
• 2:12:48
  Speaker 1: Donia mercedes, and pepito endeavor to screen earnest.
• 2:12:52
  Speaker 6: These nervous creatures are terrible. They sob and kill in
• 2:12:57
  Speaker 6: the same breath.
• 2:12:59
  Speaker 8: If you me crying whilst sobs, shake my throat in
• 2:13:03
  Speaker 8: an hysterical convulsion, and I seem as weak as a
• 2:13:07
  Speaker 8: child or a woman, believe me, it is not for myself,
• 2:13:13
  Speaker 8: but for him, for her, for their lost happiness, for
• 2:13:20
  Speaker 8: this indelible blot upon their name, for the affront I
• 2:13:25
  Speaker 8: am the cause of, in return for all their love
• 2:13:28
  Speaker 8: and kindness. It is not my fault but my utter misfortune.
• 2:13:35
  Speaker 8: That is why I weep. My God, if I could
• 2:13:40
  Speaker 8: wipe out this wretched past with tears, I would gladly
• 2:13:44
  Speaker 8: weep away my blood to the last drop silence.
• 2:13:47
  Speaker 6: I implore sir, we will discuss tears and sorrows another time.
• 2:13:53
  Speaker 8: If everybody else is discussing them to day, why should
• 2:13:57
  Speaker 8: we too not speak of them. The whole town is
• 2:14:00
  Speaker 8: astern on tiptoe with excitement. It has swallowed up, devoured,
• 2:14:05
  Speaker 8: and blighted three reputations, three names, three persons, and floated
• 2:14:10
  Speaker 8: them on the froth of laughter and a wave of
• 2:14:12
  Speaker 8: degrading chatter down the straits of human misery into the
• 2:14:16
  Speaker 8: social abysm of shame, where for every lie engulfed the
• 2:14:21
  Speaker 8: conscience and fame and future of the unfortunates.
• 2:14:26
  Speaker 6: Not so loud earnest, why since.
• 2:14:30
  Speaker 8: The others are not murmurs but voices that thunder through
• 2:14:33
  Speaker 8: the air. The tragic event is known all over the town,
• 2:14:37
  Speaker 8: and each one has his own way of telling it.
• 2:14:40
  Speaker 8: Wonderful everything is known except the truth tis fatality.
• 2:14:47
  Speaker 1: Donia, Mercedes and Pepito exhibit keen interest in hearing the reports.
• 2:14:54
  Speaker 8: Some say that Don Julian discovered Theodori in my rooms,
• 2:14:58
  Speaker 8: and that I attacked him in blind and fury and
• 2:15:00
  Speaker 8: killed him on the spot. Others, and these would seem
• 2:15:05
  Speaker 8: to be my friends, since they raised me from the
• 2:15:08
  Speaker 8: rank of vulgar assassin to the noble level of duellist,
• 2:15:12
  Speaker 8: although that we fought loyally like gentlemen. And there are
• 2:15:16
  Speaker 8: others again who have the tail more accurately and recount
• 2:15:21
  Speaker 8: how Don Julian took my place in the arranged meeting
• 2:15:23
  Speaker 8: with Nebrada. That I arrived late on the scene, either
• 2:15:28
  Speaker 8: from design or fear, or because I was in the arms.
• 2:15:32
  Speaker 8: But no, it would burn my lips to give this
• 2:15:36
  Speaker 8: version the thought of it sets my brain on fire.
• 2:15:40
  Speaker 8: Seek the basest, the vilest, that which most blackens, the
• 2:15:44
  Speaker 8: filth of the mind, the mire of the soul, the
• 2:15:47
  Speaker 8: dross of deraded consciences. Cast it to the wind as
• 2:15:51
  Speaker 8: it whistled along the streets upon me, smattering tongues. And
• 2:15:55
  Speaker 8: you will have the tail, and may see what reputation
• 2:15:58
  Speaker 8: remains for an innocent woman and two honest men when
• 2:16:02
  Speaker 8: the town takes the jabbering about them.
• 2:16:05
  Speaker 4: It is said, I admit, but perhaps public opinion is
• 2:16:10
  Speaker 4: not altogether to blame.
• 2:16:12
  Speaker 6: Theodora did go to your rooms.
• 2:16:14
  Speaker 8: She was there to prevent the duel with Nebrada.
• 2:16:19
  Speaker 6: Then why did she hide herself?
• 2:16:21
  Speaker 8: Because we feared her presence would be misconstrued.
• 2:16:25
  Speaker 6: The explanation is easy and simple. The difficult thing, earnest,
• 2:16:30
  Speaker 6: is to get us to believe it. For there is another,
• 2:16:33
  Speaker 6: still more easy and simple.
• 2:16:35
  Speaker 8: Which dishonors more. And that's the beauty of it.
• 2:16:39
  Speaker 6: Well, at least admit that Theodora was giddy, if not
• 2:16:43
  Speaker 6: really culpable.
• 2:16:45
  Speaker 8: Guilt is prudent and cautious. On the other hand, how
• 2:16:50
  Speaker 8: imprudent is innocence?
• 2:16:52
  Speaker 6: Look here, If your rule holds good for everybody, the
• 2:16:55
  Speaker 6: worst of us is an angel or a saint? You
• 2:16:59
  Speaker 6: are right?
• 2:17:01
  Speaker 8: What does it matter? What is the weight or value
• 2:17:04
  Speaker 8: of such calumny? The worst of it is that thought
• 2:17:09
  Speaker 8: is degraded by mean contact with a mean idea. From
• 2:17:15
  Speaker 8: force of dwelling upon a crime, the conscience becomes familiar
• 2:17:19
  Speaker 8: with it. It shows itself terrible and repellent. But it
• 2:17:23
  Speaker 8: shows itself at night in dark solitude.
• 2:17:29
  Speaker 1: Yes, aside, But what why are they.
• 2:17:33
  Speaker 8: Listening to me so strangely? Almost in suspense? I am myself.
• 2:17:40
  Speaker 8: My name is an honorable one. If I killed Nevroda
• 2:17:44
  Speaker 8: solely because of a lie? What would I not do
• 2:17:47
  Speaker 8: to myself? If guilt threatened to give the truth to
• 2:17:50
  Speaker 8: calumny Pepito?
• 2:17:52
  Speaker 1: Aside to Mercedes.
• 2:17:54
  Speaker 6: He denied it. Why it is as clear as daylight
• 2:18:00
  Speaker 6: he is wondering. Tis only his confession he's making.
• 2:18:05
  Speaker 4: That will do Earnest go?
