This is a modern-English version of The Impostures of Scapin, originally written by Molière. It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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THE IMPOSTURES OF SCAPIN.

(LES FOURBERIES DE SCAPIN.)

By Molière





Translated Into English Prose. With Short Introductions And Explanatory Notes By Charles Heron Wall

Translated Into English Prose. With Short Introductions and Explanatory Notes by Charles Heron Wall


Acted on May 24, 1671, at the Palais Royal, 'Les Fourberies de Scapin' had great success. It is nothing, however, but a farce, taken partly from classical, partly from Italian or from French sources.

Acted on May 24, 1671, at the Palais Royal, 'Les Fourberies de Scapin' had great success. It is nothing, however, but a farce, drawn partly from classical sources and partly from Italian or French ones.


Molière acted the part of Scapin.

Molière played the role of Scapin.










CONTENTS

TABLE OF CONTENTS
















PERSONS REPRESENTED.

ARGANTE, father to OCTAVE and ZERBINETTE.

ARGANTE, father of OCTAVE and ZERBINETTE.

GÉRONTE, father to LÉANDRE and HYACINTHA.

GÉRONTE, father of LÉANDRE and HYACINTHA.

OCTAVE, son to ARGANTE, and lover to HYACINTHA.

OCTAVE, son of ARGANTE, and HYACINTHA's lover.

LÉANDRE, son to GÉRONTE, and lover to ZERBINETTE.

LÉANDRE, son of GÉRONTE, and lover of ZERBINETTE.

ZERBINETTE, daughter to ARGANTE, believed to be a gypsy girl.

ZERBINETTE, daughter of ARGANTE, thought to be a gypsy girl.

HYACINTHA, daughter to GÉRONTE.

HYACINTHA, daughter of GÉRONTE.

SCAPIN, servant to LÉANDRE.

SCAPIN, servant of LÉANDRE.

SILVESTRE, servant to OCTAVE.

SILVESTRE, servant of OCTAVE.

NÉRINE, nurse to HYACINTHA.

NÉRINE, Hyacintha's nurse.

CARLE.

CARLE.

TWO PORTERS.

TWO PORTERS.

The scene is at NAPLES.

The scene is at Naples.










THE IMPOSTURES OF SCAPIN.










ACT I.










SCENE I.—OCTAVE, SILVESTRE.

OCT. Ah! what sad news for one in love! What a hard fate to be reduced to! So, Silvestre, you have just heard at the harbour that my father is coming back?

OCT. Ah! what heartbreaking news for someone in love! What a tough situation to face! So, Silvestre, you just heard at the harbor that my dad is coming back?

SIL. Yes.

SIL. Yep.

OCT. That he returns this very morning?

OCT. Is he coming back this very morning?

SIL. This very morning.

SIL. This morning.

OCT. With the intention of marrying me?

OCT. Are you planning to marry me?

SIL. Of marrying you.

SIL. About marrying you.

OCT. To a daughter of Mr. Géronte?

OCT. To the daughter of Mr. Géronte?

SIL. Of Mr. Géronte.

SIL. From Mr. Géronte.

OCT. And that this daughter is on her way from Tarentum for that purpose?

OCT. So, is this daughter coming from Tarentum for that reason?

SIL. For that purpose.

SIL. For that reason.

OCT. And you have this news from my uncle?

OCT. So, do you have any news from my uncle?

SIL. From your uncle.

SIL. From your uncle.

OCT. To whom my father has given all these particulars in a letter?

OCT. To whom has my father shared all these details in a letter?

SIL. In a letter.

SIL. In an email.

OCT. And this uncle, you say, knows all about our doings?

OCT. So, this uncle, you say, knows everything about what we've been up to?

SIL. All our doings.

SIL. Everything we do.

OCT. Oh! speak, I pray you; don't go on in such a way as that, and force me to wrench everything from you, word by word.

OCT. Oh! Please, talk to me; don’t continue like this and make me drag everything out of you, word by word.

SIL. But what is the use of my speaking? You don't forget one single detail, but state everything exactly as it is.

SIL. But what's the point of me talking? You remember every single detail and just say everything exactly how it is.

OCT. At least advise me, and tell me what I ought to do in this wretched business.

OCT. Please at least give me some advice and let me know what I should do about this terrible situation.

SIL. I really feel as much perplexed as you, and I myself need the advice of some one to guide me.

SIL. I feel just as confused as you do, and I really need someone to help me figure this out.

OCT. I am undone by this unforeseen return.

OCT. I’m totally thrown off by this unexpected return.

SIL. And I no less.

SIL. And me neither.

OCT. When my father hears what has taken place, a storm of reprimands will burst upon me.

OCT. When my dad finds out what happened, a wave of scolding will come crashing down on me.

SIL. Reprimands are not very heavy to bear; would to heaven I were free at that price! But I am very likely to pay dearly for all your wild doings, and I see a storm of blows ready to burst upon my shoulders.

SIL. Criticism isn’t too hard to handle; I wish I could be free at that cost! But I’m probably going to pay a heavy price for all your reckless actions, and I can sense a wave of trouble about to hit me.

OCT. Heavens! how am I to get clear of all the difficulties that beset my path!

OCT. Oh my gosh! How am I supposed to get through all the challenges in my way!

SIL. You should have thought of that before entering upon it.

SIL. You should have thought about that before getting into it.

OCT. Oh, don't come and plague me to death with your unreasonable lectures.

OCT. Oh, don’t come and annoy me to death with your pointless lectures.

SIL. You plague me much more by your foolish deeds.

SIL. Your silly actions annoy me way more.

OCT. What am I to do? What steps must I take? To what course of action have recourse?

OCT. What should I do? What steps do I need to take? What course of action should I follow?










SCENE II.—OCTAVE, SCAPIN, SILVESTRE.

SCA. How now, Mr. Octave? What is the matter with you? What is it? What trouble are you in? You are all upset, I see.

SCA. Hey, Mr. Octave! What's wrong with you? What's going on? What’s bothering you? You seem really shaken up.

OCT. Ah! my dear Scapin, I am in despair; I am lost; I am the most unfortunate of mortals.

OCT. Ah! my dear Scapin, I’m in despair; I’m lost; I’m the unluckiest person alive.

SCA. How is that?

SCA. How's that?

OCT. Don't you know anything of what has happened to me?

OCT. Don't you know anything about what happened to me?

SCA. No.

SCA. Nope.

OCT. My father is just returning with Mr. Géronte, and they want to marry me.

OCT. My dad is just getting back with Mr. Géronte, and they want to marry me.

SCA. Well, what is there so dreadful about that?

SCA. So, what’s so terrible about that?

OCT. Alas! you don't know what cause I have to be anxious.

OCT. Sadly! You don’t know why I’m so worried.

SCA. No; but it only depends on you that I should soon know; and I am a man of consolation, a man who can interest himself in the troubles of young people.

SCA. No; but it's up to you for me to find out soon; and I'm someone who provides comfort, someone who cares about the issues young people face.

OCT. Ah! Scapin, if you could find some scheme, invent some plot, to get me out of the trouble I am in, I should think myself indebted to you for more than life.

OCT. Ah! Scapin, if you could come up with a plan, create some strategy, to get me out of the mess I'm in, I would feel more grateful to you than for my very life.

SCA. To tell you the truth, there are few things impossible to me when I once set about them. Heaven has bestowed on me a fair enough share of genius for the making up of all those neat strokes of mother wit, for all those ingenious gallantries to which the ignorant and vulgar give the name of impostures; and I can boast, without vanity, that there have been very few men more skilful than I in expedients and intrigues, and who have acquired a greater reputation in the noble profession. But, to tell the truth, merit is too ill rewarded nowadays, and I have given up everything of the kind since the trouble I had through a certain affair which happened to me.

SCA. Honestly, there are very few things I can't accomplish once I put my mind to them. I've been blessed with enough talent to create all those clever remarks and witty exploits that the uninformed and ordinary label as tricks; and I can confidently say, without being arrogant, that there have been very few people as skilled as I am in schemes and manipulations, and who have gained as much recognition in this noble profession. But to be honest, merit is not valued well these days, and I’ve stepped away from all that since the trouble I faced with a particular incident that occurred to me.

OCT. How? What affair, Scapin?

OCT. How? What's going on, Scapin?

SCA. An adventure in which justice and I fell out.

SCA. A journey where justice and I had a disagreement.

OCT. Justice and you?

OCT. Justice and you?

SCA. Yes; we had a trifling quarrel.

SCA. Yeah; we had a little argument.

SIL. You and justice?

SIL. You and the law?

SCA. Yes. She used me very badly; and I felt so enraged against the ingratitude of our age that I determined never to do anything for anybody. But never mind; tell me about yourself all the same.

SCA. Yes. She treated me really poorly, and I was so angry about the ingratitude of our times that I decided I would never help anyone again. But anyway, still tell me about yourself.

OCT. You know, Scapin, that two months ago Mr. Géronte and my father set out together on a voyage, about a certain business in which they are both interested.

OCT. You know, Scapin, that two months ago Mr. Géronte and my dad left together for a trip about some business they’re both involved in.

SCA. Yes, I know that.

SCA. Yeah, I get that.

OCT. And that both Léandre and I were left by our respective fathers, I under the management of Silvestre, and Léandre under your management.

OCT. And both Léandre and I were left by our fathers, me under Silvestre's care, and Léandre under your care.

SCA. Yes; I have acquitted myself very well of my charge.

SCA. Yeah; I’ve done a great job with my responsibility.

OCT. Some time afterwards Léandre met with a young gipsy girl, with whom he fell in love.

OCT. Some time later, Léandre met a young gypsy girl, and he fell in love with her.

SCA. I know that too.

SCA. I know that as well.

OCT. As we are great friends, he told me at once of his love, and took me to see this young girl, whom I thought good-looking, it is true, but not so beautiful as he would have had me believe. He never spoke of anything but her; at every opportunity he exaggerated her grace and her beauty, extolled her intelligence, spoke to me with transport of the charms of her conversation, and related to me her most insignificant saying, which he always wanted me to think the cleverest thing in the world. He often found fault with me for not thinking as highly as he imagined I ought to do of the things he related to me, and blamed me again and again for being so insensible to the power of love.

OCT. Since we were good friends, he immediately told me about his love and took me to meet this young girl. I thought she was attractive, but not nearly as beautiful as he made her out to be. He never talked about anything else but her; at every chance, he exaggerated her grace and beauty, praised her intelligence, and enthusiastically described the charm of her conversations. He even recounted her most trivial comments, expecting me to see them as the smartest things ever said. He often criticized me for not appreciating her the way he thought I should and repeatedly scolded me for being so oblivious to the power of love.

SCA. I do not see what you are aiming at in all this.

SCA. I don't understand what you’re getting at with all of this.

OCT. One day, as I was going with him to the people who have charge of the girl with whom he is in love, we heard in a small house on a by-street, lamentations mixed with a good deal of sobbing. We inquired what it was, and were told by a woman that we might see there a most piteous sight, in the persons of two strangers, and that unless we were quite insensible to pity, we should be sure to be touched with it.

OCT. One day, as I was walking with him to meet the people taking care of the girl he loves, we heard cries of sorrow mixed with a lot of sobbing coming from a small house on a side street. We asked what was happening, and a woman told us that we could witness a truly heartbreaking scene involving two strangers, and that unless we were completely heartless, we would definitely feel moved by it.

SCA. Where will this lead to?

SCA. Where's this headed?

OCT. Curiosity made me urge Léandre to come in with me. We went into a low room, where we saw an old woman dying, and with her a servant who was uttering lamentations, and a young girl dissolved in tears, the most beautiful, the most touching sight that you ever saw.

OCT. My curiosity prompted me to ask Léandre to come in with me. We entered a small room, where we found an old woman on her deathbed, accompanied by a servant who was mourning, and a young girl in tears—an incredibly beautiful and heart-wrenching sight.

SCA. Oh! oh!

SCA. Oh! oh!

OCT. Any other person would have seemed frightful in the condition she was in, for all the dress she had on was a scanty old petticoat, with a night jacket of plain fustian, and turned back at the top of her head a yellow cap, which let her hair fall in disorder on her shoulders; and yet dressed even thus she shone with a thousand attractions, and all her person was most charming and pleasant.

