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THE BLUE BIRD
A Fairy Play in Six Acts
By Maurice Maeterlinck
Translated By Alexander Teixeira De Mattos
CHARACTERS
CAST
TYLTYL MYTYL LIGHT THE FAIRY BÉRYLUNE NEIGHBOUR BERLINGOT DADDY TYL MUMMY TYL GAFFER TYL (Dead) GRANNY TYL (Dead) TYLTYL'S BROTHERS AND SISTERS (Dead) TIME NIGHT NEIGHBOUR BERLINGOT'S LITTLE DAUGHTER TYLÔ, THE DOG TYLETTE, THE CAT BREAD SUGAR FIRE WATER MILK THE WOLF THE PIG THE OX THE COW THE BULL THE SHEEP THE COCK THE RABBIT THE HORSE THE ASS THE OAK THE ELM THE BEECH THE LIME-TREE THE FIR-TREE THE CYPRESS THE BIRCH THE CHESTNUT-TREE THE IVY THE POPLAR THE WILLOW STARS, SICKNESSES, SHADES, LUXURIES, HAPPINESSES, JOYS, ETC.
TYLTYL MYTYL LIGHT THE FAIRY BÉRYLUNE NEIGHBOR BERLINGOT DADDY TYL MOMMY TYL GAFFER TYL (Dead) GRANNY TYL (Dead) TYLTYL'S BROTHERS AND SISTERS (Dead) TIME NIGHT NEIGHBOR BERLINGOT'S LITTLE DAUGHTER TYLÔ, THE DOG TYLETTE, THE CAT BREAD SUGAR FIRE WATER MILK THE WOLF THE PIG THE OX THE COW THE BULL THE SHEEP THE ROOSTER THE RABBIT THE HORSE THE DONKEY THE OAK THE ELM THE BEECH THE LIME TREE THE FIR TREE THE CYPRESS THE BIRCH THE CHESTNUT TREE THE IVY THE POPLAR THE WILLOW STARS, ILLNESSES, SHADES, LUXURIES, HAPPINESS, JOYS, ETC.
CONTENTS
TABLE OF CONTENTS
TRANSLATOR'S NOTE
A new act appears for the first time in this edition and is inserted as Act IV—Palace of Happiness. It has been specially written for the Christmas revival of The Blue Bird at the Haymarket Theatre, where it will take the place of the Forest Scene (Act III., Scene 2). In the printed version, however, the Forest Scene is retained; and in this and all later editions the play will consist of six acts instead of five.
A new act is appearing for the first time in this edition and is included as Act IV—Palace of Happiness. It has been specifically written for the Christmas revival of The Blue Bird at the Haymarket Theatre, where it will replace the Forest Scene (Act III., Scene 2). In the printed version, though, the Forest Scene is kept; and in this and all future editions, the play will consist of six acts instead of five.
ALEXANDER TEIXEIRA DE MATTOS. CHELSEA, 14 November, 1910.
ALEXANDER TEIXEIRA DE MATTOS. CHELSEA, 14 November, 1910.
COSTUMES
TYLTYL wears the dress of Hop o' my Thumb in Perrault's Tales. Scarlet knickerbockers, pale-blue jacket, white stockings, tan shoes.
TYLTYL wears the outfit of Hop o' my Thumb from Perrault's Tales. Red knickerbockers, light blue jacket, white stockings, tan shoes.
MYTYL is dressed like Gretel or Little Red Riding-hood.
MYTYL is dressed like Gretel or Little Red Riding Hood.
LIGHT.—The "moon-coloured" dress in Perrault's Peau d'âne; that is to say, pale gold shot with silver, shimmering gauzes, forming a sort of rays, etc. Neo-Grecian or Anglo-Grecian (à la Walter Crane) or even more or less Empire style: a high waist, bare arms, etc. Head-dress: a sort of diadem or even a light crown.
LIGHT.—The "moon-colored" dress in Perrault's Peau d'âne; that is to say, pale gold with silver tones, shimmering fabrics that create a kind of ray effect, etc. Neo-Grecian or Anglo-Grecian (à la Walter Crane) or even something resembling Empire style: a high waist, bare arms, etc. Headpiece: a kind of diadem or even a light crown.
THE FAIRY BÉRYLUNE and NEIGHBOUR BERLINGOT.—The traditional dress of the poor women in fairy-tales. If desired, the transformation of the Fairy into a princess in Act I may be omitted.
THE FAIRY BÉRYLUNE and NEIGHBOUR BERLINGOT.—The typical outfit of poor women in fairy tales. If preferred, the transformation of the Fairy into a princess in Act I can be skipped.
DADDY TYL, MUMMY TYL, GAFFER TYL and GRANNY TYL.—The traditional costume of the German wood-cutters and peasants in Grimm's Tales.
DADDY TYL, MUMMY TYL, GAFFER TYL, and GRANNY TYL.—The traditional outfits of German woodcutters and farmers in Grimm's Tales.
TYLTYL'S BROTHERS AND SISTERS.—Different forms of the Hop-o'-my-Thumb costume.
TYLTYL'S BROTHERS AND SISTERS.—Different styles of the Hop-o'-my-Thumb outfit.
TIME.—Traditional dress of Time: a wide black or dark-blue cloak, a streaming white beard, scythe and hour-glass.
TIME.—Traditional dress of Time: a wide black or dark-blue cloak, a flowing white beard, scythe, and hourglass.
NIGHT.—Ample black garments, covered with mysterious stars and "shot" with reddish-brown reflections. Veils, dark poppies, etc.
NIGHT.—Loose black clothing, adorned with mysterious stars and "tinged" with reddish-brown hues. Veils, dark poppies, etc.
THE NEIGHBOUR'S LITTLE GIRL.—Bright fair hair; a long white frock.
THE NEIGHBOR'S LITTLE GIRL.—Bright blonde hair; a long white dress.
THE DOG,—Red dress-coat, white breeches, top-boots, a shiny hat. The costume suggests that of John Bull.
THE DOG—Red dress coat, white pants, tall boots, a shiny hat. The outfit resembles that of John Bull.
THE CAT.—The costume of Puss In Boots: powdered wig, three-cornered hat, violet or sky-blue coat, dress-sword, etc.
THE CAT.—The outfit of Puss In Boots: powdered wig, tricorn hat, violet or sky-blue coat, dress sword, etc.
N.B.—The heads of the DOG and the CAT should be only discreetly animalised.
N.B.—The heads of the DOG and the CAT should be only subtly animal-like.
THE LUXURIES.—Before the transformation: wide, heavy mantles in red and yellow brocade; enormous fat jewels, etc. After the transformation: chocolate or coffee-coloured tights, giving the impression of unadorned dancing-jacks.
THE LUXURIES.—Before the transformation: wide, heavy capes in red and yellow brocade; large, bulky jewels, etc. After the transformation: chocolate or coffee-colored tights, creating the impression of simple, unadorned dancing figures.
THE HAPPINESSES OF THE HOME.—Dresses of various colours, or, if preferred, costumes of peasants, shepherds, wood-cutters and so on, but idealised and interpreted fairy-fashion.
THE HAPPINESS OF THE HOME.—Clothes in different colors, or, if you prefer, outfits of farmers, shepherds, lumberjacks, and so on, but in a whimsical, fairy-tale style.
THE GREAT JOYS.—As stated in the text, shimmering dresses in soft and subtle shades: rose-awakening, water's-smile, amber-dew, blue-of-dawn, etc.
THE GREAT JOYS.—As stated in the text, shimmering dresses in soft and subtle shades: rose-awakening, water's-smile, amber-dew, blue-of-dawn, etc.
MATERNAL LOVE.—Dress very similar to the dress worn by Light, that is to say, supple and almost transparent veils, as of a Greek statue, and, in so far as possible, white. Pearls and other stones as rich and numerous as may be desired, provided that they do not break the pure and candid harmony of the whole.
MATERNAL LOVE.—Wear a dress that closely resembles the one worn by Light, meaning soft and almost sheer fabrics, reminiscent of a Greek statue, and, as much as possible, in white. Adorn with pearls and other gems as lavish and abundant as desired, as long as they don't disturb the pure and serene harmony of the entire look.
BREAD.—A rich pasha's dress. An ample crimson silk or velvet gown. A huge turban. A scimitar. An enormous stomach, red and puffed-out cheeks.
BREAD.—A wealthy pasha's outfit. A wide crimson silk or velvet robe. A large turban. A scimitar. A big belly and red, puffed-out cheeks.
SUGAR.—A silk gown, cut like that of a eunuch in a seraglio, half blue and half white, to suggest the paper wrapper of a sugar-loaf. Eunuch's headdress.
SUGAR.—A silk gown, designed like that of a eunuch in a harem, half blue and half white, to resemble the paper wrapper of a sugar loaf. Eunuch's headdress.
FIRE.—Red tights, a vermilion cloak, with changing reflections, lined with gold. An aigrette of iridescent flames.
FIRE.—Red tights, a bright red cloak with shifting reflections, lined with gold. An ornament of shimmering flames.
WATER.—A pale-blue or bluish-green dress, with transparent reflections and effects of rippling or trickling gauze, Neo-Grecian or Anglo-Grecian style. but fuller and more voluminous than that of LIGHT. Head-dress of aquatic flowers and seaweed.
WATER.—A light blue or bluish-green dress, featuring sheer reflections and effects of flowing or trickling fabric, in a Neo-Grecian or Anglo-Grecian style, but more substantial and voluminous than that of LIGHT. Headpiece made of aquatic flowers and seaweed.
THE ANIMALS.—Popular or peasant costumes.
THE ANIMALS.—Popular or folk costumes.
THE TREES.—Dresses of different shades of green or the colour of the trunks of trees. Distinctive attributes in the shape of leaves or branches by which they can be recognised.
THE TREES.—Dresses in various shades of green or the color of tree trunks. Unique features in the shape of leaves or branches that help identify them.
SCENES
ACT I.—The Wood-cutter's Cottage. ACT II., Scene 1—At the Fairy's. Scene 2—The Land of Memory. ACT III., Scene 1—The Palace of Night. Scene 2—The Forest. ACT IV., Scene 1—Before the Curtain. Scene 2—The Palace of Happiness. ACT V., Scene 1—Before the Curtain. Scene 2—The Graveyard. Scene 3—The Kingdom of the Future. ACT VI., Scene 1—The Leave-taking. Scene 2—The Awakening.
ACT I.—The Wood-cutter's Cottage. ACT II., Scene 1—At the Fairy's. Scene 2—The Land of Memory. ACT III., Scene 1—The Palace of Night. Scene 2—The Forest. ACT IV., Scene 1—Before the Curtain. Scene 2—The Palace of Happiness. ACT V., Scene 1—Before the Curtain. Scene 2—The Graveyard. Scene 3—The Kingdom of the Future. ACT VI., Scene 1—The Farewell. Scene 2—The Awakening.
THE BLUE BIRD
ACT I. The Wood-cutter's Cottage
The stage represents the interior of a wood-cutter's cottage, simple and rustic in appearance, but in no way poverty-stricken. A recessed fireplace containing the dying embers of a wood-fire. Kitchen utensils, a cupboard, a bread-pan, a grandfather's clock, a spinning-wheel, a water-tap, etc. On a table, a lighted lamp. At the foot of the cupboard, on either side, a DOG and a CAT lie sleeping, rolled up, each with his nose in his tail. Between them stands a large blue-and-white sugar-loaf. On the wall hangs a round cage containing a turtle-dove. At the back, two windows, with closed inside shutters. Under one of the windows, a stool. On the left is the front door, with a big latch to it. On the right, another door. A ladder leads up to a loft. On the right also are two little children's cots, at the head of which are two chains, with clothes carefully folded on them. When the curtain rises, TYLTYL and MYTYL are sound asleep in their cots, MUMMY TYL tucks them in, leans over them, watches them for a moment as they sleep and beckons to DADDY TYL, who thrusts his head through the half-open door. MUMMY TYL lays a finger on her lips, to impose silence upon him, and then goes out to the right, on tiptoe, after first putting out the lamp. The scene remains in darkness for a moment. Then a light, gradually increasing in intensity, filters in through the shutters. The lamp on the table lights again of itself, but its light is of a different colour than when MUMMY TYL extinguished it. The two CHILDREN appear to wake and sit up in bed.
The stage shows the inside of a wood-cutter's cottage, simple and rustic but definitely not poor. There’s a recessed fireplace with fading embers from a wood fire. Kitchen utensils, a cupboard, a bread pan, a grandfather clock, a spinning wheel, a water tap, and more. On the table, a lit lamp. At the foot of the cupboard, on either side, a DOG and a CAT are curled up sleeping, each with their nose tucked into their tail. Between them stands a large blue-and-white sugar loaf. Hanging on the wall is a round cage with a turtle dove in it. At the back, there are two windows with closed inside shutters. Under one of the windows, a stool sits. To the left is the front door, which has a big latch. To the right, another door is visible. A ladder leads up to a loft. Also on the right, there are two small children's cots, each with two chains above them holding carefully folded clothes. As the curtain rises, TYLTYL and MYTYL are deep asleep in their cots. MUMMY TYL tucks them in, leans over to watch them sleep for a moment, and gestures to DADDY TYL, who pokes his head through the half-open door. MUMMY TYL puts her finger to her lips to shush him, then tiptoes out to the right after turning off the lamp. The scene is dark for a moment. Then, a light gradually brightens, streaming in through the shutters. The lamp on the table lights up again by itself, but its glow is a different color than when MUMMY TYL turned it off. The two CHILDREN seem to wake up and sit up in their beds.
TYLTYL Mytyl?
TYLTYL Mytyl?
MYTYL Tyltyl?
MYTYL Tyltyl?
TYLTYL Are you asleep?
TYLTYL Are you awake?
MYTYL Are you?...
MYTYL Are you there?
TYLTYL No; how can I be asleep when I'm talking to you?
TYLTYL No, how can I be asleep when I'm talking to you?
MYTYL Say, is this Christmas Day?...
MYTYL Say, is it Christmas Day?
TYLTYL Not yet; not till to-morrow. But Father Christmas won't bring us anything this year....
TYLTYL Not yet; not until tomorrow. But Santa Claus isn't going to bring us anything this year....
MYTYL Why not?
Why not?
TYLTYL I heard mummy say that she couldn't go to town to tell him ... But he will come next year....
TYLTYL I heard Mom say that she couldn't go to town to tell him ... But he will come next year....
MYTYL Is next year far off?...
MYTYL Is next year far away?...
TYLTYL A good long while.... But he will come to the rich children to-night....
TYLTYL A good long while.... But he will visit the wealthy kids tonight....
MYTYL Really?...
Seriously?
TYLTYL Hullo!... Mummy's forgotten to put out the lamp!... I've an idea!...
TYLTYL Hey!... Mom forgot to turn on the lamp!... I've got an idea!...
MYTYL What?...
MYTYL What?
TYLTYL Let's get up....
TYLTYL Let's get up...
MYTYL But we mustn't....
But we shouldn’t...
TYLTYL Why, there's no one about.... Do you see the shutters?...
TYLTYL Why, there's no one around.... Do you see the shutters?...
MYTYL Oh, how bright they are!...
MYTYL Oh, how bright they are!...
TYLTYL It's the lights of the party.
TYLTYL It's the party lights.
MYTYL What party?...
What party?
TYLTYL The rich children opposite. It's the Christmas-tree. Let's open the shutters....
TYLTYL The wealthy kids across the street. It's the Christmas tree. Let’s open the shutters....
MYTYL Can we?...
Can we?
TYLTYL Of course; there's no one to stop us.... Do you hear the music?... Let us get up....
TYLTYL Of course; there's no one to stop us.... Do you hear the music?... Let's get up....
(The two CHILDREN get up, run to one of the windows, climb on to the stool and throw back the shutters. A bright light fills the room. The CHILDREN look out greedily.)
(The two KIDS get up, run to one of the windows, climb onto the stool, and throw back the shutters. A bright light fills the room. The KIDS look out eagerly.)
TYLTYL We can see everything!...
TYLTYL We can see it all!
MYTYL (who can hardly find room on the stool) I can't....
MYTYL (who can hardly find room on the stool) I can't....
TYLTYL It's snowing!... There's two carriages, with six horses each!...
TYLTYL It's snowing!... There are two carriages, each pulled by six horses!...
MYTYL There are twelve little boys getting out!...
MYTYL There are twelve little boys getting out!...
TYLTYL How silly you are!... They're little girls....
TYLTYL How foolish you are!... They're just little girls....
MYTYL They've got knickerbockers....
MYTYL They've got shorts....
TYLTYL What do you know?... Don't push so!...
TYLTYL What do you know?... Don’t push so hard!...
MYTYL I never touched you.
I never touched you.
TYLTYL (who is taking up the whole stool) You're taking up all the room...
TYLTYL (who is taking up the whole stool) You’re taking up all the space...
MYTYL Why, I have no room at all!...
MYTYL Why, I don’t have any room at all!...
TYLTYL Do be quiet! I see the tree!...
TYLTYL Be quiet! I see the tree!...
MYTYL What tree?...
What tree?
TYLTYL Why, the Christmas-tree!... You're looking at the wall!...
TYLTYL Why, the Christmas tree!... You're staring at the wall!...
MYTYL I'm looking at the wall because I've got no room....
MYTYL I'm staring at the wall because I feel trapped....
TYLTYL (giving her a miserly little place on the stool) There!... Will that do?... Now you're better off than I!... I say, what lots and lots of lights!...
TYLTYL (giving her a meager little spot on the stool) There!... Will that work?... Now you're better off than I am!... Wow, look at all those lights!...
MYTYL What are those people doing who are making such a noise?...
MYTYL What are those people doing who are making so much noise?
TYLTYL They're the musicians.
TYLTYL They're the artists.
MYTYL Are they angry?...
MYTYL Are they mad?...
TYLTYL No; but it's hard work.
TYLTYL No, but it’s tough work.
MYTYL Another carriage with white horses!...
MYTYL Another carriage with white horses!...
TYLTYL Be quiet!... And look!...
TYLTYL Quiet!... And look!...
MYTYL What are those gold things there, hanging from the branches?
MYTYL What are those golden things hanging from the branches?
TYLTYL Why, toys, to be sure!... Swords, guns, soldiers, cannons....
TYLTYL Why, toys, definitely!... Swords, guns, soldiers, cannons....
MYTYL And dolls; say, are there any dolls?...
MYTYL And dolls; say, are there any dolls?...
TYLTYL Dolls?... That's too silly; there's no fun in dolls....
TYLTYL Dolls? That's just ridiculous; there's no enjoyment in dolls.
MYTYL And what's that all round the table?....
MYTYL And what's all that around the table?....
TYLTYL Cakes and fruit and tarts....
TYLTYL Cakes and fruit and tarts....
MYTYL I had some once when I was little....
MYTYL I had some once when I was little....
TYLTYL So did I; it's nicer than bread, but they don't give you enough....
TYLTYL So did I; it’s better than bread, but they don’t give you enough....
MYTYL They've got plenty over there.... The whole table's full.... Are they going to eat them?...
MYTYL They've got a ton over there.... The whole table's loaded.... Are they going to eat them?...
TYLTYL Of course; what else would they do with them?...
TYLTYL Of course; what else would they do with them?...
MYTYL Why don't they eat them at once?...
MYTYL Why don't they eat them right away?...
TYLTYL Because they're not hungry....
TYLTYL Because they aren't hungry....
MYTYL (stupefied with astonishment) Not hungry?... Why not?...
MYTYL (stunned with surprise) Not hungry?... Why not?...
TYLTYL Well, they eat whenever they want to....
TYLTYL Well, they eat whenever they feel like it....
MYTYL (incredulously) Every day?...
MYTYL (incredulously) Every single day?...
TYLTYL They say so....
TYLTYL They say so...
MYTYL Will they eat them all?... Will they give any away?...
MYTYL Will they eat them all?... Will they give any away?...
TYLTYL To whom?...
TYLTYL Who to?
MYTYL To us....
MYTYL To us....
TYLTYL They don't know us....
TYLTYL They don't know us....
MYTYL Suppose we asked them....
MYTYL What if we asked them....
TYLTYL We mustn't.
We can't.
MYTYL Why not?...
MYTYL Why not?...
TYLTYL Because it's not right.
TYLTYL Because it isn't right.
MYTYL (clapping her hands) Oh, how pretty they are!...
MYTYL (clapping her hands) Oh, how beautiful they are!...
TYLTYL (rapturously) And how they're laughing and laughing!...
TYLTYL (excitedly) And they’re just laughing and laughing!...
MYTYL And the little ones dancing!...
MYTYL And the little ones dancing!...
TYLTYL Yes, yes; let's dance too!... (They stamp their feet for joy on the stool.)
TYLTYL Yes, yes; let's dance too!... (They stomp their feet with joy on the stool.)
MYTYL Oh, what fun!...
Oh, what fun!...
TYLTYL They're getting the cakes!... They can touch them!... They're eating, they're eating, they're eating!...
TYLTYL They're bringing the cakes!... They can actually touch them!... They're eating, they're eating, they're eating!...
MYTYL The tiny ones, too!... They've got two, three, four apiece!...
MYTYL The little ones, too!... They've got two, three, four each!...
TYLTYL (drunk with delight) Oh, how lovely!... Oh, how lovely, how lovely!...
TYLTYL (drunk with delight) Oh, how beautiful!... Oh, how beautiful, how beautiful!...
MYTYL (counting imaginary cakes) I've got twelve!...
MYTYL (counting imaginary cakes) I have twelve!...
TYLTYL And I four times twelve!... But I'll give you some....
TYLTYL And I four times twelve!... But I'll give you some....
(A knock at the door of the cottage.)
(A knock at the cottage door.)
TYLTYL (suddenly quieted and frightened) What's that?...
TYLTYL (suddenly quiet and scared) What's that?...
MYTYL (scared) It's Daddy!...
MYTYL (scared) It's Dad!...
(As they hesitate before opening the door, the big latch is seen to rise of itself, with a grating noise; the door half opens to admit a little old woman dressed in green with a red hood on her head. She is humpbacked and lame and near-sighted; her nose and chin meet; and she walks bent on a stick. She is obviously a fairy.)
(As they pause before opening the door, the large latch lifts on its own with a grating sound; the door swings open slightly to let in a small old woman dressed in green with a red hood. She is hunched, limping, and has poor eyesight; her nose and chin touch, and she walks with a cane. It's clear that she is a fairy.)
THE FAIRY Have you the grass here that sings or the bird that is blue?...
THE FAIRY Do you have the grass that sings or the blue bird here?...
TYLTYL We have some grass, but it can't sing....
TYLTYL We have some grass, but it can't sing....
MYTYL Tyltyl has a bird.
MYTYL Tyltyl has a pet bird.
TYLTYL But I can't give it away....
TYLTYL But I can't give it away....
THE FAIRY Why not?...
THE FAIRY Why not?
TYLTYL Because it's mine.
Because it's mine.
THE FAIRY That's a reason, no doubt. Where is the bird?...
THE FAIRY That's definitely a reason. Where's the bird?
TYLTYL (pointing to the cage) In the cage....
TYLTYL (pointing to the cage) In the cage....
THE FAIRY (putting on her glasses to examine the bird) I don't want it; it's not blue enough. You will have to go and find me the one I want.
THE FAIRY (putting on her glasses to examine the bird) I don't want it; it's not blue enough. You'll need to go find me the one I want.
TYLTYL But I don't know where it is....
TYLTYL But I don't know where it is....
THE FAIRY No more do I. That's why you must look for it. I can do without the grass that sings, at a pinch; but I must absolutely have the blue bird. It's for my little girl, who is very ill.
THE FAIRY No more do I. That's why you need to search for it. I can manage without the singing grass if I have to, but I absolutely need the blue bird. It's for my little girl, who is very sick.
TYLTYL What's the matter with her?...
TYLTYL What's wrong with her?
THE FAIRY We don't quite know; she wants to be happy....
THE FAIRY We don’t really know; she wants to be happy...
TYLTYL Really?...
Seriously?
THE FAIRY Do you know who I am?...
THE FAIRY Do you know who I am?...
TYLTYL You're rather like our neighbour, Madame Berlingot....
TYLTYL You're kind of like our neighbor, Madame Berlingot....
THE FAIRY (growing suddenly angry) Not a bit!... There's not the least likeness!... This is intolerable!... I am the Fairy Bérylune....
THE FAIRY (growing suddenly angry) Not at all!... There's no resemblance whatsoever!... This is unacceptable!... I am the Fairy Bérylune....
TYLTYL Oh! Very well....
TYLTYL Oh! Sure...
THE FAIRY You will have to start at once.
THE FAIRY You need to get started right away.
TYLTYL Are you coming with us?
TYLTYL Are you coming with us?
THE FAIRY I can't, because I put on the soup this morning and it always boils over if I leave it for more than an hour.... (Pointing successively to the ceiling, the chimney and the window) Will you go out this way, or that way, or that way?...
THE FAIRY I can’t, because I put the soup on this morning and it always boils over if I leave it for more than an hour.... (Pointing successively to the ceiling, the chimney, and the window) Will you go out this way, or that way, or that way?...
TYLTYL (pointing timidly to the door) I would rather go out that way....
TYLTYL (pointing shyly to the door) I'd prefer to go out that way....
THE FAIRY (growing suddenly angry again) That's quite impossible; and it's a shocking habit!... (Pointing to the window) We'll go out this way.... Well?... What are you waiting for?... Get dressed at once.... (The CHILDREN do as they are told and dress quickly.) I'll help Mytyl....
THE FAIRY (growing suddenly angry again) That's totally impossible; and it's a terrible habit!... (Pointing to the window) We'll go out this way.... Well?... What are you waiting for?... Get dressed right now.... (The CHILDREN do as they're told and dress quickly.) I'll help Mytyl....
TYLTYL We have no shoes....
TYLTYL We have no shoes.
THE FAIRY That doesn't matter. I will give you a little magic hat. Where are your father and mother?....
THE FAIRY That doesn't matter. I’ll give you a little magic hat. Where are your dad and mom?....
TYLTYL (pointing to the door on the right) They're asleep in there....
TYLTYL (pointing to the door on the right) They're sleeping in there....
THE FAIRY And your grandpapa and grandmamma?...
THE FAIRY And your grandpa and grandma?...
TYLTYL They're dead....
TYLTYL They're gone....
THE FAIRY And your little brothers and sisters.... Have you any?...
THE FAIRY And your little siblings.... Do you have any?...
TYLTYL Oh, yes; three little brothers....
TYLTYL Oh, yeah; three little brothers....
MYTYL And four little sisters....
MYTYL and her four sisters...
THE FAIRY Where are they?...
THE FAIRY Where are they?
TYLTYL They are dead, too....
TYLTYL They're dead, too....
THE FAIRY Would you like to see them again?...
THE FAIRY Would you like to see them again?...
TYLTYL Oh, yes!... At once!... Show them to us!...
TYLTYL Oh, yes!... Right now!... Show them to us!...
THE FAIRY I haven't got them in my pocket.... But this is very lucky; you will see them when you go through the Land of Memory.... It's on the way to the Blue Bird, just on the left, past the third turning.... What were you doing when I knocked?...
THE FAIRY I don't have them in my pocket.... But this is great; you'll see them when you go through the Land of Memory.... It's on the way to the Blue Bird, just to the left, after the third turn.... What were you doing when I knocked?...
TYLTYL We were playing at eating cakes?...
TYLTYL We were pretending to eat cakes?...
THE FAIRY Have you any cakes?... Where are they?...
THE FAIRY Do you have any cakes?... Where are they?...
TYLTYL In the house of the rich children.... Come and look, it's so lovely. (He drags the FAIRY to the window.)
TYLTYL In the house of the wealthy kids.... Come and see, it's so beautiful. (He pulls the FAIRY to the window.)
THE FAIRY (at the window) But it's the others who are eating them!...
THE FAIRY (at the window) But it's the others who are eating them!...
TYLTYL Yes; but we can see them eat....
TYLTYL Yes; but we can see them eat....
THE FAIRY Aren't you cross with them?...
THE FAIRY Aren't you mad at them?...
TYLTYL What for?...
TYLTYL What for?...
THE FAIRY For eating all the cakes.... I think it's very wrong of them not to give you some....
THE FAIRY For eating all the cakes.... I think it's really unfair of them not to share any with you....
TYLTYL Not at all; they're rich.... I say, isn't it beautiful over there?...
TYLTYL Not at all; they're wealthy.... I mean, isn't it gorgeous over there?...
THE FAIRY It's no more beautiful there than here.
THE FAIRY It's no more beautiful there than it is here.
TYLTYL Ugh!... It's darker here and smaller and there are no cakes....
TYLTYL Ugh!... It's darker and smaller here, and there are no cakes....
THE FAIRY It's exactly the same, only you can't see....
THE FAIRY It's exactly the same, just that you can't see...
TYLTYL Yes, I can; and I have very good eyes. I can see the time on the church clock and daddy can't...
TYLTYL Yes, I can; and I have really good eyesight. I can see the time on the church clock and Dad can't...
THE FAIRY (suddenly angry) I tell you that you can't see!... How do you see me?... What do I look like?... (An awkward silence from TYLTYL.) Well, answer me, will you? I want to know if you can see!... Am I pretty or ugly?... (The silence grows more and more uncomfortable.) Won't you answer?... Am I young or old?... Are my cheeks pink or yellow?... Perhaps you'll say I have a hump?...
THE FAIRY (suddenly angry) I’m telling you that you can’t see!... How do you see me?... What do I look like?... (An awkward silence from TYLTYL.) Well, answer me, okay? I want to know if you can see!... Am I pretty or ugly?... (The silence grows more and more uncomfortable.) Won’t you answer?... Am I young or old?... Are my cheeks pink or yellow?... Maybe you’ll say I have a hump?...
TYLTYL (in a conciliatory tone) No, no; It's not a big one....
TYLTYL (in a conciliatory tone) No, no; it's not a big deal....
THE FAIRY Oh, yes, to look at you, any one would think it enormous.... Have I a hook nose and have I lost one of my eyes?...
THE FAIRY Oh, yes, looking at you, anyone would think it's huge.... Do I have a hooked nose and have I lost one of my eyes?...
TYLTYL Oh, no, I don't say that.... Who put it out?...
TYLTYL Oh, no, I'm not saying that.... Who turned it off?...
THE FAIRY (growing more and more irritated). But it's not out!... You wretched, impudent boy!... It's much finer than the other; it's bigger and brighter and blue as the sky.... And my hair, do you see that?... It's fair as the corn in the fields, it's like virgin gold!... And I've such heaps and heaps of it that it weighs my head down.... It escapes on every side.... Do you see it on my hands? (She holds out two lean wisps of grey hair.)
THE FAIRY (growing more and more irritated). But it’s not out!... You awful, cheeky boy!... It’s way nicer than the other; it’s bigger and brighter and as blue as the sky.... And my hair, do you see that?... It’s as fair as the corn in the fields, it’s like pure gold!... And I have so much of it that it weighs my head down.... It’s escaping in every direction.... Do you see it on my hands? (She holds out two lean wisps of grey hair.)
TYLTYL Yes, I see a little....
TYLTYL Yes, I see a little....
THE FAIRY (indignantly) A little!... Sheaves! Armfuls! Clusters! Waves of gold!... I know there are people who say that they don't see any; but you're not one of those wicked, blind people, I should hope?...
THE FAIRY (indignantly) A little!... Bundles! Armfuls! Clusters! Waves of gold!... I know some people say they don't see any; but I hope you're not one of those evil, blind people, right?...
TYLTYL Oh, no; I can see all that isn't hidden....
TYLTYL Oh, no; I can see everything that's not hidden....
THE FAIRY But you ought to see the rest with as little doubt!... Human beings are very odd!... Since the death of the fairies, they see nothing at all and they never suspect it.... Luckily, I always carry with me all that is wanted to give new light to dimmed eyes.... What am I taking out of my bag?...
THE FAIRY But you should see the rest without any doubt!... Humans are really strange!... Ever since the fairies died, they don’t see anything at all and they never even suspect it.... Fortunately, I always have what’s needed to bring new light to those who can’t see.... What am I pulling out of my bag?...
TYLTYL Oh, what a dear little green hat!... What's that shining in the cockade?...
TYLTYL Oh, what a cute little green hat!... What's that glowing in the cockade?...
THE FAIRY That's the big diamond that makes people see....
THE FAIRY That's the huge diamond that makes people see....
TYLTYL Really?...
TYLTYL Seriously?...
THE FAIRY Yes; when you've got the hat on your head, you turn the diamond a little; from right to left, for instance, like this; do you see?... Then it presses a bump which nobody knows of and which opens your eyes....
THE FAIRY Yes; once you've got the hat on, you just turn the diamond a bit; from right to left, like this; do you see?... Then it pushes a hidden bump that nobody knows about, and it opens your eyes....
TYLTYL Doesn't it hurt?...
TYLTYL Doesn't it hurt?
THE FAIRY On the contrary, it's enchanted.... You at once see even the inside of things: the soul of bread, of wine, of pepper, for instance....
THE FAIRY On the contrary, it's magical.... You can instantly see even the inner nature of things: the essence of bread, wine, pepper, for example....
MYTYL Can you see the soul of sugar, too?...
MYTYL Can you see the essence of sugar, too?...
THE FAIRY (suddenly cross) Of course you can!... I hate unnecessary questions.... The soul of sugar is no more interesting than the soul of pepper.... There, I give you all I have to help you in your search for the Blue Bird. I know that the flying carpet or the ring which makes its wearer invisible would be more useful to you.... But I have lost the key of the cupboard in which I locked them.... Oh, I was almost forgetting!... (Pointing to the diamond) When you hold it like this, do you see?... One little turn more and you behold the past.... Another little turn and you behold the future.... It's curious and practical and it's quite noiseless....
THE FAIRY (suddenly annoyed) Of course you can!... I can't stand unnecessary questions.... The essence of sugar is no more fascinating than the essence of pepper.... Here, I’m giving you everything I have to help you find the Blue Bird. I know that a flying carpet or a ring that makes you invisible would be more useful to you.... But I've lost the key to the cupboard where I kept them.... Oh, I almost forgot!... (Pointing to the diamond) When you hold it like this, do you see?... Just one little turn more and you can see the past.... Another little turn and you can see the future.... It's interesting and practical, and it's completely silent....
TYLTYL Daddy will take it from me....
TYLTYL Daddy will take it from me....
THE FAIRY He won't see it; no one can see it as long as it's on your head.... Will you try it?... (She puts the little green hat on TYLTYL'S head.) Now, turn the diamond.... One turn and then....
THE FAIRY He won't see it; no one can see it as long as it's on your head.... Will you try it?... (She puts the little green hat on TYLTYL'S head.) Now, turn the diamond.... One turn and then....
(TYLTYL has no sooner turned the diamond than a sudden and wonderful change comes over everything. The old FAIRY alters then and there into a princess of marvellous beauty; the flints of which the cottage walls are built light up, turn blue as sapphires, become transparent and gleam and sparkle like the most precious stones. The humble furniture takes life and becomes resplendent; the deal table assumes as grave and noble an air as a table made of marble; the face of the clock winks its eye and smiles genially, while the door that contains the pendulum opens and releases the Hours, which, holding one another by the hand and laughing merrily, begin to dance to the sound of delicious music.)
(TYLTYL has barely turned the diamond when everything suddenly transforms. The old FAIRY immediately changes into a princess of incredible beauty; the flints that make up the cottage walls light up, turn blue like sapphires, become clear, and sparkle like the most precious gems. The simple furniture comes to life and shines brilliantly; the wooden table takes on a serious and noble presence, just like a marble table; the clock's face winks and smiles warmly, while the door with the pendulum opens to release the Hours, who, holding hands and laughing joyfully, start to dance to the enchanting music.)
TYLTYL (displaying a legitimate bewilderment and pointing to the Hours) Who are all those pretty ladies?...
TYLTYL (showing genuine confusion and pointing to the Hours) Who are all those beautiful ladies?...
THE FAIRY Don't be afraid; they are the hours of your life and they are glad to be free and visible for a moment....
THE FAIRY Don't be afraid; these are the hours of your life, and they're happy to be free and seen for a moment...
TYLTYL And why are the walls so bright?... Are they made of sugar or of precious stones?...
TYLTYL And why are the walls so bright?... Are they made of sugar or precious stones?...
THE FAIRY All stones are alike, all stones are precious; but man sees only a few of them....
THE FAIRY All stones are the same, all stones are valuable; but people only see a few of them....
(While they are speaking, the scene of enchantment continues and is completed. The souls of the Quartern-loaves, in the form of little men in crust-coloured tights, flurried and all powdered with flour, scramble out of the bread-pan and frisk round the table, where they are caught up by FIRE, who, springing from the hearth in yellow and vermilion tights, writhes with laughter as he chases the loaves.)
(As they talk, the magical scene goes on and reaches its peak. The spirits of the Quartern-loaves, looking like tiny men in brown tights, flurry out of the bread-pan and dance around the table, where they are caught by FIRE, who, jumping from the hearth in bright yellow and red tights, writhes with laughter as he chases the loaves.)
TYLTYL Who are those ugly little men?...
TYLTYL Who are those ugly little guys?...
THE FAIRY Oh, they're nothing; they are merely the souls of the Quartern-loaves, who are taking advantage of the reign of truth to leave the pan in which they were too tightly packed....
THE FAIRY Oh, they're nothing; they're just the souls of the Quartern-loaves, who are taking advantage of this time of truth to escape the pan where they were packed too tightly....
TYLTYL And the big red fellow, with the nasty smell?...
TYLTYL And the big red guy, with the awful smell?...
THE FAIRY Hush!... Don't speak too loud; that's Fire.... He's dangerous. (This dialogue does not interrupt the enchantment. The DOG and the CAT, lying rolled up at the foot of the cupboard, utter a loud and simultaneous cry and disappear down a trap; and in their places rise two persons, one of whom has the face of a bull-dog, the other that of a tom-cat. Forthwith, the little man with the bull-dog face, whom we will henceforward call the DOG, rushes upon TYLTYL, kisses him violently and overwhelms him with noisy and impetuous caresses; while the little man with the face of a tom-cat, whom we will simply call the CAT, combs his hair, washes his hands and strokes his whiskers before going up to MYTYL.)
THE FAIRY Hush!... Don’t talk too loud; that’s Fire…. He’s dangerous. (This dialogue doesn’t break the spell. The DOG and the CAT, curled up at the foot of the cupboard, let out a loud, simultaneous cry and vanish down a trap; in their place appear two characters, one with the face of a bulldog and the other with the face of a tomcat. Immediately, the little man with the bulldog face, whom we’ll refer to as the DOG, charges at TYLTYL, kisses him fiercely, and bombards him with loud and enthusiastic affection; meanwhile, the little man with the tomcat face, whom we’ll just call the CAT, combs his hair, washes his hands, and grooms his whiskers before approaching MYTYL.)
THE DOG (yelling, jumping about, knocking up against everything, unbearable) My little god!... Good-morning, good-morning, my dear little god!... At last, at last we can talk!... I had so much to tell you!... Bark and wag my tail as I might, you never understood!... But now!... Good-morning, good-morning!... I love you!... Shall I do some of my tricks?... Shall I beg?... Would you like to see me walk on my front paws or dance on my hind-legs?...
THE DOG (yelling, jumping around, bumping into everything, impossible) My little god!... Good morning, good morning, my dear little god!... Finally, finally we can talk!... I had so much to share with you!... Bark and wag my tail all I want, you never understood!... But now!... Good morning, good morning!... I love you!... Should I do some of my tricks?... Should I beg?... Would you like to see me walk on my front paws or dance on my hind legs?...
TYLTYL (to the FAIRY) Who is this gentleman with the dog's head?....
TYLTYL (to the FAIRY) Who is this guy with the dog's head?....
THE FAIRY Don't you see? It's the soul of TYLÔ whom you have set free....
THE FAIRY Don't you see? It's the soul of TYLÔ that you've released....
THE CAT (going up to MYTYL and putting out his hand to her, with much ceremony and circumspection) Good-morning, Miss.... How well you look this morning!...
THE CAT (approaching MYTYL and extending his hand to her, with great formality and care) Good morning, Miss... You look fantastic this morning!...
MYTYL Good-morning, sir.... (To the FAIRY) Who is it?...
MYTYL Good morning, sir.... (To the FAIRY) Who is it?...
THE FAIRY Why, don't you see? Its the soul of Tylette offering you his hand.... Kiss him....
THE FAIRY Why, can't you see? It's the soul of Tylette offering you his hand.... Kiss him....
THE DOG (hustling the CAT) Me, too!... I've kissed the little god!... I've kissed the little girl!... I've kissed everybody!... Oh, grand!... What fun we shall have!... I'm going to frighten Tylette I Bow, wow, wow!...
THE DOG (hustling the CAT) Me, too!... I've kissed the little god!... I've kissed the little girl!... I've kissed everybody!... Oh, great!... What fun we’re going to have!... I'm going to scare Tylette! Wow, wow, wow!...
THE CAT Sir, I don't know you....
THE CAT Sir, I don’t know you….
THE FAIRY (threatening the DOG with her stick) Keep still, will you, or else you'll go back into silence until the end of time....
THE FAIRY (threatening the DOG with her stick) Stay quiet, will you, or you'll be stuck in silence forever....
(Meanwhile, the enchantment has pursued its course: the spinning-wheel has begun to turn madly in its corner and to spin brilliant rays of light; the tap, in another corner, begins to sing in a very high voice and, turning into a luminous fountain, floods the sink with sheets of pearls and emeralds, through which darts the soul of WATER, like a young girl, streaming, dishevelled and tearful, who immediately begins to fight with FIRE.)
(Meanwhile, the spell is taking effect: the spinning wheel is turning wildly in its corner, generating brilliant beams of light; the faucet in another corner starts to sing in a high-pitched voice and, transforming into a glowing fountain, floods the sink with cascades of pearls and emeralds, through which the essence of WATER, like a young girl, rushing, with messy hair and tears, immediately begins to battle FIRE.)