• 2:18:07
  Speaker 8: Now impossible? Madam? I should go mad if I had
• 2:18:11
  Speaker 8: to spend a night away from this sick room, out
• 2:18:14
  Speaker 8: of my mind.
• 2:18:16
  Speaker 4: But if Severo came and found you.
• 2:18:19
  Speaker 8: What do I care? He is a loyal gentleman. Better
• 2:18:23
  Speaker 8: still let him come. We fly from fear, and only
• 2:18:27
  Speaker 8: the guilty are afraid. Nothing will make me run away
• 2:18:31
  Speaker 8: or acknowledge fear.
• 2:18:33
  Speaker 1: Pepito listening.
• 2:18:35
  Speaker 6: Somebody is coming, is it he?
• 2:18:39
  Speaker 1: Pepito going down the stage?
• 2:18:41
  Speaker 8: No tis Theodora, Theodora, Theodora. I want to see her earnest. Yes,
• 2:18:50
  Speaker 8: I must ask her to forgive me.
• 2:18:52
  Speaker 4: You don't remember.
• 2:18:54
  Speaker 8: I remember everything and understand we two together. Ah. No enough,
• 2:19:03
  Speaker 8: you need not fear for her. When I shed my blood,
• 2:19:07
  Speaker 8: lay down my life, sacrifice my future, honor all but
• 2:19:12
  Speaker 8: see her never tis no longer possible. The mist of
• 2:19:17
  Speaker 8: blood has risen between us.
• 2:19:19
  Speaker 1: Goes out on the lift. Scene five, Donia Mercedes and Pepito.
• 2:19:26
  Speaker 4: Leave me alone with her. Go inside to your father.
• 2:19:29
  Speaker 4: I want to see into her heart and shall be
• 2:19:32
  Speaker 4: able to probe its depth with my tongue.
• 2:19:35
  Speaker 6: Then I will leave you together. Good bye, good bye.
• 2:19:40
  Speaker 1: Goes out on the right now to put my plan
• 2:19:44
  Speaker 1: into work. Scene six, Theodora and Donia mercedes. Theodora enters
• 2:19:51
  Speaker 1: timidly and stands near do Julian's door on the right,
• 2:19:55
  Speaker 1: listening anxiously and muffling her sobs with her handkerchief. Toyo, Dora,
• 2:20:03
  Speaker 1: it is you, advances to her courage.
• 2:20:07
  Speaker 4: What good does crying.
• 2:20:09
  Speaker 2: Do how is he?
• 2:20:11
  Speaker 3: Oh?
• 2:20:11
  Speaker 2: How is he? The truth?
• 2:20:13
  Speaker 4: Much better?
• 2:20:15
  Speaker 2: Will he recover?
• 2:20:17
  Speaker 4: I think so, My God, my life for his.
• 2:20:22
  Speaker 1: Mercedes draws her affectionately forward.
• 2:20:25
  Speaker 4: And then I have faith in your good sense. I
• 2:20:29
  Speaker 4: can measure your remorse by your tears and anxiety.
• 2:20:34
  Speaker 1: Yes, Donia Mercedes sits down with a satisfied ear.
• 2:20:39
  Speaker 2: I did wrong, I know in going to see him.
• 2:20:42
  Speaker 1: Donia Mercedes looks disappointed. The confession is no worse.
• 2:20:47
  Speaker 2: But last night you told me about the outrage and
• 2:20:49
  Speaker 2: the jewel. I was grateful for you doing so, although
• 2:20:53
  Speaker 2: I did not then suspect the harm you did me,
• 2:20:56
  Speaker 2: nor could I now explain it to you. Oh what
• 2:20:59
  Speaker 2: a night.
• 2:21:00
  Speaker 1: Crosses her hands and glances upward.
• 2:21:03
  Speaker 2: I have cried and raved, thinking of Julian's plight, of
• 2:21:07
  Speaker 2: the scandal, of the violent quarrel and the bloodshed, everything
• 2:21:12
  Speaker 2: passed before my eyes, and then poor Ernest dying, perhaps
• 2:21:17
  Speaker 2: for my sake. But why do you look at me
• 2:21:21
  Speaker 2: so strangely? There can be no harm in it, surely,
• 2:21:25
  Speaker 2: or are you unconvinced? And do you think as the rest?
• 2:21:28
  Speaker 4: Do I think your fear for that fellow's life altogether superfluous?
• 2:21:34
  Speaker 2: Why so skilled an antagonist. You have seen it, Julian.
• 2:21:40
  Speaker 4: Julian has been avenged. The man who killed him no
• 2:21:42
  Speaker 4: longer lives, so that you have been wasting your fears
• 2:21:46
  Speaker 4: and your tears. It was Ernest, Yes, earnest he met
• 2:21:52
  Speaker 4: the viscount face to.
• 2:21:54
  Speaker 1: Face, TiO daughter, unable to restrain herself.
• 2:22:00
  Speaker 4: Noble and brave, Toodorra, what do you mean?
• 2:22:05
  Speaker 3: Tell me?
• 2:22:06
  Speaker 4: I can read your thoughts my thought, yes, which you
• 2:22:13
  Speaker 4: know very well.
• 2:22:15
  Speaker 2: Have I no right to be glad because Julian is avenged?
• 2:22:19
  Speaker 2: Is that an impulse I could be expected to repress?
• 2:22:22
  Speaker 4: That was not your feeling.
• 2:22:25
  Speaker 2: You know so much more about it than I do.
• 2:22:28
  Speaker 4: Believe me, admiration is not far from love.
• 2:22:33
  Speaker 2: What do I admire? Dis youth's courage, his nobility?
• 2:22:39
  Speaker 4: Quite so? But that's the beginning.
• 2:22:42
  Speaker 2: What folly?
• 2:22:44
  Speaker 4: It is folly? But on your side you.
• 2:22:48
  Speaker 2: Persist, ever, this accursed idea. While it is with immense,
• 2:22:53
  Speaker 2: with infinite pity that I am filled for whom, for
• 2:22:57
  Speaker 2: whom else but Julian?
• 2:22:59
  Speaker 4: You ever learned, Tiodorra, that in a woman's heart, pity
• 2:23:03
  Speaker 4: and forgetfulness may mean one and the same thing.
• 2:23:08
  Speaker 2: I beseech you, Mercedes silence.
• 2:23:11
  Speaker 4: I wish to let light in upon the state of
• 2:23:13
  Speaker 4: your mind, to turn upon it the lamp of truth
• 2:23:17
  Speaker 4: lit by my experience.
• 2:23:20
  Speaker 2: I hear you, but while I listen, it seems no
• 2:23:24
  Speaker 2: longer a sister, a friend, a mother that speaks to me.