OCT. Anyone else would have looked terrifying in her state, as she was wearing nothing but a thin old petticoat and a plain night jacket, with a yellow cap pushed back on her head that allowed her hair to fall messily over her shoulders. Yet, even like this, she radiated countless charms, and her entire presence was incredibly enchanting and delightful.

SCA. I begin to understand.

SCA. I'm starting to get it.

OCT. Had you but seen her, Scapin, as I did, you would have thought her admirable.

OCT. If you had seen her, Scapin, like I did, you would have found her amazing.

SCA. Oh! I have no doubt about it; and without seeing her, I plainly perceive that she must have been altogether charming.

SCA. Oh! I have no doubt about it; and even without seeing her, I can clearly tell that she must have been completely charming.

OCT. Her tears were none of those unpleasant tears which spoil the face; she had a most touching grace in weeping, and her sorrow was a most beautiful thing to witness.

OCT. Her tears weren’t the kind that ruin a pretty face; she had a really moving elegance when she cried, and her sadness was something truly beautiful to see.

SCA. I can see all that.

SCA. I can see all of that.

OCT. All who approached her burst into tears whilst she threw herself, in her loving way, on the body of the dying woman, whom she called her dear mother; and nobody could help being moved to the depths of the heart to see a girl with such a loving disposition.

OCT. Everyone who came near her started crying as she lovingly threw herself onto the body of the dying woman, whom she referred to as her dear mother; and no one could help but feel deeply touched to see a girl with such a caring nature.

SCA. Yes, all that is very touching; and I understand that this loving disposition made you love her.

SCA. Yes, that’s all really sweet; and I get that this caring attitude made you fall in love with her.

OCT. Ah! Scapin, a savage would have loved her.

OCT. Ah! Scapin, even a wild man would have loved her.

SCA. Certainly; how could anyone help doing so?

SCA. Of course; how could anyone not do that?

OCT. After a few words, with which I tried to soothe her grief, we left her; and when I asked Léandre what he thought of her, he answered coldly that she was rather pretty! I was wounded to find how unfeelingly he spoke to me of her, and I would not tell him the effect her beauty had had on my heart.

OCT. After a few words, which I tried to use to comfort her sadness, we left her; and when I asked Léandre what he thought of her, he replied indifferently that she was kind of pretty! I was hurt to see how casually he talked to me about her, and I didn’t want to share the impact her beauty had on my heart.

SIL. (to OCTAVE). If you do not abridge your story, we shall have to stop here till to-morrow. Leave it to me to finish it in a few words. (To SCAPIN) His heart takes fire from that moment. He cannot live without going to comfort the amiable and sorrowful girl. His frequent visits are forbidden by the servant, who has become her guardian by the death of the mother. Our young man is in despair; he presses, begs, beseeches—all in vain. He is told that the young girl, although without friends and without fortune, is of an honourable family, and that, unless he marries her, he must cease his visits. His love increases with the difficulties. He racks his brains; debates, reasons, ponders, and makes up his mind. And, to cut a long story short, he has been married these three days.

SIL. (to OCTAVE). If you don't shorten your story, we'll have to pause until tomorrow. Let me wrap it up in a few words. (To SCAPIN) His heart ignites from that moment. He can't live without going to comfort the sweet and sorrowful girl. The servant, who has become her guardian since her mother's death, forbids his frequent visits. Our young man is heartbroken; he pressures, pleads, and begs—all in vain. He learns that the young girl, although friendless and without wealth, comes from a respectable family, and unless he marries her, he must stop visiting. His love grows stronger with each obstacle. He struggles to find a solution; he debates, reasons, thinks deeply, and finally makes a decision. And to make a long story short, he has been married for three days now.

SCA. I see.

SCA. Got it.

SIL. Now, add to this the unforeseen return of the father, who was not to be back before two whole months; the discovery which the uncle has made of the marriage; and that other marriage projected between him and a daughter which Mr. Géronte had by a second wife, whom, they say, he married at Tarentum.

SIL. Now, consider the unexpected return of the father, who wasn't supposed to be back for another two months; the discovery the uncle made about the marriage; and the other marriage planned between him and a daughter that Mr. Géronte had with a second wife, who they say he married in Tarentum.

OCT. And, above all, add also the poverty of my beloved, and the impossibility there is for me to do anything for her relief.

OCT. And, above all, include the suffering of my beloved, and how I can't do anything to help her.

SCA. Is that all? You are both of you at a great loss about nothing. Is there any reason to be alarmed? Are you not ashamed, you, Silvestre, to fall short in such a small matter? Deuce take it all! You, big and stout as father and mother put together, you can't find any expedient in your noddle? you can't plan any stratagem, invent any gallant intrigue to put matters straight? Fie! Plague on the booby! I wish I had had the two old fellows to bamboozle in former times; I should not have thought much of it; and I was no bigger than that, when I had given a hundred delicate proofs of my skill.

SCA. Is that it? You both are really clueless about nothing. Is there even a reason to worry? Aren't you embarrassed, Silvestre, that you’re struggling with something so minor? Good grief! You, as big and strong as your parents combined, can’t come up with any solution? You can’t come up with a clever plan or invent a bold scheme to fix things? Shame on you! What a fool! I wish I had the chance to trick those two old guys back in the day; it wouldn't have been a big deal to me, and I was barely older than that when I showcased my skills a hundred times over.

SIL. I acknowledge that Heaven has not given me your talent, and that I have not the brains like you to embroil myself with justice.

SIL. I admit that Heaven hasn’t blessed me with your talent, and that I don’t have the smarts like you to get tangled up with justice.

OCT. Here is my lovely Hyacintha!

OCT. Here is my beautiful Hyacintha!










SCENE III.—HYACINTHA, OCTAVE, SCAPIN, SILVESTRE.

HYA. Ah! Octave, is what Silvestre has just told Nérine really true? Is your father back, and is he bent upon marrying you?

HYA. Ah! Octave, is what Silvestre just told Nérine actually true? Is your dad back, and is he serious about marrying you?

OCT. Yes, it is so, dear Hyacintha; and these tidings have given me a cruel shock. But what do I see? You are weeping? Why those tears? Do you suspect me of unfaithfulness, and have you no assurance of the love I feel for you?

OCT. Yes, it’s true, dear Hyacintha; and this news has hit me hard. But what do I see? You’re crying? Why are you in tears? Do you think I’m being unfaithful, and don’t you trust the love I have for you?

HYA. Yes, Octave, I am sure that you love me now; but can I be sure that you will love me always?

HYA. Yes, Octave, I know you love me now; but can I be sure that you will always love me?

OCT. Ah! could anyone love you once without loving you for ever?

OCT. Ah! Could anyone love you even once without loving you forever?

HYA. I have heard say, Octave, that your sex does not love so long as ours, and that the ardour men show is a fire which dies out as easily as it is kindled.

HYA. I’ve heard, Octave, that your gender doesn’t love as long as ours does, and that the passion men show is a flame that goes out just as easily as it’s ignited.

OCT. Then, my dear Hyacintha, my heart is not like that of other men, and I feel certain that I shall love you till I die.

OCT. Then, my dear Hyacintha, my heart isn't like other men's, and I'm sure that I will love you until I die.

HYA. I want to believe what you say, and I have no doubt that you are sincere; but I fear a power which will oppose in your heart the tender feelings you have for me. You depend on a father who would marry you to another, and I am sure it would kill me if such a thing happened.

HYA. I want to believe you, and I genuinely think you mean it; but I'm scared of a force that's going to clash with the feelings you have for me. You rely on a father who would marry you off to someone else, and I know it would absolutely destroy me if that happened.

OCT. No, lovely Hyacintha, there is no father who can force me to break my faith to you, and I could resolve to leave my country, and even to die, rather than be separated from you. Without having seen her, I have already conceived a horrible aversion to her whom they want me to marry; and although I am not cruel, I wish the sea would swallow her up, or drive her hence forever. Do not weep, then, dear Hyacintha, for your tears kill me, and I cannot see them without feeling pierced to the heart.

OCT. No, beautiful Hyacintha, there’s no father who can make me betray my loyalty to you. I would even be willing to leave my country or die rather than be apart from you. Without having met her, I already have a strong dislike for the person they want me to marry; and even though I’m not cruel, I wish the sea would take her away or banish her forever. So please don’t cry, dear Hyacintha, because your tears hurt me, and I can't bear to see them without feeling crushed.

HYA. Since you wish it, I will dry my tears, and I will wait without fear for what Heaven shall decide.

HYA. Since you want me to, I’ll wipe away my tears and wait without fear for whatever Heaven decides.

OCT. Heaven will be favourable to us.

OCT. The heavens will be on our side.

HYA. It cannot be against us if you are faithful.

HYA. It can't be a problem for us if you stay loyal.

OCT. I certainly shall be so.

Oct. I definitely will be.

HYA. Then I shall be happy.

HYA. Then I’ll be happy.

SCA. (aside). She is not so bad, after all, and I think her pretty enough.

SCA. (aside). She's not so bad, after all, and I think she's pretty enough.

OCT. (showing SCAPIN). Here is a man who, if he would, could be of the greatest help to us in all our trouble.

OCT. (showing SCAPIN). Here’s a guy who, if he wanted to, could be a huge help to us with all our problems.

SCA. I have sworn with many oaths never more to meddle with anything. But if you both entreat me very much, I might....

SCA. I’ve promised with many oaths to never interfere with anything again. But if you both plead with me a lot, I might....

OCT. Ah! if entreaties will obtain your help, I beseech you with all my heart to steer our bark.

OCT. Ah! If begging will get you to help us, I sincerely ask you from the bottom of my heart to guide our ship.

SCA. (to HYACINTHA). And you, have you anything to say?

SCA. (to HYACINTHA). So, do you have anything to say?

HYA. Like him, I beseech you, by all that is most dear to you upon earth, to assist us in our love.

HYA. Just like him, I urge you, by everything that is most precious to you on this earth, to help us with our love.

SCA. I must have a little humanity, and give way. There, don't be afraid; I will do all I can for you.

SCA. I need to show some compassion and be flexible. There, don’t worry; I’ll do everything I can to help you.

OCT. Be sure that....

OCT. Make sure that....

SCA. (to OCTAVE). Hush! (To HYACINTHA) Go, and make yourself easy.

SCA. (to OCTAVE). Quiet! (To HYACINTHA) Go and relax.










SCENE IV.—OCTAVE, SCAPIN, SILVESTRE.

SCA. (to OCTAVE). You must prepare yourself to receive your father with firmness.

SCA. (to OCTAVE). You need to get ready to greet your father with confidence.

OCT. I confess that this meeting frightens me before hand, for with him I have a natural shyness that I cannot conquer.

OCT. I admit that this meeting makes me anxious ahead of time because I have an innate shyness around him that I can’t overcome.

SCA. Yes; you must be firm from the first, for fear that he should take advantage of your weakness, and lead you like a child. Now, come, try to school yourself into some amount of firmness, and be ready to answer boldly all he can say to you.

SCA. Yes; you need to be strong from the beginning, or he might exploit your vulnerability and manipulate you like a child. Now, come on, work on building some confidence, and be prepared to respond confidently to everything he says to you.

OCT. I will do the best I can.

OCT. I'll give it my all.

SCA. Well! let us try a little, just to see. Rehearse your part, and let us see how you will manage. Come, a look of decision, your head erect, a bold face.

SCA. Alright! Let’s give it a shot to see how it goes. Practice your part, and let’s see how you handle it. Come on, show some determination, keep your head up, and wear a confident expression.

OCT. Like this.

OCT. Like this.

SCA. A little more.

SCA. A bit more.

OCT. So?

OCT. What’s the big deal?

SCA. That will do. Now, fancy that I am your father, just arrived; answer me boldly as if it were he himself.—"What! you scoundrel, you good-for-nothing fellow, you infamous rascal, unworthy son of such a father as I, dare you appear before me after what you have done, and after the infamous trick you have played me during my absence? Is this, you rascal, the reward of all my care? Is this the fruit of all my devotion? Is this the respect due to me? Is this the respect you retain for me?"—Now then, now then.—"You are insolent enough, scoundrel, to go and engage yourself without the consent of your father, and contract a clandestine marriage! Answer me, you villain! Answer me. Let me hear your fine reasons"....—Why, the deuce, you seem quite lost.