TYLTYL And who is that wet lady?...
TYLTYL And who is that wet lady?...
THE FAIRY Don't be afraid. It's Water just come from the tap....
THE FAIRY Don't be scared. It's just water straight from the tap...
(The milk-jug upsets, falls from the table and smashes on the floor; and from the spilt milk there rises a tall, white, bashful figure who seems to be afraid of everything.)
(The milk jug tips over, falls from the table, and smashes on the floor; and from the spilled milk, a tall, white, shy figure rises who seems to be afraid of everything.)
TYLTYL And the frightened lady in her nightgown?...
TYLTYL And the scared lady in her nightgown?...
THE FAIRY That's Milk; she has broken her jug....
THE FAIRY That's Milk; she has broken her jug....
(The sugar-loaf, at the foot of the cupboard, grows taller and wider and splits its paper wrapper, whence issues a mawkish and hypocritical being, dressed in a long coat half blue and half white, who goes up to MYTYL with a sanctimonious smile.)
(The sugar-loaf at the bottom of the cupboard gets taller and wider and splits its paper wrapper, from which emerges a sentimental and fake figure, dressed in a coat that's half blue and half white, who approaches MYTYL with a self-righteous smile.)
MYTYL (greatly alarmed) What does he want?...
MYTYL (greatly alarmed) What does he want?…
THE FAIRY Why, he is the soul of Sugar!...
THE FAIRY Why, he is the heart of Sugar!...
MYTYL (reassured) Has he any barley-sugar?...
MYTYL (reassured) Does he have any barley sugar?...
THE FAIRY His pockets are full of it and each of his fingers is a sugar-stick....
THE FAIRY His pockets are filled with it and each of his fingers is a sugar stick....
(The lamp falls from the table and, at the same moment, its flame springs up again and turns into a luminous maid of incomparable beauty. She is dressed in long transparent and dazzling veils and stands motionless in a sort of ecstasy.)
(The lamp falls off the table, and at the same time, its flame flares back to life, transforming into a stunningly beautiful luminous maid. She wears long, sheer, and sparkling veils and stands still in a kind of trance.)
TYLTYL It's the Queen!...
TYLTYL It's the Queen!...
MYTYL It's the Blessed Virgin!...
MYTYL It's the Virgin Mary!...
THE FAIRY No, my children; it's Light....
THE FAIRY No, my kids; it's Light....
(Meanwhile, the saucepans on the shelves spin round like tops; the linen-press throws open its folding-doors and unrolls a magnificent display of moon-coloured and sun-coloured stuffs, with which mingles a no less splendid array of rags and tatters that come down the ladder from the loft. But, suddenly, three loud knocks are heard on the door at the right.)
(Meanwhile, the saucepans on the shelves spin around like tops; the linen closet swings open and reveals a stunning display of moon-colored and sun-colored fabrics, mixed with an equally impressive collection of rags and scraps that tumble down from the loft. But, suddenly, three sharp knocks resonate on the door to the right.)
TYLTYL (alarmed) That's daddy!... He's heard us!...
TYLTYL (alarmed) That's Dad!... He's heard us!...
THE FAIRY Turn the diamond!... From left to right!...
THE FAIRY Turn the diamond!... From left to right!...
(TYLTYL turns the diamond quickly.) Not so quick!... Heavens! It's too late!... You turned it too briskly; they will not have time to resume their places and we shall have a lot of annoyance....
(TYLTYL turns the diamond quickly.) Not so fast!... Oh no! It's too late!... You turned it too quickly; they won’t have time to get back to their spots, and we're going to have a lot of trouble....
(The FAIRY becomes an old woman again, the walls of the cottage lose their splendour. The Hours go back into the clock, the spinning-wheel stops, etc. But, in the general hurry and confusion, while FIRE runs madly round the room, looking for the chimney, one of the loaves of bread, who has been unable to squeeze into the pan, bursts into sobs and utters roars of fright.)
(The FAIRY turns into an old woman again, and the cottage loses its beauty. The Hours retreat back into the clock, and the spinning wheel comes to a halt, etc. But, amidst all the chaos and confusion, while FIRE frantically runs around the room searching for the chimney, one of the loaves of bread, unable to fit into the pan, starts sobbing and lets out cries of terror.)
THE FAIRY What's the matter?...
THE FAIRY What's wrong?...
BREAD (in tears) There's no room in the pan!...
BREAD (crying) There's no space in the pan!...
THE FAIRY (stooping over the pan) Yes, there is; yes, there is.... (Pushing the other loaves, which have resumed their original places.) Come, quick, make room there....
THE FAIRY (stooping over the pan) Yes, there is; yes, there is.... (Pushing the other loaves, which have resumed their original places.) Come on, hurry up, make some space there....
(The knocking at the door is renewed.)
(The knocking at the door starts again.)
BREAD (utterly scared, vainly struggling to enter the pan) I can't get in!... He'll eat me first!...
BREAD (totally scared, desperately trying to get into the pan) I can't get in!... He'll eat me first!...
THE DOG (frisking round TYLTYL) My little god!... I am still here!... I can still talk!... I can still kiss you!... Once more! Once more! Once more!...
THE DOG (playing around TYLTYL) My little god!... I'm still here!... I can still talk!... I can still kiss you!... One more time! One more time! One more time!...
THE FAIRY What, you too?... Are you there still?...
THE FAIRY What, you too?... Are you still there?...
THE DOG What luck!... I was too late to return to silence; the trap closed too quickly....
THE DOG What luck!... I was too late to go back to silence; the trap shut too fast....
THE CAT So did mine.... What is going to happen?... Is there any danger?...
THE CAT So did mine.... What’s going to happen?... Is there any danger?...
THE FAIRY Well, I'm bound to tell you the truth: all those who accompany the two children will die at the end of the journey....
THE FAIRY Well, I have to be honest with you: everyone who travels with the two kids will die by the end of the journey....
THE CAT (to the DOG) Come, let us get back into the trap....
THE CAT (to the DOG) Come on, let’s go back into the trap....
THE DOG No, no!... I won't!... I want to go with the little god!... I want to talk to him all the time!...
THE DOG No, no!... I won't!... I want to go with the little god!... I want to talk to him all the time!...
THE CAT Idiot!...
THE CAT Idiot!...
(More knocking at the door)
More knocking at the door
BREAD (shedding bitter tears) I don't want to die at the end of the journey!... I want to get back at once into my pan!...
BREAD (shedding bitter tears) I don't want to die at the end of the journey!... I want to get back into my pan right away!...
FIRE (who has done nothing but run madly round the room, hissing with anguish) I can't find my chimney!...
FIRE (who has been frantically running around the room, hissing in distress) I can't find my chimney!...
WATER (vainly trying to get into the tap) I can't get into the tap!...
WATER (uselessly trying to get into the faucet) I can't get into the faucet!...
SUGAR (hovering round his paper wrapper) I've burst my packing-paper!...
SUGAR (hovering around his paper wrapper) I've torn my packing paper!...
MILK (lymphatically and bashfully) Somebody's broken my little jug!...
MILK (lymphatically and bashfully) Someone's broken my little jug!...
THE FAIRY Goodness me, what fools they are!... Fools and cowards too!... So you would rather go on living in your ugly boxes, in your traps and taps, than accompany the children in search of the bird?...
THE FAIRY Goodness me, what fools they are!... Fools and cowards too!... So you would rather keep living in your ugly boxes, in your traps and taps, than join the children in search of the bird?...
ALL (excepting the DOG and LIGHT) Yes, yes! Now, at once!... My tap!... My pan!... My chimney!... My trap!...
ALL (except for the DOG and LIGHT) Yes, yes! Right now!... My tap!... My pan!... My chimney!... My trap!...
THE FAIRY (to LIGHT, who is dreamily gazing at the wreckage of her lamp) And you, Light, what do you say?
THE FAIRY (to LIGHT, who is dreamily gazing at the wreckage of her lamp) And you, Light, what do you think?
LIGHT I will go with the children....
LIGHT I will go with the children....
THE DOG (yelling with delight) I too!... I too!...
THE DOG (yelling with excitement) Me too!... Me too!...
THE FAIRY That's right.... Besides, it's too late to go back; you have no choice now, you must all start with us.... But you, Fire, don't come near anybody; you, Dog, don't tease the Cat; and you, Water, hold yourself up and try not to run all over the place....
THE FAIRY That's right.... Besides, it’s too late to turn back; you have no choice now, you all have to join us.... But you, Fire, stay away from everyone; you, Dog, don’t bother the Cat; and you, Water, keep it together and try not to splash everywhere....
(A violent knocking is again heard at the door on the right.)
(A loud banging is heard at the door on the right.)
TYLTYL (listening) There's daddy again!... He's getting up this time; I can hear him walking....
TYLTYL (listening) There’s Dad again!... He’s getting up this time; I can hear him walking....
THE FAIRY Let us go out by the window.... You shall all come to my house, where I will dress the Animals and the Things properly.... (To BREAD) You, Bread, take the cage in which to put the Blue Bird.... It will be in your charge.... Quick, quick, let us waste no time....
THE FAIRY Let's go out through the window.... You all come to my place, where I'll dress the Animals and the Things properly.... (To BREAD) You, Bread, take the cage for the Blue Bird.... It will be your responsibility.... Hurry, hurry, let's not waste any time....
(The window suddenly lengthens downwards, like a door. They all go out; after which the window resumes its primitive shape and closes quite innocently. The room has become dark again and the two cots are steeped in shadow. The door on the right opens ajar and in the aperture appear the heads of DADDY and MUMMY TYL.)
(The window suddenly stretches downwards like a door. They all exit; after that, the window goes back to its original shape and closes completely innocently. The room is dark again, and the two cots are filled with shadow. The door on the right opens slightly, and in the opening appear the heads of DADDY and MUMMY TYL.)
DADDY TYL It was nothing.... It's the cricket chirping....
DADDY TYL It was nothing... Just the crickets chirping...
MUMMY TYL Can you see them?...
MUMMY TYL Can you see them?...
DADDY TYL I can.... They are sleeping quite quietly....
DADDY TYL I can.... They are sleeping peacefully....
MUMMY TYL I can hear their breathing....
MUMMY TYL I can hear them breathing....
(The door closes again)
The door closes again.
CURTAIN
ACT II.
SCENE I.—At the FAIRY'S.
A magnificent entrance-hall in the palace of the FAIRY BÉRYLUNE. Columns of gleaming marble with gold and silver capitals, staircases, porticoes, balustrades, etc.
A stunning entrance hall in the palace of the FAIRY BÉRYLUNE. Columns of shiny marble with gold and silver tops, staircases, porches, banisters, etc.
Enter from the back, on the right, sumptuously clad, the CAT, SUGAR and FIRE. They come from a room which emits rays of light; it is the FAIRY'S wardrobe. The CAT has donned the classic costume of Puss-in-boots; SUGAR, a silk dress, half white and half pale-blue; and FIRE wears a number of many-coloured aigrettes and a long vermilion mantle lined with gold. They cross the whole length of the hall to the front of the stage, where the CAT draws them up under a portico on the right.
Enter from the back, on the right, lavishly dressed, the CAT, SUGAR and FIRE. They come from a room that shines with light; it is the FAIRY'S wardrobe. The CAT is wearing the classic outfit of Puss-in-boots; SUGAR, a silk dress, half white and half light blue; and FIRE has on various colorful feathers and a long red cape lined with gold. They cross the entire hall to the front of the stage, where the CAT brings them to a stop under a portico on the right.
THE CAT This way, I know every inch of this palace. It was left to the Fairy Bérylune by Bluebeard.... Let us make the most of our last minute of liberty, while the children and Light pay their visit to the Fairy's little daughter.... I have brought you here in order to discuss the position in which we are placed.... Are we all here?...
THE CAT This way, I know every inch of this palace. It was left to the Fairy Bérylune by Bluebeard.... Let’s make the most of our last minute of freedom, while the kids and Light visit the Fairy's little daughter.... I brought you here to talk about the situation we're in.... Is everyone here?...
SUGAR I see the Dog coming out of the Fairy's wardrobe....
SUGAR I see the dog coming out of the fairy's closet....
FIRE What on earth has he got on?...
FIRE What the hell is he wearing?...
THE CAT He has put on the livery of one of the footmen of Cinderella's coach.... It was just the thing for him.... He has the soul of a flunkey.... But let us hide behind the balustrade.... It's strange how I mistrust him.... He had better not hear what I have to say to you....
THE CAT He has dressed up in the uniform of one of Cinderella's footmen.... It suits him perfectly.... He has the heart of a servant.... But let's hide behind the railing.... It's odd how I don't trust him.... He better not hear what I have to say to you....
SUGAR It is too late.... He has discovered us.... Look, here is Water also coming out of the wardrobe.... Goodness me, how fine she is!...
SUGAR It's too late... He’s found us... Look, here comes Water too, coming out of the wardrobe... Wow, she looks amazing!...
(The DOG and WATER join the first group.)
(The DOG and WATER join the first group.)
THE DOG (frisking about) There! There!... Aren't we fine I.... Just look at these laces and this embroidery!... It's real gold and no mistake!...
THE DOG (frisking about) There! There!... Aren't we looking great I.... Just look at these laces and this embroidery!... It's real gold, no doubt about it!...
THE CAT (to WATER) Is that Catskin's "colour-of-time" dress?... I seem to recognise it....
THE CAT (to WATER) Is that Catskin's "color-of-time" dress?... I feel like I recognize it....
WATER Yes, it's the one that suited me best....
WATER Yeah, it's the one that worked best for me....
FIRE (between his teeth) She's not brought her umbrella....
FIRE (between his teeth) She didn't bring her umbrella....
WATER What's that?...
WATER What’s that?
FIRE Nothing, nothing....
FIRE Nothing, nothing...
WATER I thought you might be speaking of a great red I saw the other day....
WATER I thought you might be talking about a really bright red one I saw the other day....
THE CAT Come, don't let as quarrel; we have more important things to do.... We are only waiting for Bread; where is he?
THE CAT Come on, let’s not argue; we have more important things to do... We're just waiting for Bread; where is he?
THE DOG He was making an endless fuss about choosing his dress....
THE DOG He was making a huge deal about picking out his outfit....
FIRE Worth while, isn't it, for a fellow who looks a fool and carries an enormous stomach?...
FIRE It's worth it, isn't it, for a guy who looks ridiculous and has a huge belly?...
THE DOG At last, he decided in favour of a Turkish robe, adorned with gems, a scimitar and a turban....
THE DOG At last, he chose a Turkish robe, decorated with gems, a scimitar, and a turban....
THE CAT There he is!... He has put on Bluebeard's finest dress...
THE CAT There he is!... He’s wearing Bluebeard's best outfit...
Enter BREAD, in the costume described above. The silk robe is crossed tightly over his huge stomach. In one hand he holds the hilt of a scimitar passed through his sash and in the other the cage intended for the Blue Bird.
Enter BREAD, wearing the outfit described above. The silk robe is wrapped snugly around his large belly. In one hand, he grips the hilt of a scimitar that's tucked into his sash, and in the other, he carries the cage meant for the Blue Bird.
BREAD (waddling conceitedly) Well?... What do you think of this?
BREAD (waddling with confidence) Well?... What do you think about this?
THE DOG (frisking round the LOAF) How nice he looks! What a fool he looks! How nice he looks! How nice he looks!...
THE DOG (frisking round the LOAF) How adorable he looks! What a silly sight he is! How adorable he looks! How adorable he looks!...
THE CAT (to the LOAF) Are the children dressed?...
THE CAT (to the LOAF) Are the kids dressed?
BREAD Yes, Master Tyltyl has put on Hop-o'-my-Thumb's blue jacket and red breeches; and Miss Mytyl has Gretel's frock and Cinderella's slippers.... But the great thing was the dressing of Light!...
BREAD Yes, Master Tyltyl is wearing Hop-o'-my-Thumb's blue jacket and red pants; and Miss Mytyl has on Gretel's dress and Cinderella's slippers.... But the most important part was dressing up Light!...
THE CAT Why?...
THE CAT Why?
BREAD The Fairy thought her so lovely that she did not want to dress her at all!... Thereupon I protested in the name of our dignity as essential and eminently respectable elements; and I ended by declaring that, under those conditions, I should refuse to be seen with her....
BREAD The Fairy thought she was so beautiful that she didn't want to dress her at all! So, I protested for the sake of our dignity as essential and highly respectable beings; I eventually declared that, under those circumstances, I would refuse to be seen with her.
FIRE They ought to have bought her a lampshade!...
FIRE They should have bought her a lampshade!...
THE CAT And what answer did the Fairy make?...
THE CAT And what did the Fairy say?...
THE LOAF She hit me with her stick on my head and stomach....
THE LOAF She hit me with her stick on my head and stomach....
THE CAT And then?...
THE CAT What's next?
BREAD I allowed myself to be convinced; but, at the last moment, Light decided on the moonbeam dress at the bottom of the chest with Catskin's treasures....
BREAD I let myself be persuaded; but, at the last minute, Light chose the moonbeam dress at the bottom of the chest with Catskin's treasures....
THE CAT Come, stop chattering, time presses.... Our future is at stake.... You have heard—the Fairy has just said so—that the end of this journey will, at the same time, mark the end of our lives.... It is our business, therefore, to prolong it as much as possible and by every possible means.... But there is another thing: we must think of the fate of our race and the destiny of our children....
THE CAT Come on, stop talking; time is running out.... Our future is at risk.... You heard the Fairy say that the end of this journey will also be the end of our lives.... So, it's our responsibility to stretch it out for as long as we can and by any means necessary.... But there’s something else: we have to consider the fate of our kind and the future of our children....
BREAD Hear, hear!... The Cat is right!...
BREAD Listen up!... The Cat is spot on!...
THE CAT Listen to me!... All of us here present, Animals, Things and Elements, possess a soul which man does not yet know. That is why we retain a remnant of independence; but, if he finds the Blue Bird, he will know all, he will see all and we shall be completely at his mercy.... This is what I have just learned from my old friend, Night, who is also the guardian of the mysteries of Life.... It is to our interest, therefore, at all costs to prevent the finding of that bird, even if we have to go so far as to endanger the lives of the children themselves....
THE CAT Listen to me!... All of us here, Animals, Things, and Elements, have a soul that humans don’t yet understand. That’s why we still have a bit of independence; but if he finds the Blue Bird, he will know everything, he will see everything, and we will be completely at his mercy…. This is what I just learned from my old friend, Night, who is also the keeper of the secrets of Life…. So it’s in our best interest to do whatever it takes to prevent the finding of that bird, even if it means putting the children’s lives at risk….
THE DOG (indignantly) What's the fellow saying?... Just say that again, will you, to see if I heard right?...
THE DOG (indignantly) What’s that guy saying?... Can you say that again, please, so I can make sure I heard correctly?...
BREAD Order! Order!... It's not your turn to speak!... I'm in the chair at this meeting....
BREAD Order! Order!... It's not your turn to talk!... I'm leading this meeting....
FIRE Who made you chairman?...
FIRE Who elected you chairman?...
WATER (to FIRE) Hold your tongue!... What are you interfering with?...
WATER (to FIRE) Mind your own business!... What are you getting involved in?...
FIRE I shall interfere where I choose.... And I want none of your remarks....
FIRE I will step in wherever I want.... And I don't want to hear any of your comments....
SUGAR (concilatorily) Excuse me.... Do not let us quarrel.... This is a serious moment.... We must, above all things, decide what measures to adopt....
SUGAR (in a conciliatory tone) Excuse me.... Let's not argue.... This is an important moment.... We need to figure out what steps to take above all else....
BREAD I quite agree with Sugar and the Cat....
BREAD I completely agree with Sugar and the Cat....
THE DOG This is ridiculous!... There is Man and that's all!... We have to obey him and do as he tells us!... That is the one and only fact!... I recognise no one but him!... Hurrah for Man!... Man for ever!... In life or death, all for Man!... Man is God!...
THE DOG This is absurd!... There's only Man!... We have to follow him and do what he says!... That is the one and only truth!... I acknowledge no one but him!... Cheers for Man!... Man forever!... In life or death, everything for Man!... Man is God!...
BREAD I quite agree with the Dog.
BREAD I totally agree with the Dog.
THE CAT (to the DOG) But at least give your reasons....
THE CAT (to the DOG) But at least share your reasons....
THE DOG There are no reasons!... I love Man and that's enough!... If you do anything against him, I will throttle you first and I will go and tell him everything....
THE DOG There are no reasons!... I love people and that's enough!... If you do anything to hurt him, I will take you down first and then I’ll go tell him everything....
SUGAR (intervening sweetly) Excuse me.... Let us not embitter the discussion.... From a certain point of view, you are both of you right.... There is something to be said on both sides....
SUGAR (intervening sweetly) Excuse me.... Let's not make this discussion unpleasant.... In a way, you both have a point.... There are valid arguments on each side....
BREAD I quite agree with SUGAR!...
BREAD I totally agree with SUGAR!...
THE CAT Are we not, all of us, Water, Fire you yourselves, Bread and the Dog, the victims of a nameless tyranny?... Do you remember the time when, before the coming of the despot, we wandered at liberty upon the face of the earth?... Fire and Water were the sole masters of the world; and see what they have come to!... As for us puny descendants of the great wild animals.... Look out!... Pretend to be doing nothing!... I see the Fairy and Light coming.... Light has taken sides with Man; she is our worst enemy.... Here they are....
THE CAT Are we not all, Water, Fire, you yourselves, Bread and the Dog, the victims of an unnamed tyranny?... Do you remember when, before the rise of the dictator, we roamed freely across the earth?... Fire and Water were the only masters of the world; look at what they’ve become!... As for us weak descendants of the great wild animals.... Watch out!... Act like you're doing nothing!... I see the Fairy and Light approaching.... Light has allied with Man; she is our greatest enemy.... Here they come....
Enter, on the right, the FAIRY, in the shape of an old woman, and LIGHT, followed by TYLTYL and MYTYL.
Enter, on the right, the FAIRY, in the form of an old woman, and LIGHT, followed by TYLTYL and MYTYL.
THE FAIRY Well?... What is it?... What are you doing in that corner?... You look like conspirators.... It is time to start.... I have decided that Light shall be your leader.... You will obey her as you would me and I am giving her my wand.... The children will pay a visit to their late grandparents this evening.... You will remain behind; that is more discreet.... They will spend the evening in the bosom of their dead family.... Meanwhile, you will be getting ready all that is wanted for to-morrow's journey, which will be a long one.... Come, up, be off and every one to his post!...
THE FAIRY Well?... What’s going on?... What are you doing in that corner?... You look like you’re up to something.... It’s time to get started.... I’ve decided that Light will be your leader.... You’ll obey her just like you would me, and I’m giving her my wand.... The kids will visit their late grandparents this evening.... You’ll stay behind; it’s more discreet.... They’ll spend the evening with their deceased family.... In the meantime, you’ll be preparing everything needed for tomorrow’s long journey.... Come on, get moving and everyone to your posts!...
THE CAT (hypocritically) That is just what I was saying to them, madam.... I was encouraging them to do their duty bravely and conscientiously; unfortunately, the Dog, who kept on interrupting me....
THE CAT (hypocritically) That’s exactly what I was telling them, ma’am.... I was urging them to fulfill their duty boldly and with honesty; unfortunately, the Dog, who kept interrupting me....
THE DOG What's that?... Just wait a bit I...
THE DOG What's that?... Just hold on a second I...
(He is about to leap upon the CAT, but TYLTYL foreseeing his intention, stops with a threatening gesture.)
(He is about to jump on the CAT, but TYLTYL predicting what he plans to do, halts him with a threatening gesture.)
TYLTYL Down, Tylô!... Take care; and, if ever I catch you again...
TYLTYL Down, Tylô!... Be careful; and if I ever catch you again...
THE DOG My little god, you don't know, it was he who...
THE DOG My little god, you don't know, it was he who...
TYLTYL (threatening him) Be quiet!...
TYLTYL (threatening him) Shut up!...
THE FAIRY Come, that will do.... Let Bread hand the cage for this evening to Tyltyl.... It is just possible that the Blue Bird may be hidden In the Past, at the grandparents'.... In any case, it Is a chance which we must not neglect.... Well, Bread, the cage?
THE FAIRY Come on, that's enough.... Let Bread hand the cage over to Tyltyl for tonight.... There's a chance the Blue Bird could be hidden in the Past, at the grandparents'.... Either way, it's an opportunity we shouldn't miss.... So, Bread, where's the cage?
BREAD (solemnly) One moment, if you please, Mrs. Fairy.... (Like an orator making a speech) I call upon all of you to bear witness that this silver cage, which was entrusted to my care by....
BREAD (seriously) One moment, if you could, Mrs. Fairy.... (Like a speaker giving a speech) I ask all of you to witness that this silver cage, which was given to me for safekeeping by....
THE FAIRY (interrupting him) Enough!... No speeches!... We will go out this way and the children that....
THE FAIRY (interrupting him) Enough!... No speeches!... We'll head out this way and the kids that....
TYLTYL (rather anxiously) Are we to go all alone?...
TYLTYL (somewhat nervously) Are we going to go by ourselves?...
MYTYL I feel hungry!...
I'm hungry!
TYLTYL I, too!...
TYLTYL Me, too!...
THE FAIRY (to BREAD) Open your Turkish robe and give them a slice of your good stomach....
THE FAIRY (to BREAD) Open your Turkish robe and give them a slice of your good stomach....
(BREAD opens his robe, draws his scimitar and cuts two slices out of his stomach and hands them to the CHILDREN.)
(BREAD opens his robe, pulls out his scimitar, and slices two pieces from his abdomen, then hands them to the CHILDREN.)
SUGAR (approaching the CHILDREN) Allow me at the same time to offer you a few sugar-sticks.... (He breaks off the five fingers of his left hand, one by one, and presents them to the CHILDREN.)
SUGAR (walking toward the KIDS) Let me also give you some candy sticks.... (He breaks off the five fingers of his left hand, one by one, and hands them to the KIDS.)
MYTYL What is he doing?... He is breaking all his fingers!...
MYTYL What’s he doing?... He’s breaking all his fingers!...
SUGAR (engagingly) Taste them, they are capital... They're made of real barley-sugar....
SUGAR (engagingly) Try them, they’re excellent... They’re made of real barley sugar...
MYTYL (tasting one of the fingers) Oh, how good they are!... Have you many of them?...
MYTYL (tasting one of the fingers) Oh, they taste so good!... Do you have a lot of them?...
SUGAR (modestly) Yes; as many as I want....
SUGAR (modestly) Yeah; as many as I want....
MYTYL Does that hurt you much, when you break them off?...
MYTYL Does it hurt you a lot when you break them off?...
SUGAR Not at all.... On the contrary, it's a great advantage; they grow again at once and so I always have new, clean fingers....
SUGAR Not at all.... On the contrary, it's a big advantage; they grow back quickly, so I always have fresh, clean fingers....
THE FAIRY Come, children, don't eat too much sugar.... Don't forget that you are to have supper presently with your grandpapa and grandmamma....
THE FAIRY Come on, kids, don’t eat too much sugar... Remember, you’re going to have dinner soon with your grandpa and grandma...
TYLTYL Are they here?...
TYLTYL Are they here?
THE FAIRY You shall see them at once....
THE FAIRY You will see them right away....
TYLTYL How can we see them, when they are dead?...
TYLTYL How can we see them when they’re gone?…
THE FAIRY How can they be dead, when they live in your memory?... Men do not know this secret, because they know so little; whereas you, thanks to the diamond, are about to see that the dead who are remembered live as happily as though they were not dead....
THE FAIRY How can they be dead when they live in your memory?... Men don’t understand this secret because they know so little; but you, thanks to the diamond, are about to see that the dead who are remembered live just as happily as if they weren't dead....
TYLTYL Is Light coming with us?
TYLTYL Is Light coming with us?
THE FAIRY No, it is more proper that this visit should be confined to the family.... I will wait near here, so as not to appear indiscreet.... They did not invite me....
THE FAIRY No, it’s better if this visit stays within the family.... I’ll wait nearby to avoid being rude.... They didn’t invite me....
TYLTYL Which way are we to go?...
TYLTYL Which way should we go?...
THE FAIRY Over there.... You are on the threshold of the Land of Memory.... As soon as you have turned the diamond, you will see a big tree with a board on it, which will show you that you are there.... But don't forget that you are to be back, both of you, by a quarter to nine.... It is extremely important.... Now mind and be punctual, for all would be lost if you were late.... Good-bye for the present!... (Calling the CAT, the DOG, LIGHT, etc.) This way.... And the little ones that way....
THE FAIRY Over there.... You're about to step into the Land of Memory.... As soon as you twist the diamond, you'll see a big tree with a sign on it, showing you that you've arrived.... But remember, you both need to be back by a quarter to nine.... It's really important.... So make sure to be on time, because everything would be ruined if you're late.... Goodbye for now!... (Calling the CAT, the DOG, LIGHT, etc.) This way.... And the little ones that way....
(She goes out to the right, with LIGHT, the ANIMALS, etc., while the CHILDREN go out to the left.)
(She goes out to the right, with LIGHT, the ANIMALS, etc., while the KIDS go out to the left.)
CURTAIN
SCENE 2.—The Land of Memory.
A thick fog, from which stands out, on the right, close to the footlights, the trunk of a large oak, with a board nailed to it. A vague, milky, impenetrable light prevails. TYLTYL and MYTYL are at the foot of the oak.
A heavy fog hangs in the air, and on the right, near the front of the stage, the trunk of a large oak tree is visible, with a board nailed to it. A faint, milky, impenetrable light fills the scene. TYLTYL and MYTYL are standing at the base of the oak.
TYLTYL Here Is the tree!...
TYLTYL Here’s the tree!...
MYTYL There's the board!...
MYTYL There's the board!
TYLTYL I can't read it.... Wait, I will climb up on this root.... That's it.... It says, "Land of Memory."
TYLTYL I can't read it.... Wait, I'll climb up on this root.... That's it.... It says, "Land of Memory."
MYTYL Is this where it begins?...
MYTYL Is this where it all starts?...
TYLTYL Yes, there's an arrow....
TYLTYL Yes, there's an arrow...
MYTYL Well, where are grandad and granny?...
MYTYL Well, where are granddad and grandma?...
TYLTYL Behind the fog.... We shall see....
TYLTYL Behind the fog.... We shall see....
MYTYL I can see nothing at all!... I can't see my feet or my hands.... (Whimpering) I'm cold!... I don't want to travel any more.... I want to go home....
MYTYL I can't see anything at all!... I can't see my feet or my hands.... (Whimpering) I'm cold!... I don’t want to travel anymore.... I want to go home....
TYLTYL Come, don't keep on crying, just like Water.... You ought to be ashamed of yourself.... A great big little girl like you.... Look, the fog is lifting already.... We shall see what's behind it....
TYLTYL Come on, stop crying, just like Water... You should be ashamed of yourself... A big girl like you... Look, the fog is clearing up already... We'll see what's behind it...
(The mist begins to move; It grows thinner and lighter, disperses, evaporates. Soon, in a more and more transparent light, appears, under a leafy vault, a cheerful little peasant's cottage, covered with creepers. The door and windows are open. There are bee-hives under a shed, flower-pots on the window-sills, a cage with a sleeping blackbird. Beside the door is a bench, on which an old peasant and his wife, TYLTYL'S grandfather and grandmother, are seated, both sound asleep.)
(The mist starts to shift; it becomes thinner and lighter, breaking apart, fading away. Soon, in increasingly clear light, a cheerful little cottage comes into view beneath a leafy arch, covered in climbing plants. The door and windows are wide open. There are beehives under a shed, flowerpots on the window sills, and a cage with a sleeping blackbird. Next to the door is a bench where an old peasant and his wife, TYLTYL'S grandfather and grandmother, sit, both sound asleep.)
TYLTYL (suddenly recognising them) It's grandad and granny!...
TYLTYL (suddenly recognizing them) It's Grandpa and Grandma!...
MYTYL (clapping her hands) Yes! Yes!... So it is! So it is!...
MYTYL (clapping her hands) Yes! Yes!... That's right! That's right!...
TYLTYL (still a little distrustful) Take care!... We don't know yet if they can stir.... Let's keep behind the tree....
TYLTYL (still a little distrustful) Be careful!... We don't know yet if they can move.... Let's stay behind the tree....
(GRANNY TYL opens her eyes, raises her head, stretches herself, gives a sigh and looks at GAFFER TYL, who also wakes slowly from his sleep.)
(GRANNY TYL opens her eyes, raises her head, stretches, sighs, and looks at GAFFER TYL, who also wakes up slowly from his sleep.)
GRANNY TYL I have a notion that our grandchildren who are still alive are coming to see us today....
GRANNY TYL I have a feeling that our living grandchildren are coming to visit us today....
GAFFER TYL They are certainly thinking of as, for I feel anyhow and I have pins and needles in my legs....
GAFFER TYL They are definitely thinking of that, because I can feel it anyway and my legs are all tingly....
GRANNY TYL I think they must be quite near, for I see tears of joy dancing before my eyes....
GRANNY TYL I think they must be really close, because I see tears of joy dancing before my eyes....
GAFFER TYL No, no, they are a long way off.... I still feel weak....
GAFFER TYL No, no, they’re still far away.... I still feel weak....
GRANNY TYL I tell you they are here; I am quite strong....
GRANNY TYL I’m telling you they’re here; I’m feeling pretty strong....
TYLTYL and MYTYL (rushing up from behind the oak) Here we are!... Here we are!... Gaffer! Granny!... It's we!... It's we!...
TYLTYL and MYTYL (rushing up from behind the oak) Here we are!... Here we are!... Gaffer! Granny!... It’s us!... It’s us!...
GAFFER TYL There!... You see?... What did I tell you?... I was sure they would come to-day....
GAFFER TYL There!... You see?... What did I tell you?... I knew they would come today....
GRANNY TYL Tyltyl!... Mytyl!... It's you!... It's she!... (Trying to run to meet them) I can't run!... I've still got the rheumatics!...
GRANNY TYL Tyltyl!... Mytyl!... It's you!... It's her!... (Trying to run to meet them) I can't run!... I've still got the rheumatism!...
GAFFER TYL (hobbling along as fast as he can) No more can I.... That's because of my wooden leg, which I still wear instead of the one I broke when I fell off the big oak....
GAFFER TYL (hobbling along as fast as he can) I can't go any faster.... That's because of my wooden leg, which I still use instead of the one I broke when I fell off the big oak....
(The GRANDPARENTS and the CHILDREN exchange frantic embraces.)
(The GRANDPARENTS and the CHILDREN share frantic hugs.)
GRANNY TYL How tall and strong you've grown, Tyltyl!
GRANNY TYL You’ve grown so tall and strong, Tyltyl!
GAFFER TYL (stroking MYTYL'S hair) And Mytyl!... Just look at her.... What pretty hair, what pretty eyes!...
GAFFER TYL (stroking MYTYL'S hair) And Mytyl!... Just look at her.... What beautiful hair, what beautiful eyes!...
GRANNY TYL Come and kiss me again!... Come on to my lap....
GRANNY TYL Come and kiss me again!... Come sit on my lap....
GAFFER TYL And what about me?...
GAFFER TYL And what about me?...
GRANNY TYL No, no.... Come to me first.... How are Daddy and Mummy Tyl?...
GRANNY TYL No, no... Come to me first... How are Dad and Mom Tyl?...
TYLTYL Quite well, granny.... They were asleep when we went out....
TYLTYL Quite well, grandma.... They were asleep when we left....
GRANNY TYL (gazing at them and covering them with caresses) Lord, how pretty they are and how nice and clean!... Was it mummy who washed you?... And there are no holes in your stockings!... I used to darn them once, you know.... Why don't you come to see us oftener?... It makes us so happy!... It is months and months now that you've forgotten us and that we have seen nobody....
GRANNY TYL (gazing at them and showering them with affection) Wow, you all look so pretty and nice and clean!... Did your mom wash you?... And there are no holes in your socks!... I used to fix those, you know.... Why don't you come visit us more often?... It makes us so happy!... It’s been months since you’ve thought of us and we haven’t seen anyone....
TYLTYL We couldn't, granny; and to-day its only because of the Fairy....
TYLTYL We couldn't, grandma; and today it's only because of the Fairy....
GRANNY TYL We are always here, waiting for a visit from those who are alive.... They come so seldom!... The last time you were here, let me see, when was it?... It was on All-hallows, when the church-bells were ringing....
GRANNY TYL We’re always here, waiting for a visit from those who are alive.... They come so rarely!... The last time you were here, let me think, when was it?... It was on Halloween, when the church bells were ringing....
TYLTYL All-hallows?... We didn't go out that day, for we both had very bad colds....
TYLTYL All-hallows?... We didn't go out that day because we both had really bad colds....
GRANNY TYL No; but you thought of us....
GRANNY TYL No; but you thought of us....
TYLTYL Yes....
TYLTYL Yep....
GRANNY TYL Well, every time you think of us, we wake up and see you again....
GRANNY TYL Well, every time you think of us, we wake up and see you again....
TYLTYL What, is it enough to...
TYLTYL What, is it enough to...
GRANNY TYL But come, you know that....
GRANNY TYL But come on, you know that....
TYLTYL No, I didn't know....
No, I didn't know....
GRANNY TYL (to GAFFER TYL) It's astonishing, up there.... They don't know yet.... Do they never learn anything?...
GRANNY TYL (to GAFFER TYL) It's amazing, up there.... They don't know yet.... Do they ever learn anything?...
GAFFER TYL It's as in our own time.... The Living are so stupid when they speak of the Others....
GAFFER TYL It's just like our time.... The Living are so clueless when they talk about the Others....
TYLTYL Do you sleep all the time?...
TYLTYL Do you sleep all the time?...
GAFFER TYL Yes, we get plenty of sleep, while waiting for a thought of the Living to come and wake us.... Ah, it is good to sleep when life is done.... But it is pleasant also to wake up from time to time....
GAFFER TYL Yes, we get a lot of sleep while waiting for a thought of the Living to come and wake us.... Ah, it feels good to sleep when life is over.... But it's also nice to wake up once in a while....
TYLTYL So you are not really dead?...
TYLTYL So you’re not really dead?
GAFFER TYL What do you say?... What is he saying?... Now he's using words we don't understand.... Is it a new word, a new invention?...
GAFFER TYL What do you think?... What is he talking about?... Now he's using words we don't get.... Is it a new word, a new creation?...
TYLTYL The word "dead"?...
TYLTYL The word "dead"?...
GAFFER TYL Yes, that was the word.... What does it mean?...
GAFFER TYL Yes, that was the word... What does it mean?...
TYLTYL Why, it means that one's no longer alive....
TYLTYL Why, it means that someone is no longer alive....
GAFFER TYL How silly they are, up there!...
GAFFER TYL How ridiculous they are, up there!...
TYLTYL Is it nice here?...
TYLTYL Is it nice here?
GAFFER TYL Oh, yes; not bad, not bad; and, if one could just have a smoke....
GAFFER TYL Oh, yeah; not bad, not bad; and, if only I could just have a smoke....
TYLTYL Aren't you allowed to smoke?...
TYLTYL Aren't you allowed to smoke?
GAFFER TYL Yes, it's allowed; but I've broken my pipe....
GAFFER TYL Yes, that's fine; but I've broken my pipe....
GRANNY TYL Yes, yes, all would be well, if only you would come and see us oftener.... Do you remember, Tyltyl?... The last time I baked you a lovely apple-tart.... You ate such a lot of it that you made yourself ill....
GRANNY TYL Yes, yes, everything would be great if only you would visit us more often.... Do you remember, Tyltyl?... The last time I baked you a delicious apple tart.... You ate so much of it that you made yourself sick....
TYLTYL But I haven't eaten any apple-tart since last year.... There were no apples this year....
TYLTYL But I haven't had any apple tart since last year.... There were no apples this year....
GRANNY TYL Don't talk nonsense.... Here, we have them always....
GRANNY TYL Don't say silly things.... We always have them here....
TYLTYL That's different....
TYLTYL That's interesting....
GRANNY TYL What? That's different?... Why, nothing's different when we're able to kiss each other....
GRANNY TYL What? That's new?... Well, nothing's different when we can kiss each other....
TYLTYL (looking first at his GRANDMOTHER and then at his GRANDFATHER) You haven't changed, grandad, not a bit, not a bit.... And granny hasn't changed a bit either.... But you're better-looking....
TYLTYL (looking first at his GRANDMOTHER and then at his GRANDFATHER) You haven't changed at all, grandad, not even a little... And granny hasn't changed at all either... But you're looking much better....
GAFFER TYL Well, we feel all right.... We have stopped growing older.... But you, how tall you're growing!... Yes, you're shooting up finely.... Look, over there, on the door, is the mark of the last time.... That was on All-hallows.... Now then, stand up straight.... (TYLTYL stands up against the door.) Four fingers taller!... That's immense!... (MYTYL also stands up against the door.) And Mytyl, four and a half!... Aha, ill weeds grow apace!... How they've grown, oh, how they've grown!...
GAFFER TYL Well, we feel good.... We’ve stopped getting older.... But you, look how tall you’re getting!... Yes, you’re really shooting up.... Look, over there on the door, is the mark from the last time.... That was on Halloween.... Now, stand up straight.... (TYLTYL stands up against the door.) Four fingers taller!... That’s huge!... (MYTYL also stands up against the door.) And Mytyl, four and a half!... Aha, bad weeds grow fast!... Look how much they've grown, oh, how much they've grown!...
TYLTYL (looking around him with delight) Nothing is changed, everything is in its old place!... Only everything is prettier!... There is the clock with the big hand which I broke the point off....
TYLTYL (looking around him with delight) Nothing has changed, everything is still where it was!... But everything is so much nicer!... There is the clock with the big hand that I broke the tip off....
GAFFER TYL And here is the soup-tureen you chipped a corner off....
GAFFER TYL And here is the soup pot you cracked a corner off....