• 2:23:28
  Speaker 2: So hateful are your words, your lips seemed to speak
• 2:23:31
  Speaker 2: an inspiration of the devil's prompting. Why should you strive
• 2:23:35
  Speaker 2: to convince me that little by little I am ceasing
• 2:23:38
  Speaker 2: to love my husband, and that more and more I
• 2:23:41
  Speaker 2: am imbued with an impure tenderness, with a feeling that
• 2:23:44
  Speaker 2: burns and stains I who loved Julian as dearly as ever,
• 2:23:49
  Speaker 2: who would give the last drop of blood in my
• 2:23:52
  Speaker 2: body for a single breath of life for him, for
• 2:23:55
  Speaker 2: him from whom I am now.
• 2:23:57
  Speaker 1: Separated, points to his room.
• 2:24:00
  Speaker 2: Why I should like to go in there this moment.
• 2:24:03
  Speaker 2: If your husband did not buy my way and press
• 2:24:06
  Speaker 2: Julian once more in my arms, I would so inundate
• 2:24:09
  Speaker 2: him with my tears, and so close him round with
• 2:24:12
  Speaker 2: a passion of my love that its warmth would melt
• 2:24:15
  Speaker 2: his doubts, and his soul would respond to the fervor
• 2:24:18
  Speaker 2: of mine. But it is not because I adore my husband,
• 2:24:21
  Speaker 2: that I am bound to abhor the faithful and generous
• 2:24:23
  Speaker 2: friend who so nobly risked his life for me. And
• 2:24:27
  Speaker 2: if I don't hate him, is that a reason to
• 2:24:29
  Speaker 2: conclude that I love him? The world can think such things.
• 2:24:35
  Speaker 2: I hear, such strange stories, and such sad events have happened,
• 2:24:39
  Speaker 2: and calumny has so embittered me that I find myself
• 2:24:42
  Speaker 2: wondering if public opinion can be true in doubt of myself?
• 2:24:48
  Speaker 2: Can it be that I really am the victim of
• 2:24:50
  Speaker 2: a hideous passion, unconsciously influenced by it? And in some
• 2:24:56
  Speaker 2: sad and weak moment, shall I yield to the senses
• 2:24:59
  Speaker 2: and be subjugated by this tyrannous fire?
• 2:25:02
  Speaker 4: You are speaking the truth?
• 2:25:04
  Speaker 2: Can you doubt it?
• 2:25:06
  Speaker 4: You really do not love him?
• 2:25:09
  Speaker 2: Mercedes? What words have I that will convince you? At
• 2:25:14
  Speaker 2: another time such a question would drive the blood of
• 2:25:17
  Speaker 2: anger to my brow? And today you see I am
• 2:25:20
  Speaker 2: discussing with you whether I'm honest or not? Yes, am
• 2:25:24
  Speaker 2: I really so? To the depth of the soul, No,
• 2:25:29
  Speaker 2: to the endurance of this humiliation proves me worthy of it?
• 2:25:34
  Speaker 1: Hides her face in her hands and flings herself down
• 2:25:37
  Speaker 1: in the armchair.
• 2:25:39
  Speaker 4: Do not cry so to your doorra I believe in
• 2:25:42
  Speaker 4: you enough, no more tears. Let me but add one
• 2:25:47
  Speaker 4: more word, and there's an end to the matter. Ernest
• 2:25:50
  Speaker 4: is not what you believe him to be. He is
• 2:25:54
  Speaker 4: not worthy of your trust.
• 2:25:56
  Speaker 2: He is good, Mercedes, No, he is fond of Julian.
• 2:26:02
  Speaker 4: He would betray him again. My God, I no longer
• 2:26:07
  Speaker 4: accuse you of responding to his passion, but I only
• 2:26:11
  Speaker 4: assert I would warn you that he loves you.
• 2:26:16
  Speaker 1: Theodora rising in anger loves me.
• 2:26:21
  Speaker 4: It is known to everybody in this very room a
• 2:26:25
  Speaker 4: moment ago before Peppito and me. You understand no explain
• 2:26:30
  Speaker 4: at once what he openly confessed It. He made a
• 2:26:35
  Speaker 4: violent declaration, swore that he was ready to sacrifice life, honor,
• 2:26:40
  Speaker 4: soul and conscience for you. And when you came he
• 2:26:44
  Speaker 4: wanted to see you. He only yielded to the force
• 2:26:47
  Speaker 4: of my entreaties and went away. I tremble lest he
• 2:26:51
  Speaker 4: should meet severo and then counter lead to an explosion.
• 2:26:55
  Speaker 4: And you what have you to say now?
• 2:26:59
  Speaker 1: Theodora who has listened to Mercedes intently held in an
• 2:27:03
  Speaker 1: indefinable gloomy terror.
• 2:27:06
  Speaker 2: Heavens above, can it be true, and I who felt,
• 2:27:10
  Speaker 2: who professed so sincere an affection for him?
• 2:27:13
  Speaker 4: There you are on the point of crying again.
• 2:27:17
  Speaker 2: The heart has no tears for the manifold deceptions of
• 2:27:20
  Speaker 2: this miserable life, A lad so pure and finely natured,
• 2:27:25
  Speaker 2: and to see him now so debased and spotted, and
• 2:27:29
  Speaker 2: you say that he actually uttered those words. Here he earnest, Oh, oh,
• 2:27:35
  Speaker 2: Mercedes sent him away from this house.
• 2:27:39
  Speaker 4: Ah, that is what I wanted. Your energy consoles me.
• 2:27:45
  Speaker 1: With evidence of honest satisfaction.
• 2:27:48
  Speaker 4: Pardon me now, I fully believe.
• 2:27:51
  Speaker 1: You embraces her. And before no, the actress must strongly
• 2:27:58
  Speaker 1: accentuate this line.
• 2:28:00
  Speaker 4: Hush, he is coming back.
• 2:28:03
  Speaker 2: I will not see him. Tell him so, Julian expects.
• 2:28:07
  Speaker 1: Me goes to the right. Mercedes detaining her impossible.
• 2:28:14
  Speaker 4: You must know it. He will not heed my orders.
• 2:28:17
  Speaker 4: And now that I understand so fully how you feel
• 2:28:19
  Speaker 4: for him, I should be glad to have him suffer
• 2:28:22
  Speaker 4: at your hands the contempt he has already endured at mine.
• 2:28:26
  Speaker 2: Then leave me and.
• 2:28:28
  Speaker 8: To earnest Theodora.
• 2:28:32
  Speaker 1: Mercedes assigned to Theodora.