SCA. That will do. Now, pretend I’m your father, just arrived; respond to me boldly as if it were really him. "What! You scoundrel, you worthless piece of garbage, you despicable rascal, unworthy son of a father like me, how dare you show up after what you’ve done and the underhanded trick you pulled on me while I was away? Is this, you rascal, the reward for all my care? Is this the result of all my dedication? Is this the respect I deserve? Is this how you regard me?"—Now then, now then.—"You’re audacious enough, scoundrel, to get engaged without your father’s consent and enter into a secret marriage! Answer me, you villain! Respond. I want to hear your so-called reasons"....—What the hell, you seem completely lost.

OCT. It is because I imagine I hear my father speaking.

OCT. It’s because I think I can hear my dad talking.

SCA. Why, yes; and it is for this reason that you must try not to look like an idiot.

SCA. Absolutely; and that's why you need to make an effort not to come off as an idiot.

OCT. I will be more resolute, and will answer more firmly.

OCT. I will be more determined and will respond more confidently.

SCA. Quite sure?

SCA. Are you sure?

SIL. Here is your father coming.

SIL. Your dad is here.

OCT. Oh heavens! I am lost.

OCT. Oh my gosh! I’m totally lost.










SCENE V.—SCAPIN, SILVESTRE.

SCA. Stop, Octave; stop. He's off. What a poor specimen it is! Let's wait for the old man all the same.

SCA. Hold on, Octave; stop. He's gone. What a sad sight he is! Let's wait for the old man anyway.

SIL. What shall I tell him?

SIL. What should I say to him?

SCA. Leave him to me; only follow me.

SCA. Just leave him to me; just follow me.










SCENE VI.—ARGANTE, SCAPIN, SILVESTRE

(at the further part of thestage).

(at the back of the stage).

ARG. (thinking himself alone). Did anyone ever hear of such an action?

ARG. (thinking he is alone). Has anyone ever heard of such a thing?

SCA. (to SILVESTRE). He has already heard of the affair, and is so struck by it that, although alone, he speaks aloud about it.

SCA. (to SILVESTRE). He has already heard about the situation and is so taken aback that, even though he’s alone, he talks about it out loud.

ARG. (thinking himself alone). Such a bold thing to do.

ARG. (thinking he’s alone). What a daring thing to do.

SCA. (to SILVESTRE). Let us listen to him.

SCA. (to SILVESTRE). Let's hear what he has to say.

ARG. (thinking himself alone). I should like to know what they can say to me about this fine marriage.

ARG. (thinking he's alone). I'd really like to know what they can tell me about this great marriage.

SCA. (aside). We have it all ready.

SCA. (aside). We have everything set.

ARG. (thinking himself alone). Will they try to deny it?

ARG. (thinking he is alone). Will they really try to deny it?

SCA. (aside). No: we have no thought of doing so.

SCA. (aside). No: we’re not planning to do that.

ARG. (thinking himself alone). Or will they undertake to excuse it?

ARG. (thinking he’s alone). Or will they try to justify it?

SCA. (aside). That may be.

SCA. (aside). That could be.

ARG. (thinking himself alone). Do they intend to deceive me with impertinent stories?

ARG. (thinking he's alone). Are they trying to fool me with ridiculous stories?

SCA. (aside). May be.

SCA. (aside). Maybe.

ARG. (thinking himself alone). All they can say will be useless.

ARG. (thinking he is alone). Whatever they say will be pointless.

SCA. We shall see.

SCA. We'll see.

ARG. (thinking himself alone). They will not take me in.

ARG. (thinking he's alone). They won't accept me.

SCA. (aside). I don't know that.

SCA. (aside). I'm not sure about that.

ARG. (thinking himself alone). I shall know how to put my rascal of a son in a safe place.

ARG. (thinking he is alone). I’ll find a way to put my troublesome son somewhere safe.

SCA. (aside). We shall see about that.

SCA. (aside). We'll see about that.

ARG. (thinking himself alone). And as for that rascal Silvestre, I will cudgel him soundly.

ARG. (thinking he’s alone). And as for that troublemaker Silvestre, I’m going to give him a good beating.

SIL. (to SCAPIN). I should have been very much astonished if he had forgotten me.

SIL. (to SCAPIN). I would have been really surprised if he had forgotten me.

ARG. (seeing SILVESTRE). Ah, ah! here you are, most wise governor of a family, fine director of young people!

ARG. (seeing SILVESTRE). Ah, ah! there you are, the brilliant head of the household, the excellent guide for the youth!

SCA. Sir, I am delighted to see you back.

SCA. Hey, I’m so glad to see you back.

ARG. Good morning, Scapin. (To SILVESTRE) You have really followed my orders in a fine manner, and my son has behaved splendidly.

ARG. Good morning, Scapin. (To SILVESTRE) You have done a great job following my orders, and my son has acted wonderfully.

SCA. You are quite well, I see.

SCA. You seem to be doing good.

ARG. Pretty well. (To SILVESTRE) You don't say a word, you rascal!

ARG. Doing pretty well. (To SILVESTRE) You’re not saying a word, you little rascal!

SCA. Have you had a pleasant journey?

SCA. Did you have a good trip?

ARG. Yes, yes, very good. Leave me alone a little to scold this villain!

ARG. Yeah, yeah, that's great. Just give me a minute to deal with this guy!

SCA. You want to scold?

SCA. You want to reprimand?

ARG. Yes, I wish to scold.

ARG. Yes, I want to scold.

SCA. But whom, Sir?

SCA. But who, Sir?

ARG. (Pointing to SILVESTRE). This scoundrel!

ARG. (Pointing to SILVESTRE). This jerk!

SCA. Why?

SCA. Why's that?

ARG. Have you not heard what has taken place during my absence?

ARG. Haven't you heard what happened while I was gone?

SCA. Yes, I have heard some trifling thing.

SCA. Yeah, I've heard some small talk.

ARG. How! Some trifling thing! Such an action as this?

ARG. What! Some insignificant thing? An action like this?

SCA. You are about right.

SCA. You're about right.

ARG. Such a daring thing to do!

ARG. That’s such a bold move!

SCA. That's quite true.

SCA. That's totally true.

ARG. To marry without his father's consent!

ARG. To marry without his father's approval!

SCA. Yes, there is something to be said against it, but my opinion is that you should make no fuss about it.

SCA. Sure, there are some criticisms, but I think you shouldn't make a big deal out of it.

ARG. This is your opinion, but not mine; and I will make as much fuss as I please. What! do you not think that I have every reason to be angry?

ARG. This is your opinion, but not mine; and I will make as much noise as I want. What! Don't you think I have every reason to be upset?

SCA. Quite so. I was angry myself when I first heard it; and I so far felt interested in your behalf that I rated your son well. Just ask him the fine sermons I gave him, and how I lectured him about the little respect he showed his father, whose very footsteps he ought to kiss. You could not yourself talk better to him. But what of that? I submitted to reason, and considered that, after all, he had done nothing so dreadful.

SCA. That's right. I was angry when I first heard it too; in fact, I felt so concerned for you that I gave your son quite a talking-to. Just ask him about the great sermons I preached to him and how I lectured him on the little respect he showed to his father, whose very footsteps he should be grateful for. You couldn't have talked to him better yourself. But what’s the point? I accepted it and realized that, after all, he hadn’t done anything that bad.

ARG. What are you telling me? He has done nothing so dreadful? When he goes and marries straight off a perfect stranger?

ARG. What are you saying? He hasn't done anything that bad? Just because he went and married a total stranger right away?

SCA. What can one do? he was urged to it by his destiny.

SCA. What can you do? He was pushed into it by his fate.

ARG. Oh, oh! You give me there a fine reason. One has nothing better to do now than to commit the greatest crime imaginable—to cheat, steal, and murder—and give for an excuse that we were urged to it by destiny.

ARG. Oh, come on! You really give me a great reason there. There's nothing better for us to do now than to commit the most terrible crime possible—to cheat, steal, and kill—and then use destiny as our excuse.

SCA. Ah me! You take my words too much like a philosopher. I mean to say that he was fatally engaged in this affair.

SCA. Oh man! You’re reading my words like a philosopher. What I mean is that he was seriously caught up in this situation.

ARG. And why did he engage in it?

ARG. And why did he get involved in it?

SCA. Do you expect him to be as wise as you are? Can you put an old head on young shoulders, and expect young people to have all the prudence necessary to do nothing but what is reasonable? Just look at our Léandre, who, in spite of all my lessons, has done even worse than that. I should like to know whether you yourself were not young once, and have not played as many pranks as others? I have heard say that you were a sad fellow in your time, that you played the gallant among the most gallant of those days, and that you never gave in until you had gained your point.

SCA. Do you really think he’ll be as wise as you? Can you expect a young person to have the same judgment as an older one and only do what's sensible? Just look at our Léandre, who, despite all my teaching, has managed to make things even worse. I wonder if you’ve never been young yourself and haven’t pulled as many tricks as anyone else? I’ve heard that you were quite the character in your day, that you played the part of a dashing man among the best of them, and that you never backed down until you got what you wanted.

ARG. It is true, I grant it; but I always confined myself to gallantry, and never went so far as to do what he has done.

ARG. It's true, I admit it; but I always kept to flirting, and never went as far as he has.

SCA. But what was he to do? He sees a young person who wishes him well; for he inherits it from you that all women love him. He thinks her charming, goes to see her, makes love to her, sighs as lovers sigh, and does the passionate swain. She yields to his pressing visits; he pushes his fortune. But her relations catch him with her, and oblige him to marry her by main force.

SCA. But what was he supposed to do? He sees a young person who wishes him well; he believes that all women adore him because of you. He finds her charming, goes to see her, flirts with her, sighs like lovers do, and plays the passionate suitor. She gives in to his frequent visits; he takes his chances. But her family catches him with her and forces him to marry her against his will.

SIL. (aside). What a clever cheat!

SIL. (aside). What a smart trick!

SCA. Would you have him suffer them to murder him? It is still better to be married than to be dead.

SCA. Would you want him to let them kill him? It's still better to be married than to be dead.

ARG. I was not told that the thing had happened in that way.

ARG. I wasn't informed that it happened like that.

SCA. (showing SILVESTRE). Ask him, if you like; he will tell you the same thing.

SCA. (showing SILVESTRE). Go ahead and ask him; he'll say the same thing.

ARG. (to SILVESTRE). Was he married against his wish?

ARG. (to SILVESTRE). Did he get married against his will?

SIL. Yes, Sir.

Sure, Sir.

SCA. Do you think I would tell you an untruth?

SCA. Do you really think I would lie to you?

ARG. Then he should have gone at once to a lawyer to protest against the violence.

ARG. Then he should have gone straight to a lawyer to complain about the violence.

SCA. It is the very thing he would not do.

SCA. It's exactly what he wouldn't do.

ARG. It would have made it easier for me to break off the marriage.

ARG. It would have made it easier for me to end the marriage.

SCA. Break off the marriage?

SCA. End the marriage?

ARG. Yes

ARG. Yes

SCA. You will not break it off.

SCA. You won't be able to end it.

ARG. I shall not break it off?

ARG. I won't quit?

SCA. No.

SCA. Nope.

ARG. What! Have I not on my side the rights of a father, and can I not have satisfaction for the violence done to my son?

ARG. What! Do I not have the rights of a father on my side, and can't I get justice for the harm done to my son?

SCA. This is a thing he will not consent to.

SCA. This is something he will not agree to.

ARG. He will not consent to it?

ARG. He won't agree to it?

SCA. No.

SCA. Nope.

ARG. My son?

ARG. My kid?

SCA. Your son. Would you have him acknowledge that he was frightened, and that he yielded by force to what was wanted of him? He will take care not to confess that; it would be to wrong himself, and show himself unworthy of a father like you.