TYLTYL And here is the hole which I made in the door, the day I found the gimlet....
TYLTYL And here is the hole I made in the door the day I found the gimlet....
GAFFER TYL Yes, you've done some damage in your time!... And here is the plum-tree in which you were so fond of climbing, when I wasn't looking.... It still has its fine red plums....
GAFFER TYL Yes, you've caused some trouble in your time!... And here is the plum tree that you loved to climb when I wasn't around.... It still has its beautiful red plums....
TYLTYL But they are finer than ever!...
TYLTYL But they're better than ever!...
MYTYL And here is the old blackbird!... Does he still sing?...
MYTYL And here is the old blackbird!... Does he still sing?...
(The blackbird wakes and begins to sing at the top of his voice.)
(The blackbird wakes up and starts singing at the top of his lungs.)
GRANNY TYL You see.... As soon as one thinks of him....
GRANNY TYL You see... As soon as you think of him...
TYLTYL (observing with amazement that the blackbird is quite blue) But he's blue!... Why, that's the bird, the Blue Bird which I am to take back to the Fairy.... And you never told us that you had him here!... Oh, he's blue, blue, blue as a blue glass marble!... (Entreatingly) Grandad, granny, will you give him to me?...
TYLTYL (watching in astonishment as the blackbird is actually blue) But he's blue!... Wow, that's the bird, the Blue Bird that I'm supposed to take back to the Fairy.... And you never mentioned you had him here!... Oh, he's blue, blue, blue like a blue glass marble!... (Begging) Grandad, granny, can you give him to me?...
GAFFER TYL Yes, perhaps, perhaps.... What do you think, granny?...
GAFFER TYL Yes, maybe, maybe... What do you think, grandma?...
GRANNY TYL Certainly, certainly.... What use is he to us?... He does nothing but sleep.... We never hear him sing....
GRANNY TYL Of course, of course... What good is he to us?... All he does is sleep... We never hear him sing...
TYLTYL I will put him in my cage.... I say, where is my cage?... Oh, I know, I left it behind the big tree.... (He runs to the tree, fetches the cage and puts the blackbird into it.) So, really, you've really given him to me?... How pleased the Fairy will be!... And Light too!...
TYLTYL I’ll put him in my cage... Wait, where's my cage?... Oh, I remember, I left it behind the big tree... (He runs to the tree, grabs the cage, and puts the blackbird inside.) So, you really did give him to me?... The Fairy will be so happy!... And Light too!...
GAFFER TYL Mind you, I won't answer for the bird.... I'm afraid that he will never get used again to the restless life up there and that he'll come back here by the first wind that blows this way.... However, we shall see.... Leave him there, for the present, and come and look at the cow....
GAFFER TYL Just so you know, I can’t vouch for the bird.... I'm worried he’ll never adjust back to the hectic life up there and will return here with the first wind that comes this way.... But we’ll see.... For now, leave him there and come check out the cow....
TYLTYL (noticing the hives) And how are the bees getting on?
TYLTYL (noticing the hives) So, how are the bees doing?
GAFFER TYL Oh, pretty well.... They are no longer alive, as you call it up there; but they work hard....
GAFFER TYL Oh, pretty well.... They're not alive anymore, as you say up there; but they work hard....
TYLTYL (going up to the hives) Oh, yes!... I can smell the honey!... How heavy the hives must be!... All the flowers are so beautiful!... And my little dead sisters, are they here too?...
TYLTYL (going up to the hives) Oh, yes!... I can smell the honey!... The hives must be so heavy!... All the flowers are so beautiful!... And my little dead sisters, are they here too?...
MYTYL And where are my three little brothers who were buried?...
MYTYL And where are my three little brothers who were buried?
(At these words, seven little CHILDREN, of different sizes, like a set of Pan's pipes, come out of the cottage, one by one.)
(At these words, seven little CHILDREN, of different sizes, like a set of Pan's pipes, come out of the cottage, one by one.)
GRANNY TYL Here they are, here they are!... As soon as you think of them, as soon as you speak of them, they are there, the darlings!...
GRANNY TYL Here they are, here they are!... As soon as you think of them, as soon as you talk about them, they are there, the darlings!...
(TYLTYL and MYTYL run to meet the CHILDREN. They hustle and hug one another and dance and whirl about and utter screams of joy.)
(TYLTYL and MYTYL run to meet the CHILDREN. They rush to each other and embrace, dancing and spinning around while shouting with joy.)
TYLTYL Hullo, Pierrot!... (They clutch each other by the hair.) Ah, so we're going to fight again, as in the old days.... And Robert!... I say, Jean, what's become of your top?... Madeleine and Pierette and Pauline!... And here's Riquette!...
TYLTYL Hey, Pierrot!... (They grab each other by the hair.) Ah, so we’re going to fight again, just like in the old days.... And Robert!... I’m asking you, Jean, where’s your top gone?... Madeleine and Pierette and Pauline!... And here’s Riquette!...
MYTYL Oh, Riquette, Riquette!... She's still crawling on all fours!...
MYTYL Oh, Riquette, Riquette!... She's still crawling on all fours!...
GRANNY TYL Yes, she has stopped growing.
GRANNY TYL Yes, she’s stopped growing.
TYLTYL (noticing the little DOG yelping around them) There's Kiki, whose tail I cut off with Pauline's scissors.... He hasn't changed either....
TYLTYL (noticing the little DOG yelping around them) There's Kiki, whose tail I chopped off with Pauline's scissors.... He hasn't changed either....
GAFFER TYL (sententiously) No, nothing changes here....
GAFFER TYL (in a serious tone) No, nothing changes here....
TYLTYL And Pauline still has a pimple on her nose....
TYLTYL And Pauline still has a pimple on her nose....
GRANNY TYL Yes, it won't go away; there's nothing to be done for it....
GRANNY TYL Yes, it won't go away; there's nothing we can do about it....
TYLTYL Oh, how well they look, how fat and glossy they are!... What jolly cheeks they have!... They look well fed....
TYLTYL Oh, they look amazing, so fat and shiny!... What cute cheeks they have!... They look well-fed....
GRANNY TYL They have been much better since they ceased living.... There's nothing more to fear, nobody is ever ill, one has no anxiety....
GRANNY TYL They've been much better since they stopped living... There's nothing left to fear, nobody ever gets sick, and there's no anxiety...
(The clock inside the cottage strikes eight.)
(The clock in the cottage strikes eight.)
GRANNY TYL (amazed) What's that?...
GRANNY TYL (amazed) What's that?
GAFFER TYL I don't know, I'm sure.... It must be the clock....
GAFFER TYL I don't know, I'm sure.... It must be the clock....
GRANNY TYL It can't be.... It never strikes....
GRANNY TYL It can't be.... It never happens....
GAFFER TYL Because we no longer think of the time.... Was any one thinking of the time?...
GAFFER TYL Because we don’t think about time anymore…. Is anyone thinking about time?…
TYLTYL Yes, I was.... What is the time?...
TYLTYL Yes, I was... What time is it?
GAFFER TYL I'm sure I can't tell.... I've forgotten how.... It struck eight times, so I suppose it's what they call eight o'clock up there....
GAFFER TYL I'm pretty sure I can't say.... I've lost track of how.... It rang eight times, so I guess it’s what they call eight o'clock up there....
TYLTYL Light expects me at a quarter to nine.... It's because of the Fairy.... It's extremely important.... I'm off!...
TYLTYL Light is expecting me at 8:45.... It's about the Fairy.... It's really important.... I'm on my way!...
GRANNY TYL Don't leave us like that, just as supper's ready!... Quick, quick, let's lay the table outside.... I've got some capital cabbage-soup and a beautiful plum-tart....
GRANNY TYL Don't leave us like that, just as dinner's ready!... Quick, quick, let’s set the table outside.... I have some amazing cabbage soup and a delicious plum tart....
(They get out the table, dishes, plates, etc., and lay for supper outside the door, all helping.)
(They bring out the table, dishes, plates, etc., and set up for supper outside the door, all helping out.)
TYLTYL Well, as I've got the Blue Bird.... And then it's so long since I tasted cabbage-soup.... Ever since I've been, travelling.... They don't have it at the hotels....
TYLTYL Well, since I've got the Blue Bird.... And it's been so long since I had cabbage soup.... Ever since I've been traveling.... They don’t serve it at the hotels....
GRANNY TYL There!... That didn't take long!... Sit down, children.... Don't let us lose time, if you're in a hurry....
GRANNY TYL There!... That was quick!... Sit down, kids.... Let's not waste time if you're in a hurry....
(They have lit the lamp and served the soup. The GRANDPARENTS and the CHILDREN sit down round the table, jostling and elbowing one another and laughing and screaming with pleasure.)
(They have turned on the lamp and served the soup. The GRANDPARENTS and the CHILDREN sit around the table, nudging and bumping into each other, laughing and shouting with joy.)
TYLTYL (eating like a glutton) How good it is!... Oh, how good it is!...I want some more! More!...
TYLTYL (eating like a glutton) This is so delicious!... Oh, it’s so good!... I want more! More!...
(He brandishes his wooden spoon and noisily hits his plate with it.)
(He waves his wooden spoon and bangs it loudly on his plate.)
GAFFER TYL Come, come, a little more quiet.... You're just as ill-behaved as ever; and you'll break your plate....
GAFFER TYL Come on, settle down a bit.... You're just as unruly as always; and you'll end up breaking your plate....
TYLTYL (half-raising himself on his stool) I want more, more!... (He seizes the tureen, drags it toward him and upsets it and the soup, which trickles over the table and down over their knees and scalds them. Yells and screams of pain.)
TYLTYL (half-raising himself on his stool) I want more, more!... (He grabs the soup pot, pulls it toward himself, spills it everywhere, and the hot soup runs over the table and down their knees, burning them. There are yells and screams of pain.)
GRANNY TYL There!... I told you so!...
GRANNY TYL There!... I told you so!...
GAFFER TYL (giving TYLTYL a loud box on the ear) That's one for you!...
GAFFER TYL (giving TYLTYL a loud slap on the ear) That's one for you!...
TYLTYL (staggered for a moment, next puts his hand to his cheek with an expression of rapture) Oh, that's just like the slaps you used to give me when you were alive?... Grandad, how nice it was and how good it makes one feel!... I must give you a kiss!...
TYLTYL (staggered for a moment, then places his hand on his cheek with a look of joy) Oh, that’s just like the slaps you used to give me when you were alive?... Grandad, how wonderful it was and how great it makes one feel!... I have to give you a kiss!...
GAFFER TYL Very well; there's more where that came from, if you like them....
GAFFER TYL Sure thing; there's plenty more where that came from, if you want them....
(The clock strikes half-past eight)
The clock strikes 8:30.
TYLTYL (starting up) Half-past eight!... (He flings down his spoon.) Mytyl, we've only just got time!...
TYLTYL (starting up) Half past eight!... (He throws down his spoon.) Mytyl, we’re just in time!...
GRANNY TYL Oh, I say!... Just a few minutes more!... Your house isn't on fire!... We see you so seldom....
GRANNY TYL Oh, come on!... Just a few more minutes!... Your house isn’t on fire!... We hardly see you anymore....
TYLTYL No, we can't possibly.... Light is so kind.... And I promised her.... Come, Mytyl, come!...
TYLTYL No, we can't possibly.... Light is so kind.... And I promised her.... Come on, Mytyl, let's go!...
GAFFER TYL Goodness gracious, how tiresome the Living are with all their business and excitement!...
GAFFER TYL Goodness, how exhausting the Living are with all their hustle and bustle!...
TYLTYL (taking his cage and hurriedly kissing everybody all round) Good-bye, grandad.... Good-bye, granny.... Good-bye, brothers and sisters, Pierrot, Robert, Pauline, Madeleine, Riquette and you, too, Kiki.... I feel we mustn't stay.... Don't cry, granny; we will come back often....
TYLTYL (taking his cage and quickly kissing everyone goodbye) Goodbye, grandpa.... Goodbye, grandma.... Goodbye, brothers and sisters, Pierrot, Robert, Pauline, Madeleine, Riquette, and you too, Kiki.... I feel like we shouldn't stay.... Don't cry, grandma; we'll come back often....
GRANNY TYL Come back every day!...
GRANNY TYL Come back every day!...
TYLTYL Yes, yes; we will come back as often as we can....
TYLTYL Yes, yes; we'll come back as often as we can....
GRANNY TYL It's our only pleasure and it's such a treat for us when your thoughts visit us!...
GRANNY TYL It's our only joy, and it's such a delight for us when your thoughts come to visit!
GAFFER TYL We have no other amusements....
GAFFER TYL We have no other entertainment....
TYLTYL Quick, quick!... My cage!... My bird!...
TYLTYL Hurry, hurry!... My cage!... My bird!...
GAFFER TYL (handing him the cage) Here they are!... You know, I don't warrant him; and if he's not the right colour...
GAFFER TYL (handing him the cage) Here they are!... You know, I can't guarantee him; and if he's not the right color...
TYLTYL Good-bye! Good-bye!...
TYLTYL Goodbye! Goodbye!...
THE BROTHERS AND SISTERS TYL Good-bye, Tyltyl! Good-bye, Mytyl!... Remember the barley-sugar!... Good-bye!... Come again!... Come again!...
THE BROTHERS AND SISTERS TYL Bye, Tyltyl! Bye, Mytyl!... Don’t forget the barley sugar!... Bye!... Come back!... Come back!...
(They all wave their handkerchiefs while TYLTYL and MYTYL slowly move away. But already, during the last sentences, the fog of the beginning of the scene has been gradually re-forming, so that, at the end, all has disappeared in the mist and, at the fall of the curtain, TYLTYL and MYTYL are again alone visible under the big oak.)
(They all wave their handkerchiefs while TYLTYL and MYTYL slowly walk away. But during the last sentences, the fog that started the scene has been gradually coming back, so that, in the end, everything has vanished into the mist and, as the curtain falls, TYLTYL and MYTYL are once again the only ones visible under the big oak.)
TYLTYL It's this way, Mytyl....
TYLTYL It's this way, Mytyl....
MYTYL Where is Light?...
MYTYL Where's Light?...
TYLTYL I don't know.... (Looking at the bird in the cage.) But the bird is no longer blue!... He has turned black!...
TYLTYL I don't know.... (Looking at the bird in the cage.) But the bird isn’t blue anymore!... He’s turned black!...
MYTYL Give me your hand, little brother.... I feel so frightened and so cold....
MYTYL Give me your hand, little brother.... I'm so scared and so cold....
CURTAIN
ACT III.
SCENE 1.—The Palace of NIGHT.
A large and wonderful hall of an austere, rigid, metallic and sepulchral magnificence, giving the impression of a Greek temple with columns, architraves, flagstones and ornaments of black marble, gold and ebony. The hall is trapezium-shaped. Basalt steps, occupying almost the entire width, divide it into three successive stages, which rise gradually toward the back. On the right and left, between the columns, are doors of sombre bronze. At the back, a monumental door of brass. The palace is lit only by a vague light that seems to emanate mainly from the brilliancy of the marble and the ebony. At the rise of the curtain, NIGHT, in the form of a very old woman, clad in long, black garments, is seated on the steps of the second stage between two children, of whom one, almost naked, like Cupid, is smiling in a deep sleep, while the other is standing up, motionless and veiled from head to foot.
A large and impressive hall with a stark, rigid, metallic, and grim grandeur, resembling a Greek temple with columns, architraves, flagstones, and decor made of black marble, gold, and ebony. The hall is trapezoidal in shape. Basalt steps, taking up almost the entire width, split it into three stages that rise gradually toward the back. On the right and left, between the columns, are dark bronze doors. At the back, there's a monumental brass door. The palace is lit only by a faint light that seems to come mainly from the shine of the marble and ebony. As the curtain rises, NIGHT, appearing as a very old woman dressed in long black garments, is seated on the steps of the second stage between two children, one of whom is almost naked like Cupid, smiling in a deep sleep, while the other stands motionless, completely veiled.
Enter from the right, in the foreground, the CAT
Enter from the right, in the foreground, the CAT
NIGHT Who goes there?
NIGHT Who's there?
THE CAT (sinking heavily upon the marble steps) It is I, Mother Night.... I am worn out....
THE CAT (sinking heavily upon the marble steps) It’s me, Mother Night.... I’m exhausted....
NIGHT What's the matter, child?... You look pale and thin and you are splashed with mud to your very whiskers.... Have you been fighting on the tiles again, in the snow and rain?...
NIGHT What's wrong, kid? You look pale and skinny, and you're covered in mud. Have you been battling it out on the streets again, in the snow and rain?
THE CAT It has nothing to do with the tiles!... It's our secret that's at stake!... It's the beginning of the end!... I have managed to escape for a moment to warn you; but I greatly fear that there is nothing to be done....
THE CAT It has nothing to do with the tiles!... It's our secret that's at stake!... It's the beginning of the end!... I've managed to escape for a moment to warn you; but I really fear that there's nothing we can do....
NIGHT Why?... What has happened?...
NIGHT Why? What happened?
THE CAT I have told you of little Tyltyl, the woodcutter's son, and of the magic diamond.... Well, he is coming here to demand the Blue Bird of you....
THE CAT I have told you about little Tyltyl, the woodcutter's son, and the magic diamond.... Well, he is coming here to ask you for the Blue Bird....
NIGHT He hasn't got it yet.....
NIGHT He hasn't gotten it yet.....
THE CAT He will have it soon, unless we perform some miracle.... This is how the matter stands: Light, who is guiding him and betraying us all, for she has placed herself entirely on Man's side, Light has learned that the Blue Bird, the real one, the only one that can live in the light of day, is hidden here, among the blue birds of the dreams that live on the rays of the moon and die as soon as they set eyes on the sun.... She knows that she is forbidden to cross the threshold of your palace, but she is sending the children; and, as you cannot prevent Man from opening the doors of your secrets, I do not know how all this will end.... In any case, if, unfortunately, they should lay their hands on the real Blue Bird, there would be nothing for us but to disappear....
THE CAT He’ll have it soon, unless we pull off some miracle.... Here’s the situation: Light, who is guiding him and betraying us all because she has completely sided with Man, has discovered that the Blue Bird, the real one, the only one that can thrive in daylight, is hidden here among the blue birds of dreams that bask in moonlight and perish as soon as they see the sun.... She knows she’s not allowed to cross into your palace, but she’s sending the children; and since you can’t stop Man from opening the doors to your secrets, I don’t know how this will turn out.... In any case, if, unfortunately, they should manage to get their hands on the real Blue Bird, we would have no choice but to disappear....
NIGHT Oh dear, oh dear!.... What times we live in!... I never have a moment's peace.... I cannot understand Man, these last few years.... What is he aiming at?... Must he absolutely know everything?... Already he has captured a third of my Mysteries, all my Terrors are afraid and dare not leave the house, my Ghosts have taken flight, the greater part of my Sicknesses are ill....
NIGHT Oh no, oh no!.... What times we’re living in!... I never have a moment’s peace.... I just can’t understand humanity these last few years.... What are they trying to achieve?... Do they really need to know everything?... Already they’ve uncovered a third of my Mysteries, all my Terrors are scared and won’t leave the house, my Ghosts have fled, and most of my Sicknesses are sick....
THE CAT I know, Mother Night, I know, the times are hard and we are almost alone in our struggle against Man.... But I hear them coming.... I see only one way: as they are children, we must give them such a fright that they will not dare to persist or to open the great door at the back, behind which they would find the Birds of the Moon.... The secrets of the other caverns will be enough to distract their attention and terrify them....
THE CAT I know, Mother Night, I know, times are tough and we’re almost alone in our fight against Man.... But I can hear them approaching.... I see only one solution: since they are like children, we must scare them so much that they won’t dare to continue or open the big door at the back, behind which they would discover the Birds of the Moon.... The mysteries of the other caves will be enough to grab their attention and frighten them....
NIGHT (listening to a sound outside) What do I hear?... Are there many of them?...
NIGHT (listening to a sound outside) What’s that noise?... Are there a lot of them?...
THE CAT It is nothing; it is our friends, Bread and Sugar; Water is not very well and Fire could not come, because he is related to Light.... The Dog is the only one who is not on our side; but it is never possible to keep him away....
THE CAT It’s nothing; it’s our friends, Bread and Sugar; Water isn’t feeling well, and Fire couldn’t come because he’s related to Light.... The Dog is the only one who isn’t on our side; but it’s never possible to keep him away....
(Enter timidly, on the right, in the foreground, TYLTYL, MYTYL, BREAD, SUGAR and the DOG.)
(Enter cautiously, on the right, in the foreground, TYLTYL, MYTYL, BREAD, SUGAR, and the DOG.)
THE CAT (rushing up to TYLTYL) This way, little master, this way.... I have told Night, who is delighted to see you.... You must forgive her, she is a little indisposed; that is why she was not able to come to meet you....
THE CAT (rushing up to TYLTYL) This way, little master, this way.... I’ve told Night, and she’s excited to see you.... You have to forgive her; she’s a bit under the weather, which is why she couldn’t come to meet you....
TYLTYL Good-day, Mrs. Night....
Hey, Mrs. Night....
NIGHT (in an offended voice) Good-day?... I am not used to that.... You might say, Good-night, or, at least. Good-evening....
NIGHT (with an offended tone) Good day?... I’m not used to that.... You could say Good night, or at least Good evening....
TYLTYL (mortified) I beg your pardon, ma'am....I did not know....(Pointing to the two CHILDREN.) Are those your two little boys?... They are very nice....
TYLTYL (mortified) I'm so sorry, ma'am... I didn't realize... (Pointing to the two CHILDREN.) Are those your two little boys?... They’re really nice...
NIGHT This is Sleep....
NIGHT This is Sleep...
TYLTYL Why is he so fat?...
TYLTYL Why is he so overweight?...
NIGHT That is because he sleeps well....
NIGHT That is because he sleeps well....
TYLTYL And the other, hiding himself?... Why does he veil his face?...Is he ill?... What is his name?...
TYLTYL And the other, hiding himself?... Why is he covering his face?... Is he sick?... What's his name?...
NIGHT That is Sleep's sister.... It is better not to mention her name....
NIGHT That is Sleep's sister.... It's best not to say her name....
TYLTYL Why?...
TYLTYL Why?
NIGHT Because her name is not pleasant to hear.... But let us talk of something else.... The Cat tells me that you have come here to look for the Blue Bird....
NIGHT Because her name isn't nice to hear.... But let's discuss something else.... The Cat tells me that you've come here to find the Blue Bird....
TYLTYL Yes, ma'am, if you will allow me.... Will you tell me where he is?...
TYLTYL Yes, ma'am, if you don’t mind.... Can you tell me where he is?...
NIGHT I don't know, dear.... All I can say is that he is not here.... I have never seen him....
NIGHT I don't know, dear.... All I can say is that he's not here.... I've never seen him....
TYLTYL Yes, yes.... Light told me that he was here; and Light knows what she is saying.... Will you hand me your keys?...
TYLTYL Yes, yes... Light told me that he was here, and Light knows what she's talking about... Could you give me your keys?
NIGHT But you must understand, dear, that I cannot give my keys like that to the first comer.... I have the keeping of all Nature's secrets and I am absolutely forbidden to deliver them to anybody, especially to a child....
NIGHT But you have to understand, my dear, that I can't just hand over my keys like that to anyone who asks.... I hold all of Nature's secrets, and I'm completely forbidden from sharing them with anyone, especially not with a child....
TYLTYL You have no right to refuse them to Man when he asks you for them....I know that....
TYLTYL You can’t refuse them to Man when he asks for them....I get that....
NIGHT Who told you?...
NIGHT Who told you?
TYLTYL Light....
TYLTYL Light...
NIGHT Light again! Always Light!... How dare she interfere, how dare she?...
NIGHT Light again! Always Light!... How could she interfere, how could she?...
THE DOG Shall I take them from her by force, my little god?...
THE DOG Shall I take them from her by force, my little god?...
TYLTYL Hold your tongue, keep quiet and try to behave.... (ToNIGHT) Come, madam, give me your keys, please....
TYLTYL Hold your tongue, stay quiet, and try to behave.... (ToNIGHT) Come on, ma'am, give me your keys, please....
NIGHT Have you the sign, at least?... Where is it?...
NIGHT Do you have the sign, at least?... Where is it?...
TYLTYL (touching his hat) Behold the Diamond!...
TYLTYL (touching his hat) Check out the Diamond!...
NIGHT (resigning herself to the inevitable) Well, then... Here is the key that opens all the doors of the hall.... Look to yourself if you meet with a misfortune.... I will not be responsible....
NIGHT (accepting what’s about to happen) Alright, then... Here’s the key that unlocks every door in the hall.... Take care of yourself if something goes wrong.... I won’t be held liable....
BREAD (very anxiously) Is it dangerous?...
BREAD (very anxiously) Is it dangerous?
NIGHT Dangerous?... I will go so far as to say that I myself do not know what I shall do when certain of those bronze doors open upon the abyss.... All around the hall, in each of those basalt caves, are all the evils, all the plagues, all the sicknesses, all the terrors, all the catastrophes, all the mysteries that have afflicted life since the beginning of the world.... I have had trouble enough to Imprison them there with the aid of Destiny; and it is not without difficulty, I assure you, that I keep some little order among those undisciplined characters.... You have seen what happens when one of them escapes and shows itself on earth....
NIGHT Dangerous?... I can honestly say that I don’t even know what I’ll do when those bronze doors swing open to the unknown.... All around the hall, in each of those dark caves, are all the evils, all the plagues, all the illnesses, all the fears, all the disasters, and all the mysteries that have troubled life since the dawn of time.... I’ve worked hard enough to keep them locked up there with the help of Fate; and I assure you, it’s not easy to maintain some semblance of order among those unruly beings.... You’ve seen what happens when one of them breaks free and makes its way into the world....
BREAD My great age, my experience and my devotion make me the natural protector of these two children; therefore, Mrs. Night, permit me to ask you a question....
BREAD My age, experience, and commitment make me the natural protector of these two kids; so, Mrs. Night, can I ask you something....
NIGHT Certainly....
NIGHT For sure....
BREAD In case of danger, which is the way of escape?...
BREAD In case of danger, what’s the way out?...
NIGHT There is no way of escape.
NIGHT No escape.
TYLTYL (taking the key and climbing the first steps) Let us begin here.... What is behind this bronze door?...
TYLTYL (taking the key and climbing the first steps) Let’s start here.... What’s behind this bronze door?...
NIGHT I think it is the Ghosts.... It is long since I opened the door and since they came out....
NIGHT I think it’s the Ghosts.... It’s been a while since I opened the door and since they came out....
TYLTYL (placing the key in the lock) I will see.... (To BREAD) Have you the cage for the Blue Bird?...
TYLTYL (placing the key in the lock) I'll take a look.... (To BREAD) Do you have the cage for the Blue Bird?...
BREAD (with chattering teeth) I'm not frightened, but don't you think it would be better not to open the door, but to peep through the keyhole?...
BREAD (with chattering teeth) I'm not scared, but don't you think it would be better not to open the door and just look through the keyhole instead?
TYLTYL I don't want your advice....
TYLTYL I don't want your advice....
MYTYL (suddenly beginning to cry) I am frightened!... Where is Sugar?... I want to go home!...
MYTYL (suddenly starting to cry) I'm scared!... Where's Sugar?... I want to go home!...
SUGAR (eagerly, obsequiously) Here I am, miss, here I am.... Don't cry, I will break off one of my fingers so that you may have a sugar-stick....
SUGAR (eagerly, excessively compliant) Here I am, miss, here I am.... Don't cry, I’ll break off one of my fingers so that you can have a sugar stick....
TYLTYL Enough of this!...
TYLTYL Enough of this!...
(He turns the key and cautiously opens the door. Forthwith, five or six GHOSTS of strange and different forms escape and disperse on every side. MYTYL gives a scream of fright, BREAD, terrified, throws away the cage and goes and hides at the back of the hall, while NIGHT, running after the GHOSTS, cries out to TYLTYL.)
(He turns the key and carefully opens the door. Immediately, five or six GHOSTS of various and bizarre shapes rush out and scatter in every direction. MYTYL lets out a terrified scream, BREAD, scared, tosses aside the cage and hides at the back of the hall, while NIGHT, chasing after the GHOSTS, calls out to TYLTYL.)
NIGHT Quick! Quick!... Shut the door!... They will all escape and we should never be able to catch them again!... They have felt bored in there, ever since Man ceased to take them seriously.... (She runs after the GHOSTS and endeavours, with the aid of a whip formed of snakes, to drive them back to the door of their prison.) Help me!... Here!... Here!...
NIGHT Hurry! Hurry!... Shut the door!... They'll all get away and we’ll never be able to catch them again!... They've been feeling bored in there ever since Man stopped taking them seriously.... (She chases the GHOSTS and tries, using a whip made of snakes, to drive them back to the door of their prison.) Help me!... Over here!... Here!...
TYLTYL (to the DOG) Help her, Tylô, at them!...
TYLTYL (to the DOG) Help her, Tylô, with them!...
THE DOG (leaping up and barking) Yes, yes, yes!...
THE DOG (leaping up and barking) Yes, yes, yes!...
TYLTYL And Bread, where's Bread?...
TYLTYL And Bread, where's Bread?
BREAD (at the back of the hall) Here.... I am near the door to prevent them from going out....
BREAD (at the back of the hall) Here.... I'm by the door to stop them from leaving....
(One of the GHOSTS moves in that direction and he rushes away at full speed, uttering yells of terror.)
(One of the GHOSTS moves in that direction and he bolts away at full speed, screaming in terror.)
NIGHT (to three GHOSTS whom she has seized by the neck) This way, you!... (To TYLTYL) Open the door a little.... (She pushes the GHOSTS into the cave.) There, that's it.... (The DOG brings up two more.) And these two.... Come, quick, in with you!... You know you're only allowed out on All-hallows....
NIGHT (to three GHOSTS whom she has grabbed by the neck) This way, you!... (To TYLTYL) Open the door a bit.... (She pushes the GHOSTS into the cave.) There, that's it.... (The DOG brings up two more.) And these two.... Come on, hurry, get in!... You know you're only allowed out on Halloween....
(She closes the door.)
She shuts the door.
TYLTYL (going to another door) What's behind this one?....
TYLTYL (going to another door) What's behind this one?....
NIGHT What is the good?...I have already told you the Blue Bird has never been here.... However, as you please.... Open the doors if you like.... It's the Sicknesses....
NIGHT What’s the point?... I’ve already told you the Blue Bird has never been here.... But do what you want.... Open the doors if you want.... It’s the Illnesses....
TYLTYL (with the key in the lock.) Must I be careful in opening?...
TYLTYL (with the key in the lock.) Do I need to be careful when I open this?...
NIGHT No, it is not worth while.... They are very quiet, the poor little things.... They are not happy.... Man, for some time, has been waging such a determined war upon them!... Especially since the discovery of the microbes.... Open, you will see....
NIGHT No, it’s not worth it.... They’re so quiet, the poor little things.... They’re not happy.... Humanity has been fighting such a relentless battle against them for a while now!... Especially since the discovery of microbes.... Open, you’ll see....
(TYLTYL opens the door quite wide. Nothing appears.)
(TYLTYL opens the door wide. Nothing shows up.)
TYLTYL Don't they come out?
TYLTYL Don't they come out?
NIGHT I told you they are almost all poorly and very much discouraged.... The doctors are so unkind to them.... Go in for a moment and see for yourself....
NIGHT I told you they are nearly all struggling and feeling really down.... The doctors are so harsh with them.... Go in for a moment and see for yourself....
(TYLTYL enters the cavern and comes out again immediately.)
(TYLTYL enters the cave and comes out again immediately.)
TYLTYL The Blue Bird is not there.... They look very ill, those Sicknesses of yours.... They did not even lift their heads.... (One little Sickness in slippers, a dressing-gown and a cotton nightcap escapes from the cavern and begins to frisk about the hall.) Look!... There's a little one escaping.... Which one is it?...
TYLTYL The Blue Bird is not there.... They look really sick, your Sicknesses.... They didn't even lift their heads.... (One little Sickness in slippers, a robe and a cotton nightcap comes out of the cave and starts to play around the hall.) Look!... There's a little one getting away.... Which one is it?...
NIGHT It's nothing, one of the smallest; it's Cold-in-the-Head.... It is one of those which are least persecuted and which enjoy the best health.... (Calling to COLD-IN-THE-HEAD) Come here, dear....It's too soon yet; you must wait for the winter.... (COLD-IN-THE-HEAD, sneezing, coughing and blowing its nose, returns to the cavern and TYLTYL shuts the door.)
NIGHT It's nothing, one of the smallest; it's Cold-in-the-Head.... It's one of those that are least bothered and enjoy the best health.... (Calling to COLD-IN-THE-HEAD) Come here, dear.... It's still too early; you need to wait for winter.... (COLD-IN-THE-HEAD, sneezing, coughing, and blowing its nose, returns to the cave and TYLTYL shuts the door.)
TYLTYL (going to the next door) Let us look at this one..... What is in here?...
TYLTYL (going to the next door) Let’s check this one out..... What’s inside here?...
NIGHT Take care!... It is the Wars.... They are more terrible and powerful than ever.... Heaven knows what would happen if one of them escaped!... Fortunately, they are rather heavy and slow-moving.... But we must stand ready to push back the door, all of us together, while you take a rapid glance into the cavern....
NIGHT Be careful!... It’s the Wars.... They’re more terrifying and powerful than ever.... God knows what would happen if one of them got free!... Luckily, they’re pretty heavy and slow.... But we have to be ready to push back the door, all of us together, while you take a quick look into the cave....
(TYLTYL, with a thousand precautions, opens the door ajar so that there is only a little gap to which he can put his eye. He at once doubles his back against the door, shouting.)
(TYLTYL, with a thousand precautions, opens the door a crack so that there is only a small gap for him to peek through. He quickly leans back against the door, shouting.)
TYLTYL Quick! Quick!... Push with all your might!... They have seen me!... They are all coming!... They are breaking down the door!...
TYLTYL Hurry! Hurry!... Push as hard as you can!... They’ve spotted me!... They’re all coming!... They’re breaking down the door!...
NIGHT Come, all together!... Push hard!... Bread, what are you doing?... Push, all of you!... How strong they are!... Ah, that's it!... They are giving way!... It was high time!... Did you see them?...
NIGHT Come on, everyone!... Push harder!... Bread, what are you doing?... Push, all of you!... They're so strong!... Ah, that’s it!... They’re starting to give in!... It was about time!... Did you see them?...
TYLTYL Yes, yes!... They are huge and awful!... I don't think that they have the Blue Bird....
TYLTYL Yes, yes!... They are huge and terrible!... I don't think they have the Blue Bird....
NIGHT You may be sure they haven't.... If they had, they would eat him at once.... Well, have you had enough of it?... You see there is nothing to be done....
NIGHT You can be sure they haven't.... If they had, they would eat him right away.... Well, have you had enough of it?... You see there's nothing that can be done....
TYLTYL I must see everything.... Light said so....
TYLTYL I have to see everything.... Light said so....
NIGHT Light said so!... It's an easy thing to say when one's afraid and stays at home....
NIGHT Light said that!... It’s easy to say when you’re scared and staying home...
TYLTYL Let us go to the next.... What is in here?...
TYLTYL Let’s move on to the next one... What’s in here?
NIGHT This is where I lock up the Shades and the Terrors....
NIGHT This is where I put away the Shades and the Terrors....
TYLTYL Can I open the door?...
TYLTYL Can I open the door?...
NIGHT Certainly.... They are pretty quiet; they are like the Sicknesses....
NIGHT Definitely.... They’re pretty quiet; they’re like the illnesses....
TYLTYL (half-opening the door, with a certain mistrustfulness, and taking a look into the cavern) Are they not there?...
TYLTYL (half-opening the door, with a bit of hesitation, and taking a look into the cave) Are they not there?...
NIGHT (looking into the cavern in her turn) Well, Shades, what are you doing?... Come out for a moment and stretch your legs; it will do you good.... And the Terrors also.... There is nothing to be afraid of.... (A few SHADES and a few TERRORS, in the shape of women, shrouded, the former in black veils and the latter in greenish veils, piteously venture to take a few steps outside the cavern; and then, upon a movement of TYLTYL'S, hastily run back again.) Come, don't be afraid.... It's only a child; he won't hurt you.... (To TYLTYL) They have become extremely timid, except the great ones, those whom you see at the back....
NIGHT (looking into the cavern in her turn) Well, Shades, what are you all doing?... Come out for a moment and stretch your legs; it will do you good.... And you too, Terrors.... There’s nothing to be afraid of.... (A few SHADES and a few TERRORS, shrouded in veils—black for the Shades and greenish for the Terrors—tentatively take a few steps outside the cavern; then, at a movement from TYLTYL, they quickly run back in.) Come on, don’t be scared.... It’s just a kid; he won’t hurt you.... (To TYLTYL) They’ve gotten really timid, except for the big ones, the ones you see at the back....
TYLTYL (looking into the depths of the cave) Oh, how terrifying they are!...
TYLTYL (looking into the depths of the cave) Oh, how scary they are!...
NIGHT They are chained up.... They are the only ones that are not afraid of Man.... But shut the door, lest they should grow angry....
NIGHT They are chained up.... They are the only ones not afraid of Man.... But shut the door, or they might get angry....
TYLTYL (going to the next door) I say!... This is a darker one.... What is here?
TYLTYL (going to the next door) I say!... This one feels more mysterious.... What's going on here?
NIGHT There are several Mysteries behind this one.... If you are absolutely bent upon it, you may open it too.... But don't go in.... Be very cautious and let us get ready to push back the door, as we did with the Wars....
NIGHT There are several Mysteries behind this one.... If you really want to, you can open it too.... But don't go inside.... Be very careful and let's get ready to push the door back, just like we did with the Wars....
TYLTYL (half-opening the door; with unparalleled precautions and passing his head fearsomely through the aperture) Oh!... How cold!... My eyes are smarting!... Shut it quickly!... Push, oh, push! They are pushing against us!... (NIGHT, the DOG, the CAT and SUGAR push back the door.) Oh, I saw!...
TYLTYL (half-opening the door; with extreme caution and peeking his head through the opening) Oh!... It’s so cold!... My eyes are stinging!... Close it quickly!... Come on, push! They’re pushing against us!... (NIGHT, the DOG, the CAT and SUGAR push back the door.) Oh, I saw!...
NIGHT What?...
NIGHT What?
TYLTYL (upset) I don't know, it was awful!... They were all seated like monsters without eyes.... Who was the giant who tried to seize me?...
TYLTYL (upset) I don't know, it was terrible!... They were all sitting there like blind monsters.... Who was the giant trying to grab me?...
NIGHT It was probably Silence; he has charge of this door.... It appears to have been alarming?... You are quite pale still and trembling all over....
NIGHT It was probably Silence; he's in charge of this door.... It seems to have been concerning?... You look really pale and are shaking all over....
TYLTYL Yes, I would never have believed.... I had never seen.... And my hands are frozen....
TYLTYL Yes, I never would have believed.... I had never seen.... And my hands are ice-cold....
NIGHT It will be worse presently if you go on....
NIGHT It will get worse soon if you keep this up....
TYLTYL (going to the next door) And this one?... Is this terrible also?...
TYLTYL (going to the next door) And this one?... Is this awful too?...
NIGHT No; there is a little of everything here.... It is where I keep the unemployed Stars, my personal Perfumes, a few Glimmers that belong to me, such as Will-o'-the-Wisps, Glow-worms and Fireflies, also the Dew, the Song of the Nightingales and so on....
NIGHT No; there's a bit of everything here... It's where I keep the unemployed Stars, my personal Perfumes, a few Glimmers that are mine, like Will-o'-the-Wisps, Glow-worms, and Fireflies, as well as the Dew, the Song of the Nightingales, and so on...
TYLTYL Just so, the Stars, the Song of the Nightingales.... This must be the door....
TYLTYL Just like that, the Stars, the Song of the Nightingales.... This has to be the door....
NIGHT Open it, if you like; there Is nothing very bad inside....
NIGHT Go ahead and open it if you want; there's nothing too terrible inside....
(TYLTYL throws the door wide open. The STARS, in the shape of beautiful young girls veiled in many-coloured radiancy, escape from their prison, disperse over the hall and form graceful groups on the steps and around the columns, bathed in a sort of luminous penumbra. The PERFUMES OF THE NIGHT, who are almost invisible, the WILL-O'-THE-WISPS, the FIREFLIES and the transparent DEW join them, while the SONG OF THE NIGHTINGALES streams from the cavern and floods the Palace of NIGHT.)
(TYLTYL throws open the door wide. The STARS, appearing as beautiful young girls draped in colorful light, break free from their confines, scatter throughout the hall, and form elegant groups on the steps and around the columns, surrounded by a sort of glowing haze. The PERFUMES OF THE NIGHT, who are almost invisible, together with the WILL-O'-THE-WISPS, the FIREFLIES and the clear DEW join them, while the SONG OF THE NIGHTINGALES flows from the cavern and fills the Palace of NIGHT.)
MYTYL (clapping her hands with delight) Oh, what pretty ladies!...
MYTYL (clapping her hands with delight) Oh, what beautiful ladies!...
TYLTYL And how well they dance!...
TYLTYL And they dance so well!...
MYTYL And how sweet they smell!...
MYTYL And they smell so sweet!...
TYLTYL And how beautifully they sing!...
TYLTYL And how beautifully they sing!...
MYTYL What are those, whom one can hardly see?...
MYTYL What are those that you can barely see?...
NIGHT Those are the Perfumes of my Shadow.
NIGHT Those are the Scents of my Shadow.
TYLTYL And those others, over there, in spun glass?...
TYLTYL And those others, over there, in glass?...
NIGHT They are the Dew of the plains and forests.... But enough!... They would never have done.... It is the devil's own business to get them back, once they begin to dance.... (Clapping her hands together.) Now then, Stars, quick!... This is not the time for dancing.... The sky is overcast and heavily clouded.... Come, quick, in with you, or I will go and fetch a ray of sunlight!... (The STARS, PERFUMES, etc., take to flight in dismay and rush back into the cavern; and the door is closed upon them. At the same time, the song of the NIGHTINGALE ceases.)