• 2:28:35
  Speaker 4: It is late, do you duty quickly? Allowed to earnest
• 2:28:40
  Speaker 4: the command you heard a little while ago from me,
• 2:28:43
  Speaker 4: you will receive again from Theodora's lips, and she is
• 2:28:47
  Speaker 4: the mistress of this house.
• 2:28:49
  Speaker 1: Theodora, in a low voice to Mercedes.
• 2:28:53
  Speaker 2: Don't go away.
• 2:28:55
  Speaker 4: Are you afraid?
• 2:28:56
  Speaker 2: I afraid? I am afraid of nothing.
• 2:29:00
  Speaker 1: Makes a sign for her to go exit. Donna mercedes.
• 2:29:04
  Speaker 1: On the right scene seven THEO Dora and Earnest.
• 2:29:11
  Speaker 8: The command was that I should go away.
• 2:29:15
  Speaker 1: Both remain silent, without looking at each other.
• 2:29:19
  Speaker 8: And you are you going to repeat it?
• 2:29:23
  Speaker 1: Theodora nods, but still does not look at him.
• 2:29:27
  Speaker 8: Have no fear, THEO Dora. I will respect and obey
• 2:29:30
  Speaker 8: your order. The others could not get me to obey them,
• 2:29:35
  Speaker 8: little as they may like to hear it, But nothing
• 2:29:38
  Speaker 8: you could say, even though you wound me from you,
• 2:29:42
  Speaker 8: I will endure anything.
• 2:29:45
  Speaker 2: I wound you.
• 2:29:47
  Speaker 1: No, Ernest, you cannot believe that still does not look
• 2:29:51
  Speaker 1: at him, is half vexed and afraid.
• 2:29:54
  Speaker 8: I do not believe it.
• 2:29:56
  Speaker 2: Adieu. I wish you all happiness.
• 2:30:00
  Speaker 8: Adieu.
• 2:30:00
  Speaker 1: Theodora remains waiting for a moment to see if she
• 2:30:05
  Speaker 1: will turn and offer him her hand, then walks down
• 2:30:08
  Speaker 1: the stage, turns back again and approaches her. Theodora shows
• 2:30:13
  Speaker 1: that She feels his movement and is distressed, but continues
• 2:30:17
  Speaker 1: to keep her face averted.
• 2:30:20
  Speaker 8: If with my death at this very instant, I could
• 2:30:23
  Speaker 8: blot out all the misery that lies to my account,
• 2:30:27
  Speaker 8: not through any fault of mine, but through an implacable fate,
• 2:30:32
  Speaker 8: I should not now be standing here alive. You may
• 2:30:36
  Speaker 8: believe it on the word of an honorable man. No
• 2:30:39
  Speaker 8: shadow of the past would remain, neither sighs nor pain
• 2:30:44
  Speaker 8: to remember, nor that sorrowful pallor of your face.
• 2:30:49
  Speaker 1: Theodora starts and glances at him in terror.
• 2:30:52
  Speaker 8: Nor the grieved fear of those eyes, nor sobs that
• 2:30:57
  Speaker 8: tear the throat, nor tears that line the cheek.
• 2:31:02
  Speaker 1: Theodora sobs aside, moving further away.
• 2:31:07
  Speaker 2: Mercedes was right, and I blind and thoughtless that I.
• 2:31:11
  Speaker 8: Was bid me good bye once for kindness's sake.
• 2:31:17
  Speaker 2: Good bye, Yes, and I forgive you all the injury
• 2:31:20
  Speaker 2: you have done us.
• 2:31:21
  Speaker 8: I Theodora, yes you, what a look? What a tone?
• 2:31:29
  Speaker 3: No more?
• 2:31:29
  Speaker 8: Earnest I beseech you, What have I done to deserve?
• 2:31:34
  Speaker 2: It is all over between us. Regard me as one
• 2:31:37
  Speaker 2: who no longer exists.
• 2:31:38
  Speaker 8: For you is this contempt? Go Go in this way, my.
• 2:31:46
  Speaker 2: Husband is dying in there, and I feel as if
• 2:31:49
  Speaker 2: I too were dying.
• 2:31:51
  Speaker 1: Staggers back and clutches the arm chair to keep from falling.
• 2:31:56
  Speaker 1: Theodora rushes forward to support her, till Dora, angrily drawing
• 2:32:02
  Speaker 1: herself away.
• 2:32:03
  Speaker 2: Don't touch me, ah, I breathe again, more.
• 2:32:07
  Speaker 1: Freely, tries to walk, staggers again weakly, and a second
• 2:32:12
  Speaker 1: time Ernest offers to assist her. She repulses him.
• 2:32:17
  Speaker 8: Why not, Theodora, your touch would soil me.
• 2:32:21
  Speaker 2: I soil you exactly.
• 2:32:25
  Speaker 5: I.
• 2:32:27
  Speaker 8: What does she mean? Almighty God? She also, Oh, it
• 2:32:33
  Speaker 8: is not possible. Oh, death is preferable to this. It
• 2:32:39
  Speaker 8: cannot be true. I am raving say it is not true.
• 2:32:43
  Speaker 8: Theodora only one word for justice, one word of pardon,
• 2:32:48
  Speaker 8: of pity, of consolation. Madam, I am resigned to go away,
• 2:32:54
  Speaker 8: never to see you again. Although it were to break
• 2:32:57
  Speaker 8: and mutilate and destroy my life, but it will at
• 2:33:01
  Speaker 8: least be bearable if I may carry into solitude your forgiveness,
• 2:33:06
  Speaker 8: your affection, your esteem, only your pity, then, so that
• 2:33:14
  Speaker 8: I still may think you believe me loyal and upright,
• 2:33:18
  Speaker 8: that I could not, that I have not degraded you
• 2:33:22
  Speaker 8: much less be capable of insulting you. I care nothing
• 2:33:26
  Speaker 8: about the world, and despise its affronts. Its passions inspire
• 2:33:31
  Speaker 8: me with the profoundest disdain, whether its mood be harsh
• 2:33:36
  Speaker 8: or cruel. However it may talk of me and of
• 2:33:39
  Speaker 8: what has happened, it will never think so ill of
• 2:33:42
  Speaker 8: me as I do of it. But you, the purest
• 2:33:48
  Speaker 8: dream of man's imagining, You for whom I would gladly
• 2:33:52
  Speaker 8: give not only my life but my right to heaven.
• 2:33:56
  Speaker 8: I a thousand times eagerly joyously you to suspect me
• 2:34:03
  Speaker 8: of treason, of hypocrisy. Oh this Theodora I cannot bear.
• 2:34:10
  Speaker 1: Deeply moved, speaks despairingly. Theodora, with increasing nervousness.