SCA. Your son. Would you want him to admit that he was scared and gave in under pressure to what was expected of him? He’ll be careful not to admit that; it would be disrespectful to himself and show that he isn’t worthy of a father like you.

ARG. I don't care for all that.

ARG. I don't care about any of that.

SCA. He must, for his own honour and yours, say that he married of his own free will.

SCA. He has to, for his own honor and yours, say that he married of his own free will.

ARG. And I wish for my own honour, and for his, that he should say the contrary.

ARG. And I wish for my own honor, and for his, that he would say the opposite.

SCA. I am sure he will not do that.

SCA. I'm sure he won't do that.

ARG. I shall soon make him do it.

ARG. I’ll get him to do it soon.

SCA. He will not acknowledge it, I tell you.

SCA. He won't admit it, I'm telling you.

ARG. He shall do it, or I will disinherit him.

ARG. He will do it, or I will cut him out of my will.

SCA. You?

SCA. What about you?

ARG. I.

ARG. I.

SCA. Nonsense!

SCA. That's nonsense!

ARG. How nonsense?

ARG. How ridiculous?

SCA. You will not disinherit him.

SCA. You won't cut him out of the will.

ARG. I shall not disinherit him?

ARG. I'm not cutting him off?

SCA. No.

SCA. Nope.

ARG. No?

Ugh. No?

SCA. No.

SCA. Nah.

ARG. Well! This is really too much! I shall not disinherit my son!

ARG. Wow! This is really too much! I will not disinherit my son!

SCA. No, I tell you.

SCA. No, I’m telling you.

ARG. Who will hinder me?

ARG. Who will stop me?

SCA. You yourself.

SCA. You do you.

ARG. I?

ARG. I?

SCA. Yes; you will never have the heart to do it.

SCA. Yeah; you'll never have the heart to do it.

ARG. I shall have the heart.

ARG. I will take the heart.

SCA. You are joking.

SCA. Are you kidding?

ARG. I am not joking.

ARG. I'm not joking.

SCA. Paternal love will carry the day.

SCA. A father's love will win in the end.

ARG. No, it will not.

ARG. No, it won't.

SCA. Yes, yes.

SCA. Yes, absolutely.

ARG. I tell you that I will disinherit him.

ARG. I'm telling you that I'm going to cut him out of the will.

SCA. Rubbish.

SCA. Trash.

ARG. You may say rubbish; but I will.

ARG. You can call it nonsense; but I will.

SCA. Gracious me, I know that you are naturally a kind-hearted man.

SCA. Oh my, I know you're really a kind-hearted person.

ARG. No, I am not kind-hearted; I can be angry when I choose. Leave off talking; you put me out of all patience. (To SYLVESTRE) Go, you rascal, run and fetch my son, while I go to Mr. Géronte and tell him of my misfortune.

ARG. No, I’m not soft-hearted; I can get angry whenever I want. Stop talking; you’re driving me crazy. (To SYLVESTRE) Go, you little rascal, run and get my son while I go to Mr. Géronte and tell him about my bad luck.

SCA. Sir, if I can be useful to you in any way, you have but to order me.

SCA. Sir, if I can help you in any way, just let me know.

ARG. I thank you. (Aside) Ah! Why is he my only son? Oh! that I had with me the daughter that Heaven has taken away from me, so that I might make her my heir.

ARG. Thank you. (Aside) Ah! Why is he my only son? Oh! I wish I had the daughter that Heaven took from me, so I could make her my heir.










SCENE VII.—SCAPIN, SYLVESTRE.

SIL. You are a great man, I must confess; and things are in a fair way to succeed. But, on the other hand, we are greatly pressed for money, and we have people dunning us.

SIL. You’re an impressive man, I have to admit; and things are looking promising. But on the flip side, we’re really short on cash, and we have people hounding us for payments.

SCA. Leave it to me; the plan is all ready. I am only puzzling my brains to find out a fellow to act along with us, in order to play a personage I want. But let me see; just look at me a little. Stick your cap rather rakishly on one side. Put on a furious look. Put your hand on your side. Walk about like a king on the stage. {Footnote: Compare the 'Impromptu of Versailles'.} That will do. Follow me. I possess some means of changing your face and voice.

SCA. Leave it to me; the plan is all set. I'm just trying to find someone to join us to play a character I need. But let me see; just look at me for a second. Tilt your cap stylishly to one side. Make a fierce face. Put your hand on your hip. Walk around like a king on stage. {Footnote: Compare the 'Impromptu of Versailles'.} That’s good. Follow me. I have some ways to change your face and voice.

SIL. I pray you, Scapin, don't go and embroil me with justice.

SIL. Please, Scapin, don't get me in trouble with the law.

SCA. Never mind, we will share our perils like brothers, and three years more or less on the galleys are not sufficient to check a noble heart.

SCA. Don't worry, we'll face our dangers like brothers, and three years or so on the galleys won't be enough to dampen a noble heart.










ACT II.










SCENE I.—GÉRONTE, ARGANTE.

GER. Yes, there is no doubt but that with this weather we shall have our people with us to-day; and a sailor who has arrived from Tarentum told me just now that he had seen our man about to start with the ship. But my daughter's arrival will find things strangely altered from what we thought they would be, and what you have just told me of your son has put an end to all the plans we had made together.

GER. Yes, there’s no doubt that with this weather we’ll have our people with us today; and a sailor who just arrived from Tarentum told me he saw our guy about to leave with the ship. But my daughter’s arrival will make things surprisingly different from what we expected, and what you just told me about your son has ruined all the plans we made together.

ARG. Don't be anxious about that; I give you my word that I shall remove that obstacle, and I am going to see about it this moment.

ARG. Don't worry about that; I promise you I'll take care of that obstacle, and I'm going to look into it right now.

GER. In all good faith, Mr. Argante, shall I tell you what? The education of children is a thing that one could never be too careful about.

GER. Honestly, Mr. Argante, can I tell you something? You can never be too careful when it comes to educating children.

ARG. You are right; but why do you say that?

ARG. You're right; but why do you say that?

GER. Because most of the follies of young men come from the way they have been brought up by their fathers.

GER. Because a lot of the mistakes young men make come from how their fathers raised them.

ARG. It is so sometimes, certainly; but what do you mean by saying that to me?

ARG. It’s true sometimes, for sure; but what do you mean by saying that to me?

GER. Why do I say that to you?

GER. Why do I say that to you?

ARG. Yes.

Yep.

GER. Because, if, like a courageous father, you had corrected your son when he was young, he would not have played you such a trick.

GER. Because if you had, like a brave father, corrected your son when he was young, he wouldn't have pulled such a trick on you.

ARG. I see. So that you have corrected your own much better?

ARG. I get it. So you've fixed it yourself, right?

GER. Certainly; and I should be very sorry if he had done anything at all like what yours has done.

GER. Of course; and I would be really upset if he did anything at all like what yours has done.

ARG. And if that son, so well brought up, had done worse even than mine, what would you say?

ARG. And if that son, so well raised, had done something even worse than mine, what would you say?

GER. What?

Huh?

ARG. What?

ARG. What’s up?

GER. What do you mean?

What do you mean?

ARG. I mean, Mr. Géronte, that we should never be so ready to blame the conduct of others, and that those who live in glass houses should not throw stones.

ARG. I mean, Mr. Géronte, that we shouldn't be so quick to judge the actions of others, and those who live in glass houses shouldn't throw stones.

GER. I really do not understand you.

GER. I honestly don’t get you.

ARG. I will explain myself.

Okay. I'll explain myself.

GER. Have you heard anything about my son?

GER. Have you heard anything about my son?

ARG. Perhaps I have.

Maybe I have.

GER. But what?

But what?

ARG. Your servant Scapin, in his vexation, only told me the thing roughly, and you can learn all the particulars from him or from some one else. For my part, I will at once go to my solicitor, and see what steps I can take in the matter. Good-bye.

ARG. Your servant Scapin, in his frustration, just gave me the gist of it, and you can get all the details from him or someone else. As for me, I'm going to head straight to my lawyer and find out what actions I can take. Goodbye.










SCENE II.—GÉRONTE (alone).

GER. What can it be? Worse than what his son has done! I am sure I don't know what anyone can do more wrong than that; and to marry without the consent of one's father is the worst thing that I can possibly imagine. {Footnote: No exaggeration, if we consider that this was said two hundred years ago, and by a French father.}

GER. What could it be? Worse than what his son has done! I honestly can't think of anything anyone could do that's more wrong than that; and marrying without your father's approval is the worst thing I can possibly imagine. {Footnote: No exaggeration, if we consider that this was said two hundred years ago, and by a French father.}










SCENE III—GÉRONTE, LÉANDRE.

GER. Ah, here you are!

Hey, there you are!

LEA. (going quickly towards his father to embrace him). Ah! father, how glad I am to see you!

LEA. (hurrying over to his father to hug him). Ah! Dad, I'm so happy to see you!

GER. (refusing to embrace him). Stay, I have to speak to you first.

GER. (refusing to embrace him). Hold on, I need to talk to you first.

LEA. Allow me to embrace you, and....

LEA. Let me hug you, and...

GER. (refusing him again). Gently, I tell you.

GER. (refusing him again). I’m telling you softly.

LEA. How! father, you deprive me of the pleasure of showing you my joy at your return?

LEA. What! Dad, you're keeping me from showing you how happy I am that you're back?

GER. Certainly; we have something to settle first of all.

GER. Sure; we have something to sort out first.

LEA. But what?

LEA. But what now?

GER. Just stand there before me, and let me look at you.

GER. Just stand there in front of me, and let me see you.

LEA. What for?

LEA. Why?

GER. Look me straight in the face.

GER. Look me directly in the eye.

LEA. Well?

LEA. So?

GER. Will you tell me what has taken place here in my absence?

GER. Can you tell me what happened here while I was away?

LEA. What has taken place?

LEA. What happened?

GER. Yes; what did you do while I was away?

GER. Yeah; what did you do while I was gone?

LEA. What would you have me do, father?

LEA. What do you want me to do, Dad?

GER. It is not I who wanted you to do anything, but who ask you now what it is you did?

GER. I'm not the one who wanted you to do anything, but I'm asking you now, what did you do?

LEA. I have done nothing to give you reason to complain.

LEA. I haven’t done anything to make you upset.

GER. Nothing at all?

GER. Seriously, nothing at all?

LEA. No.

LEA. Nah.

GER. You speak in a very decided tone.

GER. You speak with a very strong tone.

LEA. It is because I am innocent.

LEA. It's because I’m not guilty.

GER. And yet Scapin has told me all about you.

GER. And yet Scapin has told me everything about you.

LEA. Scapin!

LEA. Scapin!

GER. Oh! oh! that name makes you change colour.

GER. Oh! oh! that name makes you turn pale.

LEA. He has told you something about me?

LEA. Has he mentioned anything about me?

GER. He has. But this is not the place to talk about the business, and we must go elsewhere to see to it. Go home at once; I will be there presently. Ah! scoundrel, if you mean to bring dishonour upon me, I will renounce you for my son, and you will have to avoid my presence for ever!

GER. He has. But this isn’t the right place to discuss business, and we need to go somewhere else for that. Go home right now; I’ll be there soon. Ah! You scoundrel, if you’re planning to bring shame upon me, I will disown you as my son, and you’ll have to stay away from me forever!










SCENE IV.—LÉANDRE (alone).

LEA. To betray me after that fashion! A rascal who for so many reasons should be the first to keep secret what I trust him with! To go and tell everything to my father! Ah! I swear by all that is dear to me not to let such villainy go unpunished.

LEA. To betray me like that! A scoundrel who, for so many reasons, should be the first to keep secret what I confide in him! To go and spill everything to my father! Ah! I swear on everything I hold dear that I won't let such treachery go unpunished.










SCENE V.—OCTAVE, LÉANDRE, SCAPIN.

OCT. My dear Scapin, what do I not owe to you? What a wonderful man you are, and how kind of Heaven to send you to my help!

OCT. My dear Scapin, how much do I owe you? You are such an amazing person, and it's so kind of fate to send you to my aid!

LEA. Ah, ah! here you are, you rascal!

LEA. Ah, there you are, you little troublemaker!

SCA. Sir, your servant; you do me too much honour.