NIGHT They are the dew of the plains and forests... But that's enough! They would never stop... It's a real hassle to get them back once they start dancing... (Clapping her hands together.) Now then, Stars, hurry up!... This isn't the time for dancing... The sky is overcast and full of heavy clouds... Come on, quick, inside with you, or I'm going to grab a ray of sunlight!... (The STARS, PERFUMES, etc., flee in panic and rush back into the cavern; and the door is closed behind them. At the same time, the song of the NIGHTINGALE stops.)
TYLTYL (going to the door at the back) Here is the great middle door....
TYLTYL (going to the door at the back) Here’s the big middle door....
NIGHT (gravely) Do not open that one...
NIGHT (seriously) Don't open that one...
TYLTYL Why not?....
Why not?
NIGHT Because it's not allowed....
NIGHT Because it's prohibited...
TYLTYL Then it's here that the Blue Bird is hidden; Light told me so....
TYLTYL Then it’s here that the Blue Bird is hidden; Light told me that...
NIGHT (maternally) Listen to me, child ... I have been kind and indulgent ... I have done for you what I have never done for any one before ... I have given up all my secrets to you.... I like you, I feel pity for your youth and innocence and I am speaking to you as a mother.... Listen to me, my child, and believe me; relinquish your quest, go no further, do not tempt fate, do not open that door....
NIGHT (maternally) Listen to me, kid ... I’ve been kind and understanding ... I’ve done things for you that I’ve never done for anyone else before ... I’ve shared all my secrets with you.... I like you, I feel sorry for your youth and innocence, and I’m talking to you like a mother.... Listen to me, my child, and trust me; give up your search, don’t go any further, don’t tempt fate, don’t open that door....
TYLTYL (a little shaken) But why?...
TYLTYL (a little shaken) But why?...
NIGHT Because I do not wish you to be lost.... Because not one of those, do you hear, not one of those who have opened it, were it but by a hair's breadth, has ever returned alive to the light of day.... Because every awful thing imaginable, because all the terrors, all the horrors of which men speak on earth are as nothing compared with the most harmless of those which assail a man from the moment when his eye lights upon the first threats of the abyss to which no one dares give a name.... So much so that I myself, if you are bent, in spite of everything, upon touching that door, will ask you to wait until I have sought safety in my windowless tower... Now it is for you to know, for you to reflect....
NIGHT Because I don’t want you to get lost.... Because not one of those, do you hear, not one of those who have dared to open it, even a little bit, has ever returned alive to the light of day.... Because every terrible thing imaginable, because all the fears and horrors people talk about on earth are nothing compared to the slightest of those that attack a person the moment they see the first signs of the abyss that no one dares to name.... So much so that if you are determined, despite everything, to touch that door, I will ask you to wait until I have found safety in my windowless tower... Now it’s for you to know, for you to think about....
(MYTYL, all in tears, utters cries of inarticulate terror and tries to drag TYLTYL away.)
(MYTYL, all in tears, cries out in fear and tries to drag TYLTYL away.)
BREAD (with chattering teeth) Don't do it, master dear!... (Flinging himself on his knees) Take pity on us!... I implore you on my knees.... You see that Night is right....
BREAD (with chattering teeth) Please don’t do it, dear master!... (Throwing himself on his knees) Have mercy on us!... I beg you on my knees.... You can see that Night is right....
THE CAT You are sacrificing the lives of all of us....
THE CAT You are sacrificing the lives of all of us....
TYLTYL I must open the door....
TYLTYL I must open the door....
MYTYL (stamping her feet, amid her sobs) I won't!... I sha'n't!...
MYTYL (stomping her feet, through her tears) I won't!... I can't!...
TYLTYL Sugar and Bread, take Mytyl by the hand and run away with her.... I am going to open the door....
TYLTYL Sugar and Bread, take Mytyl by the hand and run away with her.... I am going to open the door....
NIGHT Run for your lives!... Come quickly!... It is time!... (She flees.)
NIGHT Run for your lives!... Hurry up!... It's time!... (She runs away.)
BREAD (fleeing wildly) At least wait till we are at the end of the hall!...
BREAD (fleeing wildly) Just wait until we get to the end of the hall!...
THE CAT (also fleeing) Wait! Wait!...
THE CAT (also fleeing) Hold on! Hold on!...
(They hide behind the columns at the other end of the hall. TYLTYL remains alone with the DOG by the monumental door.)
(They are hiding behind the columns at the other end of the hall. TYLTYL is left alone with the DOG by the grand door.)
THE DOG (panting and hiccoughing with suppressed fright) I shall stay, I shall stay!... I'm not afraid!... I shall stay!... I shall stay with my little god!... I shall stay!... I shall stay!...
THE DOG (panting and hiccuping with held-back fear) I’m going to stay, I’m going to stay!... I’m not scared!... I’m going to stay!... I’m going to stay with my little god!... I’m going to stay!... I’m going to stay!...
TYLTYL (patting the DOG) That's right, Tylô, that's right!... Kiss me.... You and I are two.... And now, steady!...
TYLTYL (patting the DOG) That's right, Tylô, that's right!... Kiss me.... You and I are together.... And now, hold on!...
(He places the key in the lock. A cry of alarm comes from the other end of the hall, where the runaways have taken refuge. The key has hardly touched the door before its tall and wide leaves open in the middle, glide apart and disappear on either side in the thickness of the walls, suddenly revealing the most unexpected of gardens, unreal, infinite and ineffable, a dream-garden bathed in nocturnal light, where, among stars and planets, illumining all that they touch, flying ceaselessly from jewel to jewel and from moonbeam to moonbeam, fairy-like blue birds hover perpetually and harmoniously down to the confines of the horizon, birds innumerable to the point of appearing to be the breath, the azured atmosphere, the very substance of the wonderful garden.)
(He puts the key in the lock. A scream of panic comes from the other end of the hall, where the runaways have taken cover. The key has barely touched the door when its tall, wide leaves swing open in the middle, slide apart, and vanish into the thickness of the walls, suddenly revealing the most surprising garden, unreal, infinite, and beyond words, a dream-garden lit by night, where, among stars and planets, illuminating everything they touch, blue birds that seem almost magical flit endlessly from jewel to jewel and from moonbeam to moonbeam, countless birds that almost feel like the breath, the azure sky, the very essence of the enchanting garden.)
TYLTYL (dazzled, bewildered, standing in the light of the garden) Oh!... Heaven!... (Turning to those who have fled) Come quickly!... They are here!... It's they, it's they, it's they!... We have them at last!... Thousands of blue birds!... Millions!.... Thousands of millions!... There will be too many!... Come, Mytyl!... Come, Tylô!... Come, all!... Help me!... (Darting in among the birds.) You can catch them by handfuls!... They are not shy!... They are not afraid of us!.... Here! Here!.... (MYTYL and the others run up. They all enter the dazzling garden, except NIGHT and the CAT.) You see!... There are too many of them!... They fly into my hands!... Look, they are eating the moonbeams!... Mytyl, where are you?.... There are so many blue wings, so many feathers falling that one cannot see anything for them!.... Don't bite them, Tylô!.... Don't hurt them!.... Take them very gently!....
TYLTYL (dazzled, bewildered, standing in the light of the garden) Oh!... Wow!... (Turning to those who have fled) Come quick!... They’re here!... It’s them, it’s them, it’s them!... We have them at last!... Thousands of blue birds!... Millions!... Thousands of millions!... There will be too many!... Come, Mytyl!... Come, Tylô!... Come, everyone!... Help me!... (Darting in among the birds.) You can catch them by the handful!... They aren’t shy!... They’re not afraid of us!.... Here! Here!.... (MYTYL and the others run up. They all enter the dazzling garden, except NIGHT and the CAT.) You see!... There are too many of them!... They fly into my hands!... Look, they’re eating the moonbeams!... Mytyl, where are you?.... There are so many blue wings, so many feathers falling that you can’t see anything for them!.... Don’t bite them, Tylô!.... Don’t hurt them!.... Take them very gently!....
MYTYL (covered with blue birds) I have caught seven already!.... Oh, how they flap their wings!.... I can't hold them!....
MYTYL (covered with blue birds) I’ve caught seven already!.... Oh, how they flap their wings!.... I can't hold onto them!....
TYLTYL Nor can I!.... I have too many of them!... They're escaping!.... They're coming back!.... Tylô has some, too!.... They will drag us with them!.... They will take us up to the sky!.... Quick, let us go out this way!.... Light is waiting for us!.... How pleased she will be!.... This way, this way!....
TYLTYL I can’t either! I have way too many of them! They’re getting away! They’re coming back! Tylô has some too! They’ll pull us along with them! They’ll take us up to the sky! Quick, let’s go this way! Light is waiting for us! She’ll be so happy! This way, this way!
(They escape from the garden, with their hands full of struggling birds, and, crossing the whole hall amid the mad whirl of the azure wings, go out on the right, where they first entered, followed by BREAD and SUGAR, who have caught no birds. NIGHT and the CAT, left alone, return to the back of the stage and look anxiously into the garden.)
(They flee from the garden, their hands full of flapping birds, and, making their way across the entire hall amidst the chaotic flutter of azure wings, exit to the right where they first came in, followed by BREAD and SUGAR, who haven't caught any birds. NIGHT and the CAT, left behind, go back to the rear of the stage and anxiously gaze into the garden.)
NIGHT Haven't they got him?...
NIGHT Haven't they caught him?...
THE CAT No.... I see him there, on that moonbeam.... They could not reach him, he kept too high....
THE CAT No.... I see him there, on that moonbeam.... They couldn't reach him, he stayed too high....
(The CURTAIN falls. Immediately after, before the dropped curtain, ENTER, at the same time, on the left, LIGHT and on the right, TYLTYL, MYTYL and the DOG, who run up all covered by the birds which they have captured. But already the birds appear lifeless and, with hanging heads and drooping wings, are nothing more in their hands than inert remains.)
(The CURTAIN falls. Immediately after, before the dropped curtain, ENTER, at the same time, on the left, LIGHT and on the right, TYLTYL, MYTYL and the DOG, who run up all covered by the birds they have caught. But already the birds seem lifeless and, with their heads hanging and wings drooping, are nothing more in their hands than limp remains.)
LIGHT Well, have you caught him?...
LIGHT Well, have you found him?
TYLTYL Yes, yes!...As many as we wanted!... There are thousands of them!... Here they are!... Do you see them?... (Looking at the birds, which he holds out to LIGHT, and perceiving that they are dead) Why, they are dead!... What have they done to them?... Yours too, Mytyl?... Tylô's also?... (Angrily flinging down the dead bodies of the birds) Oh, this is too bad?... Who killed them?... I am too unhappy!...
TYLTYL Yes, yes!... As many as we wanted!... There are thousands of them!... Here they are!... Do you see them?... (Looking at the birds, which he holds out to LIGHT, and realizing that they are dead) Wait, they're dead!... What did they do to them?... Yours too, Mytyl?... Tylô's as well?... (Angrily throwing down the dead birds) Oh, this is awful!... Who killed them?... I'm so unhappy!...
(He hides his head in his arms and his whole frame is shaken with sobs.)
(He buries his face in his arms, his entire body trembling with sobs.)
LIGHT (pressing him maternally in her arms) Do not cry, my child.... You did not catch the one that is able to live in broad daylight.... He has gone elsewhere.... We shall find him again....
LIGHT (holding him close like a mother) Don't cry, my child.... You didn't catch the one who can survive in the sunlight.... He has gone somewhere else.... We will find him again....
THE DOG (looking at the dead birds)) Are they good to eat?....
THE DOG (looking at the dead birds) Are they safe to eat?....
(They all go out on the left.)
(They all head out to the left.)
SCENE 2.—The Forest.
A forest. It is night. The moon is shining. Old trees of various kinds, notably an OAK, a BEECH, an ELM, a POPLAR, a FIR-TREE, a CYPRESS, a LIME-TREE, a CHESTNUT-TREE, etc.
A forest. It's nighttime. The moon is shining. Old trees of different types, including an oak, a beech, an elm, a poplar, a fir tree, a cypress, a lime tree, a chestnut tree, etc.
ENTER the CAT.
ENTER the CAT.
THE CAT (bowing to the trees in turn) To all the trees here present, greeting!....
THE CAT (bowing to the trees in turn) To all the trees gathered here, hello!....
THE TREES (murmuring in their leaves) Greeting!....
THE TREES (whispering in their leaves) Hello!....
THE CAT This is a great day, a day of days!.... Our enemy is coming to set free your energies and to deliver himself into your hands..... It is Tyltyl, the son of the wood-cutter, who has done you so much harm.... He is seeking the Blue Bird, whom you have kept hidden from Man since the beginning of the world and who alone knows our secret.... (A murmuring in the leaves.) What do you say?... Ah, it's the Poplar!... Yes, he possesses a diamond which has the virtue of setting free our spirits for a moment; he can compel us to hand over the Blue Bird and thenceforth we shall be definitely at Man's mercy.... (A murmuring in the leaves.) Who is speaking?... Ah, the Oak!... How are you?... (A murmuring in the leaves of the OAK.) Still got your cold?... Does the Liquorice no longer look after you?... Can't you throw off your rheumatism?... Believe me, that's because of the moss; you put too much of it on your feet.... Is the Blue Bird still with you?... (A murmuring in the leaves of the OAK.) I beg your pardon?... Yes, there is no room for hesitation; we must take the opportunity; he must he done away with.... (A murmuring in the leaves.) I didn't quite catch.... Oh, yes, he is with his little sister; she must die, too.... (A murmuring in the leaves.) Yes, they have the Dog with them; there is no keeping him away.... (A murmuring in the leaves.) What did you say?... Bribe him?... Impossible.... I have tried everything.... (A murmuring in the leaves.) Ah, is that you, Fir-Tree?... Yes, get four planks ready.... Yes, there are Fire, Sugar, Water and Bread besides.... They are all with us, except Bread, who is rather doubtful.... Light alone is on Man's side; but she won't come.... I made the children believe that they ought to steal away while she was asleep.... There never was such an opportunity.... (A murmuring in the leaves.) Ah, that's the Beech's voice!... Yes, you are right; we must inform the animals.... Has the Rabbit got his drum?... Is he with you?... Good, let him beat the troop at once.... Here they are!...
THE CAT This is an amazing day, a day like no other!.... Our enemy is coming to unleash your powers and to hand himself over to you..... It’s Tyltyl, the woodcutter's son, who has caused you so much trouble.... He’s looking for the Blue Bird, which you’ve kept hidden from humans since the beginning of time; it alone knows our secret.... (A murmuring in the leaves.) What do you say?... Ah, it’s the Poplar!... Yes, he has a diamond that can temporarily free our spirits; he can force us to give up the Blue Bird, and then we will be completely at humans' mercy.... (A murmuring in the leaves.) Who’s speaking?... Ah, the Oak!... How are you?... (A murmuring in the leaves of the OAK.) Still got your cold?... Isn’t the Liquorice taking care of you anymore?... Can’t you shake off your rheumatism?... Trust me, it’s because of the moss; you’re using too much of it on your feet.... Is the Blue Bird still with you?... (A murmuring in the leaves of the OAK.) Excuse me?... Yes, we can't hesitate; we need to take this chance; he has to be dealt with.... (A murmuring in the leaves.) I didn’t quite catch that.... Oh, yes, he’s with his little sister; she has to go too.... (A murmuring in the leaves.) Yes, they have the Dog with them; there's no keeping him away.... (A murmuring in the leaves.) What did you say?... Bribe him?... Impossible.... I’ve tried everything.... (A murmuring in the leaves.) Ah, is that you, Fir-Tree?... Yes, get four planks ready.... Yes, we also have Fire, Sugar, Water, and Bread with us.... They’re all on our side except for Bread, who is a bit hesitant.... Light is the only one on humans' side; but she won’t come.... I convinced the children that they should sneak away while she was asleep.... There’s never been a chance like this.... (A murmuring in the leaves.) Ah, that’s the Beech’s voice!... Yes, you’re right; we need to inform the animals.... Does the Rabbit have his drum?... Is he with you?... Good, let him call the others at once.... Here they are!...
(The roll of the RABBIT'S drum is heard, diminishing in the distance. Enter TYLTYL, MYTYL and the DOG.)
(The roll of the RABBIT'S drum is heard, fading away in the distance. Enter TYLTYL, MYTYL and the DOG.)
TYLTYL Is this the place?...
TYLTYL Is this the spot?...
THE CAT (obsequiously, eagerly, mealy-mouthed, rushing to meet the CHILDREN) Ah, there you are, my little master!... How well you look and how pretty, this evening!.... I went before you to announce your arrival.... All Is going well. We shall have the Blue Bird to-night, I am sure.... I have just sent the Rabbit to beat the troop in order to convoke the principal animals of the country.... You can hear them already among the foliage.... Listen!... They are a little shy and dare not come near.... (The sounds are heard of different animals, such as cows, pigs, horses, donkeys, etc. The CAT, aside, to TYLTYL, taking him apart) But why have you brought the Dog?... I have told you he is on the worst terms with everybody, even the trees.... I fear that his odious presence will spoil everything....
THE CAT (obsequiously, eagerly, mealy-mouthed, rushing to meet the CHILDREN) Ah, there you are, my little master!... You look great and so pretty this evening!... I went ahead to announce your arrival.... Everything is going well. We're definitely having the Blue Bird tonight.... I just sent the Rabbit to gather the group so we can bring together the main animals of the country.... You can already hear them in the foliage.... Listen!... They’re a bit shy and hesitate to come close.... (The sounds of different animals are heard, like cows, pigs, horses, donkeys, etc. The CAT, aside, to TYLTYL, taking him apart) But why did you bring the Dog?... I told you he doesn't get along with anyone, not even the trees.... I'm worried that his awful presence will ruin everything....
TYLTYL I could not get rid of him.... (To the DOG, threatening him) Go away, you ugly thing!...
TYLTYL I couldn't shake him off.... (To the DOG, threatening him) Go away, you ugly creature!...
THE DOG Who?... I?... Why?... What have I done?...
THE DOG Who?... I?... Why?... What have I done?...
TYLTYL I tell you, go away!... We don't want you here and there's an end of it.... You're a nuisance, there!...
TYLTYL I’m telling you, just leave!... We don’t want you around and that’s that.... You’re a bother, there!...
THE DOG I sha'n't say a word.... I shall follow you at a distance.... They sha'n't see me.... Shall I beg?...
THE DOG I won't say a word.... I'll follow you from a distance.... They won't see me.... Should I beg?...
THE CAT (aside, to TYLTYL) Do you allow this disobedience?... Hit him on the nose with your stick; he is really unbearable!...
THE CAT (aside, to TYLTYL) Are you going to let him get away with this? ... Hit him on the nose with your stick; he’s really impossible! ...
TYLTYL (beating the DOG) There, that will teach you to be more obedient!...
TYLTYL (beating the DOG) There, that should teach you to listen better!...
THE DOG (yelling) Ow! Ow! Ow!...
THE DOG (yelling) Ow! Ow! Ow!...
TYLTYL What do you say?...
TYLTYL What do you think?
THE DOG I must kiss you now you've beaten me!... (He covers TYLTYL with violent kisses and embraces.)
THE DOG I have to kiss you now that you've won!... (He covers TYLTYL with passionate kisses and hugs.)
TYLTYL Come.... That will do.... That's enough.... Go away!...
TYLTYL Come on.... That's enough.... Leave me alone!...
MYTYL No, no; I want him to stay.... I am afraid of everything when he is not there....
MYTYL No, no; I want him to stay.... I'm afraid of everything when he's not here....
THE DOG (leaping up and almost upsetting MYTYL, whom he overwhelms with hurried and enthusiastic kisses) Oh, the dear little girl!... How beautiful she is!... How good she is!... How beautiful she is, how sweet she is!...I must kiss her!... Once more, once more, once more!...
THE DOG (leaping up and almost knocking over MYTYL, whom he overwhelms with quick and excited kisses) Oh, the sweet little girl!... How gorgeous she is!... How kind she is!... How beautiful she is, how lovely she is!... I have to kiss her!... Again, again, again!...
THE CAT What an idiot!... Well, we shall see!... Let us lose no time.... Turn the diamond....
THE CAT What a fool!... Well, we’ll see!... Let’s not waste any time.... Turn the diamond....
TYLTYL Where shall I stand?...
TYLTYL Where should I stand?...
THE CAT In this moonbeam; you will see better.... There, turn it gently!...
THE CAT In this moonbeam; you will see better.... There, turn it gently!...
(TYLTYL turns the Diamond. A long-drawn-out rustling shakes the leaves and branches. The oldest and most stately trunks open to make way for the soul which each of them contains. The appearance of these souls differs according to the appearance and the character of the trees which they represent. The soul of the ELM, for instance, is a sort of pursy, pot-bellied, crabbed gnome; the LIME-TREE is placid, familiar and jovial; the BEECH, elegant and agile; the BIRCH, white, reserved and restless; the WILLOW, stunted, dishevelled and plaintive; the FIR-TREE, tall, lean and taciturn; the CYPRESS, tragic; the CHESTNUT-TREE, pretentious and rather dandified; the POPLAR, sprightly, cumbersome, talkative. Some emerge slowly from their trunks, torpidly stretching themselves, as though they had been imprisoned or asleep for ages; others leap out actively, eagerly; and all come and stand in a circle round the two CHILDREN, while keeping as near as they can to the tree in which they were born.)
(TYLTYL turns the Diamond. A prolonged rustling shakes the leaves and branches. The oldest and most majestic trunks open up to let out the souls contained within each of them. The appearances of these souls vary based on the look and character of the trees they represent. The soul of the ELM, for example, is like a short, round, grouchy gnome; the LIME-TREE is calm, friendly, and cheerful; the BEECH is graceful and nimble; the BIRCH is white, reserved, and restless; the WILLOW is small, messy, and sorrowful; the FIR-TREE is tall, thin, and quiet; the CYPRESS is tragic; the CHESTNUT-TREE is flashy and somewhat stylish; the POPLAR is lively, bulky, and chatty. Some emerge slowly from their trunks, lazily stretching as if they've been trapped or asleep for ages; others jump out energetically and eagerly; and all gather in a circle around the two CHILDREN, staying as close as possible to the tree where they originated.)
THE POPLAR (running up first and screaming at the top of his voice) Men?... Little men!... We shall be able to talk to them!... We've done with silence!... Done with it!... Where do they come from?... Who are they?... What are they?... (To the LIME-TREE, who comes forward quietly smoking his pipe) Do you know them, Daddy Lime-Tree?...
THE POPLAR (running up first and shouting at the top of his lungs) Hey, guys?... Little guys!... We can finally talk to them!... We're done with being quiet!... Finished with it!... Where do they come from?... Who are they?... What are they?... (To the LIME-TREE, who approaches calmly smoking his pipe) Do you know them, Daddy Lime-Tree?...
THE LIME-TREE I do not remember ever having seen them....
THE LIME-TREE I do not remember ever having seen them....
THE POPLAR Oh, yes, you must have!... You know all the men; you're always hanging about their houses....
THE POPLAR Oh, of course, you must have! You know all the guys; you're always hanging around their houses...
THE LIME-TREE (examining the CHILDREN) No, I assure you.... I don't know them.... They are too young still.... I only know the lovers who come to see me by moonlight and the topers who drink their beer under my branches....
THE LIME-TREE (looking at the KIDS) No, I promise you.... I don't know them.... They're still too young.... I only recognize the lovers who visit me by moonlight and the drinkers who enjoy their beer under my branches....
THE CHESTNUT-TREE (affectedly adjusting his eyeglass) Who are these?... Are they poor people from the country?...
THE CHESTNUT-TREE (putting his eyeglass in place) Who are these people?... Are they just some poor folks from the countryside?...
THE POPLAR Oh, as for you, Mr. Chestnut-Tree, ever since you have refused to show yourself except in the streets of the big towns...
THE POPLAR Oh, about you, Mr. Chestnut-Tree, ever since you decided not to show up anywhere except in the streets of the big cities...
THE WILLOW (hobbling along in a pair of wooden shoes) Oh dear, oh dear!... They have come to cut off my head and arms again for fagots!...
THE WILLOW (hobbling along in a pair of wooden shoes) Oh no, oh no!... They’re here to chop off my head and arms again for firewood!...
THE POPLAR Silence!... Here is the Oak leaving his palace!... He looks far from well this evening.... Don't you think he is growing very old?... What can his age be?... The Fir-tree says he is four thousand; but I am sure that he exaggerates.... Listen; he will tell us all about it....
THE POPLAR Quiet!... Here comes the Oak leaving his palace!... He doesn’t look well this evening.... Don’t you think he’s getting really old?... How old do you think he is?... The Fir-tree says he’s four thousand, but I’m sure he’s exaggerating.... Listen; he’ll tell us all about it....
(The OAK comes slowly forward. He is fabulously old, crowned with mistletoe and clad in a long green gown edged with moss and lichen. He is blind; his white beard streams in the wind. He leans with one hand on a knotty stick and with the other on a young OAKLING, who serves as his guide. The Blue Bird is perched on his shoulder. At his approach, the other trees draw themselves up in a row and bow respectfully.)
(The OAK moves slowly forward. He is incredibly old, topped with mistletoe and dressed in a long green robe trimmed with moss and lichen. He is blind; his white beard flows in the wind. He supports himself with one hand on a gnarled staff and with the other on a young OAKLING, who acts as his guide. The Blue Bird sits on his shoulder. As he approaches, the other trees stand tall in a line and bow respectfully.)
TYLTYL He has the Blue Bird!... Quick! Quick!... Here!... Give it to me!...
TYLTYL He has the Blue Bird!... Hurry! Hurry!... Here!... Hand it to me!...
THE TREES Silence!...
THE TREES Shh!...
THE CAT (to TYLTYL) Take of your hat. It's the Oak!...
THE CAT (to TYLTYL) Take off your hat. It’s the Oak!...
THE OAK (to TYLTYL) Who are you?....
THE OAK (to TYLTYL) Who are you?....
TYLTYL I am Tyltyl, sir.... When can I have the Blue Bird?...
TYLTYL I’m Tyltyl, sir... When can I get the Blue Bird?…
THE OAK Tyltyl, the wood-cutter's son?...
THE OAK Tyltyl, the woodcutter's son?...
TYLTYL Yes, sir....
TYLTYL Sure, sir...
THE OAK Your father has done us much harm.... In my family alone, he has put to death six hundred of my sons, four hundred and seventy-five uncles and aunts, twelve hundred cousins of both sexes, three hundred and eighty daughters-in-law, and twelve thousand great-grandsons!...
THE OAK Your father has caused us a lot of pain.... In my family alone, he has killed six hundred of my sons, four hundred and seventy-five uncles and aunts, twelve hundred cousins of both genders, three hundred and eighty daughters-in-law, and twelve thousand great-grandsons!...
TYLTYL I know nothing about it, sir.... He did not do it on purpose....
TYLTYL I don't know anything about it, sir.... He didn't do it on purpose....
THE OAK What have you come here for; and why have you made our souls leave their abodes?...
THE OAK What are you here for, and why have you made our souls leave their homes?...
TYLTYL I beg your pardon, sir, for disturbing you.... The Cat said that you would tell us where the Blue Bird was....
TYLTYL I’m sorry to bother you, sir, but the Cat said you could tell us where to find the Blue Bird....
THE OAK Yes, I know that you are looking for the Blue Bird, that is to say, the great secret of things and of happiness, so that Man may make our servitude still harder....
THE OAK Yes, I know that you are looking for the Blue Bird, which means the great secret of things and happiness, so that humanity can make our servitude even harder....
TYLTYL Oh, no, sir; it is for the Fairy Bérylune's little girl, who is very ill....
TYLTYL Oh, no, sir; it's for the Fairy Bérylune's little girl, who is really sick....
THE OAK (laying silence upon him with a gesture) Enough!... I do not hear the Animals.... Where are they?... All this concerns them as much as us.... We, the Trees, must not assume the responsibility alone for the grave measures that have become necessary.... On the day when MAN hears that we have done what we are about to do, there will be terrible reprisals..... It is right, therefore, that our agreement should be unanimous, so that our silence may be the same....
THE OAK (silencing him with a gesture) Enough!... I can't hear the Animals.... Where are they?... This affects them just as much as us.... We, the Trees, shouldn't bear the responsibility alone for the serious actions that have become necessary.... When MAN finds out what we're about to do, there will be severe consequences..... It's important that our agreement is unanimous, so that our silence can be aligned....
THE FIR-TREE (looking over the top of the other trees) The Animals are coming.... They are following the Rabbit.... Here are the souls of the Horse, the Bull, the Ox, the Cow, the Wolf, the Sheep, the Pig, the Cock, the Goat, the Ass, and the Bear....
THE FIR-TREE (looking over the top of the other trees) The Animals are coming.... They are following the Rabbit.... Here are the spirits of the Horse, the Bull, the Ox, the Cow, the Wolf, the Sheep, the Pig, the Rooster, the Goat, the Donkey, and the Bear....
(Enter the souls of the ANIMALS, who, as the FIR-TREE utters their names, come forward and sit down among the trees, with the exception of the soul of the GOAT, who roams to and fro, and of the PIG, who snuffles among the roots.)
(Enter the spirits of the ANIMALS, who, as the FIR-TREE calls their names, come forward and sit down among the trees, except for the spirit of the GOAT, who wanders back and forth, and the PIG, who digs around among the roots.)
THE OAK Are all here present?...
THE OAK Are all of you here?
THE RABBIT The Hen could not leave her eggs, the Hare is out on a run, the Stag has a pain in his horns, the Fox is ill—here is the doctor's certificate—the Goose did not understand and the Turkey flew into a passion....
THE RABBIT The Hen couldn’t leave her eggs, the Hare is off for a run, the Stag has a headache, the Fox is sick—here’s the doctor’s note—the Goose didn’t get it and the Turkey got really angry....
THE OAK These abstentions are most regrettable.... However, we have a quorum.... You know, my brothers, the nature of our business. The child you see before you, thanks to a talisman stolen from the powers of Earth, is able to take possession of the Blue Bird and thus to snatch from us the secret which we have kept since the origin of life.... Now we know enough of Man to entertain no doubt as to the fate which he reserves for us once he is in possession of this secret. That is why it seems to me that any hesitation would be both foolish and criminal.... It is a serious moment; the child must be done away with before it is too late....
THE OAK These absences are really unfortunate.... But we have enough people here to proceed.... You all know, my friends, what we’re dealing with. The child you see in front of you, thanks to a charm taken from the powers of Earth, can seize the Blue Bird and thereby uncover the secret we’ve guarded since the dawn of life.... We know enough about humanity to be certain of the fate awaiting us once they possess this secret. That’s why I believe any delay would be both foolish and criminal.... This is a serious moment; the child must be eliminated before it’s too late....
TYLTYL What is he saying?...
TYLTYL What’s he saying?...
THE DOG (prowling round the OAK and showing his fangs) Do you see my teeth, you old cripple?...
THE DOG (prowling round the OAK and showing his fangs) Do you see my teeth, you old cripple?...
THE BEECH (indignantly) He is insulting the Oak!...
THE BEECH (angrily) He’s disrespecting the Oak!...
THE OAK Is that the Dog?... Drive him out! We must suffer no traitors among us!...
THE OAK Is that the dog? Get him out of here! We can't allow any traitors among us!
THE CAT (aside, to TYLTYL) Send the Dog away.... It's a misunderstanding.... Leave it to me; I will arrange things.... But send him away as quick as you can....
THE CAT (aside, to TYLTYL) Send the Dog away.... It's a misunderstanding.... Just trust me; I’ll handle it.... But get him out of here as fast as you can....
TYLTYL (to the DOG) Will you be off!...
TYLTYL (to the DOG) Are you leaving!...
THE DOG Do let me worry the gouty old beggar's moss slippers!.... It will be such a joke!...
THE DOG Do let me worry the gouty old beggar's moss slippers!.... It will be such a joke!...
TYLTYL Hold your tongue!... And be off with you!... Be off, you ugly brute!...
TYLTYL Keep quiet!... And get lost!... Just go, you hideous monster!...
THE DOG All right, all right, I'm going.... I'll come back when you want me....
THE DOG All right, all right, I'm going.... I'll come back when you need me....
THE CAT (aside, to TYLTYL) It would be a good thing to chain him up, or he will commit some folly; the Trees will be angry and all will end badly....
THE CAT (aside, to TYLTYL) It would be smart to tie him up, or he'll do something stupid; the Trees will get upset and everything will go wrong....
TYLTYL What can I do?... I have lost his leash....
TYLTYL What am I supposed to do?... I've lost his leash....
THE CAT Here's the Ivy just coming along with strong bonds....
THE CAT Here's the Ivy just coming along with strong bonds....
THE DOG (growling) I'll come back, I'll come back!... Ugh! Goutytoes! Timbertoes!... Pack of old stunted growths, pack of old roots!... It's the Cat who's at the bottom of all this!... I'll be even with him!... What have you been whispering about, you sneak, you tiger, you Judas!... Wow, wow, wow!....
THE DOG (growling) I'll be back, I'll be back!... Ugh! Goutytoes! Timbertoes!... Bunch of old stunted plants, bunch of old roots!... It's the Cat who's behind all this!... I'll get even with him!... What were you whispering about, you sneak, you tiger, you traitor!... Wow, wow, wow!....
THE CAT You see, he insults everybody....
THE CAT You see, he insults everyone....
TYLTYL Yes, he is unbearable and one can't hear one's self speak.... Mr. Ivy, will you chain him up, please?...
TYLTYL Yes, he's impossible, and I can't hear myself think.... Mr. Ivy, can you please tie him up?...
THE IVY (timorously going up to the DOG) Won't he bite?...
THE IVY (nervously approaching the DOG) Will he bite?...
THE DOG (growling) On the contrary, on the contrary!... He's going to kiss you!... Just wait and see!... Come along, come along, you old ball of twine, you!...
THE DOG (growling) No way, no way!... He's going to kiss you!... Just wait and see!... Come on, come on, you old ball of yarn, you!...
TYLTYL (threatening him with his stick) Tylô!...
TYLTYL (threatening him with his stick) Tylô!...
THE DOG (cringing at TYLTYL'S feet and wagging his tail) What am I to do, my little god?
THE DOG (cringing at TYLTYL'S feet and wagging his tail) What should I do, my little god?
TYLTYL Lie down flat!... Obey the Ivy.... Let him bind you, or....
TYLTYL Lie down flat!... Obey the Ivy.... Let him bind you, or....
THE DOG (growling between his teeth, while the IVY binds him) Ball of twine I... Hunk of yarn!... Hangman's rope I... Calves' leash!... Look, my little god I ... He's cutting my paws!... He's choking me!...
THE DOG (growling between his teeth, while the IVY binds him) Ball of twine I... Hunk of yarn!... Hangman's rope I... Calves' leash!... Look, my little god I ... He's cutting my paws!... He's choking me!...
TYLTYL I don't care!... It's your own fault.... Hold your tongue; be quiet; you're unbearable!...
TYLTYL I don't care!... It's your fault.... Shut up; be quiet; you're unbearable!...
THE DOG You're wrong, for all that.... They mean mischief.... Take care, my little god!... He's closing my mouth!... I can't speak!...
THE DOG You're mistaken about all that.... They're up to no good.... Be careful, my little god!... He's shutting my mouth!... I can't say anything!...
THE IVY (who has tied up the DOG like a parcel) Where shall we put him?... I've muzzled him finely.... He can't utter a word....
THE IVY (who has tied up the DOG like a parcel) Where should we put him?... I've muzzled him well.... He can't say a thing....
THE OAK Fasten him tight down there behind my trunk; to my big root.... We will decide later what had best be done with him....
THE OAK Secure him tightly down there behind my trunk; to my big root.... We'll decide later what needs to be done with him....
(The IVY and the POPLAR carry the DOG behind the OAK'S trunk.)
The IVY and the POPLAR carry the DOG behind the OAK'S trunk.
THE OAK Is that done?... Well, now that we are rid of this inconvenient witness, of this renegade, let us deliberate in accordance with justice and truth.... I will not conceal from you the deep and painful nature of my emotion.... This is the first time that it is given to us to judge Man and make him feel our power.... I do not think that, after the harm which he has done us, after the monstrous injustice which we have suffered, there can remain the least doubt as to the sentence that awaits him....
THE OAK Is that done?... Well, now that we’ve eliminated this inconvenient witness, this traitor, let’s discuss what’s fair and true.... I won’t hide from you how deeply I feel about this.... This is the first time we get to judge Man and make him aware of our power.... I don’t think, after all the damage he’s caused us, after the terrible injustice we’ve endured, that there can be any doubt about the sentence he’s facing....
ALL THE TREES and ALL THE ANIMALS No! No! No!... No doubt at all!... Hanging!... Death!... The injustice has been too great!... The abuse too wicked!... It has lasted too long!... Crush him!... Eat him!... At once!... Here and now!...
ALL THE TREES and ALL THE ANIMALS No! No! No!... No doubt about it!... Hanging!... Death!... The injustice has been too great!... The abuse too wicked!... It has lasted too long!... Crush him!... Eat him!... Right now!... Here and now!...
TYLTYL (to the CAT) What is the matter with them?... Are they displeased?...
TYLTYL (to the CAT) What's wrong with them?... Are they upset?...
THE CAT Don't be alarmed.... They are a little annoyed because Spring is late.... Leave it to me; I will settle it all....
THE CAT Don't worry.... They're a bit irritated because Spring is late.... Just leave it to me; I'll take care of everything....
THE OAK This unanimity was inevitable.... We must now decide, in order to avoid reprisals, which form of execution will be the most practical, the easiest, the quickest and the safest, which will leave the fewest accusing traces when Man finds the little bodies in the forest....
THE OAK This agreement was unavoidable.... We now need to decide, to prevent any backlash, which method of execution will be the most practical, the easiest, the fastest, and the safest, leaving the fewest incriminating signs when people discover the little bodies in the forest....
TYLTYL What is all this about?... What is he driving at?... I am getting tired of this.... He has got the Blue Bird; let him hand it over....
TYLTYL What’s all this about?... What’s he aiming for?... I’m getting tired of this.... He’s got the Blue Bird; let him give it up....
THE BULL (coming forward) The most practical and the surest way is a good butt with the horns in the pit of the stomach.... Shall I go at him?...
THE BULL (coming forward) The most practical and guaranteed approach is a solid charge with the horns aimed at the gut.... Should I go for it?...
THE OAK Who speaks?...
THE OAK Who's talking?...
THE CAT It's the Bull.
THE CAT It's the Bull.
THE COW It would be better to keep quiet.... I won't meddle with it.... I have all the grass to browse in the field which you can see down there in the blue light of the moon.... I have quite enough to do....
THE COW It would be better to stay quiet.... I won't get involved.... I have plenty of grass to graze on in the field, which you can see down there in the blue light of the moon.... I have more than enough to do....
THE OX I also.... However, I agree to everything beforehand....
THE OX I also.... However, I agree to everything in advance....
THE BEECH I can offer my highest branch to hang them on....
THE BEECH I can offer my highest branch to hang them on....
THE IVY And I the slip-knot....
THE IVY And I the slip-knot....
THE FIR-TREE And I the four planks for their little coffin....
THE FIR-TREE And I the four boards for their little coffin....
THE CYPRESS And I a perpetual grant of a tomb....
THE CYPRESS And I a perpetual grant of a tomb....
THE WILLOW The simplest way would be to drown them in one of my rivers.... I will take charge of that....
THE WILLOW The easiest way would be to drown them in one of my rivers.... I’ll handle that....
THE LIME-TREE (in a conciliatory tone) Come, come.... Is it really necessary to go to such extremities?... They are very young.... We could quite simply prevent them from doing any harm by keeping them prisoners in an enclosure which I will undertake to form by planting myself all around....
THE LIME-TREE (in a conciliatory tone) Come on.... Is it really necessary to go to such extremes?... They’re very young.... We could easily keep them from doing any harm by keeping them locked up in a space that I’ll create by planting myself all around....
THE OAK Who speaks?... I seem to recognise the honeyed accents of the Lime-tree....
THE OAK Who's talking?... I think I can recognize the sweet tones of the Lime tree....
THE FIR-TREE Yes, it's he....
THE FIR-TREE Yes, it's him....
THE OAK So there is a renegade among us, as among the Animals?... Hitherto we have only had to deplore the disloyalty of the Fruit-trees; but they are not real trees....
THE OAK So there’s a rebel among us, just like with the Animals?... Until now, we’ve only had to mourn the betrayal of the Fruit-trees; but they aren't real trees....
THE PIG (rolling his small eyes gluttonously) I think we should first eat the little girl.... She ought to be very tender....
THE PIG (rolling his small eyes greedily) I think we should first eat the little girl.... She should be really tender....
TYLTYL What's he saying?... Just wait a bit, you...
TYLTYL What's he saying?... Just hang on a sec, you...
THE CAT I don't know what is the matter with them; but things are beginning to look badly....
THE CAT I don't know what's wrong with them; but things are starting to look bad....
THE OAK Silence!... What we have to decide is which of us shall have the honour of striking the first blow, who shall ward off from, our tops the greatest danger that has threatened us since the birth of Man....
THE OAK Silence!... What we need to decide is which one of us will have the honor of making the first move, who will protect us from the greatest threat we've faced since the beginning of Humanity....
THE FIR-TREE That honour falls to you, our king and our patriarch....
THE FIR-TREE That honor belongs to you, our king and our leader....
THE OAK Is that the Fir-tree speaking?... Alas, I am too old!... I am blind and infirm and my numbed arms no longer obey me.... No, to you, brother, ever green, ever upright, to you, who have witnessed the birth of most of these trees, to you be the glory, in default of myself, of the noble act of our deliverance....