• 2:34:17
  Speaker 2: You have not understood me, Ernest. We must part, but
• 2:34:22
  Speaker 2: not like this quickly, for mercy's sake. Julian suffers points
• 2:34:28
  Speaker 2: to the sick room. I know it, then we should
• 2:34:32
  Speaker 2: not forget it.
• 2:34:33
  Speaker 8: No, but I also suffer.
• 2:34:37
  Speaker 2: You, Ernest.
• 2:34:38
  Speaker 8: Why through your contempt I feel none You have expressed it.
• 2:34:45
  Speaker 2: It was a lie.
• 2:34:47
  Speaker 8: No, not entirely so that our sufferings are not equal.
• 2:34:53
  Speaker 8: And this implacable strife he suffers as those on earth suffer,
• 2:34:58
  Speaker 8: I as the.
• 2:35:00
  Speaker 2: Hell spare me, Earnest. My head is on fire.
• 2:35:04
  Speaker 8: And my heart aches.
• 2:35:07
  Speaker 2: That will do Ernest? I entreat you to pity me.
• 2:35:10
  Speaker 8: That was all I asked of you. Mercy, yes, mercy,
• 2:35:18
  Speaker 8: But why should you claim it? What is it you
• 2:35:22
  Speaker 8: fear of? What are you thinking?
• 2:35:26
  Speaker 1: Approaches her?
• 2:35:28
  Speaker 2: Forgive me?
• 2:35:29
  Speaker 8: If I have offended you offended me? No, the truth?
• 2:35:34
  Speaker 8: That is what I crave, and I implore it. On
• 2:35:38
  Speaker 8: my knees. See Theodora, my eyes are wet.
• 2:35:43
  Speaker 1: Bends his knee before her and takes her hand. Don
• 2:35:47
  Speaker 1: Julian's door opens, and Don Severo stands staring at them.
• 2:35:52
  Speaker 1: Don Severro aside.
• 2:35:54
  Speaker 5: Miserable pair Don Severo.
• 2:35:59
  Speaker 1: Scene eight, Theodora, Ernest and Don Severro. Ernest stands apart
• 2:36:05
  Speaker 1: on the right. Don Severo places himself between him and Theodora.
• 2:36:11
  Speaker 1: Don Severro in a low voice of concentrated anger, so
• 2:36:15
  Speaker 1: that Don Julian may not hear.
• 2:36:18
  Speaker 5: I can find no word or epithet adequate to the
• 2:36:22
  Speaker 5: passion of contempt I would express, So I must be
• 2:36:28
  Speaker 5: content to call you a blackguard. Leave this house at once.
• 2:36:35
  Speaker 8: My respect for Theodora, for this house, and for the
• 2:36:40
  Speaker 8: sick man lying in yonder room, Sir compels me to
• 2:36:46
  Speaker 8: put my retort in silence.
• 2:36:49
  Speaker 1: Don Severo ironically, under the impression that Ernest is going.
• 2:36:55
  Speaker 5: It's the best thing you can do. Obey and hold
• 2:36:59
  Speaker 5: your tongue.
• 2:37:01
  Speaker 8: You have not understood me. I do not intend to obey.
• 2:37:06
  Speaker 8: You remain until Theodora commands me to go. I was
• 2:37:12
  Speaker 8: on the point of going away forever a moment ago,
• 2:37:16
  Speaker 8: but the almighty or the devil deterred me. Now you
• 2:37:20
  Speaker 8: come and order me out, And as if your insult
• 2:37:23
  Speaker 8: were an infernal message, it roots my heels to the
• 2:37:27
  Speaker 8: floor in revolt.
• 2:37:28
  Speaker 5: We'll see that there are servants to kick you out,
• 2:37:34
  Speaker 5: and sticks if necessary.
• 2:37:37
  Speaker 1: Try It approaches Don Severo with a threatening air. Tiodora
• 2:37:42
  Speaker 1: rushes between them. Ernest turns commandingly to don Severo.
• 2:37:49
  Speaker 2: You seem to forget that this is my house. As
• 2:37:51
  Speaker 2: long as my husband lives and is its owner, only
• 2:37:55
  Speaker 2: one of us two has the right to command.
• 2:37:57
  Speaker 1: Here softens to Earnest.
• 2:38:00
  Speaker 2: Not for him, but for my sake, because I am unhappy.
• 2:38:05
  Speaker 1: Ernest unable to contain his joy at hearing himself defended
• 2:38:09
  Speaker 1: my Theodora.
• 2:38:11
  Speaker 8: You wish it, Theodora, I beg it.
• 2:38:15
  Speaker 1: Earnest bows and turns away.
• 2:38:17
  Speaker 5: Your audacity confounds and shocks me as much, no, far more.
• 2:38:23
  Speaker 1: Than his strides menacingly towards her. Ernest turns swiftly round,
• 2:38:29
  Speaker 1: then makes a strong effort to control himself and moves
• 2:38:33
  Speaker 1: away again.
• 2:38:34
  Speaker 5: You dare to raise your head, wretched woman, and before
• 2:38:39
  Speaker 5: me too. Shame on you.
• 2:38:43
  Speaker 1: Ernest repeats previous movements and gestures, but this time more accentuated.
• 2:38:49
  Speaker 5: You so fearful and cowardly. Whereof you found the courage
• 2:38:55
  Speaker 5: to display this energy in his defense? How eloquence is passion?
• 2:39:02
  Speaker 1: Ernest stands looking back.
• 2:39:05
  Speaker 5: But you forget that before pitching him out, I had
• 2:39:10
  Speaker 5: the authority to forbid the door of this house to you,
• 2:39:14
  Speaker 5: who have stained its threshold with Julian's blood. Why have
• 2:39:20
  Speaker 5: you returned?
• 2:39:23
  Speaker 1: Seizes her brutally and drags her roughly toward himself.
• 2:39:27
  Speaker 8: No, I can't stand this. I cannot.
• 2:39:31
  Speaker 1: He thrusts himself between Severo and Teodora.
• 2:39:34
  Speaker 8: Off you scoundrel again again you have dared to return.
• 2:39:42
  Speaker 8: You insolently are frontier, Dora, I still live. What do
• 2:39:46
  Speaker 8: you expect me to do if not return and chastise
• 2:39:49
  Speaker 8: you and brand you as a coward? Me precisely. No,
• 2:39:56
  Speaker 8: he has brought it on himself. I have seen him
• 2:39:59
  Speaker 8: lift his hand in anger to you. You you.
• 2:40:04
  Speaker 1: So now seizes Don Severo violently.