SCA. Sir, I'm at your service; you're giving me too much praise.

LEA. (drawing his sword). You are setting me at defiance, I believe...Ah! I will teach you how....

LEA. (drawing his sword). You’re challenging me, I think...Ah! I’ll show you how....

SCA. (falling on his knees). Sir!

SCA. (kneeling). Sir!

OCT. (stepping between them). Ah! Léandre.

OCT. (stepping between them). Ah! Léandre.

LEA. No, Octave, do not keep me back.

LEA. No, Octave, don’t hold me back.

SCA. (to LÉANDRE). Eh! Sir.

SCA. (to LÉANDRE). Hey! Sir.

OCT. (keeping back LÉANDRE). For mercy's sake!

OCT. (holding back LÉANDRE). For crying out loud!

LEA. (trying to strike). Leave me to wreak my anger upon him.

LEA. (trying to strike). Let me take out my anger on him.

OCT. In the name of our friendship, Léandre, do not strike him.

OCT. For the sake of our friendship, Léandre, don't hit him.

SCA. What have I done to you, Sir?

SCA. What did I do to you, Sir?

LEA. What you have done, you scoundrel!

LEA. What you've done, you trickster!

OCT. (still keeping back LÉANDRE). Gently, gently.

OCT. (still holding LÉANDRE back) Easy now, easy.

LEA. No, Octave, I will have him confess here on the spot the perfidy of which he is guilty. Yes, scoundrel, I know the trick you have played me; I have just been told of it. You did not think the secret would be revealed to me, did you? But I will have you confess it with your own lips, or I will run you through and through with my sword.

LEA. No, Octave, I’m going to make him admit right here the betrayal he’s guilty of. Yes, you scoundrel, I know the trick you pulled on me; I just found out about it. You didn’t think I would uncover the secret, did you? But I’ll make you confess it with your own words, or I’ll run you through with my sword.

SCA. Ah! Sir, could you really be so cruel as that?

SCA. Oh! Sir, could you really be that cruel?

LEA. Speak, I say.

LEA. Speak, I insist.

SCA. I have done something against you, Sir?

SCA. Have I done something wrong to you, Sir?

LEA. Yes, scoundrel! and your conscience must tell you only too well what it is.

LEA. Yes, you scoundrel! And your conscience must know full well what it is.

SCA. I assure you that I do not know what you mean.

SCA. I promise you, I really don’t understand what you’re talking about.

LEA. (going towards SCAPIN to strike him). You do not know?

LEA. (walking towards SCAPIN to hit him). You don’t know?

OCT. (keeping back LÉANDRE). Léandre!

OCT. (holding back LÉANDRE). Léandre!

SCA. Well, Sir, since you will have it, I confess that I drank with some of my friends that small cask of Spanish wine you received as a present some days ago, and that it was I who made that opening in the cask, and spilled some water on the ground round it, to make you believe that all the wine had leaked out.

SCA. Well, Sir, since you insist, I admit that I shared that small cask of Spanish wine you got as a gift a few days ago with some of my friends, and I’m the one who made that opening in the cask and spilled some water on the ground around it to make you think all the wine had leaked out.

LEA. What! scoundrel, it was you who drank my Spanish wine, and who suffered me to scold the servant so much, because I thought it was she who had played me that trick?

LEA. What! You jerk, it was you who drank my Spanish wine, and you let me scold the servant so much because I thought she was the one who pulled that on me?

SCA. Yes, Sir; I am very sorry, Sir.

SCA. Yeah, I’m really sorry, Sir.

LEA. I am glad to know this. But this is not what I am about now.

LEA. I'm glad to hear this. But that's not my focus right now.

SCA. It is not that, Sir?

SCA. Is it not that, Sir?

LEA. No; it is something else, for which I care much more, and I will have you tell it me.

LEA. No; it's something else that I care about much more, and I want you to tell me about it.

SCA. I do not remember, Sir, that I ever did anything else.

SCA. I don't recall, Sir, that I ever did anything different.

LEA. (trying to strike SCAPIN). Will you speak?

LEA. (trying to hit SCAPIN). Are you going to talk?

SCA. Ah!

SCA. Awesome!

OCT. (keeping back LÉANDRE). Gently.

OCT. (holding back LÉANDRE). Gently.

SCA. Yes, Sir; it is true that three weeks ago, when you sent me in the evening to take a small watch to the gypsy {Footnote: Égyptienne. Compare act v. scene ii. Bohémienne is a more usual name.} girl you love, and I came back, my clothes spattered with mud and my face covered with blood, I told you that I had been attacked by robbers who had beaten me soundly and had stolen the watch from me. It is true that I told a lie. It was I who kept the watch, Sir.

SCA. Yes, Sir; it’s true that three weeks ago, when you sent me in the evening to deliver a small watch to the gypsy girl you love, and I came back with my clothes splattered with mud and my face covered in blood, I told you that I had been attacked by robbers who had beaten me up and stolen the watch from me. It’s true that I lied. I was the one who kept the watch, Sir.

LEA. It was you who stole the watch?

LEA. Was it you who took the watch?

SCA. Yes, Sir, in order to know the time.

SCA. Yes, Sir, to check the time.

LEA. Ah! you are telling me fine things; I have indeed a very faithful servant! But it is not this that I want to know of you.

LEA. Ah! you are saying nice things; I really do have a very loyal servant! But that's not what I want to know from you.

SCA. It is not this?

SCA. Is it not this?

LEA. No, infamous wretch! it is something else that I want you to confess.

LEA. No, terrible scoundrel! There's something else I need you to confess.

SCA. (aside). Mercy on me!

SCA. (aside). Have mercy on me!

LEA. Speak at once; I will not be put off.

LEA. Speak right now; I won’t be ignored.

SCA. Sir, I have done nothing else.

SCA. Sir, I haven't done anything else.

LEA. (trying to strike SCAPIN). Nothing else?

LEA. (attempting to hit SCAPIN). Is that all?

OCT. (stepping between them). Ah! I beg....

OCT. (stepping between them). Ah! I ask....

SCA. Well, Sir, you remember that ghost that six months ago cudgelled you soundly, and almost made you break your neck down a cellar, where you fell whilst running away?

SCA. Well, Sir, you remember that ghost that six months ago thrashed you pretty badly and almost caused you to break your neck in the cellar where you fell while trying to get away?

LEA. Well?

LEA. What's up?

SCA. It was I, Sir, who was playing the ghost.

SCA. It was me, Sir, who was playing the ghost.

LEA. It was you, wretch! who were playing the ghost?

LEA. It was you, you miserable person! who was pretending to be the ghost?

SCA. Only to frighten you a little, and to cure you of the habit of making us go out every night as you did.

SCA. Just to scare you a bit and to help you break the habit of making us go out every night like you used to.

LEA. I will remember in proper time and place all I have just heard. But I'll have you speak about the present matter, and tell me what it is you said to my father.

LEA. I'll remember everything I just heard when the time is right. But I want you to talk about the current issue and tell me what you said to my dad.

SCA. What I said to your father?

SCA. What did I say to your dad?

LEA. Yes, scoundrel! to my father.

LEA. Yes, you scoundrel! to my dad.

SCA. Why, I have not seen him since his return!

SCA. Wow, I haven't seen him since he got back!

LEA. You have not seen him?

LEA. Haven't you seen him yet?

SCA. No, Sir.

SCA. No, sir.

LEA. Is that the truth?

LEA. Is that true?

SCA. The perfect truth; and he shall tell you so himself.

SCA. The absolute truth; and he'll tell you that himself.

LEA. And yet it was he himself who told me.

LEA. And yet it was him who told me.

SCA. With your leave, Sir, he did not tell you the truth.

SCA. If you allow me, Sir, he didn't tell you the truth.










SCENE VI.—LÉANDRE, OCTAVE, CARLE, SCAPIN.

CAR. Sir, I bring you very bad news concerning your love affair.

CAR. Sir, I have some really bad news about your relationship.

LEA. What is it now?

LEA. What's happening now?

CAR. The gypsies are on the point of carrying off Zerbinette. She came herself all in tears to ask me to tell you that, unless you take to them, before two hours are over, the money they have asked you for her, she will be lost to you for ever.

CAR. The gypsies are about to take Zerbinette away. She came to me in tears, asking me to tell you that if you don’t give them the money they’ve asked for her within two hours, she will be lost to you forever.

LEA. Two hours?

LEA. Two hours?

CAR. Two hours.

CAR. 2 hours.










SCENE VII.—LÉANDRE, OCTAVE, SCAPIN.

LEA. Ah! my dear Scapin, I pray you to help me.

LEA. Ah! my dear Scapin, please help me.

SCA. (rising and passing proudly before LÉANDRE). Ah! my dear Scapin! I am my dear Scapin, now that I am wanted.

SCA. (rising and passing proudly before LÉANDRE). Ah! my dear Scapin! I am my dear Scapin, now that I am needed.

LEA. I will forgive you all that you confessed just now, and more also.

LEA. I’ll forgive you for everything you just admitted and even more.

SCA. No, no; forgive me nothing; run your sword through and through my body. I should be perfectly satisfied if you were to kill me.

SCA. No, no; don’t apologize; stab me right through my body. I would be completely fine if you killed me.

LEA. I beseech you rather to give me life by serving my love.

LEA. Please, I'd rather you give me life by being with the one I love.

SCA. Nay, nay; better kill me.

SCA. No, no; it’s better to kill me.

LEA. You are too dear to me for that. I beg of you to make use for me of that wonderful genius of yours which can conquer everything.

LEA. You mean too much to me for that. I’m asking you to use that amazing talent of yours that can overcome anything.

SCA. Certainly not. Kill me, I tell you.

SCA. Absolutely not. Go ahead, kill me, I’m serious.

LEA. Ah! for mercy's sake, don't think of that now, but try to give me the help I ask.

LEA. Oh! For heaven's sake, don’t think about that right now, but please try to help me with what I’m asking.

OCT. Scapin, you must do something to help him.

OCT. Scapin, you need to do something to help him.

SCA. How can I after such abuse?

SCA. How can I move on after such mistreatment?

LEA. I beseech you to forget my outburst of temper, and to make use of your skill for me.

LEA. I urge you to forgive my moment of anger and to use your talent to help me.

OCT. I add my entreaties to his.

OCT. I add my pleas to his.

SCA. I cannot forget such an insult.

SCA. I can't forget such an insult.

OCT. You must not give way to resentment, Scapin.

OCT. You can't let resentment take over, Scapin.

LEA. Could you forsake me, Scapin, in this cruel extremity?

LEA. Could you abandon me, Scapin, in this terrible situation?

SCA. To come all of a sudden and insult me like that.

SCA. To show up out of nowhere and insult me like that.

LEA. I was wrong, I acknowledge.

LEA. I was wrong, I admit.

SCA. To call me scoundrel, knave, infamous wretch!

SCA. To call me a scoundrel, a cheat, a notorious villain!

LEA. I am really very sorry.

LEA: I’m really sorry.

SCA. To wish to send your sword through my body!

SCA. You want to run your sword through me!

LEA. I ask you to forgive me, with all my heart; and if you want to see me at your feet, I beseech you, kneeling, not to give me up.

LEA. I sincerely ask for your forgiveness; and if you want me to be at your feet, I plead with you, while kneeling, not to let me go.

OCT. Scapin, you cannot resist that?

OCT. Scapin, you can't resist that?

SCA. Well, get up, and another time remember not to be so hasty.

SCA. Well, get up, and next time, try not to be so rushed.

LEA. Will you try to act for me?

LEA. Will you try to perform for me?

SCA. I will see.

SCA. I'll check it out.

LEA. But you know that time presses.

LEA. But you know that time is running out.

SCA. Don't be anxious. How much is it you want?

SCA. Don't worry. How much do you want?

LEA. Five hundred crowns.

500 crowns.

SCA. You?

SCA. What about you?

OCT. Two hundred pistoles.

$200 in cash.