THE OAK Is that the Fir-tree talking? ... Oh, I’m too old! ... I’m blind and weak, and my numbed arms won’t listen to me anymore. ... No, to you, brother, always green, always straight, to you, who’ve seen the birth of most of these trees, to you goes the glory, since I can’t claim it myself, for the noble act of our freedom ...
THE FIR-TREE I thank you, venerable father.... But as I shall, in any case, have the honour of burying the two victims, I should be afraid of arousing the just jealousy of my colleagues; and I think that, next to ourselves, the oldest and the worthiest and the one that owns the best club is the Beech....
THE FIR-TREE I thank you, respected father.... But since I will have the honor of burying the two victims regardless, I’m concerned about sparking the rightful jealousy of my peers; and I believe that, after us, the oldest and most deserving one who holds the best club is the Beech....
THE BEECH You know I am worm-eaten and my club is no longer to be relied upon.... But the Elm and the Cypress have powerful weapons....
THE BEECH You know I'm worn out, and my strength is no longer dependable.... But the Elm and the Cypress have strong advantages....
THE ELM I should be only too pleased; but I can hardly stand upright.... A mole twisted my great toe last night....
THE ELM I would be more than happy; but I can barely stand up.... A mole injured my big toe last night....
THE CYPRESS As for me, I am ready.... But, like my brother, the Fir-tree, I shall have, if not the privilege of burying them, at least the advantage of weeping over their tomb.... It would be an unlawful plurality of offices.... Ask the Poplar....
THE CYPRESS As for me, I'm ready.... But, like my brother, the Fir-tree, I will have, if not the chance to bury them, at least the opportunity to mourn over their grave.... It would be an improper accumulation of duties.... Ask the Poplar....
THE POPLAR Me?... Are you serious?... Why, my wood is more tender than the flesh of a child!... And, besides, I don't know what's the matter with me.... I am shivering with fever.... Just look at my leaves.... I must have caught cold at sunrise this morning....
THE POPLAR Me?... Are you kidding?... My wood is softer than a child's skin!... And, on top of that, I don't know what's wrong with me.... I'm trembling with a fever.... Just take a look at my leaves.... I must have caught a chill at sunrise this morning....
THE OAK (bursting out with indignation) You are afraid of Man!... Even those unprotected and unarmed little children inspire you with the mysterious terror which has always made us the slaves that we are!... Enough of this! Things being as they are and the opportunity unequalled, I shall go forth alone, old, crippled, trembling, blind as I am, against the hereditary enemy!... Where is he?...
THE OAK (bursting out with indignation) You are afraid of Man!... Even those vulnerable and defenseless little children fill you with the mysterious fear that has always kept us the slaves we are!... Enough of this! Given the situation and the unmatched opportunity, I will go out alone, old, crippled, trembling, blind as I am, against the hereditary enemy!... Where is he?...
(Groping with his stick, he moves towards TYLTYL.)
(Feeling his way with his cane, he approaches TYLTYL.)
TYLTYL (taking his knife from his pocket) Is it me he's after, that old one, with his big stick?...
TYLTYL (pulling his knife out of his pocket) Is he after me, that old guy, with his big stick?...
ALL THE TREES (uttering a cry of alarm at the sight of the knife, they step in between and hold back the OAK) The knife!... Take care!... The knife!...
ALL THE TREES (shouting in alarm at the sight of the knife, they step in between and hold back the OAK) The knife!... Watch out!... The knife!...
THE OAK (struggling) Let me be!... What does it matter?... The knife or the axe!... Who's holding me back?... What! Are you all here?... What! You all want to.... (Flinging down his stick) Well, so be it!... Shame upon us!... Let the Animals deliver us!...
THE OAK (struggling) Just let me be!... What does it matter?... The knife or the axe!... Who’s stopping me?... What! Are you all here?… What! You all want to.... (Throwing down his stick) Fine, so be it!... Shame on us!... Let the Animals save us!...
THE BULL That's right!... I'll see to It!... And with one blow of the horns!...
THE BULL That's right!... I'll take care of it!... And with one blow of the horns!...
THE OX and THE COW (holding him back by the tail) What are you doing?... Don't be a fool!... It's a bad business!... It will end badly.... It is we who will pay for it.... Do let be.... It's the wild animals' business....
THE OX and THE COW (holding him back by the tail) What are you doing?... Don't be stupid!... This is a bad idea!... It will turn out poorly.... We're the ones who will suffer for it.... Just let it go.... It's the wild animals' problem....
THE BULL No, no!... It's my business!... Wait and see!... Look here, hold me back or there will be an accident!...
THE BULL No, no!... It's my business!... Just wait and see!... Look, hold me back or there's going to be an accident!...
TYLTYL (to MYTYL, who is uttering piercing screams) Don't be afraid!... Stand behind me.... I have my knife....
TYLTYL (to MYTYL, who is screaming loudly) Don't be scared!... Stand behind me.... I have my knife....
THE COCK He has plenty of pluck, the little chap!...
THE COCK He’s got a lot of guts, that little guy!...
TYLTYL So you've made up your minds, it's me you're going for?...
TYLTYL So you’ve decided—I'm the one you're after?
THE ASS Why, of course, my little man; you've taken long enough to see it!...
THE ASS Why, of course, my little friend; it took you long enough to realize it!...
THE PIG You can say your prayers; your last hour has come.... But don't hide the little girl.... I want to feast my eyes on her.... I'm going to eat her first....
THE PIG You can say your prayers; your last hour has come.... But don't hide the little girl.... I want to feast my eyes on her.... I'm going to eat her first....
TYLTYL What have I done to you?...
TYLTYL What have I done to you?...
THE SHEEP Nothing at all, my little man.... Eaten my little brother, my two sisters, my three uncles, my aunt, my grandpapa and my grandmamma.... Wait, wait, when you're down, you shall see that I have teeth also....
THE SHEEP Nothing at all, my little man.... They've eaten my little brother, my two sisters, my three uncles, my aunt, my grandpa, and my grandma.... Wait, wait, when you're down, you'll see that I have teeth too....
THE ASS And I hoofs!...
THE ASS And I hoof it!...
THE HORSE (haughtily pawing the ground) You shall see what you shall see!... Would you rather that I tore you with my teeth or knocked you down with a kick?... (He moves ostentatiously towards TYLTYL, who faces him and raises his knife. Suddenly the HORSE, seized with panic, turns and rushes away.) Ah, no!... That's not fair!... That's against the rules!.... He's defending himself!...
THE HORSE (arrogantly pawing the ground) You'll see what you're going to see!... Would you prefer that I bite you or knock you over with a kick?... (He moves exaggeratedly towards TYLTYL, who stands his ground and raises his knife. Suddenly the HORSE, overcome with fear, turns and bolts away.) Ah, no!... That's not fair!... That's against the rules!.... He's just defending himself!...
THE COCK (unable to hide his admiration) I don't care, the little chap's full of grit!...
THE COCK (unable to hide his admiration) I don't care; the little guy's full of grit!...
THE PIG (to the BEAR and the WOLF) Let us all rush on them together.... I will support you from the rear.... We will throw them down and share the little girl when she is on the ground....
THE PIG (to the BEAR and the WOLF) Let’s all charge at them together.... I’ll cover you from the back.... We’ll take them down and split the little girl once she’s down....
THE WOLF Divert their attention in front.... I am going to make a turning movement....
THE WOLF Divert their attention in front.... I'm going to make a turning movement....
(He goes round TYLTYL, whom he attacks from behind and half overthrows.)
(He circles around TYLTYL, attacking him from behind and nearly toppling him.)
TYLTYL You brute!... (He raises himself on one knee brandishing his knife and doing his best to cover his little sister, who utters yells of distress. Seeing him half overturned, all the ANIMALS and TREES come up and try to hit him. TYLTYL calls distractedly for assistance.) Help! Help!... Tylô! Tylô!... Where is the Cat?... Tylô!... Tylette! Tylette!... Come! Come!...
TYLTYL You monster!... (He kneels, waving his knife and trying to shield his little sister, who is screaming in panic. Seeing him almost toppled over, all the ANIMALS and TREES rush over and attempt to attack him. TYLTYL shouts frantically for help.) Help! Help!... Tylô! Tylô!... Where's the Cat?... Tylô!... Tylette! Tylette!... Come! Come!...
THE CAT (hypocritically, holding aloof) I can't come.... I have sprained my paw....
THE CAT (hypocritically, keeping its distance) I can't come.... I’ve sprained my paw....
TYLTYL (warding of the blows and defending himself as best he can) Help!... Tylô! Tylô!... I can't hold out!... There are too many of them!... The Bear! The Pig! The Donkey! The Ass! The Fir-tree! The Beech!... Tylô! Tylô! Tylô!...
TYLTYL (warding of the blows and defending himself as best he can) Help!... Tylô! Tylô!... I can't hang on!... There are too many of them!... The Bear! The Pig! The Donkey! The Ass! The Fir-tree! The Beech!... Tylô! Tylô! Tylô!...
(Dragging his broken bonds after him, the DOG leaps from behind the trunk of the OAK and, elbowing his way through TREES and ANIMALS, flings himself before TYLTYL, whom he defends furiously.)
(Dragging his broken chains behind him, the DOG jumps out from behind the trunk of the OAK and, pushing his way through TREES and ANIMALS, throws himself in front of TYLTYL, whom he fiercely protects.)
THE DOG (distributing great bites) Here! Here, my little god!... Don't be afraid! Have at them!... I know how to use my teeth!... Here, there's one for you, Bear, in your fat hams!... Now then, who wants some more?... Here, that's for the Pig and that's for the Horse and that's for the Bull's tail!... There, I've torn the Beech's trousers and the Oak's petticoat!... The Fir-tree's making tracks!... Whew, it's warm work!...
THE DOG (distributing great bites) Hey! Hey, my little friend!... Don't be scared! Go for it!... I know how to use my teeth!... Here, there's one for you, Bear, for your hefty legs!... Now, who wants more?... Here, that's for the Pig and that's for the Horse and that's for the Bull's tail!... There, I've ripped the Beech's pants and the Oak's skirt!... The Fir-tree's on the move!... Whew, this is hard work!...
TYLTYL (overcome) I'm done for!... The Cypress has caught me a great blow on the head....
TYLTYL (overcome) I'm finished!... The Cypress has hit me hard on the head....
THE DOG Ow!... That's the Willow!... He's broken my paw!...
THE DOG Ow!... That's the Willow!... He's broken my paw!...
TYLTYL They're coming back, they're charging down upon us, all together!... This time, it's the Wolf!...
TYLTYL They're coming back, they're rushing towards us, all together!... This time, it’s the Wolf!...
THE DOG Wait till I give him one for himself!...
THE DOG Wait until I give him one for himself!...
THE WOLF Fool!... Our brother!... His father drowned your seven puppies!...
THE WOLF Fool!... Our brother!... His dad drowned your seven puppies!...
THE DOG Quite right!... And a good thing too!... It was because they looked like you!...
THE DOG Quite right!... And a good thing too!... It was because they looked like you!...
ALL THE TREES AND ANIMALS Renegade!... Idiot!... Traitor!... Felon!... Simpleton!... Judas!... Leave him!... He's a dead man!... Come over to us!...
ALL THE TREES AND ANIMALS Renegade!... Idiot!... Traitor!... Felon!... Simpleton!... Judas!... Leave him!... He's a dead man!... Come over to us!...
THE DOG (drunk with ardour and devotion) Never! Never!... I alone against all of you!... Never! Never!... True to the gods, to the best, to the greatest!... (To TYLTYL) Take care, here's the Bear!... Beware of the Bull!... I'll jump at his throat.... Ow!... That's a kick.... The Ass has broken two of my teeth....
THE DOG (overwhelmed with passion and loyalty) No way! Never!... It's just me against all of you!... No way! Never!... True to the gods, to the best, to the greatest!... (To TYLTYL) Watch out, here comes the Bear!... Watch out for the Bull!... I'm going for his throat.... Ouch!... That hurt.... The Ass just knocked out two of my teeth....
TYLTYL I'm done for, Tylô!... Ah!... That was a blow from the Elm.... Look, my hand's bleeding.... That's the Wolf or the Pig....
TYLTYL I'm finished, Tylô!... Ah!... That was a hit from the Elm.... Look, my hand's bleeding.... That's the Wolf or the Pig....
THE DOG Wait, my little god.... Let me kiss you.... There, a good lick.... That will do you good.... Keep behind me.... They dare not come again.... Yes, though.... Here they are coming back!... This time, it's serious!.... We must stand firm!...
THE DOG Wait, my little god.... Let me kiss you.... There, a good lick.... That will do you good.... Stay behind me.... They won’t dare come back again.... Yes, though.... Here they come again!... This time, it's serious!.... We have to stand firm!...
TYLTYL (dropping to the ground) No, I can hold out no longer!...
TYLTYL (dropping to the ground) No, I can't hold on any longer!...
THE DOG (listening) They are coming!... I hear them, I scent them!...
THE DOG (listening) They’re coming!... I can hear them, I can smell them!...
TYLTYL Where?... Who?...
TYLTYL Where? Who?
THE DOG There! There!... It's Light!... She has found us!... Saved, my little king!... Kiss me!... We are saved!... Look!... They're alarmed!... They're retreating!... They're afraid!...
THE DOG There! There!... It's Light!... She has found us!... Saved, my little king!... Kiss me!... We are saved!... Look!... They're alarmed!... They're backing off!... They're scared!...
TYLTYL Light!... Light!... Come quick!... Hurry!... They have rebelled!... They are all against us!...
TYLTYL Light!... Light!... Come quick!... Hurry!... They’ve rebelled!... They’re all against us!...
Enter LIGHT. As she comes forward, the dawn rises over the forest, which becomes light.
Enter LIGHT. As she steps forward, the dawn breaks over the forest, which becomes illuminated.
LIGHT What is it?... What has happened?... But, my poor boy, didn't you know?... Turn the diamond!... They will return into silence and obscurity; and you will no longer perceive their hidden feelings....
LIGHT What is it?... What happened?... But, my poor boy, didn’t you know?... Turn the diamond!... They will fade back into silence and obscurity; and you will no longer sense their hidden feelings....
(TYLTYL turns the diamond. Immediately, the souls of all the TREES rush back into the trunks, which close again. The souls of the ANIMALS also disappear; and a peaceful COW and SHEEP, etc., are seen browsing in the distance. The Forest becomes harmless once more, TYLTYL looks around him in amazement.)
(TYLTYL turns the diamond. Immediately, the souls of all the TREES rush back into the trunks, which close again. The souls of the ANIMALS also disappear; and a peaceful COW and SHEEP, etc., are seen browsing in the distance. The Forest becomes harmless once more, TYLTYL looks around him in amazement.)
TYLTYL Where are they?... What was the matter with them?... Were they mad?...
TYLTYL Where are they?... What’s wrong with them?... Are they crazy?…
LIGHT No, they are always like that; but we do not know it because we do not see it.... I told you so before; it is dangerous to wake them when I am not there....
LIGHT No, they always act that way; but we don’t realize it because we don’t see it.... I told you this before; it’s risky to wake them when I’m not around....
TYLTYL (wiping his knife) Well, but for the Dog and if I had not had my knife!... I would never have believed that they were so wicked!...
TYLTYL (wiping his knife) Well, if it wasn't for the Dog and if I hadn't had my knife!... I would have never believed they were so evil!...
LIGHT You see that Man is all alone against all in this world....
LIGHT You see that man is all alone against everything in this world...
THE DOG Are you very badly hurt, my little god?...
THE DOG Are you really hurt badly, my little god?...
TYLTYL Nothing serious.... As for Mytyl, they have not touched her.... But you, my dear Tylô?... Your mouth is all over blood and your paw is broken!...
TYLTYL Nothing serious.... As for Mytyl, they haven't harmed her.... But you, my dear Tylô?... Your mouth is covered in blood and your paw is broken!...
THE DOG It is not worth speaking of.... It won't show to-morrow.... But it was a tough fight!...
THE DOG It’s not worth talking about.... It won’t show up tomorrow.... But it was a tough fight!...
THE CAT (appearing from behind a thicket, limping) I should think so!... The Ox caught me a blow with his horns in the stomach.... You can't see the marks, but it's very painful.... And the Oak broke my paw....
THE CAT (appearing from behind a thicket, limping) I think so too!... The Ox hit me in the stomach with his horns.... You can't see the marks, but it hurts a lot.... And the Oak broke my paw....
THE DOG I should like to know which one....
THE DOG I should like to know which one....
MYTYL (stroking the CAT) My poor Tylette, did he really?.... Where were you?... I did not see you....
MYTYL (stroking the CAT) My poor Tylette, did he really?.... Where were you?... I didn’t see you....
THE CAT (hypocritically) Mummy dear, I was wounded at the first, while attacking that horrid Pig, who wanted to eat you.... And then the Oak gave me a great blow which struck me senseless....
THE CAT (hypocritically) Mummy dear, I got hurt at first, while tackling that awful Pig, who wanted to eat you.... And then the Oak hit me hard, knocking me out....
THE DOG (to the CAT, between his teeth) As for you, I want a word with you presently.... It will keep!...
THE DOG (to the CAT, between his teeth) I need to talk to you soon.... It can wait!...
THE CAT (plaintively, to MYTYL) Mummy dear, he's insulting me.... He wants to hurt me....
THE CAT (sadly, to MYTYL) Mommy, he's being mean to me... He wants to hurt me...
MYTYL (to the DOG) Leave him alone, will you, you ugly beast?...
MYTYL (to the DOG) Leave him alone, okay, you ugly beast?...
(They all go out.)
They all go out.
CURTAIN
ACT IV
SCENE 1.—Before the Curtain.
The curtain represents beautiful clouds
The curtain symbolizes beautiful clouds.
(Enter TYLTYL, MYTYL, LIGHT, the DOG, the CAT, BREAD, FIRE, SUGAR, WATER and MILK.)
(Enter TYLTYL, MYTYL, LIGHT, the DOG, the CAT, BREAD, FIRE, SUGAR, WATER and MILK.)
LIGHT I believe we have the Blue Bird this time. I ought to have thought of it before. But the idea came to me, like a ray from the sky, this morning only, when I recovered my strengthen the dawn.... We are at the entrance to the enchanted palaces where all men's Joys, all men's Happinesses are gathered together in the charge of Fate.
LIGHT I think we have the Blue Bird this time. I should have thought of it earlier. But the idea hit me like a ray from the sky this morning when I regained my strength at dawn... We are at the entrance to the enchanted palaces where all of humanity's joys, all of humanity's happinesses are collected under the care of Fate.
TYLTYL Are there many of them? Shall we have any? Are they little?
TYLTYL Are there a lot of them? Will we get any? Are they small?
LIGHT Some are little and some are great; some are coarse and some are delicate; some are very beautiful and others not so pleasant to look upon.... But the ugliest were expelled from the garden some time ago and took refuge with the Miseries. For we must not forget that the Miseries inhabit an adjoining cave, which communicates with the Garden of Happiness and is separated from it only by a sort of vapour or fine veil, lifted at every moment by the winds that blow from the heights of Justice or from the depths of Eternity.... What we have now to do is to organise ourselves and take certain precautions. Generally, the Joys are very good; but, still, there are some of them that are more dangerous and treacherous than the greatest Miseries.
LIGHT Some are small and some are large; some are rough and some are smooth; some are really beautiful while others aren't so nice to look at... But the ugliest ones were kicked out of the garden a while ago and found shelter with the Miseries. We shouldn't forget that the Miseries live in a nearby cave, which connects to the Garden of Happiness and is only separated by a kind of mist or thin curtain, lifted at any moment by the winds that blow from the heights of Justice or the depths of Eternity... What we need to do now is get organized and take some precautions. Generally, the Joys are pretty good; but still, some can be more dangerous and deceitful than the worst Miseries.
BREAD I have an idea! If they are dangerous and treacherous, would it not be better for us all to wait at the door, so that we may lend a hand to the children should they be obliged to fly?....
BREAD I have an idea! If they are dangerous and deceitful, wouldn’t it be better for all of us to wait by the door, so we can help the children if they need to escape?....
THE DOG Not at all! Not at all! I mean to go everywhere with my little gods! Let those who are afraid remain at the door! We have no need (looking at BREAD) of cowards (looking at the CAT) or traitors!...
THE DOG Not at all! Not at all! I plan to go everywhere with my little gods! Let those who are scared stay at the door! We don’t need (looking at BREAD) cowards (looking at the CAT) or traitors!...
FIRE I'm going!... I hear it's great fun!... They dance all the time....
FIRE I'm going!... I've heard it's a blast!... They dance all the time....
BREAD Do they have any eating as well?
BREAD Do they have any food to eat too?
WATER (moaning) I have never known the smallest Happiness!... I should like to see some at last!....
WATER (moaning) I've never experienced even a little bit of happiness!... I just want to see some at last!....
LIGHT Hold your tongues! Who asked your opinions?... This is what I have decided: the Dog, Bread and Sugar shall go with the children. Water shall stay outside, because she is too cold, and Fire, because he is too turbulent. I strongly urge Milk to remain at the door, because he is so impressionable. As for the Cat, he can do as he likes.....
LIGHT Hold your tongues! Who asked for your opinions?... Here’s my decision: the Dog, Bread, and Sugar will go with the children. Water will stay outside because she’s too cold, and Fire will stay out because he’s too unpredictable. I really think Milk should stay at the door because he’s so easily influenced. As for the Cat, he can do whatever he likes.....
THE CAT I shall take the opportunity of calling on the chief Miseries of my acquaintance, who live next door to the Joys....
THE CAT I shall take the chance to mention the main Miseries of my experience, who live next door to the Joys....
TYLTYL And you, Light? Aren't you coming?
TYLTYL And you, Light? Are you not coming?
LIGHT I cannot go into the Joys like this: most of them cannot endure me. But I have here the thick veil with which I cover myself when I visit happy people.... (She unfolds a long veil and wraps herself in it carefully.) Not a ray of my soul must startle them, for there are many Happinesses that are afraid and are not happy.... There... like this, even the ugliest and coarsest of them will have nothing to fear....
LIGHT I can't go into the Joys like this: most of them can't handle me. But I have this thick veil I use to cover myself when I visit happy people.... (She unfolds a long veil and wraps herself in it carefully.) Not a single ray of my soul must startle them, because there are many Happinesses that are scared and aren't truly happy.... There... like this, even the ugliest and roughest of them will have nothing to fear....
(The curtain opens and discloses the next Scene)
(The curtain opens and reveals the next scene)
SCENE 2.—The Palace of Happiness.
When the curtain of clouds opens, the stage represents, in the forefront of the palace, a sort of hall formed of tall marble columns, between which hang heavy purple draperies, supported by golden ropes and concealing all the background. The architecture suggests the most sensual and sumptuous moments of the Venetian or Flemish Renascence, as seen in the pictures of Veronese or Rubens, with garlands, horns of plenty, fringes, vases, statues, gildings, lavishly distributed on every side. In the middle stands a massive and marvellous table of jasper and silver-gilt, laden with candlesticks, glass, gold and silver plate and fabulous viands. Around the table, the biggest luxuries of the Earth sit eating, drinking, shouting, singing, tossing and lolling about or sleeping among the haunches of venison, the miraculous fruits, the overturned jars and ewers. They are enormously, incredibly fat and red in the face, covered with velvet and brocade, crowned with gold and pearls and precious stones. Beautiful female slaves incessantly bring decorated dishes and foaming beverages. Vulgar, blatantly hilarious music, in which the brasses predominate. The stage is bathed in a red and heavy light.
When the clouds part, the stage shows a grand hall at the front of the palace, featuring tall marble columns between which heavy purple drapes hang, supported by golden ropes that hide the background. The design evokes the most indulgent and lavish moments of the Venetian or Flemish Renaissance, reminiscent of paintings by Veronese or Rubens, with garlands, cornucopias, fringes, vases, statues, and gilded decorations spread all around. In the center sits a stunning, massive table made of jasper and silver, piled high with candlesticks, glassware, gold and silver platters, and extravagant dishes. Surrounding the table are the greatest luxuries of the Earth, eating, drinking, shouting, singing, lounging about, or sleeping among joints of venison, exquisite fruits, and spilled jars and pitchers. They are exceedingly, almost absurdly fat and red-faced, draped in velvet and brocade, adorned with crowns of gold, pearls, and precious stones. Beautiful female attendants continually bring elaborately arranged dishes and frothy drinks. Loud, overtly humorous music plays, dominated by brass instruments. The stage is illuminated in a deep, heavy red light.
(TYLTYL, MYTYL, the DOG, BREAD and SUGAR are a little awestruck at first end crowd round LIGHT in the foreground, to the right. The CAT, without a word, walks to the background, also to the right, lifts a dark curtain and disappears.)
(TYLTYL, MYTYL, the DOG, BREAD and SUGAR are a little amazed at first and gather around LIGHT in the foreground, to the right. The CAT, without saying anything, walks to the background, also to the right, lifts a dark curtain and disappears.)
TYLTYL Who are those fat gentlemen enjoying themselves and eating such a lot of good things?
TYLTYL Who are those big guys having a great time and eating all that delicious food?
LIGHT They are the biggest Luxuries of the Earth, the ones that can be seen with the naked eye. It is possible, though not very likely, that the Blue Bird may have strayed among them for a moment. That is why you must not turn the diamond yet. For form's sake, we will begin by searching this part of the hall.
LIGHT They are the greatest luxuries on Earth, visible to the naked eye. It’s possible, though not very likely, that the Blue Bird may have wandered among them for a moment. That’s why you shouldn’t turn the diamond just yet. For the sake of appearances, we’ll start by searching this part of the hall.
TYLTYL Can we go up to them?
TYLTYL Can we go over to them?
LIGHT Certainly. They are not ill-natured, although they are vulgar and usually rather ill-bred.
LIGHT Certainly. They aren’t mean-spirited, but they are crude and often quite rude.
MYTYL What beautiful cakes they have!....
MYTYL What beautiful cakes they have!....
THE DOG And such game! And sausages! And legs of lamb and calves' liver!... There is nothing nicer or lovelier in the world than liver!...
THE DOG And what a game! And sausages! And legs of lamb and calves' liver!... There is nothing better or more wonderful in the world than liver!...
BREAD Except quartern-loaves made of fine white flour! They have splendid ones!... How lovely they are! How lovely they are!...
BREAD Except for quarter loaves made of fine white flour! They have amazing ones!... How beautiful they are! How beautiful they are!...
SUGAR I beg your pardon, I beg your pardon, I beg a thousand pardons.... Allow me, allow me.... I would not like to hurt anybody's feelings; but are you not forgetting the sweetmeats, which form the glory of that table and which, if I may say so, surpass in grandeur and magnificence all that exists in this hall, or perhaps anywhere else?...
SUGAR I’m sorry, I’m really sorry, I’m so sorry.... Please, please.... I don’t want to hurt anyone’s feelings; but aren’t you forgetting the desserts, which are the highlight of that table and which, if I may say, are more impressive and splendid than anything else in this hall, or maybe even elsewhere?...
TYLTYL How pleased and happy they look!... And they are shouting! And laughing! And singing!... I believe they have seen us....
TYLTYL How happy and excited they look!... And they’re shouting! And laughing! And singing!... I think they’ve seen us....
(A dozen of the biggest LUXURIES have risen from table and now, holding their stomachs in their hands, advance laboriously towards the CHILDREN.)
(A dozen of the biggest LUXURIES have gotten up from the table and now, holding their stomachs in their hands, are slowly moving towards the CHILDREN.)
LIGHT Have no fear, they are very affable.... They will probably invite you to dinner.... Do not accept, do not accept anything, lest you should forget your mission....
LIGHT Have no fear, they’re very friendly.... They will probably invite you to dinner.... Don’t accept, don’t accept anything, or you might forget your mission....
TYLTYL What? Not even a tiny cake? They look so good, so fresh, so well iced with sugar, covered with candied fruits and brimming over with cream!...
TYLTYL What? Not even a small cake? They look so good, so fresh, so nicely iced with sugar, topped with candied fruits and overflowing with cream!...
LIGHT They are dangerous and would break your will. A man should know how to sacrifice something to the duty he is performing. Refuse politely, but firmly.
LIGHT They are dangerous and would break your will. A man should know how to sacrifice something for the duty he is doing. Refuse politely, but firmly.
THE BIGGEST OF THE LUXURIES (holding out his hand to TYLTYL) How do you do, Tyltyl?...
THE BIGGEST OF THE LUXURIES (holding out his hand to TYLTYL) How’s it going, Tyltyl?...
TYLTYL (surprised) Why, do you know me?... Who are you?...
TYLTYL (surprised) Wait, do you know me?... Who are you?...
THE LUXURY I am the biggest of the Luxuries, the Luxury of Being Rich; and I come, in the name of my brothers, to beg you and your family to honour our endless repast with your presence. You will find yourself surrounded by all that is best among the real, big Luxuries of this Earth. Allow me to introduce to you the chief of them. Here is my son-in-law, the Luxury of Being a Landowner, who has a stomach shaped like a pear. This is the Luxury of Satisfied Vanity, who has such a nice, puffy face, (The LUXURY OF SATISFIED VANITY gives a patronising nod.) These are the Luxury of Drinking when you are not Thirsty and the Luxury of Eating when you are not Hungry: they are twins and their legs are made of macaroni. (They bow, staggering.) Here are the Luxury of Knowing Nothing, who is as deaf as a post, and the Luxury of Understanding Nothing, who is as blind as a bat. Here are the Luxury of Doing Nothing and the Luxury of Sleeping more than Necessary: their hands are made of bread-crumb and their eyes of peach-jelly. Lastly, here is Fat Laughter: his mouth is split from ear to ear and he is irresistible....
THE LUXURY I am the greatest of the Luxuries, the Luxury of Being Rich; and I come, on behalf of my siblings, to invite you and your family to bless our endless feast with your presence. You will find yourself surrounded by all that is finest among the real, great Luxuries of this Earth. Let me introduce you to the chief among them. Here is my son-in-law, the Luxury of Being a Landowner, who has a stomach shaped like a pear. This is the Luxury of Satisfied Vanity, who has such a nice, puffy face, (The LUXURY OF SATISFIED VANITY gives a patronizing nod.) These are the Luxury of Drinking when you aren’t Thirsty and the Luxury of Eating when you aren’t Hungry: they are twins and their legs are made of macaroni. (They bow, staggering.) Here are the Luxury of Knowing Nothing, who is as deaf as a post, and the Luxury of Understanding Nothing, who is as blind as a bat. Here are the Luxury of Doing Nothing and the Luxury of Sleeping more than Necessary: their hands are made of bread-crumb and their eyes of peach-jelly. Lastly, here is Fat Laughter: his mouth is split from ear to ear and he is irresistible....
(FAT LAUGHTER bows, writhing and holding his sides.)
(FAT LAUGHTER bows, writhing and holding his sides.)
TYLTYL (pointing to a LUXURY who is standing a little on one side) And who is that one, who dares not come up to us and who is turning his back?...
TYLTYL (pointing to a LUXURY who is standing a little on one side) And who is that, who doesn't dare to come over to us and who is turning his back?...
THE LUXURY OF BEING RICH Do not ask about him: he is a little awkward and is not fit to be introduced to children.... (Seizing TYLTYL'S hands) But come along! They are beginning the banquet all over again.... It is the twelfth time since this morning. We are only waiting for you.... Do you hear all the revellers calling and shouting for you?... I cannot introduce you to all of them, there are so many of them.... (Offering his arm to the two children) Allow me to lead you to the two seats of honour....
THE LUXURY OF BEING RICH Don't ask about him: he's a bit awkward and not really suited to meet children.... (Seizing TYLTYL'S hands) But come on! They're starting the banquet all over again.... This is the twelfth time today. We're just waiting for you.... Do you hear all the partygoers calling and cheering for you?... I can't introduce you to all of them; there are too many.... (Offering his arm to the two children) Let me guide you to the two seats of honor....
TYLTYL No, thank you very much, Mr. Luxury.... I am so sorry.... I can't come for the moment.... We are in a great hurry, we are looking for the Blue Bird. You don't happen to know, I suppose, where he is hiding?
TYLTYL No, thank you very much, Mr. Luxury.... I'm really sorry.... I can't come right now.... We're in a big hurry, we're looking for the Blue Bird. You wouldn't happen to know where he's hiding, would you?
THE LUXURY The Blue Bird?... Wait a bit.... Yes, I remember.... Some one was telling me about him the other day.... He is a bird, that is not good to eat, I believe.... At any rate, he has never figured on our table.... That means that we have a poor opinion of him. But don't trouble; we have much better things.... You shall share our life, you shall see all that we do....
THE LUXURY The Blue Bird?... Hold on a second.... Yeah, I remember.... Someone was talking about him the other day.... He's a bird that isn't good to eat, I think.... In any case, he has never been on our table.... That means we don’t think much of him. But don’t worry; we have much better things.... You will share our life, you'll see everything we do....
TYLTYL What do you do?
TYLTYL What’s up?
THE LUXURY Why, we occupy ourselves incessantly in doing nothing.... We never have a moment's rest.... We have to drink, we have to eat, we have to sleep. It's most engrossing....
THE LUXURY Why do we keep ourselves busy doing nothing? We never get a moment's break. We have to drink, we have to eat, we have to sleep. It's all so captivating.
TYLTYL Is it amusing?
TYLTYL Is it funny?
THE LUXURY Why, yes.... It needs must be; it's all there is on this Earth....
THE LUXURY Of course.... It has to be; it's all there is on this Earth....
LIGHT Do you think so?...
LIGHT Do you think so?
THE LUXURY (pointing to LIGHT, aside, to TYLTYL) Who is that ill-bred young person?...
THE LUXURY (pointing to LIGHT, aside, to TYLTYL) Who is that rude young person?...
(During the whole of the preceding conversation a crowd of LUXURIES of the second order have been busying themselves with the DOG, SUGAR and BREAD and have dragged them to the orgie. TYLTYL suddenly sees them seated fraternally at the table with their hosts, eating, drinking and flinging themselves about wildly.)
(Throughout the entire conversation, a bunch of LUXURIES of the second order have been fussing over the DOG, SUGAR and BREAD and have brought them to the party. TYLTYL suddenly spots them sitting together at the table with their hosts, eating, drinking, and having a wild time.)
TYLTYL Why, look, Light!... They are sitting at the table!...
TYLTYL Why, look, Light!... They're sitting at the table!...
LIGHT Call them back, or this will have a bad end!...
LIGHT Call them back, or this will end badly!...
TYLTYL Tylô!... Here, Tylô!... Come here at once, will you? Do you hear?... And you too, Sugar and Bread, who told you to leave me?... What are you doing there, without permission?
TYLTYL Tylô!... Hey, Tylô!... Come here right now, okay? Can you hear me?... And you too, Sugar and Bread, who said you could leave me?... What are you doing over there, without asking?
BREAD (speaking with his mouth full) Can't you keep a civil tongue in your mouth?...
BREAD (talking with his mouth full) Can't you speak politely?
TYLTYL What? Is Bread daring to be impertinent?... Why, what's come over you?... And you, Tylô?... Is that the way you obey? Now then, come here, on your knees, on your knees!... And look sharp!...
TYLTYL What? Is Bread being rude?... What’s gotten into you?... And you, Tylô?... Is that how you follow orders? Now come here, get on your knees, get on your knees!... And hurry up!...
THE DOG (muttering, from the end of the table) When I'm eating, I'm at home to nobody and I hear nothing....
THE DOG (muttering, from the end of the table) When I'm eating, I'm at home to no one and I hear nothing....
SUGAR (honey-mouthed) Pardon us, we could not possibly leave such charming hosts so abruptly: they would be offended....
SUGAR (honey-mouthed) Excuse us, we really can’t just leave such delightful hosts so suddenly: it would upset them....
THE LUXURY You see!... They are setting you an example.... Come, we are waiting for you.... We won't hear of a refusal.... We shall have to resort to a gentle violence.... Come, you Luxuries, help me!... Let us push them to the table by force, so that they may be happy in spite of themselves!... (All the LUXURIES, uttering cries of joy and skipping about as nimbly as they are able, drag the CHILDREN, who struggle, while FAT LAUGHTER seizes LIGHT vigorously round the waist.)
THE LUXURY You see!... They’re setting an example for you.... Come on, we’re waiting for you.... We can't accept a no.... We might have to use a little gentle force.... Come on, you Luxuries, help me!... Let’s push them to the table by force, so they can be happy even if they don’t want to be!... (All the LUXURIES, shouting with joy and moving around as quickly as they can, pull the CHILDREN, who resist, while FAT LAUGHTER grabs LIGHT strongly around the waist.)
LIGHT Turn the diamond, it is time!...
LIGHT Turn the diamond, it's time!...
(TYLTYL obeys LIGHT'S order. Forthwith, the stage is lit up with an ineffably pure, divinely roseate, harmonious and ethereal brightness. The heavy ornaments in the foreground, the thick red hangings become unfastened and disappear, revealing an immense and magnificent hall, a sort of cathedral of gladness and serenity, tall, innocent and almost transparent, whose endless fabric rests upon innumerous long and slender, limpid and blissful columns, suggesting the architecture of the Palladian churches or certain drawings by Carpaccio, notably the "Presentation of the Virgin" in the Uffizi Gallery. The table of the orgie melts away without leaving a trace; the velvets, the brocades, the garlands of the LUXURIES rise before the luminous gust that invades the temple tear asunder and fall, together with the grinning masks, at the feet of the astounded revellers. These become visibly deflated, like burst bladders, exchange glances, blink their eyes in the unknown rays that hurt them; and, seeing themselves at last as they really are, that is to say, naked, hideous, flabby and lamentable, they begin to utter yells of shame and dismay, amid which those of FAT LAUGHTER are clearly distinguishable above all the rest. The LUXURY OF UNDERSTANDING NOTHING alone remains perfectly calm, while his friends rush about madly, trying to flee, to hide themselves in corners which they hope to find dark. But there is not a shadow left in the dazzling room. And so the majority, in their despair, decide to pass through the threatening curtain which, in an angle on the right, closes the vault of the Cave of Miseries. Each time that one of them, in his panic, raises a skirt of the curtain, a storm of oaths, imprecations and maledictions is heard to issue from the hollow depths of the cave. As for the DOG, BREAD and SUGAR, they hang their heads, join the group of the CHILDREN and hide behind them very sheepishly.)
(TYLTYL follows LIGHT'S command. Immediately, the stage lights up with an incredibly pure, divine rose-colored, harmonious and ethereal brightness. The heavy decorations in the foreground, the thick red drapes become unfastened and vanish, unveiling a vast and stunning hall, a kind of cathedral of joy and tranquility, tall, innocent, and almost transparent, whose endless structure rests on countless long, slender, clear, and blissful columns, resembling the architecture of Palladian churches or certain drawings by Carpaccio, notably the "Presentation of the Virgin" in the Uffizi Gallery. The table from the orgy fades away without a trace; the velvets, the brocades, the garlands of LUXURIES are torn apart by the luminous gust that fills the temple and fall, along with the grinning masks, at the feet of the astonished revelers. They visibly deflate, like burst balloons, exchanging glances, blinking in the unfamiliar light that hurts them; and, finally seeing themselves as they truly are—naked, ugly, flabby, and pitiful—they begin to scream in shame and horror, among which those of FAT LAUGHTER can be clearly distinguished above all the rest. The LUXURY OF UNDERSTANDING NOTHING remains perfectly calm, while his friends dash around in panic, trying to escape, to hide in corners they hope to find dark. But there is no shadow left in the dazzling room. So the majority, in their despair, decide to go through the menacing curtain that, in a corner on the right, closes off the entrance to the Cave of Miseries. Each time one of them, in his panic, raises a part of the curtain, a storm of curses, insults, and maledictions is heard coming from the hollow depths of the cave. As for the DOG, BREAD and SUGAR, they lower their heads, join the group of the CHILDREN and hide behind them very shyly.)
TYLTYL (watching the LUXURIES flying) Goodness, how ugly they are!... Where are they going?...
TYLTYL (watching the LUXURIES flying) Wow, they look so ugly!... Where are they headed?...
LIGHT I really believe that they have lost their heads.... They are going to take refuge with the Miseries, where I very much fear that they will be kept for good....
LIGHT I truly believe that they have lost their minds.... They are going to seek shelter with the Miseries, where I really fear that they will be stuck for good....
TYLTYL (looking around him, wonder-struck) Oh, what a beautiful hall, what a beautiful hall!... Where are we?...
TYLTYL (looking around him, amazed) Oh, what a gorgeous hall, what a gorgeous hall!... Where are we?...
LIGHT We have not moved: it is your eyes that see differently.... We now behold the truth of things; and we shall perceive the soul of the Joys that endure the brightness of the diamond.
LIGHT We haven't changed: it's your eyes that see differently.... We now see the truth of things; and we will understand the essence of the Joys that withstand the brilliance of the diamond.
TYLTYL How beautiful it is!... And what lovely weather!... It is just like midsummer.... Hullo! It looks as though people were coming to talk to us....
TYLTYL How beautiful it is!... And what lovely weather!... It’s just like midsummer.... Hey! It looks like people are coming to talk to us....
(The halls begin to fill with angel forms that seem to be emerging from a long slumber and glide harmoniously between the columns. They are clad in shimmering dresses, of soft and subtle shades; rose-awakening, water's-smile, amber-dew, blue-of-dawn, etc.)
(The halls start to fill with angelic figures that seem to be waking from a long sleep and move gracefully between the columns. They are dressed in sparkling gowns of gentle, muted colors: rose-awakening, water's-smile, amber-dew, blue-of-dawn, etc.)
LIGHT Here come some amiable and curious Joys who will direct us....
LIGHT Here come some friendly and curious Joys who will guide us....
TYLTYL Do you know them?...
TYLTYL Do you know them?
LIGHT Yes, I know them all; I often come to them, without their knowing who I am....
LIGHT Yes, I know them all; I often visit them, without them knowing who I am....