• 2:40:08
  Speaker 5: You impudent puppy.
• 2:40:11
  Speaker 8: True, but I'll not release you. You loved and respected
• 2:40:15
  Speaker 8: your mother. I presume for that reason you must respect
• 2:40:19
  Speaker 8: Theodora and humbly bow before a sorrow so immense as hers.
• 2:40:25
  Speaker 8: This woman, Sir, is purer, more honest than the mother
• 2:40:29
  Speaker 8: of such a man as you. This to me, yes,
• 2:40:34
  Speaker 8: and I have not.
• 2:40:35
  Speaker 5: Yet done your life.
• 2:40:38
  Speaker 8: Oh my life, as much as you like.
• 2:40:42
  Speaker 1: But afterwards theodora endeavor is to part them, but he
• 2:40:46
  Speaker 1: pushes her gently away without releasing Don Severro.
• 2:40:51
  Speaker 8: You believe in a god, in a maker in hope, well,
• 2:40:57
  Speaker 8: then as you bend your knee before the altar that
• 2:41:00
  Speaker 8: god above, so will I compel you to kneel to Theodora.
• 2:41:05
  Speaker 8: And that instantly, Sir, down in the dust, for Mercy's sake,
• 2:41:11
  Speaker 8: to the ground.
• 2:41:13
  Speaker 1: Forces Don Severro to kneel.
• 2:41:16
  Speaker 5: Enough, Earnest a thousand thunders at her feet.
• 2:41:22
  Speaker 8: You, yes, I for her, for her, that.
• 2:41:29
  Speaker 2: Would do hush?
• 2:41:31
  Speaker 1: She points in terror to Don Julian's door. Ernest releases
• 2:41:35
  Speaker 1: Don Severo, who rises and moves backward. Theodora retreats and
• 2:41:40
  Speaker 1: forms with Ernest the group in the background. Scene nine, Theodora, Ernest,
• 2:41:47
  Speaker 1: Don Severo, afterwards, Don Julian and Donia Mercedes. Don Julian inside,
• 2:41:56
  Speaker 1: let me go, Mercedes inside.
• 2:42:00
  Speaker 3: No, you must not it is they, don't you hear them?
• 2:42:06
  Speaker 1: Theodora to Earnest, go Severro to.
• 2:42:11
  Speaker 8: Earnest avenged, I don't deny it.
• 2:42:16
  Speaker 1: Enter Don Julian, pale and dying, Leaning on Donia Mercedes's arm.
• 2:42:21
  Speaker 1: Don Severo stations himself on the right. Ernest and Theodora
• 2:42:26
  Speaker 1: remain in the background together.
• 2:42:30
  Speaker 3: Where are they going? Who detains them?
• 2:42:33
  Speaker 8: Here?
• 2:42:34
  Speaker 3: Away with you traitors?
• 2:42:37
  Speaker 1: Wants to rush at them, but strength fails him, and
• 2:42:41
  Speaker 1: his staggers back. Severro hurrying to his assistance.
• 2:42:46
  Speaker 5: No, no, Saverro, they deceived me.
• 2:42:52
  Speaker 3: They lied to me, the miserable pair.
• 2:42:56
  Speaker 1: While he speaks, Don Severro and Dona Mercedes lead him
• 2:43:00
  Speaker 1: to the armchair.
• 2:43:02
  Speaker 3: There. Look at them, both she and Earnest. Why are
• 2:43:08
  Speaker 3: they together?
• 2:43:10
  Speaker 1: Theodora and Earnest separating.
• 2:43:13
  Speaker 3: No, why don't they come to me? Theodora.
• 2:43:18
  Speaker 1: Theodora stretches out her arms but does not advance.
• 2:43:23
  Speaker 3: Julian, here in my arms.
• 2:43:28
  Speaker 1: Theodora runs forward and flings herself into Don Julian's arms,
• 2:43:32
  Speaker 1: who clasps her feverishly. To Don Severo, you see.
• 2:43:38
  Speaker 3: You see, I know well enough they are deceiving me.
• 2:43:43
  Speaker 3: I hold her thus in my arms. I crush and
• 2:43:48
  Speaker 3: subdue her. I might kill her so and tis only
• 2:43:54
  Speaker 3: what she deserves. But I look at her, I look
• 2:43:59
  Speaker 3: at her, and that I cannot.
• 2:44:02
  Speaker 1: Oh, Julian, Don Julian, pointing to Ernest.
• 2:44:07
  Speaker 3: And that fellow Sir I loved him. Silence and come hither.
• 2:44:15
  Speaker 1: Earnest approaches.
• 2:44:17
  Speaker 3: You see I am still her owner.
• 2:44:21
  Speaker 1: He holds Theodora more tightly clasped.
• 2:44:25
  Speaker 2: Yes, I am yours.
• 2:44:27
  Speaker 3: Drop pretense, don't lie.
• 2:44:31
  Speaker 1: Mercedes, striving to soothe him.
• 2:44:34
  Speaker 5: For pity's sake, Julian.
• 2:44:38
  Speaker 1: Don Julian to both. Peace, to Theodora.
• 2:44:43
  Speaker 3: I see through you. I know well that you love him.
• 2:44:49
  Speaker 1: Theodora and Ernest try to protest, but he will not
• 2:44:53
  Speaker 1: let them. All.
• 2:44:54
  Speaker 3: Madrid knows it too. All Madrid, no, Father, No, they
• 2:45:02
  Speaker 3: deny it. They deny it. Why it is as clear
• 2:45:06
  Speaker 3: as noonday. Why I feel it in every fiber by
• 2:45:12
  Speaker 3: the beat of fevered pulse by the consuming flame of
• 2:45:18
  Speaker 3: inward illumination.
• 2:45:21
  Speaker 8: It is the fever of your blood and the delirium
• 2:45:24
  Speaker 8: of bodily weakness that feed the delusion.
• 2:45:27
  Speaker 3: Listen to me, sir, to hear how well you.
• 2:45:32
  Speaker 1: Can lie, Ernest pointing to Theodora.
• 2:45:36
  Speaker 8: She is innocent, But I do not believe you, Sir,
• 2:45:43
  Speaker 8: by my father's memory.
• 2:45:45
  Speaker 3: Don't insult his name in memory.
• 2:45:49
  Speaker 8: By my mother's last kiss.
• 2:45:52
  Speaker 3: That kiss has long since been wiped from your brow.
• 2:45:57
  Speaker 8: What then, do you want, father? I will swear by
• 2:46:00
  Speaker 8: anything you wish, Oh, my father.
• 2:46:04
  Speaker 3: No oaths or protests or deceitful words.