SCA. I must extract this money from your respective fathers' pockets. (To OCTAVE) As far as yours is concerned, my plan is all ready. (To LÉANDRE) And as for yours, although he is the greatest miser imaginable, we shall find it easier still; for you know that he is not blessed with too much intellect, and I look upon him as a man who will believe anything. This cannot offend you; there is not a suspicion of a resemblance between him and you; and you know what the world thinks, that he is your father only in name.

SCA. I need to get this money out of your dads' pockets. (To OCTAVE) I have a solid plan for yours. (To LÉANDRE) And for yours, even though he's the biggest miser around, it should actually be even easier; after all, you know he's not the sharpest tool in the shed, and I see him as someone who will believe anything. This isn't meant to offend you; there’s no way anyone would mistake him for you, and you know what people say: he’s only your dad in name.

LEA. Gently, Scapin.

LEA. Easy there, Scapin.

SCA. Besides, what does it matter? But, Mr. Octave, I see your father coming. Let us begin by him, since he is the first to cross our path. Vanish both of you; (to OCTAVE) and you, please, tell Silvestre to come quickly, and take his part in the affair.

SCA. Anyway, what difference does it make? But, Mr. Octave, I see your dad approaching. Let's start with him, since he's the first one we encounter. You two, disappear; (to OCTAVE) and you, please, ask Silvestre to come quickly and join in on this.










SCENE VIII.—ARGANTE, SCAPIN.

SCA. (aside). Here he is, turning it over in his mind.

SCA. (aside). Here he is, thinking it through.

ARG. (thinking himself alone). Such behaviour and such lack of consideration! To entangle himself in an engagement like that! Ah! rash youth.

ARG. (thinking he is alone). Such behavior and such a lack of consideration! To get himself caught up in an engagement like that! Ah! reckless youth.

SCA. Your servant, Sir.

SCA. Your servant, Sir.

ARG. Good morning, Scapin.

ARG. Good morning, Scapin.

SCA. You are thinking of your son's conduct.

SCA. You're thinking about how your son is behaving.

ARG. Yes, I acknowledge that it grieves me deeply.

ARG. Yes, I admit that it really bothers me.

SCA. Ah! Sir, life is full of troubles; and we should always be prepared for them. I was told, a long time ago, the saying of an ancient philosopher which I have never forgotten.

SCA. Ah! Sir, life is full of challenges, and we should always be ready for them. A long time ago, I heard something from an ancient philosopher that I have never forgotten.

ARG. What was it?

ARG. What was that?

SCA. That if the father of a family has been away from home for ever so short a time, he ought to dwell upon all the sad news that may greet him on his return. He ought to fancy his house burnt down, his money stolen, his wife dead, his son married, his daughter ruined; and be very thankful for whatever falls short of all this. In my small way of philosophy, I have ever taken this lesson to heart; and I never come home but I expect to have to bear with the anger of my masters, their scoldings, insults, kicks, blows, and horse-whipping. And I always thank my destiny for whatever I do not receive.

SCA. If a dad has been away from home for even a little while, he should prepare himself for all the bad news that could welcome him back. He should imagine that his house has burned down, his money is stolen, his wife is dead, his son is married, and his daughter is ruined; and he should be very grateful for anything less than that. In my humble way of thinking, I’ve always taken this lesson seriously; and every time I come home, I expect to face the anger of my bosses, their scoldings, insults, kicks, hits, and whippings. And I always thank my luck for anything I don’t have to deal with.

ARG. That's all very well; but this rash marriage is more than I can put up with, and it forces me to break off the match I had intended for my son. I have come from my solicitor's to see if we can cancel it.

ARG. That's all fine and good; but this impulsive marriage is more than I can tolerate, and it makes me reconsider the match I had planned for my son. I've just come from my lawyer's to see if we can call it off.

SCA. Well, Sir, if you will take my advice, you will look to some other way of settling this business. You know what a law-suit means in this country, and you'll find yourself in the midst of a strange bush of thorns.

SCA. Well, Sir, if you take my advice, you'll find a different way to settle this. You know what a lawsuit means in this country, and you'll end up stuck in a mess of complications.

ARG. I am fully aware that you are quite right; but what else can I do?

ARG. I know you’re completely right; but what else am I supposed to do?

SCA. I think I have found something that will answer much better. The sorrow that I felt for you made me rummage in my head to find some means of getting you out of trouble; for I cannot bear to see kind fathers a prey to grief without feeling sad about it, and, besides, I have at all times had the greatest regard for you.

SCA. I believe I've discovered something that will work much better. The sadness I felt for you pushed me to think of ways to help you out of your troubles; I can't stand to see good fathers in pain without feeling upset, and I've always held you in high esteem.

ARG. I am much obliged to you.

Thanks a lot.

SCA. Then you must know that I went to the brother of the young girl whom your son has married. He is one of those fire-eaters, one of those men all sword-thrusts, who speak of nothing but fighting, and who think no more of killing a man than of swallowing a glass of wine. I got him to speak of this marriage; I showed him how easy it would be to have it broken off, because of the violence used towards your son. I spoke to him of your prerogatives as father, and of the weight which your rights, your money, and your friends would have with justice. I managed him so that at last he lent a ready ear to the propositions I made to him of arranging the matter amicably for a sum of money. In short, he will give his consent to the marriage being cancelled, provided you pay him well.

SCA. Then you should know that I went to the brother of the young woman your son married. He’s one of those hotheads, always ready to fight, who talk about nothing but violence and think nothing of killing a man, just like downing a glass of wine. I got him to discuss this marriage; I pointed out how easy it would be to have it called off because of the aggression towards your son. I talked to him about your rights as a father, and how much your resources, money, and connections would weigh in a legal situation. I worked him so that in the end he was open to my suggestion of settling this matter quietly for a sum of money. In short, he will agree to cancel the marriage if you compensate him well.

ARG. And how much did he ask?

ARG. So, how much did he ask for?

SCA. Oh! at first things utterly out of the question.

SCA. Oh! at first, things were completely out of the question.

ARG. But what?

ARG. But what’s up?

SCA. Things utterly extravagant.

SCA. Utterly extravagant things.

ARG. But what?

ARG. But why?

SCA. He spoke of no less than five or six hundred pistoles.

SCA. He talked about at least five or six hundred pistoles.

ARG. Five or six hundred agues to choke him withal. Does he think me a fool?

ARG. Five or six hundred fevers to suffocate him with. Does he think I'm an idiot?

SCA. Just what I told him. I laughed his proposal to scorn, and made him understand that you were not a man to be duped in that fashion, and of whom anyone can ask five or six hundred pistoles! However, after much talking, this is what we decided upon. "The time is now come," he said, "when I must go and rejoin the army. I am buying my equipments, and the want of money I am in forces me to listen to what you propose. I must have a horse, and I cannot obtain one at all fit for the service under sixty pistoles."

SCA. Just what I told him. I laughed at his proposal and made it clear that you’re not someone to be tricked like that, and that no one can just ask you for five or six hundred pistoles! However, after a lot of discussion, this is what we decided. "The time has come," he said, "when I need to go back to the army. I’m buying my gear, and my lack of money is forcing me to consider what you’re offering. I need a horse, and I can’t find one that’s even remotely suitable for less than sixty pistoles."

ARG. Well, yes; I am willing to give sixty pistoles.

ARG. Well, yes; I am willing to pay sixty pistoles.

SCA. He must have the harness and pistols, and that will cost very nearly twenty pistoles more.

SCA. He needs the harness and pistols, and that will cost almost twenty pistoles more.

ARG. Twenty and sixty make eighty.

ARG. Twenty and sixty equal eighty.

SCA. Exactly.

SCA. For sure.

ARG. It's a great deal; still, I consent to that.

ARG. It's a good deal; still, I agree to that.

SCA. He must also have a horse for his servant, which, we may expect, will cost at least thirty pistoles.

SCA. He also needs a horse for his servant, which we can expect will cost at least thirty pistoles.

ARG. How, the deuce! Let him go to Jericho. He shall have nothing at all.

ARG. How on earth! Let him go to Jericho. He won't get anything at all.

SCA. Sir!

SCA. Hey!

ARG. No; he's an insolent fellow.

ARG. No; he's a rude guy.

SCA. Would you have his servant walk?

SCA. Would you like his servant to walk?

ARG. Let him get along as he pleases, and the master too.

ARG. Let him do as he wants, and the master as well.

SCA. Now, Sir, really don't go and hesitate for so little. Don't have recourse to law, I beg of you, but rather give all that is asked of you, and save yourself from the clutches of justice.

SCA. Now, Sir, really don’t hesitate over something so minor. Please don’t turn to the law, but instead give everything that’s requested of you, and spare yourself from the grip of justice.

ARG. Well, well! I will bring myself to give these thirty pistoles also.

ARG. Well, well! I’ll go ahead and give these thirty pistoles too.

SCA. "I must also have," he said, "a mule to carry...."

SCA. "I also need," he said, "a mule to carry...."

ARG. Let him go to the devil with his mule! This is asking too much. We will go before the judges.

ARG. Let him take his mule and go to hell! This is too much to ask. We will go to the judges.

SCA. I beg of you, Sir!

SCA. Please, sir!

ARG. No, I will not give in.

ARG. No, I won't give in.

SCA. Sir, only one small mule.

SCA. Sir, just one little mule.

ARG. No; not even an ass.

ARG. No; not even a donkey.

SCA. Consider....

SCA. Think about...

ARG. No, I tell you; I prefer going to law.

ARG. No, I’m telling you; I’d rather go to court.

SCA. Ah! Sir, what are you talking about, and what a resolution you are going to take. Just cast a glance on the ins and outs of justice, look at the number of appeals, of stages of jurisdiction; how many embarrassing procedures; how many ravening wolves through whose claws you will have to pass; serjeants, solicitors, counsel, registrars, substitutes, recorders, judges and their clerks. There is not one of these who, for the merest trifle, couldn't knock over the best case in the world. A serjeant will issue false writs without your knowing anything of it. Your solicitor will act in concert with your adversary, and sell you for ready money. Your counsel, bribed in the same way, will be nowhere to be found when your case comes on, or else will bring forward arguments which are the merest shooting in the air, and will never come to the point. The registrar will issue writs and decrees against you for contumacy. The recorder's clerk will make away with some of your papers, or the instructing officer himself will not say what he has seen, and when, by dint of the wariest possible precautions, you have escaped all these traps, you will be amazed that your judges have been set against you either by bigots or by the women they love. Ah! Sir, save yourself from such a hell, if you can. 'Tis damnation in this world to have to go to law; and the mere thought of a lawsuit is quite enough to drive me to the other end of the world.

SCA. Ah! Sir, what are you talking about, and what a decision you’re about to make. Just take a look at how justice works, check out the number of appeals and jurisdiction stages; consider all the complicated procedures; the many greedy wolves you’ll have to deal with: barristers, solicitors, counsel, registrars, substitutes, recorders, judges, and their clerks. Not one of them wouldn’t be able to ruin the best case in the world over a petty issue. A barrister will issue false documents without you even knowing. Your solicitor might team up with your opponent and sell you out for cash. Your counsel, bribed in the same way, will be nowhere to be found when your case is heard or will come up with arguments that are completely off-target and miss the point entirely. The registrar will issue court orders against you for not showing up. The recorder's clerk might lose some of your paperwork, or the officer in charge might not speak up about what he’s seen. And just when you think you’ve outsmarted all these traps with the utmost care, you’ll be shocked to find that your judges are turned against you by fanatics or the women they’re infatuated with. Ah! Sir, save yourself from such a nightmare, if you can. It’s hell on earth to have to go to court; even the thought of a lawsuit is enough to make me want to escape to the ends of the earth.

ARG. How much does he want for the mule?

ARG. How much does he want for the mule?

SCA. For the mule, for his horse and that of his servant, for the harness and pistols, and to pay a little something he owes at the hotel, he asks altogether two hundred pistoles, Sir.

SCA. For the mule, for his horse and his servant's horse, for the harness and pistols, and to settle a small debt he owes at the hotel, he’s asking for a total of two hundred pistoles, Sir.

ARG. Two hundred pistoles?

Whoa. Two hundred pistoles?

SCA. Yes.

SCA. Yep.

ARG. (walking about angrily). No, no; we will go to law.

ARG. (walking about angrily). No way; we’ll take this to court.