TYLTYL Oh, what a lot of them there are!... They are crowding from every side!
TYLTYL Oh, there are so many of them!... They're crowding in from every direction!
LIGHT There were many more of them once. The Luxuries have done them great harm.
LIGHT There used to be many more of them. The Luxuries have caused them a lot of damage.
TYLTYL No matter, there are a good few of them left....
TYLTYL No matter, there are still quite a few of them left....
LIGHT You will see plenty of others, as the influence of the diamond spreads through the halls.... There are many more Happinesses on Earth than people think; but the generality of men do not discover them....
LIGHT You will see plenty of others, as the influence of the diamond spreads through the halls.... There are many more sources of happiness on Earth than people realize; but most people don’t find them....
TYLTYL Here are some little ones: let us run and meet them....
TYLTYL Here are some little ones: let’s run and meet them....
LIGHT It is unnecessary: those which interest us will pass this way. We have no time to make the acquaintance of all the rest....
LIGHT It’s not needed: those that interest us will come our way. We don’t have time to get to know all the others....
(A troop of little HAPPINESSES, frisking and bursting with laughter, run up from the back of the halls and dance round the CHILDREN in a ring.)
(A group of small HAPPINESSES, jumping around and filled with laughter, run up from the back of the halls and dance around the CHILDREN in a circle.)
TYLTYL How pretty, how very pretty they are!... Where do they come from, who are they?...
TYLTYL How beautiful, how truly beautiful they are!... Where do they come from, who are they?...
LIGHT They are the Children's Happinesses....
LIGHT They are the Children's Happinesses....
TYLTYL Can one speak to them?
TYLTYL Can you talk to them?
LIGHT It would be no use. They sing, they dance, they laugh, but they do not talk yet....
LIGHT It wouldn’t help. They sing, they dance, they laugh, but they still don’t talk....
TYLTYL (skipping about) How do you do? How do you do?... Oh, look at that fat one laughing!... What pretty cheeks they have, what pretty frocks they have!... Are they all rich here?...
TYLTYL (skipping around) How's it going? How's it going?... Oh, look at that chubby one laughing!... What cute cheeks they have, what nice dresses they have!... Are they all wealthy here?...
LIGHT Why, no, here, as everywhere, there are many more poor than rich....
LIGHT Why, no, here, just like everywhere, there are many more poor people than rich ones....
TYLTYL Where are the poor ones?...
TYLTYL Where are the poor ones?...
LIGHT You can't distinguish them.... A Child's Happiness is always arrayed in all that is most beautiful in Heaven and upon Earth.
LIGHT You can't tell them apart.... A child's happiness is always surrounded by everything that's most beautiful in Heaven and on Earth.
TYLTYL (unable to restrain himself) I should like to dance with them....
TYLTYL (unable to hold back) I would like to dance with them....
LIGHT It is absolutely impossible, we have no time.... I see that they have not the Blue Bird.... Besides, they are in a hurry: you see, they have already passed.... They too have no time to waste, for childhood is very short....
LIGHT It’s totally impossible, we have no time.... I see they don’t have the Blue Bird.... Besides, they’re in a rush: you see, they’ve already passed.... They also don’t have time to waste, because childhood is very brief....
(Another troop of HAPPINESSES, a little taller than the last, rush into the hall, singing at the top of their voice, "There they are! There they are! They see us! They see us!" and, dance a merry fling around the CHILDREN, at the end of which the one who appears to be the chief of the little band goes up to TYLTYL with hand outstretched.)
(Another group of HAPPINESSES, a bit taller than the last, rushes into the hall, singing at the top of their lungs, "There they are! There they are! They see us! They see us!" and dances a joyful jig around the CHILDREN, at the end of which the one who seems to be the leader of the little band approaches TYLTYL with an outstretched hand.)
THE HAPPINESS How do you do, Tyltyl?...
THE HAPPINESS How's it going, Tyltyl?...
TYLTYL Another one who knows me!... (To LIGHT) I am getting known wherever I go!... (To the HAPPINESS) Who are you?...
TYLTYL Another one who knows me!... (To LIGHT) I’m becoming known everywhere I go!... (To the HAPPINESS) Who are you?...
THE HAPPINESS Don't you recognise me?... I'll wager that you don't recognise any one here!
THE HAPPINESS Don't you know who I am?... I bet you don't know anyone here!
TYLTYL (a little embarrassed) Why, no.... I don't know.... I don't remember seeing any of you.
TYLTYL (a little embarrassed) Well, no.... I don't know.... I don’t remember seeing any of you.
THE HAPPINESS There, do you hear?... I was sure of it!... He has never seen us!...
THE HAPPINESS There, do you hear?... I was sure of it!... He has never seen us!...
(All the other HAPPINESSES burst out laughing) Why, my dear Tyltyl, we are the only things you do know!... We are always around you!... We eat, drink, wake up, breathe and live with you!...
(All the other HAPPINESSES bust out laughing) Well, my dear Tyltyl, we’re the only things you actually know!... We’re always here with you!... We eat, drink, wake up, breathe, and live alongside you!...
TYLTYL Oh, yes, just so, I know, I remember.... But I should like to know what your names are....
TYLTYL Oh, yes, that's right, I remember.... But I'd like to know what your names are....
THE HAPPINESS I can see that you know nothing.... I am the chief of the Happinesses of your home; and all these are the other Happinesses that live there....
THE HAPPINESS I can see that you don’t know anything.... I am the head of the Happinesses in your home; and all these are the other Happinesses that live there....
TYLTYL Then there are Happinesses in my home?
TYLTYL So, are there Happinesses in my home?
(All the HAPPINESSES burst out laughing.)
(All the HAPPINESSES laughed out loud.)
THE HAPPINESS You heard him!... Are there Happinesses in his home!... Why, you little wretch, it is crammed with Happinesses in every nook and cranny!... We laugh, we sing, we create enough joy to knock down the walls and lift the roof; but, do what we may, you see nothing and you hear nothing.... I hope that, in future, you will be a little more sensible.... Meantime, you shall shake hands with the more noteworthy of us.... Then, when you reach home again, you will recognise them more easily and, at the end of a fine day, you will know how to encourage them with a smile, to thank them with a pleasant word, for they really do all they can to make your life easy and delightful.... Let me introduce myself first: the Happiness of Being Well, at your service.... I am not the prettiest, but I am the most important. Will you know me again?... This is the Happiness of Pure Air, who is almost transparent.... Here is the Happiness of Loving one's Parents, who is clad in grey and always a little sad, because no one ever looks at him.... Here are the Happiness of the Blue Sky, who, of course, is dressed in blue, and the Happiness of the Forest, who, also of course, is clad in green: you will see him every time you go to the window.... Here, again, is the good Happiness of Sunny Hours, who is diamond-coloured, and this is the Happiness of Spring, who is bright emerald....
THE HAPPINESS You heard him!... Are there Happinesses in his home!... Why, you little rascal, it's packed with Happinesses in every corner and crevice!... We laugh, we sing, we create enough joy to break down the walls and raise the roof; but no matter what we do, you see nothing and you hear nothing.... I hope that, in the future, you'll be a bit more aware.... In the meantime, you should shake hands with the more notable of us.... Then, when you get home again, you'll recognize them more easily and, at the end of a good day, you'll know how to greet them with a smile and thank them with kind words, because they really do everything they can to make your life easy and enjoyable.... Let me introduce myself first: the Happiness of Being Well, at your service.... I'm not the prettiest, but I am the most important. Will you recognize me again?... This is the Happiness of Pure Air, who is almost transparent.... Here’s the Happiness of Loving one's Parents, who is dressed in grey and always a little sad, because no one ever looks at him.... Here are the Happiness of the Blue Sky, who, of course, is dressed in blue, and the Happiness of the Forest, who, naturally, is dressed in green: you will see him every time you go to the window.... And here is the lovely Happiness of Sunny Hours, who is diamond-colored, and this is the Happiness of Spring, who is bright emerald....
TYLTYL And are you as fine as that every day?
TYLTYL And are you just as good as that every day?
THE HAPPINESS OF BEING WELL Why, yes, it is Sunday every day, in every house, when people open their eyes.... And then, when evening comes, here is the Happiness of the Sunsets, who is grander than all the kings in the world and who is followed by the Happiness of Seeing the Stars Rise, who is gilded like a god of old.... Then, when the weather breaks, here are the Happiness of the Rain, who is covered with pearls, and the Happiness of the Winter Fire, who opens his beautiful purple mantle to frozen hands.... And I have not mentioned the best among us, because he is nearly a brother of the great limpid Joys whom you will see presently: his name is the Happiness of Innocent Thoughts, and he is the brightest of as all.... And then here are.... But really there are too many of them!... We should never have done; and I must first send word to the Great Joys, who are right at the back, near the gates of Heaven, and who have not yet heard of your arrival.... I will send the Happiness of Running Barefoot in the Dew, who is the nimblest of us.... (To the HAPPINESS OF RUNNING BAREFOOT IN THE DEW, who comes forward capering) Off you go!...
THE HAPPINESS OF BEING WELL Yes, it's like every day is Sunday in every home when people open their eyes.... And then, when evening comes, there’s the Happiness of the Sunsets, which is grander than all the kings in the world and is followed by the Happiness of Seeing the Stars Rise, who shines like an ancient god.... Then, when the weather turns, here comes the Happiness of the Rain, adorned with pearls, and the Happiness of the Winter Fire, who offers his beautiful purple cloak to frozen hands.... And I haven't mentioned the best among us because he's almost like a brother to the great pure Joys you'll see soon: his name is the Happiness of Innocent Thoughts, and he’s the brightest of them all.... And then there's.... But honestly, there are too many to list!... We could go on forever; I first need to notify the Great Joys, who are back at the gates of Heaven and haven't yet heard of your arrival.... I’ll send the Happiness of Running Barefoot in the Dew, who is the quickest among us.... (To the HAPPINESS OF RUNNING BAREFOOT IN THE DEW, who comes forward capering) Off you go!...
LIGHT (to TYLTYL) In the meantime, you might enquire about the Blue Bird. It is just possible that the chief Happiness of your home knows where he is....
LIGHT (to TYLTYL) In the meantime, you might want to ask about the Blue Bird. It’s possible that the main source of happiness in your home knows where he is....
TYLTYL Where Is he?...
TYLTYL Where is he?...
THE HAPPINESS He doesn't know where the Blue Bird is!... (All the HAPPINESSES OF THE HOME burst out laughing.)
THE HAPPINESS He doesn't know where the Blue Bird is!... (All the HAPPINESSES OF THE HOME bust out laughing.)
TYLTYL (vexed) No, I do not know.... There's nothing to laugh at.... (Fresh bursts of laughter.)
TYLTYL (vexed) No, I don't know... There's nothing funny about it... (Fresh bursts of laughter.)
THE HAPPINESS Come, don't be angry... and let us be serious.... He doesn't know: well, what do you expect? He is no more absurd than the majority of men.... But little Happiness of Running Barefoot in the Dew has told the Great Joys and they are coming towards us....
THE HAPPINESS Come on, don't be mad... and let's take this seriously.... He doesn't know any better: what do you expect? He's no more ridiculous than most people.... But Little Happiness of Running Barefoot in the Dew has shared the news with the Great Joys, and they're on their way to us....
(Tall and beautiful angelic figures, clad in shimmering dresses, come slowly forward.)
(Tall and stunning angelic figures, dressed in shimmering gowns, step gracefully forward.)
TYLTYL How beautiful they are!... Why are they not laughing?... Are they not happy?...
TYLTYL How beautiful they are! Why aren’t they laughing? Are they not happy?
LIGHT It is not when one laughs that one is really happy....
LIGHT It is not when you laugh that you are truly happy....
TYLTYL Who are they?...
TYLTYL Who are they?...
THE HAPPINESS They are the Great Joys....
THE HAPPINESS They are the Great Joys....
TYLTYL Do you know their names?...
TYLTYL Do you know their names?...
THE HAPPINESS Of course; we often play with them.... Here, first of all, before the others, is the Great Joy of Being Just, who smiles each time an injustice is repaired. I am too young: I have never seen her smile yet. Behind her is the Joy of Being Good, who is the happiest, but the saddest; and it is very difficult to keep her from going to the Miseries, whom she would like to console; for, if she left us, we should be almost as miserable as the Miseries themselves. On the right is the Joy of Fame, next to the Joy of Thinking. After her comes the Joy of Understanding, who is always looking for her brother, the Luxury of Understanding Nothing....
THE HAPPINESS Of course; we often play with them.... Here, first of all, before the others, is the Great Joy of Being Just, who smiles every time an injustice is made right. I'm too young: I have never seen her smile yet. Behind her is the Joy of Being Good, who is the happiest yet also the saddest; and it’s really hard to keep her from going to the Miseries, whom she wants to comfort; because if she leaves us, we would be almost as miserable as the Miseries themselves. On the right is the Joy of Fame, next to the Joy of Thinking. After her comes the Joy of Understanding, who is always searching for her brother, the Luxury of Understanding Nothing....
TYLTYL But I have seen her brother!... He went to the Miseries with the Big Luxuries....
TYLTYL But I have seen her brother!... He went to the Miserys with the Big Luxuries....
THE HAPPINESS I was certain of it.... He has turned out badly; keeping evil company has corrupted him entirely.... But do not speak of it to his sister. She would want to go and look for him and we should lose one of our most beautiful Joys.... Here, among the greatest Joys, is the Joy of Seeing what is Beautiful, who daily adds a few rays to the light that reigns amongst us....
THE HAPPINESS I was sure of it.... He has gone down the wrong path; associating with bad people has completely corrupted him.... But don’t mention it to his sister. She would want to go find him and we would lose one of our most beautiful Joys.... Here, among the greatest Joys, is the Joy of Seeing what is Beautiful, who adds a few rays to the light that surrounds us each day....
TYLTYL And there, far away, far away, in the golden clouds, the one whom I can hardly see when I stand as high as I can on tip-toe?...
TYLTYL And there, far away, far away, in the golden clouds, the one I can barely see when I stand as tall as I can on tip-toe?...
THE HAPPINESS That is the Great Joy of Loving.... But, do what you will, you are ever so much too small to see her altogether....
THE HAPPINESS That is the Great Joy of Loving.... But, no matter what you do, you will always be too small to see her completely....
TYLTYL And over there, right at the back, those who are veiled and who do not come near?...
TYLTYL And over there, right at the back, those who are covered and who don't come close?...
THE HAPPINESS Those are the Joys whom men do not yet know....
THE HAPPINESS Those are the Joys that people still don’t recognize....
TYLTYL What do the others want with us?... Why are they standing aside?...
TYLTYL What do the others want from us?... Why are they just standing there?...
THE HAPPINESS It is before a new Joy who is arriving, perhaps the purest that we have here....
THE HAPPINESS It is before a new Joy that is coming, perhaps the purest we have here....
TYLTYL Who is it?
TYLTYL Who's there?
THE HAPPINESS Don't you recognise her yet?... But take a better look at her, open your two eyes down to the very heart of your soul!... She has seen you, she has seen you!... She runs up to you, holding out her arms!... It is your mother's Joy, it is the peerless Joy of Maternal Love!...
THE HAPPINESS Don’t you see her yet?... But take a closer look at her, open your eyes wide to the very depths of your soul!... She has seen you, she has seen you!... She runs up to you, reaching out her arms!... It’s your mother’s Joy, it’s the unmatched Joy of Maternal Love!...
(The other JOYS, who have run up from every side, acclaim the JOY OF MATERNAL LOVE with their cheers and then fall back before her in silence.)
(The other JOYS, who have come from every direction, celebrate the JOY OF MATERNAL LOVE with their cheers and then retreat in silence.)
THE JOY OF MATERNAL LOVE Tyltyl! And Mytyl!... What, do I find you here?... I never expected it!... I was very lonely at home; and here are you two climbing to that Heaven where the souls of all mothers beam with joy!... But first kisses, heaps and heaps of kisses!... Into my arms, the two of you; there is nothing on earth that gives greater happiness!... Tyltyl, aren't you laughing?... Nor you either, Mytyl?... Don't you know your mother's love when you see it?... Why, look at me: are these not my eyes, my lips, my arms?...
THE JOY OF MATERNAL LOVE Tyltyl! And Mytyl!... What, are you both here?... I didn’t expect to see you!... I felt so lonely at home; and here you are, climbing to that Heaven where all mothers' souls shine with happiness!... But first, kisses, lots and lots of kisses!... Come here, both of you; there’s nothing on earth that brings greater joy!... Tyltyl, aren’t you laughing?... And you, Mytyl?... Can’t you recognize your mother’s love when you see it?... Look at me: aren’t these my eyes, my lips, my arms?...
TYLTYL Yes, yes, I recognise them, but I did not know.... You are like Mummy, but you are much prettier....
TYLTYL Yes, yes, I recognize them, but I didn't know... You look like Mom, but you're way prettier...
MATERNAL LOVE Why, of course, I have stopped growing old.... And every day brings me fresh strength and youth and happiness.... Each of your smiles makes me younger by a year.... At home, that does not show; but here everything is seen and it is the truth....
MATERNAL LOVE Why, of course, I’ve stopped aging.... And every day brings me new energy and happiness.... Each of your smiles makes me feel a year younger.... At home, that doesn’t show; but here everything is visible and it’s the truth....
TYLTYL (wonder-struck, gazing at her and kissing her by turns) And that beautiful dress of yours: what is it made of?... Is it silk, silver or pearls?...
TYLTYL (wonder-struck, gazing at her and kissing her by turns) And that beautiful dress of yours: what is it made of?... Is it silk, silver, or pearls?...
MATERNAL LOVE No, it is made of kisses and caresses and loving looks.... Each kiss you give me adds a ray of moon-light or sunshine to it....
MATERNAL LOVE No, it consists of kisses, hugs, and loving gazes.... Each kiss you give me adds a touch of moonlight or sunlight to it....
TYLTYL How funny, I should never have thought that you were so rich!... Where used you to hide it?... Was it in the cupboard of which Daddy has the key?...
TYLTYL How funny, I never would have guessed that you were so wealthy!... Where did you used to keep it?... Was it in the cupboard that Daddy has the key to?...
MATERNAL LOVE No, no, I always wear it, but people do not see it, because people see nothing when their eyes are closed.... All mothers are rich when they love their children.... There are no poor mothers, no ugly ones, no old ones. Their love is always the most beautiful of the Joys.... And, when they seem most sad, it needs but a kiss which they receive or give to turn all their tears into stars in the depths of their eyes....
MATERNAL LOVE No, no, I always wear it, but people don't see it because they see nothing when their eyes are closed.... All mothers are rich when they love their children.... There are no poor mothers, no ugly ones, no old ones. Their love is always the most beautiful of joys.... And when they seem the saddest, all it takes is a kiss they receive or give to turn all their tears into stars shining in the depths of their eyes....
TYLTYL (looking at her with astonishment) Why, yes, it's true, your eyes are filled with stars.... And they are really your eyes, only they are much more beautiful.... And this is your hand too, with the little ring on it.... It even has the burn which you gave it one evening when lighting the lamp.... But it is much whiter; and how delicate the skin is!... There seems to be light flowing through it.... Doesn't it do any work like the one at home?...
TYLTYL (looking at her with astonishment) Wow, it's true, your eyes are full of stars.... And they really are your eyes, but they’re way more beautiful.... And this is your hand too, with the little ring on it.... It even has the burn you got one night when you were lighting the lamp.... But it's much fairer; and your skin is so delicate!... It looks like light is flowing through it.... Does it not do any work like the one at home?...
MATERNAL LOVE Why yes, it is the very same: did you never see that it becomes quite white and fills with light the moment it fondles you?...
MATERNAL LOVE Why yes, it is the very same: did you never see that it becomes quite white and fills with light the moment it embraces you?...
TYLTYL It's wonderful, Mummy: you have the same voice also; but you speak much better than you do at home....
TYLTYL It's amazing, Mom: you sound just like yourself; but you talk way better than you do at home....
MATERNAL LOVE At home, one has too much to do and there is no time.... But what one does not say one hears all the same.... Now that you have seen me, will you know me again, in my torn dress, when you go back to the cottage tomorrow?...
MATERNAL LOVE At home, there's always so much to do and no time.... But what isn't said is still heard.... Now that you've seen me, will you recognize me again in my tattered dress when you head back to the cottage tomorrow?...
TYLTYL I don't want to go back.... As you are here, I want to stay also, as long as you remain....
TYLTYL I don't want to go back.... Since you're here, I want to stay too, as long as you do....
MATERNAL LOVE But it's just the same thing: I am down below, we are all down below.... You have come up here only to realise and to learn, once and for all, how to see me when you see me down below.... Do you understand, Tyltyl dear?... You believe yourself in Heaven; but Heaven is wherever you and I kiss each other.... There are not two mothers; and you have no other.... Every child has only one; and it is always the same one and always the most beautiful; but you have to know her and to know how to look.... But how did you manage to come up here and to find a road for which men have been seeking ever since they began to dwell upon the Earth?...
MATERNAL LOVE But it's all the same: I'm down here, we're all down here... You've come up here just to realize and learn, once and for all, how to see me when you see me down here... Do you understand, Tyltyl dear?... You think you're in Heaven; but Heaven is wherever you and I share a kiss... There aren't two mothers; and you don't have any other... Every child has just one; and it’s always the same one and always the most beautiful; but you need to recognize her and know how to look... But how did you manage to come up here and find a path that people have been searching for ever since they started living on Earth?...
TYLTYL (pointing to LIGHT, who, discreetly, has drawn a little to one side) She brought me....
TYLTYL (pointing to LIGHT, who, discreetly, has drawn a little to one side) She brought me....
MATERNAL LOVE Who is she?...
MATERNAL LOVE Who's she?...
TYLTYL Light....
TYLTYL Light...
MATERNAL LOVE I have never seen her.... I was told that she was very fond of you both and very kind.... But why does she hide herself?... Does she never show her face?...
MATERNAL LOVE I have never seen her.... I heard she really cares about both of you and is very kind.... But why does she keep herself hidden?... Does she never reveal her face?...
TYLTYL Oh, yes, but she is afraid that the Joys might be frightened if they saw too clearly....
TYLTYL Oh, yes, but she's worried that the Joys might get scared if they saw too clearly....
MATERNAL LOVE But doesn't she know that we are waiting only for her! (Calling the other GREAT JOYS) Come, come, sisters! Come quickly, all of you! Light has come to visit us at last!...
MATERNAL LOVE But doesn't she realize we're just waiting for her! (Calling the other GREAT JOYS) Come on, sisters! Hurry up, all of you! Light has finally come to visit us!...
(A stir among the GREAT JOYS, who draw nearer, with cries of "Light is here!... Light! Light!...")
(A stir among the GREAT JOYS, who draw closer, shouting "Light is here!... Light! Light!...)
THE JOY OF UNDERSTANDING (thrusting all the others aside, to come and embrace LIGHT) You are Light and we did not know it!... And we have been waiting for you for years and years and years!... Do you recognise me?... I am the Joy of Understanding, who have been seeking you for so long!... We are very happy, but we cannot see beyond ourselves....
THE JOY OF UNDERSTANDING (pushing all the others away to come and embrace LIGHT) You are Light, and we didn’t know it!... And we’ve been waiting for you for ages!... Do you remember me?... I am the Joy of Understanding, who has been searching for you for so long!... We are very happy, but we can’t see beyond ourselves....
THE JOY OF BEING JUST (embracing LIGHT in her turn) Do you recognise me?... I am the Joy of Being Just, who have besought you so long.... We are very happy, but we cannot see beyond our shadows.
THE JOY OF BEING JUST (embracing LIGHT in her turn) Do you recognize me?... I am the Joy of Being Just, who has been asking you for so long.... We are very happy, but we cannot see beyond our shadows.
THE JOY OF SEEING WHAT IS BEAUTIFUL (also embracing LIGHT) Do you recognise me?... I am the Joy of Seeing what is Beautiful, who have loved you so dearly.... We are very happy, but we cannot see beyond our dreams....
THE JOY OF SEEING WHAT IS BEAUTIFUL (also embracing LIGHT) Do you recognize me?... I am the Joy of Seeing what is Beautiful, who have loved you so dearly.... We are very happy, but we cannot see beyond our dreams....
THE JOY OF UNDERSTANDING Come, sister, come, do not keep us waiting any longer.... We are strong enough, we are pure enough.... Put aside those veils which still conceal from us the last truths and the last happinesses.... See, all my sisters are kneeling at your feet.... You are our queen and our reward.
THE JOY OF UNDERSTANDING Come, sister, come, don’t keep us waiting any longer.... We are strong enough, we are pure enough.... Put aside those veils that still hide from us the final truths and the ultimate happinesses.... Look, all my sisters are kneeling at your feet.... You are our queen and our reward.
LIGHT (drawing her veils closer) Sisters, my beautiful sisters, I am obeying my Master.... The hour is not yet come; it will strike, perhaps, and I shall return without fear and without shadow.... Farewell, rise and let us kiss once more, like sisters lost and found, while waiting for the day that will soon appear....
LIGHT (drawing her veils closer) Sisters, my lovely sisters, I am following my Master.... The time hasn’t come yet; it will come, perhaps, and I’ll come back without fear and without hesitation.... Goodbye, let’s rise and kiss one more time, like sisters who were lost and have now found each other, while we wait for the day that will soon come....
MATERNAL LOVE (embracing LIGHT) You have been very good to my poor little ones....
MATERNAL LOVE (embracing LIGHT) You have been so kind to my poor little ones....
LIGHT I shall always be good to those who love one another....
LIGHT I will always be kind to those who care for each other....
THE JOY OF UNDERSTANDING (going up to LIGHT) Let the last kiss be laid upon my forehead....
THE JOY OF UNDERSTANDING (going up to LIGHT) Let the last kiss be placed on my forehead....
(They exchange a long kiss; and, when they separate and raise their heads, tears are seen to stand in their eyes.)
(They share a long kiss; and when they pull apart and look up, tears are visible in their eyes.)
TYLTYL (surprised) Why are you crying?... (Looking at the other JOYS) I say! You're crying too!... But why have all of you tears in your eyes?...
TYLTYL (surprised) Why are you crying?... (Looking at the other JOYS) Hey! You're crying too!... But why do you all have tears in your eyes?...
LIGHT Hush, dear....
Shh, sweetheart...
CURTAIN
ACT V
SCENE I.—Before the Curtain.
Enter TYLTYL, MYTYL, LIGHT, the DOG, the CAT, BREAD, FIRE, SUGAR, WATER and MILK.
Enter TYLTYL, MYTYL, LIGHT, the DOG, the CAT, BREAD, FIRE, SUGAR, WATER and MILK.
LIGHT I have received a note from the Fairy Bérylune telling me that the Blue Bird is probably here.
LIGHT I got a note from the Fairy Bérylune saying that the Blue Bird is probably here.
TYLTYL Where?...
TYLTYL Where?
LIGHT Here, in the graveyard behind that wall.... It appears that one of the dead in the graveyard is hiding it in his tomb.... We must find out which one it is.... We shall have to pass them under review....
LIGHT Here, in the graveyard behind that wall.... It seems like one of the dead in the graveyard is hiding it in his tomb.... We need to figure out which one it is.... We'll have to examine them all....
TYLTYL Under review?... How is that done?...
TYLTYL Under review?... How is that done?...
LIGHT It is very simple: at midnight, so as not to disturb them too greatly, you will turn the diamond. We shall see them come out of the ground; or else we shall see those who do not come out lying in their tombs....
LIGHT It’s really straightforward: at midnight, to avoid bothering them too much, you’ll turn the diamond. We’ll watch them emerge from the ground; or we’ll see those who don’t come out lying in their graves...
TYLTYL Will they not be angry?...
TYLTYL Will they not be upset?...
LIGHT Not at all; they will not even know.... They do not like being disturbed, but, as it is their custom, in any case, to come out at midnight, that will not inconvenience them....
LIGHT Not at all; they won’t even realize it.... They don’t like being interrupted, but since it’s their usual practice to come out at midnight, that won’t bother them....
TYLTYL Why are Bread, Sugar and Milk so pale and why do they say nothing?...
TYLTYL Why are Bread, Sugar, and Milk so bland and why don’t they say anything?
MILK (staggering) I feel I am going to turn....
MILK (staggering) I feel like I'm going to turn....
LIGHT (aside to TYLTYL) Do not mind them.... They are afraid of the dead....
LIGHT (aside to TYLTYL) Don't pay attention to them.... They're scared of the dead....
FIRE (frisking about) I'm not afraid of them!... I am used to burning them.... Time was when I burnt them all; that was much more amusing than nowadays ...
FIRE (messing around) I'm not scared of them!... I'm used to burning them.... There was a time when I burned them all; that was way more fun than it is now...
TYLTYL And why Is Tylô trembling?... Is he afraid, too?...
TYLTYL And why is Tylô shaking?... Is he scared, too?...
THE DOG I?... I'm not trembling!... I am never afraid; but if you went away, I should go too....
THE DOG I?... I'm not shaking!... I'm never scared; but if you left, I would leave too....
TYLTYL And has the Cat nothing to say?...
TYLTYL And does the Cat have nothing to say?
THE CAT (mysteriously) I know what's what....
THE CAT (mysteriously) I know what's going on....
TYLTYL (to LIGHT) Are you coming with us?...
TYLTYL (to LIGHT) Are you coming with us?...
LIGHT No; it is better that I should remain at the gate of the graveyard with the Things and the Animals.... Some of them would be too frightened and I fear that the others would misbehave.... Fire, in particular, would want to burn the dead, as of old; and that is no longer done.... I shall leave you alone with Mytyl....
LIGHT No; it’s better for me to stay at the entrance of the graveyard with the Things and the Animals... Some of them would be too scared, and I’m worried that others would act out... Fire, especially, would want to burn the dead like it used to; and that’s not done anymore... I’ll leave you alone with Mytyl...
TYLTYL And may not Tylô stay with us?...
TYLTYL And can’t Tylô stay with us?
THE DOG Yes, yes, I shall stay; I shall stay here I... I want to stay with my little god!...
THE DOG Yes, yes, I’ll stay; I’ll stay here. I... I want to stay with my little god!...
LIGHT It is impossible.... The Fairy gave formal orders; besides, there is nothing to fear....
LIGHT It is impossible.... The Fairy gave official orders; besides, there's nothing to worry about....
THE DOG Very well, very well, it makes no difference. If they are vicious, my little god, all you have to do Is this ... (he whistles) and you shall see.... It will be just as in the forest: Wow! Wow! Wow!...
THE DOG Very well, very well, it doesn't matter. If they're aggressive, my little god, all you need to do is this ... (he whistles) and you’ll see.... It will be just like in the forest: Wow! Wow! Wow!...
LIGHT Come, good-bye, dear children ... I shall not be far away.... (She kisses the CHILDREN.) Those who love me and whom I love always find me again.... (To the THINGS and the ANIMALS) This way, all of you....
LIGHT Come, farewell, dear children ... I won’t be far away.... (She kisses the CHILDREN.) Those who love me and whom I love always find me again.... (To the THINGS and the ANIMALS) This way, all of you....
(She goes out with the THINGS and the ANIMALS. The CHILDREN remain alone in the middle of the stage. The curtain, opens and discloses the next scene.)
(She goes out with the THINGS and the ANIMALS. The KIDS stay alone in the middle of the stage. The curtain opens and reveals the next scene.)
SCENE 2.—The Graveyard.
It is night. The moon is shining on a country graveyard.. Numerous tombstones, grassy mounds, wooden crosses, stone slabs, etc. TYLTYL and MYTYL are standing by a short stone pillar.
It's nighttime. The moon is shining on a rural graveyard. Numerous tombstones, grassy mounds, wooden crosses, stone slabs, etc. TYLTYL and MYTYL are standing by a short stone pillar.
MYTYL I am frightened!...
MYTYL I'm scared!
TYLTYL (not too much at his ease) I am never frightened....
TYLTYL (not too much at his ease) I'm never scared...
MYTYL I say, are the dead wicked?...
MYTYL I ask, are the dead evil?
TYLTYL Why, no, they're not alive!...
TYLTYL Why not? They're not alive!...
MYTYL Have you ever seen one?...
MYTYL Have you ever seen one?...
TYLTYL Yes, once, long ago, when I was very young....
TYLTYL Yes, once, a long time ago, when I was really young....
MYTYL What was it like, say?...
MYTYL What was it like, for example?...
TYLTYL Quite white, very still and very cold and it didn't talk....
TYLTYL Quite white, very still, and very cold, and it didn't say a word...
MYTYL Are we going to see them, say?...
MYTYL Are we going to see them, like...?
TYLTYL Why, of course, Light said so....
TYLTYL Why, of course, Light said so....
MYTYL Where are they?...
MYTYL Where are they?...
TYLTYL Here, under the grass or under those big stones....
TYLTYL Here, beneath the grass or under those large rocks....
MYTYL Are they there all the year round?...
MYTYL Are they there all year round?...
TYLTYL Yes.
TYLTYL Sure.
MYTYL (pointing to the slabs) Are those the doors of their houses?...
MYTYL (pointing to the slabs) Are those their house doors?...
TYLTYL Yes.
TYLTYL Yup.
MYTYL Do they go out when it's fine?...
MYTYL Do they go out when the weather is nice?...
TYLTYL They can only go out at night....
TYLTYL They can only go out at night....
MYTYL Why?...
MYTYL Why?
TYLTYL Because they are in their shirts....
TYLTYL Because they're in their shirts...
MYTYL Do they go out also when it rains?...
MYTYL Do they go out even when it rains?...
TYLTYL When it rains, they stay at home....
TYLTYL When it rains, they stay at home....
MYTYL Is it nice in their homes, say?...
MYTYL Is it nice in their homes, you think?...
TYLTYL They say it's very cramped....
TYLTYL They say it's really cramped....
MYTYL Have they any little children?...
MYTYL Do they have any little kids?...
TYLTYL Why, yes; they have all those that die....
TYLTYL Why, yes; they have all those who die...
MYTYL And what do they live on?...
MYTYL And what do they survive on?...
TYLTYL They eat roots....
They eat roots.
MYTYL Shall we see them?...
MYTYL Shall we check them out?...
TYLTYL Of course; we see everything when I turn the diamond.
TYLTYL Of course; we see everything when I turn the diamond.
MYTYL And what will they say?...
MYTYL And what are they going to say?...
TYLTYL They will say nothing, as they don't talk....
TYLTYL They won’t say anything, since they can’t talk...
MYTYL Why don't they talk?...
MYTYL Why aren't they talking?...
TYLTYL Because they have nothing to say....
TYLTYL Because they have nothing to say....
MYTYL Why have they nothing to say?...
MYTYL Why don’t they say anything?...
TYLTYL You're a nuisance....
TYLTYL You're annoying....
(A pause)
A break
MYTYL When will you turn the diamond?
MYTYL When are you going to turn the diamond?
TYLTYL You heard Light say that I was to wait until midnight, because that disturbs them less....
TYLTYL You heard Light say that I should wait until midnight because that disrupts them less...
MYTYL Why does that disturb them less?...
MYTYL Why doesn’t that bother them as much?
TYLTYL Because that is when they go out to take the air....
TYLTYL Because that's when they go out to get some fresh air....
MYTYL Is it not midnight yet?...
MYTYL Is it not midnight yet?...
TYLTYL Do you see the church clock?...
TYLTYL Do you see the church clock?...
MYTYL Yes, I can even see the small hand....
MYTYL Yes, I can even see the tiny hand....
TYLTYL Well, midnight is just going to strike.... There!... Do you hear?...
TYLTYL Well, it's almost midnight.... There!... Do you hear?...
(The clock strikes twelve)
The clock strikes midnight
MYTYL I want to go away!...
MYTYL I want to get out!...
TYLTYL Not now.... I am going to turn the diamond....
TYLTYL Not right now.... I'm going to turn the diamond....
MYTYL No, no!... Don't!... I want to go away!... I am so frightened, little brother!... I am terribly frightened!...
MYTYL No, no!... Don't!... I want to leave!... I'm so scared, little brother!... I'm really scared!...
TYLTYL But there is no danger....
TYLTYL But there is no danger....
MYTYL I don't want to see the dead!... I don't want to see them!...
MYTYL I don't want to see the dead!... I don't want to see them!...
TYLTYL Very well, you shall not see them; shut your eyes....
TYLTYL Very well, you won't see them; close your eyes....
MYTYL (clinging to TYLTYL'S clothes) Tyltyl, I can't stay!... No, I can't possibly!... They are going to come out of the ground!...
MYTYL (clinging to TYLTYL'S clothes) Tyltyl, I can't stay!... No, I can't possibly!... They're going to come out of the ground!...
TYLTYL Don't tremble like that.... They will only come out for a moment....
TYLTYL Don't shake like that... They will only come out for a moment...
MYTYL But you're trembling, too!... They will be awful!...
MYTYL But you're shaking, too!... They will be terrible!...
TYLTYL It is time, the hour is passing....
TYLTYL It is time, the hour is passing....
(TYLTYL turns the diamond. A terrifying minute of silence and motionlessness elapses, after which, slowly, the crosses totter, the mounds open, the slabs rise up....)
(TYLTYL turns the diamond. A terrifying minute of silence and motionlessness passes, after which, slowly, the crosses wobble, the mounds part, the slabs lift up....)
MYTYL (cowering against TYLTYL) They are coming out!... They are there!...
MYTYL (cowering against TYLTYL) They’re coming out!... They’re here!...
(Then, from all the gaping tombs, there rises gradually an efflorescence at first frail and timid, like steam; then white and virginal and more and more tufty, more and more tall and plentiful and marvellous. Little by little, irresistibly, invading all things, it transforms the graveyard into a sort of fairy-like and nuptial garden, over which rise the first rays of the dawn. The dew glitters, the flowers open their blooms, the wind murmurs in the leaves, the bees hum, the birds wake and flood the air with the first raptures of their hymns to the sun and to life. Stunned and dazzled, TYLTYL and MYTYL, holding each other by the hand, take a few steps among the flowers while they seek for the trace of the tombs.)
(Then, from all the open tombs, a delicate bloom gradually rises at first weak and shy, like steam; then white and pure, growing more and more fluffy, taller, more abundant, and amazing. Little by little, irresistibly, it invades everything, turning the graveyard into a sort of fairy-tale and wedding garden, over which the first rays of dawn shine. The dew sparkles, the flowers unfurl their petals, the wind whispers through the leaves, the bees buzz, the birds awaken and fill the air with the first joyful songs to the sun and to life. Stunned and dazzled, TYLTYL and MYTYL, holding hands, take a few steps among the flowers while searching for the remnants of the tombs.)
MYTYL (looking in the grass) Where are the dead?....
MYTYL (looking in the grass) Where are the dead?....
TYLTYL (looking also) There are no dead....
TYLTYL (looking also) There are no dead....
CURTAIN
SCENE 3.—The Kingdom of the Future.
The immense halls of the Azure Palace, where the children wait that are yet to be born. Infinite perspectives of sapphire columns supporting turquoise vaults. Everything, from the light and the lapis-lazuli flagstones to the shimmering background into which the last arches run and disappear, everything, down to the smallest objects, is of an unreal, intense, fairy-like blue. Only the plinths and capitals of the columns, the key-stones, a few seats and circular benches are of white marble or alabaster. To the right, between the columns, are great opalescent doors. These doors, which TIME will throw back towards the end of the scene, open upon actual life and the quays of the Dawn. Everywhere, harmoniously peopling the hall, is a crowd of CHILDREN robed in long azure garments. Some are playing, others strolling to and fro, others talking or dreaming; many are asleep, many also are working, between the colonnades, at future inventions; and their tools, their instruments, the apparatus which they are constructing, the plants, flowers and fruit which they are cultivating or plucking are of the same supernatural and luminous blue as the general atmosphere of the Palace. Figures of a taller stature, clad in a paler and more diaphanous azure, figures of a sovereign and silent beauty move among the CHILDREN and would seem to be angels.
The vast halls of the Azure Palace, where the unborn children wait. Infinite views of sapphire columns supporting turquoise ceilings. Everything, from the light and the lapis-lazuli floors to the shimmering backdrop where the last arches stretch out and vanish, is an unreal, intense, fairy-tale blue. Only the bases and tops of the columns, the key-stones, a few seats, and circular benches are made of white marble or alabaster. To the right, between the columns, are large opalescent doors. These doors, which TIME will swing open towards the end of the scene, lead to real life and the quays of the Dawn. Everywhere, harmoniously filling the hall, is a crowd of CHILDREN dressed in long azure robes. Some are playing, others wandering about, some chatting or daydreaming; many are asleep, and many are also working, between the colonnades, on future inventions; their tools, instruments, and the equipment they are building, as well as the plants, flowers, and fruit they're cultivating or picking, are all the same supernatural and luminous blue as the overall atmosphere of the Palace. Taller figures, wearing a lighter and more transparent blue, move gracefully among the CHILDREN and appear to be angels.
Enter on the left, as though by stealth, gliding between the columns in the foreground, TYLTYL, MYTYL and LIGHT. Their arrival causes a certain movement among the BLUE CHILDREN, who come running up on every hand, form a group around the unwonted visitors and gaze upon them with curiosity.
Enter on the left, almost like you're sneaking in, moving smoothly between the columns in the foreground, TYLTYL, MYTYL and LIGHT. Their arrival sparks some excitement among the BLUE CHILDREN, who rush over from every direction, gather around the unexpected visitors, and stare at them with curiosity.
MYTYL Where are Sugar, the Cat and Bread?...
MYTYL Where are Sugar, the Cat, and Bread?...
LIGHT They cannot enter here; they would know the future and would not obey....
LIGHT They can't come in here; they would see the future and wouldn't obey....
TYLTYL And the Dog?...
TYLTYL and the Dog?...
LIGHT It is not well, either, that he should know what awaits him in the course of the ages....I have locked them all up in the vaults of the church....
LIGHT It is not good, either, for him to know what lies ahead for him through the ages....I have locked them all away in the church's vaults....