• 2:46:10
  Speaker 8: Then what only tell me?
• 2:46:12
  Speaker 2: Yes, what Julian deeds?
• 2:46:16
  Speaker 8: What does he wish to Theodora? What does he ask
• 2:46:19
  Speaker 8: of us?
• 2:46:20
  Speaker 2: I don't know. Oh, what are we to do? Ernest?
• 2:46:25
  Speaker 1: Don Julian watching them in feverish distrust.
• 2:46:29
  Speaker 3: Ah, you would even deceive me to my face. You
• 2:46:33
  Speaker 3: are plotting together, wretched traders. I see it.
• 2:46:38
  Speaker 8: It is fever that misleads you, not the testimony of
• 2:46:41
  Speaker 8: your eyes.
• 2:46:43
  Speaker 3: Fever. Yes, And since fever is fire, it has burnt
• 2:46:48
  Speaker 3: away the bandage with which before you too had blinded me.
• 2:46:53
  Speaker 3: And at last I see you for what you are
• 2:46:57
  Speaker 3: and now, But why these glances at one another? Why traders,
• 2:47:04
  Speaker 3: why do your eyes gleam? So tell me, Earnest, there
• 2:47:09
  Speaker 3: are no tears in them, to make them shine? Come
• 2:47:14
  Speaker 3: nearer nearer to me.
• 2:47:18
  Speaker 1: Draws Earnest to him, bends his head, and then succeeds
• 2:47:22
  Speaker 1: in thrusting him upon his knees. Nance Theodora is on
• 2:47:26
  Speaker 1: one side of Don Julian, and Earnest at his feet.
• 2:47:30
  Speaker 1: Don Julian passes his hand across the young man's eyes.
• 2:47:34
  Speaker 3: You see no tears, they are quite dry.
• 2:47:40
  Speaker 8: Forgive me, forgive me, you.
• 2:47:45
  Speaker 3: Ask my forgiveness. Then you acknowledge your sin.
• 2:47:51
  Speaker 8: No, yes, I say it is not so.
• 2:47:56
  Speaker 3: Then here before me, look at her.
• 2:48:00
  Speaker 5: Julian, Sir.
• 2:48:03
  Speaker 1: Don Julian to Theodora and Earnest.
• 2:48:07
  Speaker 3: Perhaps you are afraid, So it is not like a
• 2:48:11
  Speaker 3: brother that you cherish her. If so prove it, let
• 2:48:17
  Speaker 3: me see what sort of light shines in your eyes
• 2:48:21
  Speaker 3: as they meet, whether to my close inspection, the rays, dark,
• 2:48:28
  Speaker 3: passion's flame or mild affection. Come here to Theodora. Both
• 2:48:36
  Speaker 3: so still Nearer.
• 2:48:39
  Speaker 1: Drinks Theodora until she stumbles, so that both faces are
• 2:48:43
  Speaker 1: compelled towards each other. Theodora frees herself with a violent effort.
• 2:48:49
  Speaker 4: Oh no.
• 2:48:51
  Speaker 1: Ernest also strives to free himself, but is held in
• 2:48:54
  Speaker 1: Don Julian's grasp.
• 2:48:56
  Speaker 3: I cannot you love one another. You can't deny it,
• 2:49:02
  Speaker 3: for I've seen it. To Earnest your life, yes, your blood.
• 2:49:10
  Speaker 1: All, Don Julian, forcing him to his knees.
• 2:49:14
  Speaker 3: Stay still, Julian, Ah, you defend him, You defend him.
• 2:49:22
  Speaker 5: Not for his sake in God's.
• 2:49:24
  Speaker 1: Name, Don Julian to Severro. Silence still holds Ernest down.
• 2:49:33
  Speaker 3: Bad friend, bad son, my father, disloyal traitor. No father,
• 2:49:42
  Speaker 3: Here is my shameful seal upon your cheek. To day
• 2:49:47
  Speaker 3: with my hand soon with steel, So.
• 2:49:52
  Speaker 1: With a supreme effort, strikes Ernest. Ernest jumps up with
• 2:49:57
  Speaker 1: a terrible cry and turns away, covering his face. Oh,
• 2:50:03
  Speaker 1: don Severo stretches out his hand to Ernest. Justice my
• 2:50:09
  Speaker 1: God hides her face in both hands and drops on chair. Mercedes,
• 2:50:15
  Speaker 1: turning to Ernest to exculpate. Don Julian, it was only delirium.
• 2:50:21
  Speaker 1: These four exclamations very hurried. A moment of stupor. Don
• 2:50:26
  Speaker 1: Julian stands still, staring at Ernest and Donia Mercedes and
• 2:50:30
  Speaker 1: Don Severo endeavored to calm him.
• 2:50:34
  Speaker 3: It was not delirium, It was chastisement. Heaven be praised.
• 2:50:40
  Speaker 3: What did you think, ungrateful boy?
• 2:50:44
  Speaker 8: That will do?
• 2:50:46
  Speaker 5: Come? Julian.
• 2:50:48
  Speaker 3: Yes, I am going.
• 2:50:51
  Speaker 1: Is led away with difficulty between Don Severro and Donia
• 2:50:54
  Speaker 1: Mercedes and stops to look back at Theodora and Earnest.
• 2:50:59
  Speaker 3: Quickro, look at them, the traders. It was only justice,
• 2:51:07
  Speaker 3: was it not? Say so? At least I believe it.
• 2:51:12
  Speaker 5: For God's sake, Julian, Well, at any rate, for mine.
• 2:51:18
  Speaker 3: Yes, for yours, Savarrow, only for yours. You alone have
• 2:51:26
  Speaker 3: loved me.
• 2:51:27
  Speaker 1: Truly embraces him.
• 2:51:30
  Speaker 5: Yes, yes, it is so.
• 2:51:33
  Speaker 1: Don't Julian stops at the door and looks back again.
• 2:51:36
  Speaker 3: She is crying for him and does not follow me,
• 2:51:42
  Speaker 3: not even a look. She does not see that I
• 2:51:45
  Speaker 3: am dying, Yes, dying, Julian, Julian, don't.
• 2:51:53
  Speaker 1: Julian on the threshold.
• 2:51:55
  Speaker 3: Wait, wait, dishonor for dishonor good bye.
• 2:52:01
  Speaker 1: Ernest, excellant, Don Julian, don Severo, and Mercedes. Scene ten,
• 2:52:09
  Speaker 1: Theodora and Earnest. Ernest drops into a chair near the table.
• 2:52:15
  Speaker 1: Theodora remains standing on the right what.