SCA. Recollect what you are doing.

SCA. Remember what you're up to.

ARG. I shall go to law.

ARG. I will take legal action.

SCA. Don't go and expose yourself to....

SCA. Don't go and put yourself out there to....

ARG. I will go to law.

ARG. I'm going to take legal action.

SCA. But to go to law you need money. You must have money for the summons, you must have money for the rolls, for prosecution, attorney's introduction, solicitor's advice, evidence, and his days in court. You must have money for the consultations and pleadings of the counsel, for the right of withdrawing the briefs, and for engrossed copies of the documents. You must have money for the reports of the substitutes, for the court fees {1} at the conclusion, for registrar's enrolment, drawing up of deeds, sentences, decrees, rolls, signings, and clerks' despatches; letting alone all the presents you will have to make. Give this money to the man, and there you are well out of the whole thing.

SCA. But to take legal action, you need cash. You have to pay for the summons, the filing fees, the cost of bringing the case, the lawyer's introduction, the attorney’s advice, evidence, and his time in court. You need money for the consultations and pleadings from the lawyers, for the right to withdraw the briefs, and for the official copies of the documents. You must have money for the reports from the substitutes, for the court fees {1} at the end, for the registrar's enrollment, the drafting of deeds, judgments, decrees, filings, signatures, and clerks' dispatches; not to mention all the gifts you’ll need to give. Hand over this money to the person, and you’re pretty much out of the whole situation.

{1} Épices, "spices," in ancient times, equalled sweetmeats, and were given to the judge by the side which gained the suit, as a mark of gratitude. These épices had long been changed into a compulsory payment of money when Molière wrote. In Racine's Plaideurs, act ii. scene vii., Petit Jean takes literally the demand of the judge for épices, and fetches the pepper-box to satisfy him.

{1} Épices, or "spices," in ancient times, referred to sweetmeats, and were given to the judge by the winning side as a gesture of gratitude. These épices had long since turned into a mandatory payment of money by the time Molière was writing. In Racine's Plaideurs, act ii. scene vii., Petit Jean takes the judge's request for épices literally and brings a pepper shaker to appease him.

ARG. Two hundred pistoles!

Wow. Two hundred pistoles!

SCA. Yes, and you will save by it. I have made a small calculation in my head of all that justice costs, and I find that by giving two hundred pistoles to your man you will have a large margin left—say, at least a hundred and fifty pistoles—without taking into consideration the cares, troubles, and anxieties, which you will spare yourself. For were it only to avoid being before everybody the butt of some facetious counsel, I had rather give three hundred pistoles than go to law. {Footnote: What would Molière have said if he had been living now!}

SCA. Yes, and you'll save money by doing it. I've quickly calculated how much justice costs, and I find that by giving two hundred pistoles to your guy, you'll still have a good amount left—let's say at least a hundred and fifty pistoles—without even considering the worries, troubles, and stress you'll avoid. Just to skip being the target of some sarcastic advice in front of everyone, I'd rather pay three hundred pistoles than go to court. {Footnote: What would Molière have said if he were alive today!}

ARG. I don't care for that, and I challenge all the lawyers to say anything against me.

ARG. I don't care about that, and I dare all the lawyers to say anything against me.

SCA. You will do as you please, but in your place I would avoid a lawsuit.

SCA. You can do whatever you want, but if I were you, I'd steer clear of a lawsuit.

ARG. I will never give two hundred pistoles.

ARG. I will never pay two hundred pistoles.

SCA. Ah! here is our man.

SCA. Ah! Here’s our dude.










SCENE IX.—ARGANTE, SCAPIN, SILVESTRE,

dressed out as a bravo.

dressed up like a tough guy.

SIL. Scapin, show me that Argante who is the father of Octave.

SIL. Scapin, show me that Argante who is Octave's father.

SCA. What for, Sir?

SCA. What’s that for, Sir?

SIL. I have just been told that he wants to go to law with me, and to have my sister's marriage annulled.

SIL. I just heard that he wants to take legal action against me and have my sister's marriage canceled.

SCA. I don't know if such is his intention, but he won't consent to give the two hundred pistoles you asked; he says it's too much.

SCA. I'm not sure if that's his intention, but he won't agree to give the two hundred pistoles you asked for; he says it's too much.

SIL. S'death! s'blood! If I can but find him, I'll make mince-meat of him, were I to be broken alive on the wheel afterwards.

SIL. Damn it! If I can just find him, I’ll tear him apart, even if it means I get broken alive on the wheel afterward.

(ARGANTE hides, trembling, behind SCAPIN.)

(ARGANTE hides, trembling, behind SCAPIN.)

SCA. Sir, the father of Octave is a brave man, and perhaps he will not be afraid of you.

SCA. Sir, Octave's father is a brave man, and maybe he won't be scared of you.

SIL. Ah! will he not? S'blood! s'death! If he were here, I would in a moment run my sword through his body. (Seeing ARGANTE.) Who is that man?

SIL. Oh! Will he not? Damn it! If he were here, I would stab him with my sword in an instant. (Seeing ARGANTE.) Who is that guy?

SCA. He's not the man, Sir; he's not the man.

SCA. He’s not the guy, Sir; he’s not the guy.

SIL. Is he one of his friends?

SIL. Is he one of his friends?

SCA. No, Sir; on the contrary, he's his greatest enemy.

SCA. No, Sir; instead, he's his biggest enemy.

SIL. His greatest enemy?

SIL. His biggest enemy?

SCA. Yes.

SCA. Yeah.

SIL. Ah! zounds! I am delighted at it. (To ARGANTE) You are an enemy of that scoundrel Argante, are you?

SIL. Ah! Wow! I'm so happy about this. (To ARGANTE) You're an enemy of that jerk Argante, right?

SCA. Yes, yes; I assure you that it is so.

SCA. Yes, absolutely; I promise you that it’s true.

SIL. (shaking ARGANTE'S hand roughly). Shake hands, shake hands. I give you my word, I swear upon my honour, by the sword I wear, by all the oaths I can take, that, before the day is over, I shall have delivered you of that rascally knave, of that scoundrel Argante. Trust me.

SIL. (shaking ARGANTE'S hand roughly). Let’s shake hands. I promise you, I swear on my honor, on the sword I carry, and by all the oaths I can make, that by the end of the day, I’ll have gotten rid of that sneaky trickster, that scoundrel Argante. Trust me.

SCA. But, Sir, violent deeds are not allowed in this country.

SCA. But, sir, violent actions aren't acceptable in this country.

SIL. I don't care, and I have nothing to lose.

SIL. I don't care, and I have nothing to lose.

SCA. He will certainly take his precautions; he has relations, friends, servants, who will take his part against you.

SCA. He will definitely be careful; he has family, friends, and servants who will support him against you.

SIL. Blood and thunder! It is all I ask, all I ask. (Drawing his sword.) Ah! s'death! ah! s'blood! Why can I not meet him at this very moment, with all these relations and friends of his? If he would only appear before me, surrounded by a score of them! Why do they not fall upon me, arms in hand? (Standing upon his guard.) What! you villains! you dare to attack me? Now, s'death! Kill and slay! (He lunges out on all sides; as if he were fighting many people at once.) No quarter; lay on. Thrust. Firm. Again. Eye and foot. Ah! knaves! ah! rascals! ah! you shall have a taste of it. I'll give you your fill. Come on, you rabble! come on. That's what you want, you there. You shall have your fill of it, I say. Stick to it, you brutes; stick to it. Now, then, parry; now, then, you. (Turning towards ARGANTE and SCAPIN.) Parry this; parry. You draw back? Stand firm, man! S'death! What! Never flinch, I say.

SIL. Blood and thunder! That's all I ask, all I want. (Drawing his sword.) Ah! damn it! ah! damn! Why can't I run into him right now, with all these friends and family around him? If only he would show up in front of me, surrounded by a bunch of them! Why aren’t they attacking me, weapons in hand? (Standing his ground.) What! You cowards! You dare to come after me? Now, damn it! Kill and destroy! (He lunges out in all directions, as if fighting multiple people at once.) No mercy; let’s go. Thrust. Strong. Again. Aim and step. Ah! scoundrels! ah! villains! ah! you will taste my wrath. I’ll give you enough. Come on, you mob! come on. That's what you want, isn’t it? You will get what you ask for, I swear. Stay with it, you brutes; stay with it. Now, then, block; now, you. (Turning towards ARGANTE and SCAPIN.) Block this; block. Are you backing down? Stand your ground, man! Damn it! What! Never back down, I say.

SCA. Sir, we have nothing to do with it.

SCA. Sir, we have no involvement in it.

SIL. That will teach you to trifle with me.

SIL. That'll teach you to mess with me.










SCENE X.—ARGANTE, SCAPIN.

SCA. Well, Sir, you see how many people are killed for two hundred pistoles. Now I wish you a good morning.

SCA. Well, Sir, you can see how many people lose their lives over two hundred pistoles. Now, I wish you a good morning.

ARG. (all trembling). Scapin.

ARG. (*all trembling*). Scapin.

SCA. What do you say?

SCA. What do you think?

ARG. I will give the two hundred pistoles.

ARG. I'll give two hundred pistoles.

SCA. I am very glad of it, for your sake.

SCA. I'm really happy about it, for you.

ARG. Let us go to him; I have them with me.

ARG. Let's go to him; I have them with me.

SCA. Better give them to me. You must not, for your honour, appear in this business, now that you have passed for another; and, besides, I should be afraid that he would ask you for more, if he knew who you are.

SCA. You’d better hand those over to me. For the sake of your reputation, you shouldn’t get involved in this now that you've been seen as someone else; plus, I’d be worried he’d ask you for more if he found out who you really are.

ARG. True; still I should be glad to see to whom I give my money.

ARG. True; but I would still like to know who I'm giving my money to.

SCA. Do you mistrust me then?

SCA. Do you not trust me?

ARG. Oh no; but....

ARG. Oh no, but....

SCA. Zounds! Sir; either I am a thief or an honest man; one or the other. Do you think I would deceive you, and that in all this I have any other interest at heart than yours and that of my master, whom you want to take into your family? If I have not all your confidence, I will have no more to do with all this, and you can look out for somebody else to get you out of the mess.

SCA. Wow! Sir; I’m either a thief or a decent guy; it’s one or the other. Do you really think I would trick you? Do you think I have any interest here other than yours and my master’s, who you want to bring into your family? If you don’t fully trust me, I’m out of this, and you’ll have to find someone else to help you with this problem.

ARG. Here then.

ARG. Here now.

SCA. No, Sir; do not trust your money to me. I would rather you trusted another with your message.

SCA. No, Sir; please don’t trust your money to me. I’d prefer you to rely on someone else with your message.

ARG. Ah me! here, take it.

Got it. Here, take this.

SCA. No, no, I tell you; do not trust me. Who knows if I do not want to steal your money from you?

SCA. No, no, I’m serious; don’t trust me. Who knows if I’m just trying to steal your money?

ARG. Take it, I tell you, and don't force me to ask you again. However, mind you have an acknowledgment from him.

ARG. Take it, I’m telling you, and don’t make me ask you again. Just make sure you get an acknowledgment from him.

SCA. Trust me; he hasn't to do with an idiot.

SCA. Trust me; he's not associated with an idiot.

ARG. I will go home and wait for you.

ARG. I'll go home and wait for you.

SCA. I shall be sure to go. (Alone.) That one's all right; now for the other. Ah! here he is. They are sent one after the other to fall into my net.

SCA. I will definitely go. (Alone.) That one's good; now for the next. Ah! here he comes. They are sent one after another to fall into my trap.










SCENE XI.—GÉRONTE, SCAPIN.

SCA. (affecting not to see GÉRONTE). O Heaven! O unforeseen misfortune! O unfortunate father! Poor Géronte, what will you do?

SCA. (pretending not to notice GÉRONTE). Oh Heaven! Oh unexpected disaster! Oh poor father! Poor Géronte, what will you do?

GER. (aside). What is he saying there with that doleful face?

GER. (aside). What is he talking about with that sad expression?

SCA. Can no one tell me whereto find Mr. Géronte?

SCA. Can anyone tell me where to find Mr. Géronte?