TYLTYL Where are we?...
TYLTYL Where are we?...
LIGHT We are in the Kingdom of the Future, in the midst of the children who are not yet born. As the diamond allows us to see clearly in this region which is hidden from men, we shall very probably find the Blue Bird here....
LIGHT We are in the Kingdom of the Future, surrounded by children who haven't been born yet. Just like a diamond lets us see clearly in this hidden place away from people, we will most likely find the Blue Bird here....
TYLTYL Certainly the bird will be blue, since everything here is blue....(Looking all around him.) Heaven, how beautiful it all is!...
TYLTYL Certainly the bird will be blue, since everything here is blue....(Looking all around him.) Wow, it's all so beautiful!...
LIGHT Look at the children running up....
LIGHT Look at the kids running up....
TYLTYL Are they angry?...
TYLTYL Are they mad?...
LIGHT Not at all....You can see, they are smiling, but they are surprised....
LIGHT Not at all....You can see, they are smiling, but they're surprised....
THE BLUE CHILDREN (running up in ever-increasing numbers) Live children!...Come and look at the little live children!...
THE BLUE CHILDREN (running up in ever-increasing numbers) Live children!...Come and check out the little live children!...
TYLTYL Why do they call us the little live children?
TYLTYL Why do they call us the little living kids?
LIGHT Because they themselves are not alive yet....
LIGHT Because they themselves are not alive yet....
TYLTYL What are they doing, then?...
TYLTYL What are they doing, then?...
LIGHT They are awaiting the hour of their birth....
LIGHT They are waiting for the time of their birth....
TYLTYL The hour of their birth?...
TYLTYL The hour of their birth?...
LIGHT Yes; it is from here that all the children come who are born upon our earth. Each awaits his day.... When the fathers and mothers want children, the great doors which you see there, on the right, are opened and the little ones go down....
LIGHT Yes; this is where all the children come from who are born on our earth. Each one waits for their day.... When parents want children, the big doors you see over there on the right are opened, and the little ones go down....
TYLTYL What a, lot there are! What a lot there are!...
TYLTYL What a lot there are! What a lot there are!...
LIGHT There are many more.... We do not see them all.... There are thirty thousand halls like this, all full of them.... Just think, there are enough to last to the end of the world!... No one could count them....
LIGHT There are many more.... We don't see them all.... There are thirty thousand halls like this, all packed with them.... Just think, there are enough to last until the end of time!... No one could count them....
TYLTYL And those tall blue persons, who are they?...
TYLTYL And those tall blue people, who are they?
LIGHT No one exactly knows.... They are believed to be guardians.... I have heard that they will come upon earth after men.... But we are not allowed to ask them....
LIGHT No one really knows.... They’re thought to be guardians.... I have heard that they will come to earth after humans.... But we aren’t allowed to ask them....
TYLTYL Why not?...
TYLTYL Why not?
LIGHT Because it is the earth's secret....
LIGHT Because it is the earth's secret....
TYLTYL And may one talk to the others, the little ones?...
TYLTYL And can we talk to the others, the little ones?
LIGHT Certainly; you must make friends.... Look, there is one who is more curious than the rest.... Go up to him, speak to him....
LIGHT Certainly; you should make friends.... Look, there's one who's more curious than the others.... Go up to him, talk to him....
TYLTYL What shall I say to him?...
TYLTYL What should I say to him?...
LIGHT Whatever you like, as you would to a little playfellow....
LIGHT Whatever you like, just as you would to a little playmate....
TYLTYL Can I shake hands with him?...
TYLTYL Can I shake hands with him?...
LIGHT Of course, he won't hurt you.... But come, don't look so constrained.... I will leave you alone, you will be more at ease by yourselves.... Besides, I want to speak to the tall blue person....
LIGHT Of course, he won't hurt you.... But come on, don’t look so tense.... I’ll leave you alone; you’ll feel more comfortable by yourselves.... Besides, I want to talk to the tall blue person....
TYLTYL (going up to the BLUE CHILD and holding out his hand) How do you do?... (Touching the CHILD'S blue dress with his finger.) What's that?...
TYLTYL (going up to the BLUE CHILD and holding out his hand) How's it going?... (Touching the CHILD'S blue dress with his finger.) What's this?...
THE CHILD (gravely touching TYLTYL'S hat) And that?...
THE CHILD (gravely touching TYLTYL'S hat) And that?...
TYLTYL That?... That is my hat.... Have you no hat?...
TYLTYL That?... That’s my hat.... Don’t you have a hat?...
THE CHILD No; what is it for?...
THE CHILD No; what's it for?...
TYLTYL It's to say How-do-you-do with.... And then for when it rains or when it's cold....
TYLTYL It's to say hello with.... And then for when it rains or when it's cold....
THE CHILD What does that mean, when it's cold?...
THE CHILD What does that mean when it’s cold?...
TYLTYL When you shiver like this: brrrr! brrrr!... When you blow into your hands and go like this with your arms....
TYLTYL When you shiver like this: brrrr! brrrr!... When you blow into your hands and do this with your arms....
(He vigorously beats his arms across his chest.)
(He passionately pounds his fists against his chest.)
THE CHILD Is it cold on earth?...
THE CHILD Is it cold on earth?...
TYLTYL Yes, sometimes, in the winter, when there is no fire....
TYLTYL Yes, sometimes, in the winter, when there’s no fire....
THE CHILD Why is there no fire?...
THE CHILD Why isn't there a fire?
TYLTYL Because it's expensive and it costs money to buy wood....
TYLTYL Because it's expensive and buying wood costs money....
THE CHILD What is money?...
What is money?
TYLTYL It's what you pay with....
TYLTYL It's what you pay with....
THE CHILD Oh....
THE KID Oh....
TYLTYL Some people have money and others have none....
TYLTYL Some people have money, while others don't.
THE CHILD Why not?...
THE KID Why not?...
TYLTYL Because they are not rich.... Are you rich?... How old are you?...
TYLTYL Because they aren't wealthy.... Are you wealthy?... How old are you?...
THE CHILD I am going to be born soon.... I shall be born in twelve years.... Is it nice to be born?...
THE CHILD I am going to be born soon.... I’ll be born in twelve years.... Is it nice to be born?...
TYLTYL Oh, yes!... It's great fun!...
TYLTYL Oh, yes!... It’s so much fun!...
THE CHILD How did you manage?...
THE CHILD How did you pull that off?...
TYLTYL I can't remember.... It is so long ago!...
TYLTYL I can't remember.... It's such a long time ago!...
THE CHILD They say it's lovely, the earth and the live people!...
THE CHILD They say it's beautiful, the earth and the living people!...
TYLTYL Yes, it's not bad.... There are birds and cakes and toys.... Some have them all; but those who have none can look at them....
TYLTYL Yeah, it’s not bad.... There are birds and cakes and toys.... Some people have them all; but those who have none can still look at them....
THE CHILD They tell us that the mothers stand waiting at the door.... They are good, aren't they?...
THE CHILD They tell us that the mothers stand waiting at the door.... They are really great, aren’t they?...
TYLTYL Oh, yes!... They are better than anything in the world!... And the grannies too; but they die too soon....
TYLTYL Oh, yes!... They are better than anything in the world!... And the grannies too; but they die too soon....
THE CHILD They die?... What is that?...
THE CHILD They die?... What does that mean?...
TYLTYL They go away one evening and do not come back....
TYLTYL They leave one evening and don't come back....
THE CHILD Why?...
THE CHILD Why?
TYLTYL How can one tell?... Perhaps because they feel sad....
TYLTYL How can you tell?... Maybe it's because they feel sad....
THE CHILD Has yours gone?...
THE CHILD Has yours left?...
TYLTYL My grandmamma?...
TYLTYL My grandma?...
THE CHILD Your mamma or your grandmamma, I don't know....
THE CHILD Your mom or your grandma, I don't know....
TYLTYL Oh, but it's not the same thing!... The grannies go first; that's sad enough.... Mine was very kind to me....
TYLTYL Oh, but it's not the same thing!... The grandmas go first; that's sad enough.... Mine was really kind to me....
THE CHILD What is the matter with your eyes?.... Are they making pearls?...
THE CHILD What’s wrong with your eyes?.... Are they making pearls?...
TYLTYL No; it's not pearls....
TYLTYL No; it’s not pearls....
THE CHILD What is it, then?...
THE CHILD What is it, then?...
TYLTYL It's nothing; it's all that blue, which dazzles me a little....
TYLTYL It's nothing; it's just that blue, which kind of dazzles me a bit....
THE CHILD What is that called?...
THE CHILD What is that called?...
TYLTYL What?...
TYLTYL What?
THE CHILD There, that, falling down....
THE CHILD There, that, falling down....
TYLTYL Nothing, it is a little water....
TYLTYL Nothing, it's just a bit of water...
THE CHILD Does it come from the eyes?...
THE CHILD Does it come from the eyes?...
TYLTYL Yes, sometimes, when one cries....
TYLTYL Yes, sometimes, when someone cries...
THE CHILD What does that mean, crying?...
THE CHILD What does that mean, crying?
TYLTYL I have not been crying; it is the fault of that blue... But if I had cried, it would be the same thing....
TYLTYL I haven't been crying; it's the fault of that blue... But even if I had cried, it would be the same thing....
THE CHILD Does one often cry?...
THE CHILD Does one often cry?...
TYLTYL Not little boys, but little girls do.... Don't you cry here?...
TYLTYL Not little boys, but little girls do.... Don't you cry here?...
THE CHILD No; I don't know how....
THE CHILD No; I don't know how....
TYLTYL Well, you will learn.... What are you playing with, those great blue wings?...
TYLTYL Well, you'll find out.... What are you doing with those big blue wings?...
THE CHILD These?... That's for the invention which I shall make on earth....
THE CHILD These?... That's for the invention I’m going to create on earth....
TYLTYL What invention?... Have you invented something?...
TYLTYL What invention? Have you created something?
THE CHILD Why, yes; haven't you heard?... When I am on earth, I shall have to invent the thing that gives happiness....
THE CHILD Why, yes; haven't you heard?... When I'm on Earth, I’ll need to create what brings happiness....
TYLTYL Is it good to eat?... Does it make a noise?...
TYLTYL Is it okay to eat?... Does it make a sound?...
THE CHILD No; you hear nothing....
THE CHILD No; you hear nothing....
TYLTYL That's a pity....
Too bad...
THE CHILD I work at it every day.... It is almost finished.... Would you like to see it?...
THE CHILD I work on it every day.... It's almost done.... Do you want to see it?...
TYLTYL Very much.... Where is it?...
TYLTYL Very much.... Where is it?...
THE CHILD There, you can see it from here, between those two columns....
THE CHILD There, you can see it from here, between those two columns....
ANOTHER BLUE CHILD (coming up to TYLTYL and plucking his sleeve) Would you like to see mine, say?...
ANOTHER BLUE CHILD (approaching TYLTYL and tugging at his sleeve) Want to see mine, say?...
TYLTYL Yes, what is it?...
TYLTYL Yes, what’s up?
THE SECOND CHILD The thirty-three remedies for prolonging life.... There, in those blue phials....
THE SECOND CHILD The thirty-three remedies for prolonging life.... There, in those blue bottles....
A THIRD CHILD (stepping out from the crowd) I will show you a light which nobody knows of!... (He lights himself up entirely with an extraordinary flame.) It's rather curious, isn't it?...
A THIRD CHILD (stepping out from the crowd) I’m going to show you a light that nobody knows about!... (He lights himself up completely with an extraordinary flame.) It’s pretty interesting, right?…
A FOURTH CHILD (pulling TYLTYL'S arm) Do come and look at my machine which flies in the air like a bird without wings!...
A FOURTH CHILD (pulling TYLTYL'S arm) Come and check out my machine that flies in the air like a bird without wings!...
A FIFTH CHILD No, no; mine first! It discovers the treasures hidden in the moon!...
A FIFTH CHILD No, no; mine first! It uncovers the treasures hidden in the moon!...
THE BLUE CHILDREN (crowding round TYLTYL and MYTYL and all crying together) No, no, come and see mine!... No, mine is much finer!... Mine is a wonderful invention!... Mine is made of sugar!... His is no good!... He stole the idea from me!...
THE BLUE CHILDREN (crowding around TYLTYL and MYTYL and all crying together) No, no, come and check out mine!... No, mine is way better!... Mine is an amazing creation!... Mine is made of sugar!... His is worthless!... He copied my idea!...
(Amid these disordered exclamations, the LIVE CHILDREN are dragged towards the blue workshops, where each of the inventors sets his ideal machine going. There ensues a cerulean whirl of wheels, disks, flywheels, driving-wheels, pulleys, straps and strange and as yet unnamed objects shrouded in the bluey mists of the unreal. A crowd of odd and mysterious mechanisms dart forth and hover under the vaults or crawl at the foot of the columns, while CHILDREN unfold charts and plans, open books, uncover azure statues and bring enormous flowers and gigantic fruits that seem formed of sapphires and turquoises.)
(Amidst all the chaotic shouting, the LIVE CHILDREN are pulled toward the blue workshops, where each inventor sets their dream machine into motion. This triggers a swirling display of blue wheels, disks, flywheels, driving wheels, pulleys, straps, and other strange, unnamed objects cloaked in a misty blue haze of the unreal. A flurry of unusual and mysterious mechanisms bursts forth, hovering beneath the ceilings or crawling at the base of the columns, while CHILDREN spread out charts and plans, open books, reveal blue statues, and bring massive flowers and gigantic fruits that look like they're made of sapphires and turquoises.)
A LITTLE BLUE CHILD (bending under the weight of some colossal blue daisies) Look at my flowers!...
A LITTLE BLUE CHILD (bending under the weight of some huge blue daisies) Look at my flowers!...
TYLTYL What are they?... I don't know them....
TYLTYL What are they?... I don't know them....
THE LITTLE BLUE CHILD They are daisies!...
THE LITTLE BLUE CHILD They are daisies!...
TYLTYL Impossible!... They are as big as tables!...
TYLTYL Impossible!... They’re as big as tables!...
THE LITTLE BLUE CHILD And they smell so good!...
THE LITTLE BLUE CHILD And they smell so good!...
TYLTYL (smelling them) Wonderful!...
TYLTYL (sniffing them) Wonderful!...
THE LITTLE BLUE CHILD They will grow like that when I am on earth....
THE LITTLE BLUE CHILD They will grow like that when I'm on earth....
TYLTYL When will that be?...
TYLTYL When will that happen?...
THE LITTLE BLUE CHILD In fifty-three years, four months and nine days....
THE LITTLE BLUE CHILD In fifty-three years, four months, and nine days....
(Two BLUE CHILDREN arrive, carrying, like a lustre hanging on a pole, an incredible bunch of grapes, each larger than a pear.)
(Two BLUE KIDS show up, carrying an amazing bunch of grapes, each one bigger than a pear, like a shiny ornament on a pole.)
ONE OF THE CHILDREN (carrying the grapes) What do you say to my fruits?...
ONE OF THE CHILDREN (carrying the grapes) What do you think of my fruits?...
TYLTYL A bunch of pears!...
TYLTYL A bunch of pears!
THE CHILD No, they are grapes!... They will all be like that when I am thirty.... I have found the way....
THE CHILD No, they are grapes!... They’ll all be like that when I’m thirty.... I’ve found the way....
ANOTHER CHILD (staggering under a basket of blue apples the size of melons) And mine!... Look at my apples!...
ANOTHER CHILD (struggling to carry a basket of blue apples as big as melons) And mine!... Check out my apples!...
TYLTYL But those are melons!...
TYLTYL But those are watermelons!...
THE CHILD No, no!... They are my apples and they are not the finest at that!... They will all be alike when I am alive.... I have discovered the system!...
THE CHILD No, no!... They are my apples and they’re not even the best!... They’ll all be the same when I’m alive.... I’ve figured it out!...
ANOTHER CHILD (wheeling a blue barrow with blue melons bigger than pumpkins) What do you say to my little melons?...
ANOTHER CHILD (wheeling a blue cart with blue melons bigger than pumpkins) What do you think of my little melons?...
TYLTYL But they are pumpkins!...
TYLTYL But they’re pumpkins!...
THE CHILD WITH THE MELONS When I come on earth, the melons will be splendid!... I shall be the gardener of the King of the Three Planets....
THE CHILD WITH THE MELONS When I come to Earth, the melons will be amazing!... I will be the gardener for the King of the Three Planets....
TYLTYL The King of the Three Planets?
TYLTYL The King of the Three Planets?
THE CHILD WITH THE MELONS The great king who for thirty-five years will bring happiness to the Earth, Mars and the Moon.... You can see him from here....
THE CHILD WITH THE MELONS The great king who for thirty-five years will bring happiness to Earth, Mars, and the Moon.... You can see him from here....
TYLTYL Where is he?...
TYLTYL Where is he?
THE CHILD WITH THE MELONS There, the little boy sleeping at the foot of that column.
THE CHILD WITH THE MELONS There, the little boy is sleeping at the base of that column.
TYLTYL On the left?...
TYLTYL On the left?
THE CHILD WITH THE MELONS No, on the right.... The one on the left is the child who will bring pure joy to the globe....
THE CHILD WITH THE MELONS No, on the right.... The one on the left is the child who will bring pure joy to the globe....
TYLTYL How?...
TYLTYL How?
THE CHILD (the one that first talked to TYLTYL) By means of ideas which people have not yet had....
THE CHILD (the one that first talked to TYLTYL) Through ideas that people haven't thought of yet....
TYLTYL And the other, that little fat one with his fingers to his nose, what will he do?...
TYLTYL And the other one, that little chubby guy with his fingers in his nose, what’s he going to do?
THE CHILD He is to discover the fire that will warm the earth when the sun is paler than now....
THE CHILD He is meant to find the fire that will warm the earth when the sun is dimmer than it is now....
TYLTYL And the two holding each other by the hand and always kissing; are they brother and sister?...
TYLTYL And the two, holding hands and constantly kissing; are they brother and sister?...
THE CHILD No; they are very comical....They are the Lovers....
THE CHILD No; they are really funny....They are the Lovers....
TYLTYL What is that?...
TYLTYL What's that?...
THE CHILD I don't know.... Time calls them that, to make fun of them.... They spend the day looking into each other's eyes, kissing and bidding each other farewell....
THE CHILD I don't know.... Time calls them that, to make fun of them.... They spend the day looking into each other's eyes, kissing and saying goodbye....
TYLTYL Why?...
TYLTYL Why?
THE CHILD It seems that they will not be able to leave together...
THE CHILD It looks like they won't be able to leave together...
TYLTYL And the little pink one, who looks so serious and is sucking his thumb, what is he?...
TYLTYL And that little pink one, who looks so serious and is sucking his thumb, who is he?...
THE CHILD It appears that he is to wipe out injustice from the earth....
THE CHILD It seems he is meant to eliminate injustice from the world...
TYLTYL Oh!...
TYLTYL Oh!...
THE CHILD They say it's a tremendous work....
THE CHILD They say it's an amazing piece of work....
TYLTYL And the little red-haired one, who walks as if he did not see where he was going, is he blind?...
TYLTYL And the little red-haired one, who walks as if he can't see where he’s going, is he blind?
THE CHILD Not yet; but he will become so....Look at him well; it seems that he is to conquer Death....
THE CHILD Not yet; but he will. Look at him closely; it seems like he’s destined to conquer Death.
TYLTYL What does that mean?...
TYLTYL What does that mean?
THE CHILD I don't exactly know; but they say it's a great thing....
THE CHILD I don't really know; but they say it's a big deal....
TYLTYL (pointing to a crowd of CHILDREN sleeping at the foot of the columns, on the steps, the benches, etc.) And all those asleep, what a number of them there are asleep!... Do they do nothing?...
TYLTYL (pointing to a crowd of CHILDREN sleeping at the foot of the columns, on the steps, the benches, etc.) And all those kids asleep, there are so many of them!... Do they do nothing?...
THE CHILD They are thinking of something....
THE CHILD They are thinking about something....
TYLTYL Of what?...
TYLTYL Of what?
THE CHILD They do not know yet; but they must take something with them to earth; we are not allowed to go from here empty-handed....
THE CHILD They don’t know yet, but they have to take something with them to earth; we can’t leave here empty-handed....
TYLTYL Who says so?...
TYLTYL Who says that?...
THE CHILD Time, who stands at the door.... You will see when he opens it.... He is very tiresome....
THE CHILD Time, who stands at the door.... You will see when he opens it.... He is very tiresome....
A CHILD (running up from the back of the hall and elbowing his way through the crowd) How are you, TYLTYL?...
A CHILD (running up from the back of the hall and elbowing his way through the crowd) How's it going, TYLTYL?...
TYLTYL Hullo!... How does he know my name?...
TYLTYL Hey!... How does he know my name?...
THE CHILD (who has just run up and who now kisses TYLTYL and MYTYL effusively.) How are you?... All right?... Come, give me a kiss, and you too, Mytyl. It's not surprising that I should know your name, seeing that I shall be your brother.... They have only just told me that you were here.... I was right at the other end of the hall, packing up my ideas.... Tell mummy that I am ready....
THE CHILD (who has just run up and kisses TYLTYL and MYTYL enthusiastically.) How are you?... All good?... Come on, give me a kiss, and you too, Mytyl. It makes sense that I know your name since I’ll be your brother.... They just told me you were here.... I was all the way at the other end of the hall, sorting out my thoughts.... Tell mom that I’m ready....
TYLTYL What?... Are you coming to us?...
TYLTYL What?... Are you coming to us?...
THE CHILD Certainly, next year, on Palm Sunday.... Don't tease me too much when I am little.... I am very glad to have kissed you both beforehand.... Tell daddy to mend the cradle.... Is it comfortable in our home?...
THE CHILD Certainly, next year, on Palm Sunday.... Don't tease me too much when I'm little.... I'm really glad to have kissed you both beforehand.... Tell Dad to fix the cradle.... Is it comfortable at home?...
TYLTYL Not bad.... And mummy is so kind!...
TYLTYL Not bad.... And Mom is so nice!...
THE CHILD And the food?...
THE CHILD What about the food?
TYLTYL That depends.... We even have cakes sometimes, don't we, Mytyl?...
TYLTYL That depends.... We even have cakes sometimes, right, Mytyl?...
MYTYL On New Year's Day and the fourteenth of July.... Mummy makes them....
MYTYL On New Year's Day and July fourteenth.... Mom makes them....
TYLTYL What have you got in that bag?... Are you bringing us something?...
TYLTYL What do you have in that bag? Are you bringing us something?
THE CHILD I am bringing three illnesses: scarlatina, whooping-cough and measles....
THE CHILD I am bringing three illnesses: scarlatina, whooping cough, and measles....
TYLTYL Oh, that's all, is it?... And, after that, what will you do?...
TYLTYL Oh, is that it?... And what will you do after that?...
THE CHILD After that?... I shall leave you....
THE CHILD After that?... I'm going to leave you....
TYLTYL It will hardly be worth while coming!...
TYLTYL It probably won’t be worth it to come!...
THE CHILD We can't pick and choose!...
THE CHILD We can't just pick and choose!...
(At that moment, a sort of prolonged, powerful, crystalline vibration is heard to rise and swell; it seems to emanate from the columns and the opal doors, which are irradiated by a brighter light than before.)
(At that moment, a prolonged, powerful, crystalline vibration can be heard rising and swelling; it seems to come from the columns and the opal doors, which are illuminated by a brighter light than before.)
TYLTYL What is that?...
TYLTYL What’s that?
THE CHILD That's Time!... He is going to open the gates!...
THE CHILD That's Time!... He's about to open the gates!...
(A great change comes over the crowd of BLUE CHILDREN, Most of them leave their machines and their labours, numbers of sleepers awake and all turn their eyes towards the opal doors and go nearer to them.)
(A big change occurs among the BLUE CHILDREN, Most of them abandon their machines and their tasks, many sleepers wake up and everyone turns their gaze towards the opal doors and moves closer to them.)
LIGHT (joining TYLTYL) Let us try to hide behind the columns.... It will not do for Time to discover us....
LIGHT (joining TYLTYL) Let's try to hide behind the columns.... We can't let Time find us....
TYLTYL Where does that noise come from?...
TYLTYL Where does that noise come from?...
A CHILD It is the Dawn rising.... This is the hour when the children who are to be born to-day go down to earth....
A CHILD It is the dawn rising.... This is the hour when the children who are being born today come down to earth....
TYLTYL How will they go down?... Are there ladders?...
TYLTYL How will they get down?... Are there ladders?...
THE CHILD You shall see.... Time is drawing the bolts....
THE CHILD You will see.... Time is closing in....
TYLTYL Who is Time?...
TYLTYL Who is Time?...
THE CHILD An old man who comes to call those who are going....
THE CHILD An old man who arrives to invite those who are leaving....
TYLTYL Is he wicked?...
TYLTYL Is he bad?...
THE CHILD No; but he hears nothing.... Beg as they may, if it's not their turn, he pushes back all those who try to go....
THE CHILD No; but he hears nothing.... No matter how much they plead, if it's not their turn, he pushes away anyone who tries to go....
TYLTYL Are they glad to go?...
TYLTYL Are they glad to go?...
THE CHILD We are sorry when we are left behind, but we are sad when we go.... There! There!... He is opening the doors!...
THE CHILD We feel upset when we're left behind, but we feel sorrowful when we leave.... There! There!... He's opening the doors!...
(The great opalescent doors turn slowly on their hinges. The sounds of the earth are heard like a distant music. A red and green light penetrates into the hall; TIME, a tall old man with a streaming beard, armed with his scythe and hourglass, appears upon the threshold; and the spectator perceives the extremity of the white and gold sails of a galley moored to a sort of quay, formed by the rosy mists of the Dawn.)
(The large opalescent doors creak open slowly. The sounds of the earth echo like distant music. A red and green light floods into the hall; TIME, a tall old man with a flowing beard, holding his scythe and hourglass, stands in the doorway; and the viewer can see the tips of the white and gold sails of a ship docked at a kind of pier made of the rosy mists of Dawn.)
TIME (on the threshold) Are they ready whose hour has struck?...
TIME (on the threshold) Are they ready when their time has come?...
BLUE CHILDREN (elbowing their way and running up from all sides) Here we are!... Here we are!... Here we are!...
BLUE CHILDREN (jostling their way and rushing in from all directions) We’re here!... We’re here!... We’re here!...
TIME (in a gruff voice to the CHILDREN defiling before him to go out) One at a time!... Once again, there are many more of you than are wanted!... It's always the same thing!... You can't deceive me!...(Pushing back a CHILD.) It's not your turn!... Go back and wait till to-morrow.... Nor you either; go in and return in ten years.... A thirteenth shepherd?... There are only twelve wanted; there is no need for more; the days of Theocritus and Virgil are past.... More doctors?... There are too many already; they are grumbling about it on earth.... And where are the engineers?... They want an honest man, only one, as a phenomenon.... Where is the honest man?... Is it you?... (THE CHILD nods yes.) You appear to me to be a very poor specimen!... Hallo, you, over there, not so fast, not so fast!... And you, what are you bringing?... Nothing at all, empty-handed?... Then you can't go through.... Prepare something, a great crime, if you like, or a fine sickness, I don't care ... but you mast have something.... (Catching sight of a little CHILD whom the others are pushing forward, while he resists with all his strength.) Well, what's the matter with you?... You know that the hour has come.... They want a hero to fight against injustice; you're the one: you most start....
TIME (in a gruff voice to the CHILDREN crowding in front of him to go out) One at a time!... Once again, there are way more of you than we need!... It’s always the same thing!... You can’t fool me!...(Pushing back a CHILD.) It’s not your turn!... Go back and wait until tomorrow.... And you too; go in and come back in ten years.... A thirteenth shepherd?... We only need twelve; there's no point in having more; the days of Theocritus and Virgil are gone.... More doctors?... There are already too many; they’re complaining about it down on earth.... And where are the engineers?... They want one honest man, just one, as a rare find.... Where's the honest man?... Is it you?... (THE CHILD nods yes.) You seem to me to be a very poor example!... Hey, you over there, slow down, slow down!... And you, what are you bringing?... Nothing at all, empty-handed?... Then you can’t pass through.... Bring something, a big crime if you want, or a serious illness, I don’t care... but you must have something.... (Noticing a little CHILD who the others are pushing forward, while he resists with all his might.) Well, what’s wrong with you?... You know that the time has come.... They want a hero to stand up against injustice; you’re the one: you must go....
THE BLUE CHILDREN He doesn't want to, sir....
THE BLUE CHILDREN He doesn't want to, sir....
TIME What?... He doesn't want to?... Where does the little monster think he is?... No objections, we have no time to spare....
TIME What? He doesn't want to? Where does the little monster think he is? No objections, we don't have time to waste.
THE CHILD (who is being pushed) No, no!...I don't want to go!... I would rather not be born!... I would rather stay here!...
THE CHILD (who is being pushed) No, no!... I don't want to go!... I'd rather not even exist!... I'd rather stay here!...
TIME That is not the question.... When the hour comes, it comes!... Now then, quick, forward!...
TIME That is not the question.... When the hour arrives, it arrives!... Now then, quick, let’s go!...
A CHILD (stepping forward) Oh, let me pass!... I will go and take his place!... They say that my parents are old and have been waiting for me so long!...
A CHILD (stepping forward) Oh, let me through!... I’ll go and take his spot!... They say my parents are old and have been waiting for me forever!...
TIME None of that!... You will start at your proper hour, at your proper time.... We should never be done if we listened to you.... One wants to go, another refuses; it's too soon or it's too late.... (Pushing back some CHILDREN who have encroached upon the threshold.) Not so near, you children!... Back, you inquisitive ones!... Those who are not starting have no business outside.... You are in a hurry now; later, when your turn comes, you will be frightened and hang back.... Look, there are four who are trembling like leaves.... (To a CHILD who, on the point of crossing the threshold, suddenly goes back.) Well, what is it?... What's the matter?...
TIME None of that!... You will start at your proper hour, at your proper time.... We would never finish if we listened to you.... One person wants to go, another refuses; it’s too soon or it’s too late.... (Pushing back some CHILDREN who have encroached upon the threshold.) Not so close, you kids!... Back, you curious ones!... Those who aren’t going have no business outside.... You’re in a rush now; later, when it’s your turn, you’ll be scared and hesitate.... Look, there are four who are trembling like leaves.... (To a CHILD who, on the point of crossing the threshold, suddenly goes back.) Well, what’s the matter?... What’s wrong?...
THE CHILD I have forgotten the box containing the two crimes which I shall have to commit....
THE CHILD I have forgotten the box with the two crimes that I will have to commit....
ANOTHER CHILD And I the little pot with my idea for enlightening the crowd....
ANOTHER CHILD And I the little pot with my idea for enlightening the crowd....
A THIRD CHILD I have forgotten the graft of my finest pear!...
A THIRD CHILD I have forgotten the graft of my best pear!...
TIME Run quick and fetch them!... We have only six hundred and twelve seconds left.... The galley of the Dawn is already flapping her sails to show that she is waiting.... You will come too late and you won't be born!... Come, quick, on board with you!... (Laying hold of a CHILD who tries to pass between his legs to reach the quay.) Oh, no, not you!... This is the third time you've tried to be born before your turn.... Don't let me catch you at it again, or you can wait forever with my sister Eternity; and you know that it's not amusing there!... But come, are we ready?... Is every one at his post?... (Surveying the CHILDREN standing on the quay or already seated In the galley.) There is still one missing.... It is no use his hiding, I see him in the crowd.... You can't deceive me!... Come on, you, the little fellow whom they call the Lover, say good-bye to your sweetheart....
TIME Run quick and fetch them!... We have only six hundred and twelve seconds left.... The galley of the Dawn is already raising her sails to show that she’s waiting.... You’ll arrive too late and you won’t be born!... Come on, hurry up and get on board!... (Laying hold of a CHILD who tries to pass between his legs to reach the quay.) Oh, no, not you!... This is the third time you've tried to be born before your turn.... Don’t let me catch you at it again, or you can wait forever with my sister Eternity; and you know it’s not fun there!... But come on, are we ready?... Is everyone at their post?... (Surveying the CHILDREN standing on the quay or already seated in the galley.) There’s still one missing.... It’s no use hiding, I see him in the crowd.... You can’t fool me!... Come on, you, the little guy they call the Lover, say goodbye to your sweetheart....
(The two CHILDREN who are called the Lovers, fondly entwined, their faces livid with despair, go up to TIME and kneel at his feet.)
(The two CHILDREN who are called the Lovers, affectionately intertwined, their faces pale with despair, approach TIME and kneel at his feet.)
THE FIRST CHILD Mr. Time, let me stay behind with her!...
THE FIRST CHILD Mr. Time, please let me stay here with her!...
THE SECOND CHILD Mr. Time, let me go with him!...
THE SECOND CHILD Mr. Time, please let me go with him!...
TIME Impossible!... We have only three hundred and ninety-four seconds left....
TIME Impossible!... We have only three hundred ninety-four seconds left....
THE FIRST CHILD I would rather not be born!...
THE FIRST CHILD I would rather not be born!...
TIME You cannot choose....
TIME You can't choose....
THE SECOND CHILD (beseechingly) Mr. Time, I shall come too late!...
THE SECOND CHILD (beseechingly) Mr. Time, I will arrive too late!...
THE FIRST CHILD I shall be gone before she comes down!...
THE FIRST CHILD I’ll be gone before she gets here!...
THE SECOND CHILD I shall never see him again!...
THE SECOND CHILD I shall never see him again!...
THE FIRST CHILD We shall be alone in the world!...
THE FIRST CHILD We shall be alone in the world!...
TIME All this does not concern me.... Address your entreaties to Life.... I unite and part as I am told....(Seizing one of the CHILDREN.) Come!...
TIME All this doesn't matter to me.... Direct your pleas to Life.... I come together and separate as instructed....(Grabbing one of the CHILDREN.) Let's go!...
THE FIRST CHILD (struggling) No, no, no!... She, too!...
THE FIRST CHILD (struggling) No, no, no!... She, too!...
THE SECOND CHILD (clinging to the clothes of the FIRST) Leave him with me!... Leave him!...
THE SECOND CHILD (clinging to the clothes of the FIRST) Let him stay with me!... Let him stay!...
TIME Come, come, he is not going to die, but to live!... (Dragging away the FIRST CHILD.) Come along!...
TIME Come on, he's not going to die, he's going to live!... (Dragging away the FIRST CHILD.) Let's go!...
THE SECOND CHILD (stretching her arms out frantically to the CHILD that is being carried off) A sign!... A sign!... Tell me how to find you!...
THE SECOND CHILD (stretching her arms out frantically to the CHILD that is being carried off) A sign!... A sign!... Tell me how to find you!...
THE FIRST CHILD I shall always love you!...
THE FIRST CHILD I will always love you!...
THE SECOND CHILD I shall be the saddest thing on earth!... You will know me by that!...
THE SECOND CHILD I will be the saddest thing on earth!... You’ll recognize me by that!...
(She falls and remains stretched on the ground.)
(She falls and lies flat on the ground.)
TIME You would do much better to hope.... And now, that is all.... (Consulting his hour-glass.) We have only sixty-three seconds left....
TIME You would be better off hoping.... And now, that's all.... (Checking his hourglass.) We only have sixty-three seconds left....
(Last and violent movements among the CHILDREN departing and remaining. They exchange hurried farewells.)
(Last and violent movements among the CHILDREN departing and remaining. They exchange hurried farewells.)
THE BLUE CHILDREN Good-bye, Pierre!... Good-bye, Jean!... Have you all you want?... Announce my idea!... Have you got the new turnscrew?... Mind you speak of my melons!... Have you forgotten nothing?... Try to know me again I... I shall find you!... Don't lose your ideas!... Don't lean too far into space!... Send me your news!... They say one can't... Oh, try, do try!... Try to tell us if it's nice!... I will come to meet you I... I shall be born on a throne!...
THE BLUE CHILDREN Goodbye, Pierre!... Goodbye, Jean!... Do you have everything you need?... Spread the word about my idea!... Did you bring the new screwdriver?... Make sure to mention my melons!... Have you remembered everything?... Try to get to know me again... I... I will find you!... Don’t lose your thoughts!... Don’t lean too far into space!... Keep me updated!... They say it’s impossible... Oh, please, just try!... Try to let us know if it’s nice!... I will come to meet you... I... I will be born into greatness!...
TIME (shaking his keys and his scythe) Enough! Enough!... The anchor's raised!...
TIME (shaking his keys and his scythe) That's enough! That's enough!... The anchor's up!...
(The sails of the galley pass and disappear. The voices of the CHILDREN in the galley are heard in the distance: "The Earth! The Earth!... I can see it!... How beautiful it is!... How bright it is!... How big it is!"... Then, as though issuing from the depths of the abyss, an extremely distant song of gladness and expectation.)
(The sails of the ship fade away. The voices of the CHILDREN on the ship can be heard in the distance: "The Earth! The Earth!... I can see it!... It’s so beautiful!... It’s so bright!... It’s so huge!"... Then, as if coming from the depths of the abyss, a very distant song of joy and anticipation.)
TYLTYL (to LIGHT) What is that?... It is not they singing.... It sounds like other voices....
TYLTYL (to LIGHT) What is that?... It’s not them singing.... It sounds like other voices....
LIGHT Yes, it is the song of the mothers coming out to meet them....
LIGHT Yes, it’s the song of the mothers coming out to greet them....
(Meanwhile, TIME closes the opalescent doors. He turns to take a last look at the hall and suddenly perceives TYLTYL, MYTYL and LIGHT.)
(Meanwhile, TIME closes the opalescent doors. He turns to take a last look at the hall and suddenly notices TYLTYL, MYTYL and LIGHT.)
TIME (dumbfoundered and furious) What's that?... What are you doing here?... Who are you?... Why are you not blue?... How did you get in?... (He comes forward, threatening them with his scythe.)
TIME (stunned and furious) What's going on?... What are you doing here?... Who are you?... Why aren’t you blue?... How did you get in?... (He steps forward, threatening them with his scythe.)
LIGHT (to TYLTYL) Do not answer!... I have the Blue Bird.... He is hidden under my cloak.... Let us escape.... Turn the diamond, he will lose our traces.... (They slip away on the left, between the columns in the foreground.)
LIGHT (to TYLTYL) Don't answer!... I have the Blue Bird.... He's hidden under my cloak.... Let's get out of here.... Turn the diamond, and he’ll lose our trail.... (They slip away on the left, between the columns in the foreground.)
CURTAIN
ACT VI
SCENE I.—The Leave-taking.
The stage represents a wall with a small door. It is the break of day.
The stage features a wall with a small door. It's dawn.
(Enter TYLTYL, MYTYL, LIGHT, BREAD, WATER, SUGAR, FIRE and MILK) You would never guess where we are....
(Enter TYLTYL, MYTYL, LIGHT, BREAD, WATER, SUGAR, FIRE and MILK) You would never guess where we are....
TYLTYL Well, no, Light, because I don't know....
TYLTYL Well, no, Light, because I don't know....
LIGHT Don't you recognise that wall and that little door?...
LIGHT Don't you recognize that wall and that little door?...
TYLTYL It is a red wall and a little green door.
TYLTYL It is a red wall and a small green door.
LIGHT And doesn't that remind you of anything?...
LIGHT And doesn't that remind you of anything?...
TYLTYL It reminds me that Time shewed us the door....
TYLTYL It reminds me that Time showed us the door....
LIGHT How odd people are when they dream.... They do not recognise their own hands....
LIGHT How strange people are when they dream.... They don't recognize their own hands....
TYLTYL Who is dreaming?... Am I?...
TYLTYL Who's dreaming?... Is it me?...
LIGHT Perhaps it's myself.... Who can tell?... However, this wall contains a house which you have seen more than once since you were born....
LIGHT Perhaps it's me.... Who can say?... But this wall holds a house that you've seen more than once since you were born....
TYLTYL A house which I have seen more than once since I was born?...
TYLTYL A house that I’ve seen more than once since I was born?...
LIGHT Why yes, sleepy-head!... It is the house which we left one evening, just a year ago, to a day....
LIGHT Why, yes, sleepyhead! It’s the house we left one evening, exactly a year ago today.
TYLTYL Just a year ago?... Why, then....
TYLTYL Just a year ago?... Why, then....
LIGHT Come, come!... Don't open great eyes like sapphire caves.... It's the dear old house of your father and mother....
LIGHT Come on, come on!... Don't look at me with those big sapphire-colored eyes.... It's the beloved old home of your parents....
TYLTYL (going up to the door) But I think.... Yes, really.... It seems to me.... This little door.... I recognise the wooden pin.... Are they in there?... Are we near mummy?... I want to go in at once.... I want to kiss her at once!...
TYLTYL (going up to the door) But I think.... Yes, really.... It seems to me.... This little door.... I recognize the wooden pin.... Are they in there?... Are we close to Mom?... I want to go in right now.... I want to kiss her right now!...
LIGHT One moment.... They are sound asleep; you must not wake them with a start.... Besides, the door will not open till the hour strikes....
LIGHT One moment.... They are sound asleep; you can’t wake them up suddenly.... Also, the door won’t open until the hour strikes....
TYLTYL What hour?... Is there long to wait?...
TYLTYL What time is it?... Do we have to wait long?...
LIGHT Alas, no!... A few poor minutes....
LIGHT Alas, no!... Just a few brief minutes....
TYLTYL Aren't you glad to be back?... What is it, Light?... You are quite pale, you look ill....
TYLTYL Aren't you happy to be back?... What's wrong, Light?... You look really pale, almost sick....
LIGHT It's nothing, child.... I feel a little sad, because I am leaving you....
LIGHT It's nothing, kid.... I'm feeling a bit down because I'm leaving you....
TYLTYL Leaving us?...
TYLTYL Leaving us?
LIGHT I must.... I have nothing more to do here; the year is over, the Fairy is coming back to ask you for the Blue Bird....
LIGHT I must.... I have nothing more to do here; the year is over, the Fairy is coming back to ask you for the Blue Bird....