• 2:52:19
  Speaker 8: Is the use of loyalty and what is the use
• 2:52:22
  Speaker 8: of innocence? Conscience grows dark. Pity my god, pity, pitiless destiny.
• 2:52:31
  Speaker 2: Oh most miserable fate, poor child, poor Ernest.
• 2:52:37
  Speaker 1: Both remain apart until now Don Severo in anguish from within.
• 2:52:43
  Speaker 5: My brother help quickly.
• 2:52:48
  Speaker 1: Ernest and Theodora move together.
• 2:52:51
  Speaker 2: They are crying.
• 2:52:52
  Speaker 8: He is dying.
• 2:52:54
  Speaker 2: Come at once where to him?
• 2:52:58
  Speaker 8: We cannot detains her?
• 2:53:01
  Speaker 2: Why not? I want him to.
• 2:53:03
  Speaker 8: Live and I but I cannot.
• 2:53:08
  Speaker 1: Points to Don Julian's room. Then I will rushes to
• 2:53:13
  Speaker 1: the door. Last scene, Theodora, Ernest, don Severo, and Pepito.
• 2:53:22
  Speaker 1: Ernest stands on the right in the middle of the stage,
• 2:53:25
  Speaker 1: Theodora near the door of Don Julian's room, Pepito and
• 2:53:29
  Speaker 1: behind him, Don Severo, by the way.
• 2:53:33
  Speaker 6: Where are you going?
• 2:53:34
  Speaker 2: I must see him.
• 2:53:36
  Speaker 6: It is impossible.
• 2:53:38
  Speaker 5: She cannot pass. This woman must not remain in my house.
• 2:53:44
  Speaker 5: Turn her out at once to Pepito, no compassion. This
• 2:53:51
  Speaker 5: very moment, what.
• 2:53:53
  Speaker 2: My mind is wandering though.
• 2:53:55
  Speaker 5: Your mother should stand in front of that woman, Peir Peter,
• 2:54:00
  Speaker 5: you have my orders, obey them, never mind her prayers
• 2:54:07
  Speaker 5: or supplications. If she should cry then let her.
• 2:54:12
  Speaker 1: Cry with concentrated fury.
• 2:54:15
  Speaker 5: Away with her away, else I might kill her. Julian orders, Yes, Julian,
• 2:54:25
  Speaker 5: her husband. It cannot be I must see him very well,
• 2:54:32
  Speaker 5: look at him once more, and then depart.
• 2:54:37
  Speaker 1: Pepito interfering, father don Severo pushing him away.
• 2:54:44
  Speaker 5: Stop, sir, it can't be true.
• 2:54:47
  Speaker 6: This is too horrible.
• 2:54:49
  Speaker 2: It is a lie.
• 2:54:51
  Speaker 5: Come Teodora, come and see, seizes her arm and leads her.
• 2:54:57
  Speaker 1: To the door. Oh wisp Chillian dead, staggers shudderingly back
• 2:55:04
  Speaker 1: and falls half senseless. Ernest covering his face. My father,
• 2:55:12
  Speaker 1: don Severro watches them rancorously to his.
• 2:55:15
  Speaker 5: Son, turn her out.
• 2:55:18
  Speaker 1: Ernest placing himself before Theodora. What cruelty, Pepito, doubting, Sir
• 2:55:27
  Speaker 1: Severro to.
• 2:55:28
  Speaker 5: Pepito, such are my orders? Do you doubt my word?
• 2:55:34
  Speaker 8: Peity?
• 2:55:36
  Speaker 1: Don Severo, pointing to the death chamber.
• 2:55:39
  Speaker 5: Yes, such pity, as she showed him.
• 2:55:43
  Speaker 8: Fire races through my veins. I will leave Spain, Sir.
• 2:55:48
  Speaker 5: It makes no difference.
• 2:55:51
  Speaker 8: She will die.
• 2:55:53
  Speaker 5: Life is short for the last time.
• 2:55:57
  Speaker 1: No more to his son, ring.
• 2:56:01
  Speaker 8: But I tell you she is innocent.
• 2:56:05
  Speaker 5: I swear it, father, that fellow lies.
• 2:56:10
  Speaker 8: You impel me with the current. Then I will not
• 2:56:13
  Speaker 8: struggle against it. I will go with it. I cannot
• 2:56:18
  Speaker 8: yet know what may be her.
• 2:56:20
  Speaker 1: Opinion, pointing to Theodora.
• 2:56:23
  Speaker 8: Of others and of your outrages. Her lips are silent,
• 2:56:28
  Speaker 8: mute her thoughts. But what I think of it all? Yes,
• 2:56:33
  Speaker 8: I will tell you.
• 2:56:35
  Speaker 5: It is useless. It won't prevent me.
• 2:56:38
  Speaker 1: From approaches Theodora. Peppito restraining him.
• 2:56:43
  Speaker 8: Father, Stay, let nobody touch this woman. She is mine.
• 2:56:52
  Speaker 8: The world has so desired it and its decision. I
• 2:56:55
  Speaker 8: accept it has driven her to my arms. Come Theodora.
• 2:57:02
  Speaker 1: He raises her and sustains her.
• 2:57:05
  Speaker 8: You cast her forth from here? We obey you.
• 2:57:09
  Speaker 5: At last, you blackguard.
• 2:57:13
  Speaker 8: Yes, now you are right. I will confess. Now do
• 2:57:20
  Speaker 8: you want passion? Then passion and delirium? Do you want love? Then?
• 2:57:27
  Speaker 5: Love?
• 2:57:28
  Speaker 8: Boundless love? Do you want more than?
• 2:57:32
  Speaker 6: More?
• 2:57:33
  Speaker 8: And more? Nothing daunts me? Yours the invention. I give
• 2:57:38
  Speaker 8: it shelter so you may tell the tale. It echoes
• 2:57:43
  Speaker 8: through all this heroic town. Or should any one ask
• 2:57:47
  Speaker 8: you who was the infamous intermediary in this infamy? You
• 2:57:51
  Speaker 8: will reply ourselves without being aware of it, and with
• 2:57:55
  Speaker 8: us the stupid chatter of busy bodies come. Theodora, my
• 2:58:01
  Speaker 8: mother's spirit, kisses your pure brow. Adieu all she belongs
• 2:58:08
  Speaker 8: to me, and let heaven choose its day to judge
• 2:58:12
  Speaker 8: between you and me.
• 2:58:15
  Speaker 1: Gathers Theodora into his embrace, with a glance of defiance
• 2:58:19
  Speaker 1: around curtain. End of Act three. End of the Great
• 2:58:27
  Speaker 1: Galliotto by jose Echegarayi Zaghire, translated by Hannah Lynch