TYLTYL But I haven't got the Blue Bird!... The one of the Land of Memory turned quite black, the one of the Future turned quite pink, the Night's are dead and I could not catch the one in the Forest.... Is it my fault if they change colour, or die, or escape?... Will the Fairy be angry and what will she say?...
TYLTYL But I don't have the Blue Bird!... The one from the Land of Memory turned completely black, the one from the Future turned totally pink, the Night's are gone, and I couldn’t catch the one in the Forest.... Is it my fault if they change color, or die, or run away?... Will the Fairy be mad and what will she say?...
LIGHT We have done what we could.... It seems likely that the Blue Bird does not exist or that he changes colour when he is caged....
LIGHT We have done what we could.... It seems likely that the Blue Bird doesn't exist or that it changes color when it's caged....
TYLTYL Where is the cage?...
TYLTYL Where's the cage?...
BREAD Here, master.... It was entrusted to my diligent care during our long journey; to-day, now that my mission is drawing to an end, I restore it to your hands, untouched and carefully closed, as I received it.... (Like an orator making a speech) And now, in the name of all, I crave permission to add a few words....
BREAD Here, master.... I’ve kept this safe while we traveled; today, now that my task is almost over, I give it back to you, unchanged and securely closed, just as I got it.... (Like a speaker giving a speech) And now, on behalf of everyone, I ask for a moment to say a few words....
FIRE He has not been called upon to speak!...
FIRE He hasn’t been asked to speak!...
WATER Order!...
WATER Order!
BREAD The malevolent interruptions of a contemptible enemy, of an envious rival....
BREAD The harmful interruptions from a despicable enemy, a jealous rival....
FIRE An envious rival!... What would you be without me?... A lump of shapeless and indigestible dough....
FIRE An envious rival!... What would you be without me?... A lump of shapeless and indigestible dough....
WATER Order!...
WATER Order!
FIRE I won't be shouted down by you! ...
FIRE I won't let you silence me! ...
(They threaten each other and are about to come to blows.)
(They're threatening each other and are on the verge of fighting.)
LIGHT (raising her wand) Enough!...
LIGHT (raising her wand) Enough!
BREAD The insults and the ridiculous pretensions of an element whose notorious misbehaviour and whose scandalous excesses drive the world to despair....
BREAD The insults and the absurd pretensions of a group whose infamous actions and scandalous excesses bring the world to despair....
FIRE You fat pasty-face!
FIRE You chubby pasty-face!
BREAD (raising his voice) Will not prevent me from doing my duty to the end.... I wish, therefore, in the name of all...
BREAD (raising his voice) won’t stop me from doing my duty till the very end.... So, I want to say, on behalf of everyone...
FIRE Not in mine!... I have a tongue of my own!...
FIRE Not in mine!... I can speak for myself!...
BREAD In the name of all and with a restrained but simple and deep emotion, to take leave of two distinguished children, whose exalted mission ends to-day.... When bidding them farewell, with all the grief and all the fondness which a mutual esteem....
BREAD In the name of everyone, and with a calm yet profound emotion, to say goodbye to two remarkable children, whose important journey concludes today.... As we bid them farewell, with all the sorrow and all the affection that a shared respect conveys....
TYLTYL What?... You are bidding us farewell?... Are you leaving us too?...
TYLTYL What?... You're saying goodbye to us?... Are you leaving us too?...
BREAD Alas, needs must, since the hour when men's eyes are to be opened has not yet come.... I am leaving you, it is true; but the separation will only be apparent, you will no longer hear me speak....
BREAD Unfortunately, it has to be this way, since the time when people will truly understand has not arrived yet.... I'm leaving you, it's true; but this separation will only seem real, and you won't hear me speaking anymore....
FIRE That will be no loss!...
FIRE That won't be a loss!
WATER Order! Silence!...
WATER Order! Quiet!...
FIRE I shall keep silence when you cease babbling in the kettles, the wells, the brooks, the waterfalls and the taps....
FIRE I will stay quiet when you stop chattering in the kettles, the wells, the brooks, the waterfalls, and the taps....
LIGHT (threatening them with her wand) That will do, do you hear?... You are all very quarrelsome; It is the coming separation that sets your nerves on edge like this....
LIGHT (threatening them with her wand) That's enough, do you hear me?... You all argue way too much; it's the upcoming separation that's making you so tense like this....
BREAD (with great dignity) That does not apply to me.... I was saying, you will no longer hear me speak, no longer see me in my living form.... Your eyes are about to close to the invisible life of the Things; but I shall always be there. In the bread-pan, on the shelf, on the table, beside the soup, I who am, if I may say so, with Water and Fire, the most faithful companion, the oldest friend of Man....
BREAD (with great dignity) That doesn't apply to me.... I was saying, you won't hear me speak anymore, you won't see me in my living form.... Your eyes are about to shut off from the invisible life of things; but I will always be there. In the bread pan, on the shelf, on the table, next to the soup, I who am, if I may say so, with Water and Fire, the most loyal companion, the oldest friend of humanity....
FIRE Well, and what about me?...
FIRE So, what about me?...
LIGHT Come, the minutes are passing, the hour is at hand which will send us back into silence.... Be quick and kiss the children....
LIGHT Come on, the minutes are ticking away, the hour is approaching that will send us back into silence.... Hurry up and kiss the kids....
FIRE (rushing forward) I first! I first!... (Violently kissing the CHILDREN.) Good-bye, Tyltyl and Mytyl!... Good-bye, my darlings.... Think of me if ever you want any one to set fire to anything....
FIRE (rushing forward) I’m first! I’m first!... (Violently kissing the CHILDREN.) Goodbye, Tyltyl and Mytyl!... Goodbye, my darlings.... Think of me if you ever need someone to light a fire for you....
MYTYL Oh! Oh!... He's burning me!...
MYTYL Oh! Oh!... He's hurting me!...
TYLTYL Oh! Oh!... He's scorched my nose!...
TYLTYL Oh! Oh!... He's burned my nose!...
LIGHT Come, Fire, moderate your transports.... Remember you're not in your chimney....
LIGHT Come on, Fire, tone it down a bit.... Remember you're not in your chimney....
WATER What an idiot!...
WATER What a fool!...
BREAD What a vulgarian!...
BREAD What a barbarian!...
FIRE There, look; I will put my hands in my pockets.... But don't forget me.... I am the friend of Man.... I shall always be there, in the hearth and in the oven; and I will come sometimes and put out my tongue for you when you are cold or sad.... I shall be warm in winter and roast chestnuts for you....
FIRE Look, I’ll put my hands in my pockets.... But don’t forget me.... I’m the friend of Man.... I’ll always be there, in the fireplace and in the oven; I’ll come sometimes and stick out my tongue for you when you’re cold or sad.... I’ll be warm in winter and roast chestnuts for you....
WATER (approaching the CHILDREN) I shall kiss you without hurting you, tenderly, my children....
WATER (approaching the CHILDREN) I will kiss you gently, my kids, without causing you any pain....
FIRE Take care, you'll get wet!...
FIRE Be careful, you’ll get wet!...
WATER I am loving and gentle; I am kind to human beings....
WATER I am loving and gentle; I am kind to human beings....
FIRE What about those you drown?...
FIRE What about those you drown?...
WATER Love the wells, listen to the brooks.... I shall always be there....
WATER Love the wells, listen to the brooks.... I shall always be there....
FIRE She has flooded the whole place....
FIRE She has flooded the entire place....
WATER When you sit down, in the evening, beside the springs—there is more than one here in the forest—try to understand what they are trying to say....
WATER When you sit down in the evening next to the springs—there's more than one here in the forest—try to grasp what they’re trying to communicate....
FIRE Enough! Enough!... I can't swim!...
FIRE Enough! Enough!... I can't swim!...
WATER I shall no longer be able to tell you as clearly as I do to-day that I love you; but you will not forget that that is what I am saying to you when you hear my voice.... Alas!... I can say no more.... My tears choke me and prevent my speaking....
WATER I won’t be able to express my love for you as clearly as I do today, but you won’t forget that this is what I’m saying when you hear my voice... Alas!... I can’t say anything more... My tears are choking me and stopping me from speaking...
FIRE It doesn't sound like it!...
FIRE It doesn't sound like it!...
WATER Think of me when you see the water-bottle.... Alas! I have to be silent there; but my thoughts will always be of you.... You will find me also in the ewer, the watering-can, the cistern and the tap....
WATER Think of me when you see the water bottle... Unfortunately, I have to stay quiet there; but I will always be thinking of you... You will also find me in the pitcher, the watering can, the cistern, and the faucet...
MILK (approaching timidly) And me in the milk-jug....
MILK (approaching timidly) And here I am in the milk jug....
TYLTYL What, you too, my dear Milk, so shy and so good?... Is everybody going?...
TYLTYL What, you too, my dear Milk, so shy and so sweet?... Is everyone leaving?...
SUGAR (naturally mawkish and sanctimonious) If you have a little corner left in your memory, remember sometimes that my presence was sweet to you.... That is all I have to say.... Tears are not in harmony with my temperament and they hurt me terribly when they fall on my feet....
SUGAR (naturally sentimental and preachy) If there’s even a small part of your memory left, please remember that my presence was sweet to you sometimes.... That’s all I want to say.... I’m not someone who cries easily, and it hurts me deeply when tears fall at my feet....
BREAD Jesuit!...
BREAD Jesuit!...
FIRE (yelping) Sugar-plum! Lollipop! Caramel!...
FIRE (yelping) Sugar-plum! Lollipop! Caramel!...
TYLTYL But where are Tylette and Tylô gone to?... What are they doing?...
TYLTYL But where did Tylette and Tylô go?... What are they up to?...
(The CAT is heard to utter shrill cries.)
(The CAT is heard to make loud cries.)
MYTYL (alarmed) It's Tylette crying!... He is being hurt!...
MYTYL (alarmed) It's Tylette crying!... He's in pain!...
(Enter the CAT, running, his hair on end and dishevelled, his clothes torn, holding his handkerchief to his cheek, as though he had the toothache. He utters angry groans and is closely pursued by the DOG, who overwhelms him with bites, blows and kicks.)
(Enter the CAT, running, his hair messy and standing up, his clothes ripped, holding his handkerchief to his cheek like he has a toothache. He makes angry groans and is closely chased by the DOG, who attacks him with bites, hits, and kicks.)
THE DOG (beating the CAT) There!... Have you had enough?... Do you want any more?... There! There! There!...
THE DOG (beating the CAT) There!... Have you had enough?... Do you want more?... There! There! There!...
LIGHT, TYLTYL and MYTYL (rushing forward to part them) Tylô!... Are you mad?... Well, I never!... Down!... Stop that, will you?... How dare you?... Wait, wait!...
LIGHT, TYLTYL and MYTYL (rushing forward to part them) Tylô!... Are you crazy?... Well, I can't believe this!... Down!... Cut it out, will you?... How could you?... Hold on, hold on!...
(They part the DOG and the CAT by main force.)
(They separate the DOG and the CAT by sheer strength.)
LIGHT What is it?... What has happened?...
LIGHT What is it?... What happened?...
THE CAT (blubbering and wiping his eyes) It's the Dog, Mrs. Light.... He insulted me, he put tin tacks in my food, he pulled my tail, he beat me; and I had done nothing, nothing, nothing at all!...
THE CAT (blubbering and wiping his eyes) It's the Dog, Mrs. Light.... He insulted me, he put thumbtacks in my food, he pulled my tail, he beat me; and I had done nothing, nothing, nothing at all!...
THE DOG (mimicking him) Nothing, nothing, nothing at all!... (In an undertone, with a mocking grimace) Never mind, you've had some, you've had some and you're going to have some more!...
THE DOG (mimicking him) Nothing, nothing, nothing at all!... (In an undertone, with a mocking grimace) Don't worry, you've had some, you've had some and you're going to have some more!...
MYTYL (pressing the CAT in her arms) My poor Tylette, where has he hurt you?... Tell me.... I shall cry too....
MYTYL (holding CAT in her arms) My poor Tylette, where did he hurt you?... Tell me.... I’ll cry too....
LIGHT (to the DOG, severely) Your conduct is all the more, unworthy since you have chosen for this disgraceful exhibition the already most painful moment when we are about to part from these poor children....
LIGHT (to the DOG, severely) Your behavior is even more unworthy since you decided to put on this shameful display at the already difficult moment when we are about to say goodbye to these poor children....
THE DOG (suddenly sobered) To part from these poor children?...
THE DOG (suddenly sobered) To be separated from these poor kids?...
LIGHT Yes; the hour which you know of is at hand.... We are going to return to silence.... We shall no longer be able to speak to them....
LIGHT Yes; the hour you know is here.... We are going to go back to silence.... We won’t be able to speak to them anymore....
THE DOG (suddenly uttering real howls of despair and flinging himself upon the CHILDREN, whom he loads with violent and tumultuous caresses.) No! No!... I refuse!... I refuse!... I shall always talk!... You will understand me now, will you not, my little god?... Yes! Yes! Yes!... And we shall tell each other everything, everything, everything!... And I shall be very good.... And I shall learn to read and write and play dominoes!... And I shall always be very clean.... And I shall never steal anything in the kitchen again.... Shall I do a wonderful trick for you?... Would you like me to kiss the Cat?...
THE DOG (suddenly howling in real despair and throwing himself onto the CHILDREN, who he overwhelms with excited and noisy affection.) No! No!... I won’t!... I won’t!... I’ll always talk!... You’ll understand me now, won’t you, my little god?... Yes! Yes! Yes!... And we’ll share everything, everything, everything!... And I’ll be really good.... And I’ll learn to read and write and play dominoes!... And I’ll always stay very clean.... And I won’t steal anything from the kitchen again.... Should I do a cool trick for you?... Would you like me to kiss the Cat?...
MYTYL (to the CAT) And you, Tylette?... Have you nothing to say to us?...
MYTYL (to the CAT) And you, Tylette? Do you have nothing to say to us?
THE CAT (in an affected and enigmatic tone) I love you both as much as you deserve....
THE CAT (in a pretentious and mysterious tone) I love you both as much as you deserve....
LIGHT Now let me, in my turn, children, give you a last kiss....
LIGHT Now let me, in my turn, kids, give you one last kiss....
TYLTYL and MYTYL (hanging on to LIGHT'S dress) No, no, no, Light!... Stay here with us!... Daddy won't mind.... We will tell mummy how kind you have been....
TYLTYL and MYTYL (holding on to LIGHT'S dress) No, no, no, Light!... Stay here with us!... Daddy won't mind.... We'll tell Mommy how nice you’ve been....
LIGHT Alas! I cannot!... This door is closed to us and I must leave you....
LIGHT Alas! I can't!... This door is closed to us, and I have to go....
TYLTYL Where will you go all alone?...
TYLTYL Where are you going all alone?...
LIGHT Not very far, my children; over there, to the Land of the Silence of Things....
LIGHT Not very far, my children; over there, to the Land of the Silence of Things....
TYLTYL No, no; I won't have you go.... We will go with you.... I shall tell mummy....
TYLTYL No, no; I don't want you to go.... We'll go with you.... I'll tell Mom....
LIGHT Do not cry, my dear little ones.... I have not a voice like Water; I have only my brightness, which Man does not understand.... But I watch over him to the end of his days.... Never forget that I am speaking to you in every spreading moonbeam, in every twinkling star, in every dawn that rises, in every lamp that is lit, in every good and bright thought of your soul.... (Eight o'clock strikes behind the wall.) Listen!... The hour is striking!... Good-bye!... The door is opening!... In with you, in with you!...
LIGHT Don't cry, my dear little ones.... I don't have a voice like Water; I only have my brightness, which people don’t understand.... But I watch over them until the end of their days.... Never forget that I'm speaking to you in every moonbeam, in every twinkling star, in every dawn that breaks, in every light that's lit, in every good and bright thought of your soul.... (Eight o'clock strikes behind the wall.) Listen!... The hour is striking!... Goodbye!... The door is opening!... In with you, in with you!...
(She pushes the CHILDREN through the door, which has half-opened and which closes again behind them. BREAD wipes away a furtive tear, SUGAR and WATER, etc., all in tears, flee precipitously and disappear in the wings to the right and left. The DOG howls behind the scenes. The stage remains empty for a moment and then the scenery representing the wall and the little door opens in the middle and reveals the last scene.)
(She pushes the CHILDREN through the door, which has half-opened and which closes again behind them. BREAD wipes away a sneaky tear, SUGAR and WATER, etc., all in tears, rush away swiftly and disappear off stage to the right and left. The DOG howls offstage. The stage stays empty for a moment and then the scenery showing the wall and the little door opens in the middle and reveals the last scene.)
SCENE 2.—The Awakening.
The same setting as in ACT I, but the objects, the walls and the atmosphere all appear incomparably and magically fresher, happier, more smiling. The daylight penetrates gaily through the chinks of the closed shutters. To the right, at the back, TYLTYL and MYTYL lie sound asleep in their little beds. The DOG, the CAT and the THINGS are in the places which they occupied in ACT I, before the arrival of the FAIRY.
The same setting as in ACT I, but everything—the objects, the walls, and the atmosphere—looks incredibly and magically fresher, happier, and more inviting. The sunlight streams joyfully through the cracks in the closed shutters. To the right, at the back, TYLTYL and MYTYL are sound asleep in their little beds. The DOG, the CAT and the THINGS are in the same spots they occupied in ACT I, before the arrival of the FAIRY.
Enter MUMMY TYL
Join MUMMY TYL
MUMMY TYL (in a cheerfully scolding voice) Up, come, get up, you little lazybones!... Aren't you ashamed of yourselves?... It has struck eight and the sun is high above the trees!... Lord, how they sleep, how they sleep!... (She leans over and kisses the CHILDREN.) They are quite rosy.... Tyltyl smells of lavender and Mytyl of lilies-of-the-valley.... (Kissing them again) What sweet things children are!... Still, they can't go on sleeping till midday.... I mustn't let them grow up idle.... And, besides, I have heard that it's not very healthy.... (Gently shaking TYLTYL) Wake up, wake up, Tyltyl....
MUMMY TYL (in a cheerfully scolding voice) Come on, get up, you little lazybones!... Aren't you ashamed of yourselves?... It's eight o'clock and the sun is high in the sky!... Wow, how they're sleeping, how they're sleeping!... (She leans over and kisses the CHILDREN.) They're all so rosy.... Tyltyl smells like lavender and Mytyl smells like lilies-of-the-valley.... (Kissing them again) What sweet little things children are!... But they can't keep sleeping until noon.... I can’t let them grow up to be lazy.... And besides, I’ve heard that it’s not very healthy.... (Gently shaking TYLTYL) Wake up, wake up, Tyltyl....
TYLTYL (waking up) What?... Light?... Where is she?... No, no, don't go away....
TYLTYL (waking up) What?... Light?... Where is she?... No, no, don't leave....
MUMMY TYL Light?... Why, of course it's light... Has been for ever so long.... It's as bright as noonday, though the shutters are closed.... Wait a bit till I open them.... (She pushes back the shutters and the dazzling daylight invades the room.) There! See!... What's the matter with you?... You look quite blinded....
MUMMY TYL Light?... Of course it's light... It's been this way for ages.... It's as bright as noon, even with the shutters closed.... Just give me a second to open them.... (She pushes back the shutters and the bright sunlight floods the room.) There! See!... What's wrong with you?... You look totally blinded....
TYLTYL (rubbing his eyes) Mummy, mummy!... It's you!...
TYLTYL (rubbing his eyes) Mom, mom!... It's you!...
MUMMY TYL Why, of course, it's I.... Who did you think it was?...
MUMMY TYL Of course, it's me.... Who did you think it was?...
TYLTYL It's you.... Yes, yes, it's you!....
TYLTYL It's you.... Yes, yes, it's you!....
MUMMY TYL Yes, yes, it's I.... I haven't changed my face since last night.... Why do you stare at me in that wonderstruck way?... Is my nose turned upside down, by any chance?...
MUMMY TYL Yes, yes, it's me.... I haven't changed my face since last night.... Why are you staring at me like that in disbelief?... Is my nose flipped upside down, by any chance?...
TYLTYL Oh, how nice it is to see you again!... It's so long, so long ago!... I must kiss you at once.... Again! Again! Again!... And how comfortable my bed is!... I am back at home!...
TYLTYL Oh, it's so great to see you again!... It's been such a long, long time!... I have to kiss you right away.... Again! Again! Again!... And my bed feels so cozy!... I'm back home!...
MUMMY TYL What's the matter?... Why don't you wake up?... Don't tell me you're ill.... Let me see, show me your tongue.... Come, get up and dress....
MUMMY TYL What's wrong?... Why don't you wake up?... Don’t tell me you’re sick.... Let me see, show me your tongue.... Come on, get up and get dressed....
TYLTYL Hullo, I've got my shirt on!...
TYLTYL Hullo, I've got my shirt on!...
MUMMY TYL Of course you have.... Put on your breeches and your little jacket.... There they are, on the chair....
MUMMY TYL Of course you have.... Put on your pants and your little jacket.... There they are, on the chair....
TYLTYL Is that what I did on the journey?...
TYLTYL Is that what I did on the journey?...
MUMMY TYL What journey?...
MOM, TYL What journey?...
TYLTYL Why, last year....
TYLTYL Why, last year...
MUMMY TYL Last year?...
MOM TYL Last year?...
TYLTYL Why, yes!...At Christmas, when I went away....
TYLTYL Why, yes!...At Christmas, when I went away....
MUMMY TYL When you went away?... You haven't left the room.... I put you to bed last night, and here you are this morning.... Have you dreamed all that?...
MUMMY TYL When you left?... You haven't actually left the room.... I put you to bed last night, and here you are this morning.... Did you dream all of that?...
TYLTYL But you don't understand!... It was last year, when I went away with Mytyl, the Fairy, Light—how nice Light is!—Bread, Sugar, Water, Fire: they did nothing but quarrel!... You're not angry with me?... Did you feel very sad?... And what did daddy say?... I could not refuse... I left a note to explain....
TYLTYL But you don't get it!... Last year, when I went away with Mytyl, the Fairy, Light—how nice Light is!—Bread, Sugar, Water, Fire: they just kept arguing!... You're not mad at me, right?... Did you feel really upset?... And what did Dad say?... I couldn't say no... I left a note to explain....
MUMMY TYL What are you talking about?... For sure, either you're ill or else you're still asleep.... (She gives him a friendly shake.) There, wake up.... There, is that better?...
MUMMY TYL What are you talking about?... You must be sick or still dreaming.... (She gives him a friendly shake.) Come on, wake up.... Is that better now?...
TYLTYL But, mummy, I assure you.... It's you that's still asleep....
TYLTYL But, Mom, I promise you.... It's you who's still sleeping....
MUMMY TYL What! Still asleep, am I?... Why? I've been up since six o'clock.... I've finished all the cleaning and lit the fire....
MUMMY TYL What! Still asleep, huh?... Why? I've been up since six o'clock.... I've done all the cleaning and started the fire....
TYLTYL But ask Mytyl if it's not true.... Oh, we have had such adventures!...
TYLTYL But ask Mytyl if it's not true.... Oh, we’ve had such amazing adventures!...
MUMMY TYL Why Mytyl?... What do you mean?...
MUMMY TYL Why Mytyl?... What do you mean?...
TYLTYL She was with me.... We saw grandad and granny....
TYLTYL She was with me... We saw Grandpa and Grandma...
MUMMY TYL (more and more bewildered) Grandad and granny?...
MOMMY TYL (increasingly confused) Grandpa and Grandma?...
TYLTYL Yes, in the Land of Memory.... It was on our way.... They are dead, but they are quite well.... Granny made us a lovely plum-tart.... And then the little brothers—Robert, Jean and his top—and Madeleine and Pierrette and Pauline and Riquette, too....
TYLTYL Yes, in the Land of Memory.... It was on our way.... They are gone, but they are just fine.... Grandma made us a delicious plum tart.... And then the little brothers—Robert, Jean with his top—and Madeleine and Pierrette and Pauline and Riquette, too....
MYTYL Riquette still goes about on all fours!...
MYTYL Riquette still crawls around on all fours!...
TYLTYL And Pauline still has a pimple on her nose....
TYLTYL And Pauline still has a pimple on her nose....
MUMMY TYL Have you found the key of the cupboard where daddy hides his brandy bottle?...
MUMMY TYL Have you found the key to the cupboard where dad hides his brandy bottle?...
TYLTYL Does daddy hide a brandy bottle?...
TYLTYL Does Dad hide a bottle of brandy?...
MUMMY TYL Certainly. One has to hide everything when one has little meddlesome good-for-nothings like you.... But come, out with it, confess that you took it.... I would rather it was that.... I sha'n't tell daddy.... I sha'n't beat you....
MUMMY TYL Of course. You have to hide everything when you have little nosy troublemakers like you around.... But come on, just admit that you took it.... I’d prefer it if that’s the case.... I won't tell dad.... I won’t punish you....
TYLTYL But, mummy, I don't know where it is....
TYLTYL But, Mom, I don't know where it is....
MUMMY TYL Just walk in front of me, so that I may see if you can walk straight.... (TYLTYL does so) No, it's not that.... Dear heaven, what is the matter with them?... I shall lose them too, as I lost the others!... (Suddenly mad with alarm, she calls out) Daddy Tyl!... Come, quick! The children are ill!...
MUMMY TYL Just walk in front of me, so I can see if you can walk straight.... (TYLTYL does so) No, that's not it.... Good heavens, what's wrong with them?... I'll lose them too, like I lost the others!... (Suddenly frantic, she calls out) Daddy Tyl!... Come on, quick! The kids are sick!...
(Enter DADDY TYL, very calmly, with an axe in his hand.)
(Enter DADDY TYL, very calmly, holding an axe.)
DADDY TYL What is it?...
DADDY TYL What’s up?...
TYLTYL and MYTYL (running up gaily to kiss their father) Hullo, daddy!... It's daddy!... Good-morning, daddy!... Have you had plenty of work this year?...
TYLTYL and MYTYL (running up happily to kiss their father) Hey, dad!... It's dad!... Good morning, dad!... Have you had a lot of work this year?...
DADDY TYL Well, what's the matter?... They don't look ill; they look very well....
DADDY TYL Well, what's wrong?... They don't look sick; they look perfectly fine....
MUMMY TYL (weeping) You can't trust their looks.... It will be as with the others.... They looked quite well also to the end; and then God took them.... I don't know what's the matter with them.... I put them to bed quite quietly last night; and this morning, when they woke up, everything was wrong.... They don't know what they're saying; they talk about a journey.... They have seen Light and grandad and granny, who are dead, but who are quite well....
MUMMY TYL (weeping) You can't trust how they look.... It will be the same as with the others.... They looked fine right until the end; and then God took them.... I don't understand what's happening to them.... I put them to bed peacefully last night; and this morning, when they woke up, everything was off.... They don’t know what they’re saying; they talk about a journey.... They’ve seen Light and grandpa and grandma, who are dead, but who are perfectly fine....
TYLTYL But grandad still has his wooden leg....
TYLTYL But Grandpa still has his wooden leg....
MYTYL And granny her rheumatics....
MYTYL and grandma's rheumatism...
MUMMY TYL Do you hear?... Run and fetch the doctor!...
MUMMY TYL Do you hear me?... Go get the doctor!...
DADDY TYL Why, no, no.... They are not dead yet.... Come, let us look into this.... (A knock at the front door.) Come in!...
DADDY TYL Why, no, no.... They're not dead yet.... Come on, let's check this out.... (A knock at the front door.) Come in!...
(Enter NEIGHBOUR BERLINGOT, a little old woman resembling the FAIRY in ACT I and leaning on a stick.)
(Enter NEIGHBOUR BERLINGOT, a dressed-up old woman resembling the FAIRY from ACT I and leaning on a stick.)
THE NEIGHBOUR Good-morning and a Merry Christmas to you all!...
THE NEIGHBOR Good morning and Merry Christmas to you all!...
TYLTYL It's the Fairy Bérylune!...
TYLTYL It's Fairy Bérylune!...
THE NEIGHBOUR I have come to ask for a bit of fire for my Christmas stew.... It's very chilly this morning.... Good-morning, children, how are you?...
THE NEIGHBOR I’ve come to ask for a bit of fire for my Christmas stew.... It’s really cold this morning.... Good morning, kids, how are you?...
TYLTYL Fairy Bérylune, I could not find the Blue Bird....
TYLTYL Fairy Bérylune, I couldn't find the Blue Bird....
THE NEIGHBOUR What is he saying?...
THE NEIGHBOR What is he saying?...
MUMMY TYL Don't ask me, Madame Berlingot.... They don't know what they are saying.... They have been like that since they woke up.... They must have eaten something that wasn't good....
MUMMY TYL Don't ask me, Madame Berlingot.... They have no idea what they're talking about.... They've been this way since they woke up.... They must have eaten something that was bad....
THE NEIGHBOUR Why, Tyltyl, don't you remember Goody Berlingot, your Neighbour Berlingot?...
THE NEIGHBOUR Why, Tyltyl, don’t you remember Goody Berlingot, your Neighbour Berlingot?...
TYLTYL Why, yes, ma'am.... You are the Fairy Bérylune.... You're not angry with us?...
TYLTYL Well, yes, ma'am... You’re the Fairy Bérylune... You’re not mad at us, are you?...
THE NEIGHBOUR Béry... what? Goodness gracious me!...
THE NEIGHBOUR Béry... what? Oh my goodness!...
TYLTYL Bérylune.
TYLTYL Berylune.
THE NEIGHBOUR Berlingot, you mean Berlingot....
THE NEIGHBOR Berlingot, you mean Berlingot....
TYLTYL Bérylune or Berlingot, as you please, ma'am.... But Mytyl knows....
TYLTYL Berylune or Berlingot, whichever you prefer, ma'am.... But Mytyl knows....
MUMMY TYL That's the worst of it, that Mytyl also....
MUMMY TYL That's the worst part, that Mytyl also....
DADDY TYL Pooh, pooh!... That will soon go; I will give them a smack or two....
DADDY TYL Pooh, pooh!... That will pass soon; I'll give them a smack or two....
THE NEIGHBOUR Don't; It's not worth while.... I know all about it; it's only a little fit of dreaming.... They must have slept in the moonbeams.... My little girl, who is very ill, is often like that....
THE NEIGHBOUR Don't; it's not worth it.... I know all about it; it's just a little daydream.... They must have slept under the moonlight.... My little girl, who is very sick, is often like that....
MUMMY TYL By the way, how is your little girl?...
MUMMY TYL By the way, how's your little girl?
THE NEIGHBOUR Only so-so.... She can't get up.... The doctor says that it's her nerves.... I know what would cure her, for all that. She was asking me for it only this morning, for her Christmas box; it's a notion she has...
THE NEIGHBOUR Only okay.... She can't get up.... The doctor says it's her nerves.... I know what would fix her, despite everything. She was asking me for it just this morning, for her Christmas gift; it's an idea she has...
MUMMY TYL Yes, I know; it's Tyltyl's bird.... Well, Tyltyl, aren't you going to give it at last to that poor little thing?...
MUMMY TYL Yes, I know; it's Tyltyl's bird.... Well, Tyltyl, aren't you going to finally give it to that poor little thing?...
TYLTYL What, mummy?...
TYLTYL What, Mom?...
MUMMY TYL Your bird.... It's no use to you.... You don't even look at it now.... And she has been dying to have it for ever so long!...
MUMMY TYL Your bird.... It's pointless for you now.... You don't even pay attention to it anymore.... And she's been wanting it for such a long time!...
TYLTYL Hullo, that's true, my bird!... Where is he?... Oh, there's the cage!... Mytyl, do you see the cage?... It's the one which Bread carried.... Yes, yes, it's the same one, but there's only one bird in it.... Has he eaten the other, I wonder?... Hullo, why, he's blue!... But it's my turtle-dove!... But he's much bluer than when I went away!... Why, that's the blue bird we were looking for!... We went so far and he was here all the time!... Oh, but it's wonderful!... Mytyl, do you see the bird? What would Light say?... I will take down the cage.... (He climbs on a chair and takes down the cage and carries it to the NEIGHBOUR.) There, Madame Berlingot, there you are.... He's not quite blue yet, but that will come, you shall see!... Take him off quick to your little girl....
TYLTYL Hey, that’s true, my bird!... Where is he?... Oh, there’s the cage!... Mytyl, do you see the cage?... It’s the one that Bread carried.... Yes, yes, it’s the same one, but there’s only one bird in it.... I wonder if he ate the other one?... Hey, wait, he’s blue!... But it’s my turtle-dove!... But he’s way bluer than when I left!... Wow, that’s the blue bird we were looking for!... We traveled so far and he was here the whole time!... Oh, this is amazing!... Mytyl, do you see the bird? What would Light say?... I’m going to take down the cage.... (He climbs on a chair and takes down the cage and carries it to the NEIGHBOUR.) Here you go, Madame Berlingot, there you are.... He’s not fully blue yet, but that will come, you’ll see!... Get him to your little girl quickly....
THE NEIGHBOUR Really?... Do you mean it?... Do you give it me like that, straight away and for nothing?... Lord, how happy she will be!... (Kissing TYLTYL) I must give you a kiss!... I fly!... I fly!...
THE NEIGHBOUR Really?... You actually mean it?... You're giving it to me just like that, for free?... Oh my, she’s going to be so happy!... (Kissing TYLTYL) I have to give you a kiss!... I'm off!... I'm off!...
TYLTYL Yes, yes; be quick.... Some of them change their colour....
TYLTYL Yes, yes; hurry up.... Some of them change color....
THE NEIGHBOUR I will come back to tell you what she says....
THE NEIGHBOUR I’ll come back to tell you what she says....
(She goes out.)
(She goes out.)
TYLTYL (after taking a long look around him) Daddy, mummy, what have you done to the house?... It's just as it was, but it's much prettier....
TYLTYL (after taking a long look around him) Dad, Mom, what have you done to the house?... It looks just like it did, but it's so much prettier....
DADDY TYL How do you mean, it's prettier?...
DADDY TYL What do you mean, it's prettier?
TYLTYL Why, yes, everything has been painted and made to look new, everything is clean and polished.... It was not like that last year....
TYLTYL Why, yes, everything has been painted and made to look new, everything is clean and polished.... It was not like that last year....
DADDY TYL Last year?...
DADDY TYL Last year?
TYLTYL (going to the window) And look at the forest!... How big and fine it is!... One would think it was new!... How happy I feel here!... (Going to the bread-pan and opening it) Where's Bread?.... I say, the loaves are very quiet.... And then here's Tylô!... Hullo, Tylô, Tylô!... Ah, you had a fine fight!... Do you remember, in the forest?...
TYLTYL (going to the window) And check out the forest!... It's so vast and beautiful!... It’s like it’s brand new!... I feel so happy here!... (Going to the bread-pan and opening it) Where’s the bread?.... I mean, the loaves are really quiet.... And look, here’s Tylô!... Hey, Tylô, Tylô!... Wow, you had an awesome fight!... Do you remember, back in the forest?...
MYTYL And Tylette.... He knows me, but he has stopped talking....
MYTYL And Tylette.... He knows me, but he’s stopped speaking....
TYLTYL Mr. Bread.... (Feeling his forehead) Hullo, the diamond's gone!... Who's taken my little green hat?... Never mind; I don't want it any more.... Ah, Fire!... He's a good one!... He crackles and laughs to make Water angry.... (Running to the tap) And Water?... Good-morning, Water!... What does she say?... She still talks, but I don't understand her as well as I did....
TYLTYL Mr. Bread.... (Feeling his forehead) Hey, the diamond's gone!... Who took my little green hat?... Never mind; I don't want it anymore.... Ah, Fire!... He's a good one!... He crackles and laughs to get Water mad.... (Running to the tap) And Water?... Good morning, Water!... What’s she saying?... She still talks, but I don’t understand her as well as I used to....
MYTYL I don't see Sugar....
MYTYL I can't find Sugar....
TYLTYL Lord, how happy I am, happy, happy, happy!...
TYLTYL Lord, I’m so happy, happy, happy!...
MYTYL So am I, so am I!...
MYTYL So am I, so am I!...
MUMMY TYL What are you spinning round for like that?....
MUMMY TYL Why are you spinning around like that?....
DADDY TYL Don't mind them and don't distress yourself.... They are playing at being happy....
DADDY TYL Don't let them bother you and don’t get upset.... They’re just pretending to be happy....
TYLTYL I liked Light best of all.... Where's her lamp?... Can we light it?... (Looking round him again.) Goodness me, how lovely it all is and how glad I feel!...
TYLTYL I liked Light best of all.... Where's her lamp?... Can we turn it on?... (Looking around again.) Wow, it's all so beautiful and I feel so happy!...
MUMMY TYL Why?...
MOM, WHY?
TYLTYL I don't know, mummy....
TYLTYL I don't know, mom....
(A knock at the front-door.)
A knock at the front door.
DADDY TYL Come in, come in!...
DADDY TYL Come in, come in!...
(Enter the NEIGHBOUR, holding by the hand a little girl of a fair and wonderful beauty, who carries TYLTYL'S dove pressed in her arms.)
(Enter the NEIGHBOUR, holding the hand of a little girl with a stunningly beautiful appearance, who carries TYLTYL'S dove nestled in her arms.)
THE NEIGHBOUR Do you see the miracle?...
THE NEIGHBOUR Do you see the miracle?...
MUMMY TYL Impossible!... Can she walk?...
MOMMY TYL No way!... Can she really walk?...
THE NEIGHBOUR Can she walk?... She can run, she can dance, she can fly!... When she saw the bird, she jumped, just like that, with one bound, to the window, to see by the light if it was really Tyltyl's dove.... And then, whoosh!... Out into the street, like an angel!... It was as much as I could do to keep pace with her....
THE NEIGHBOUR Can she walk?... She can run, she can dance, she can fly!... When she saw the bird, she jumped, just like that, in one leap, to the window, to check in the light if it was really Tyltyl's dove.... And then, whoosh!... Out into the street, like an angel!... It was all I could do to keep up with her....
TYLTYL (going up to her, wonderstruck) Oh, how like Light she is!...
TYLTYL (going up to her, amazed) Oh, she looks just like Light!...
MYTYL She is much smaller....
MYTYL She's way smaller....
TYLTYL Yes, indeed!... But she will grow bigger....
TYLTYL Yes, definitely!... But she will get bigger....
THE NEIGHBOUR What are they saying?... Haven't they got over it yet?...
THE NEIGHBOR What are they talking about?... Haven't they moved on yet?…
MUMMY TYL They are better, they are mending.... It will be all right when they have had their breakfasts....
MUMMY TYL They’re doing better, they’re getting better.... It will be fine once they’ve had their breakfasts....
THE NEIGHBOUR (pushing the LITTLE GIRL into TYLTYL'S arms). Come along, child, come and thank Tyltyl....
THE NEIGHBOUR (pushing the LITTLE GIRL into TYLTYL'S arms). Come on, kid, go thank Tyltyl....
(TYLTYL, suddenly frightened, takes a step back.)
(TYLTYL, now scared, takes a step back.)
MUMMY TYL Well, Tyltyl, what's the matter?.... Are you afraid of the little girl?... Come, give her a kiss, a good big kiss.... No, a better one than that.... You're not so shy as a rule!... Another one!... But what's the matter with you?... You look as if you were going to cry....
MUMMY TYL Well, Tyltyl, what's wrong? Are you scared of the little girl? Come on, give her a kiss, a nice big kiss. No, make it a better one than that. You're usually not this shy! One more! But what's bothering you? You look like you might cry.
(TYLTYL, after kissing the LITTLE GIRL rather awkwardly, stands before her for a moment and the two children look at each other without speaking; then TYLTYL strokes the dove's head.)
(TYLTYL, after awkwardly kissing the LITTLE GIRL , stands in front of her for a moment and the two children look at each other without saying anything; then TYLTYL gently strokes the dove's head.)
TYLTYL Is he blue enough?...
TYLTYL Is he sad enough?...
THE LITTLE GIRL Yes, I am so pleased with him....
THE LITTLE GIRL Yes, I'm really happy with him....
TYLTYL I have seen bluer ones.... But those which are quite blue, you know, do what you will, you can't catch them....
TYLTYL I have seen bluer ones.... But those that are really blue, you know, no matter what you do, you can't catch them....
THE LITTLE GIRL That doesn't matter; he's lovely....
THE LITTLE GIRL That doesn't matter; he's great....
TYLTYL Has he had anything to eat?...
TYLTYL Has he had anything to eat?...
THE LITTLE GIRL Not yet.... What does he eat?...
THE LITTLE GIRL Not yet.... What does he eat?...
TYLTYL Anything: corn, bread, Indian corn, grasshoppers....
TYLTYL Anything: corn, bread, popcorn, grasshoppers....
THE LITTLE GIRL How does he eat, say?...
THE LITTLE GIRL How does he eat, say?...
TYLTYL With his beak. You'll see, I will show you....
TYLTYL With his beak. You'll see, I will show you....
(He moves in order to take the bird from the LITTLE GIRL'S hands. She resists instinctively; and, taking advantage of the hesitation of their movements, the DOVE escapes and flies away.)
(He reaches to take the bird from the LITTLE GIRL'S hands. She instinctively resists; and, seizing the moment of their delay, the DOVE escapes and flies away.)
THE LITTLE GIRL (with a cry of despair) Mother!... He is gone!... (She bursts into sobs.)
THE LITTLE GIRL (with a cry of despair) Mom!... He’s gone!... (She bursts into sobs.)
TYLTYL Never mind.... Don't cry.... I will catch him again.... (Stepping to the front of the stage and addressing the audience.) If any of you should find him, would you be so very kind as to give him back to us?... We need him for our happiness, later on....
TYLTYL Never mind.... Don't cry.... I'll catch him again.... (Stepping to the front of the stage and addressing the audience.) If any of you happen to see him, could you please be so kind as to bring him back to us? We need him for our happiness later on....
CURTAIN
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