GER. What is the matter, Scapin?

GER. What's up, Scapin?

SCA. (running about on the stage, and still affecting not to see or hear GÉRONTE). Where could I meet him, to tell him of this misfortune?

SCA. (running around on stage, still pretending not to see or hear GÉRONTE). Where can I find him to tell him about this disaster?

GER. (stopping SCAPIN). What is the matter?

GER. (stopping SCAPIN). What’s happening?

SCA. (as before). In vain I run everywhere to meet him. I cannot find him.

SCA. (as before). I'm desperately searching everywhere to find him. I can't locate him.

GER. Here I am.

Here I am.

SCA. (as before). He must have hidden himself in some place which nobody can guess.

SCA. (as before). He must have found a hiding spot that no one can figure out.

GER. (stopping SCAPIN again). Ho! I say, are you blind? Can't you see me?

GER. (stopping SCAPIN again). Hey! Are you blind? Can't you see me?

SCA. Ah! Sir, it is impossible to find you.

SCA. Ah! Sir, I can’t find you anywhere.

GER. I have been near you for the last half-hour. What is it all about?

GER. I've been around you for the last half hour. What's going on?

SCA. Sir....

SCA. Dude....

GER. Well!

Wow!

SCA. Your son, Sir....

SCA. Your son, Sir...

GER. Well! My son....

GER. Well! My kid....

SCA. Has met with the strangest misfortune you ever heard of.

SCA has experienced the weirdest misfortune you can imagine.

GER. What is it?

GER. What's that?

SCA. This afternoon I found him looking very sad about something which you had said to him, and in which you had very improperly mixed my name. While trying: to dissipate his sorrow, we went and walked about in the harbour. There, among other things, was to be seen a Turkish galley. A young Turk, with a gentlemanly look about him, invited us to go in, and held out his hand to us. We went in. He was most civil to us; gave us some lunch, with the most excellent fruit and the best wine you have ever seen.

SCA. This afternoon, I found him looking really sad about something you said to him, where you inappropriately brought my name into it. To cheer him up, we went for a walk in the harbor. There, we saw a Turkish galley among other things. A well-mannered young Turk invited us in and extended his hand to us. We went inside. He was very polite; he offered us lunch, which included the best fruit and the finest wine you've ever tasted.

GER. What is there so sad about all this?

GER. What’s so sad about all this?

SCA. Wait a little; it is coming. Whilst we were eating, the galley left the harbour, and when in the open sea, the Turk made me go down into a boat, and sent me to tell you that unless you sent by me five hundred crowns, he would take your son prisoner to Algiers.

SCA. Hold on for a moment; it's on the way. While we were eating, the ship set sail from the harbor, and once we were out at sea, the Turk made me get into a small boat and sent me to tell you that if you don't send 500 crowns with me, he will take your son as a prisoner to Algiers.

GER. What! five hundred crowns!

Whoa! Five hundred bucks!

SCA. Yes, Sir; and, moreover, he only gave me two hours to find them in.

SCA. Yes, Sir; and, on top of that, he only gave me two hours to find them.

GER. Ah! the scoundrel of a Turk to murder me in that fashion!

GER. Ah! That dirty Turk, to kill me like this!

SCA. It is for you, Sir, to see quickly about the means of saving from slavery a son whom you love so tenderly.

SCA. It's up to you, Sir, to quickly find a way to save your beloved son from slavery.

GER. What the deuce did he want to go in that galley for? {Footnote: Que diable allait-il faire dans cette galère? This sentence has become established in the language with the meaning, "Whatever business had he there?"}

GER. What the heck did he want to go in that galley for? {Footnote: Que diable allait-il faire dans cette galère? This sentence has become established in the language with the meaning, "Whatever business had he there?"}

SCA. He had no idea of what would happen.

SCA. He had no clue what was going to happen.

GER. Go, Scapin, go quickly, and tell that Turk that I shall send the police after him.

GER. Go, Scapin, hurry up, and tell that Turk that I'm going to send the cops after him.

SCA. The police in the open sea! Are you joking?

SCA. The police out in the open sea! Are you serious?

GER. What the deuce did he want to go in that galley for?

GER. What the heck did he want to go into that kitchen for?

SCA. A cruel destiny will sometimes lead people.

SCA. Sometimes, a harsh fate will guide people.

GER. Listen, Scapin; you must act in this the part of a faithful servant.

GER. Listen, Scapin; you need to play the role of a loyal servant here.

SCA. How, Sir?

SCA. How, dude?

GER. You must go and tell that Turk that he must send me back my son, and that you will take his place until I have found the sum he asks.

GER. You need to go and tell that Turk that he has to send my son back to me, and that you’ll take his place until I can come up with the amount he demands.

SCA. Ah! Sir; do you know what you are saying? and do you fancy that that Turk will be foolish enough to receive a poor wretch like me in your son's stead?

SCA. Ah! Sir; do you realize what you’re saying? Do you really think that Turk will be naive enough to accept a poor person like me instead of your son?

GER. What the deuce did he want to go in that galley for?

GER. What the heck did he want to go in that kitchen for?

SCA. He could not foresee his misfortune. However, Sir, remember that he has given me only two hours.

SCA. He couldn't predict his bad luck. However, sir, keep in mind that he has only given me two hours.

GER. You say that he asks....

GER. You say that he asks....

SCA. Five hundred crowns.

SCA. 500 crowns.

GER. Five hundred crowns! Has he no conscience?

GER. Five hundred crowns! Does he have no shame?

SCA. Ah! ah! Conscience in a Turk!

SCA. Ah! wow! Conscience in a Turk!

GER. Does he understand what five hundred crowns are?

GER. Does he get what five hundred crowns mean?

SCA. Yes, Sir, he knows that five hundred crowns are one thousand five hundred francs. {Footnote: The écu stands usually for petit écu, which equalled three franks. "Crown," employed in a general sense, seems the only translation possible.}

SCA. Yes, Sir, he knows that five hundred crowns are one thousand five hundred francs. {Footnote: The écu typically refers to petit écu, which was equal to three francs. "Crown," used in a general sense, appears to be the only possible translation.}

GER. Does the scoundrel think that one thousand five hundred francs are to be found in the gutter?

GER. Does that scoundrel think that fifteen hundred francs are just lying around in the gutter?

SCA. Such people will never listen to reason.

SCA. Those people will never listen to reason.

GER. But what the deuce did he want to go in that galley for?

GER. But what the heck did he want to go in that kitchen for?

SCA. Ah! what a waste of words! Leave the galley alone; remember that time presses, and that you are running the risk of losing your son for ever. Alas! my poor master, perhaps I shall never see you again, and that at this very moment, whilst I am speaking to you, they are taking you away to make a slave of you in Algiers! But Heaven is my witness that I did all I could, and that, if you are not brought back, it is all owing to the want of love of your father.

SCA. Ah! what a waste of words! Leave the galley alone; remember that time is running out, and you risk losing your son forever. Alas! my poor master, I may never see you again, and right now, as I speak to you, they’re taking you away to make a slave of you in Algiers! But Heaven knows I did everything I could, and if you aren’t brought back, it’s all because of your father's lack of love.

GER. Wait a minute, Scapin; I will go and fetch that sum of money.

GER. Hold on, Scapin; I’ll go get that amount of money.

SCA. Be quick, then, for I am afraid of not being in time.

SCA. Hurry up, then, because I'm worried I won't be on time.

GER. You said four hundred crowns; did you not?

GER. You said four hundred crowns, right?

SCA. No, five hundred crowns.

SCA. No, 500 crowns.

GER. Five hundred crowns!

500 crowns!

SCA. Yes.

SCA. Yep.

GER. What the deuce did he want to go in that galley for?

GER. What on earth did he want to go into that kitchen for?

SCA. Quite right, but be quick.

SCA. You're absolutely right, but please hurry up.

GER. Could he not have chosen another walk?

GER. Couldn't he have picked a different path?

SCA. It is true; but act promptly.

SCA. It's true; but take action quickly.

GER. Cursed galley!

Cursed ship!

SCA. (aside) That galley sticks in his throat.

SCA. (aside) That ship really bothers him.

GER. Here, Scapin; I had forgotten that I have just received this sum in gold, and I had no idea it would so soon be wrenched from me. (Taking his purse out of his pocket, and making as if he were giving it to SCAPIN.) But mind you tell that Turk that he is a scoundrel.

GER. Hey, Scapin; I totally forgot that I just got this amount in gold, and I didn’t think it would be taken from me so quickly. (Taking his purse out of his pocket and pretending to hand it to SCAPIN.) But make sure you tell that Turk that he’s a jerk.

SCA. (holding out his hand). Yes.

SCA. (extending his hand). Yeah.

GER. (as above). An infamous wretch.

GER. (as above). A notorious scoundrel.

SCA. (still holding out his hand). Yes.

SCA. (still extending his hand). Yes.

GER. (as above). A man without conscience, a thief.

GER. (as above). A man with no morals, a thief.

SCA. Leave that to me.

SCA. I got this.

GER. (as above). That....

GER. (as above). That....

SCA. All right.

SCA. Okay.

GER. (as above). And that, if ever I catch him, he will pay for it.

GER. (as above). And if I ever catch him, he's going to pay for it.

SCA. Yes.

SCA. Yeah.

GER. (putting back the purse in his pocket). Go, go quickly, and fetch my son.

GER. (putting the purse back in his pocket). Go, hurry, and get my son.

SCA. (running after him). Hallo! Sir.

SCA. (running after him). Hey! Sir.

GER. Well?

GER. What's up?

SCA. And the money?

SCA. What about the money?

GER. Did I not give it to you?

GER. Didn't I give it to you?

SCA. No, indeed, you put it back in pour pocket.

SCA. No, really, you put it back in your pocket.

GER. Ah! it is grief which troubles my mind.

GER. Ah! it's grief that's weighing on my mind.

SCA. So I see.

SCA. Got it.

GER. What the deuce did he want to go in that galley for? Ah! cursed galley! Scoundrel of a Turk! May the devil take you!

GER. What on earth did he want to go into that kitchen for? Ah! cursed kitchen! Scoundrel of a Turk! May the devil take you!

SCAPIN (alone). He can't get over the five hundred crowns I wrench from him; but he has not yet done with me, and I will make him pay in a different money his imposture about me to his son.

SCAPIN (alone). He can’t stop thinking about the five hundred crowns I got from him; but he's not finished with me yet, and I’ll make him pay in a different way for deceiving his son about me.










SCENE XII.-OCTAVE, LÉANDRE, SCAPIN.

OCT. Well, Scapin, have your plans been successful?

OCT. So, Scapin, did your plans work out?

LEA. Have you done anything towards alleviating my sorrow?

LEA. Have you done anything to ease my sadness?

SCA. (to OCTAVE). Here are two hundred pistoles I have got from your father.

SCA. (to OCTAVE). Here are two hundred pistoles I got from your dad.

OCT. Ah! how happy you make me.

OCT. Ah! You make me so happy.

SCA. (to LÉANDRE), But I could do nothing for you.

SCA. (to LÉANDRE), But I couldn't help you.

LEA. (going away). Then I must die, Sir, for I could not live without Zerbinette.

LEA. (going away). Then I have to die, Sir, because I couldn't live without Zerbinette.

SCA. Hallo! stop, stop; my goodness, how quick you are!

SCA. Hey! Hold on, hold on; wow, you're so fast!

LEA. What can become of me?

LEA. What will happen to me?

SCA. There, there, I have all you want.

SCA. There, there, I have everything you need.

LEA. Ah! you bring me back to life again.

LEA. Ah! you bring me back to life again.

SCA. But I give it you only on one condition, which is that you will allow me to revenge myself a little on your father for the trick he has played me.

SCA. But I’ll give it to you only if you agree to let me get a little revenge on your father for the trick he pulled on me.

LEA. You may do as you please.

LEA. You can do whatever you want.

SCA. You promise it to me before witnesses?

SCA. Do you promise it to me in front of witnesses?

LEA. Yes.

LEA. Yeah.

SCA. There, take these five hundred crowns.

SCA. Here, take these 500 crowns.

LEA. Ah! I will go at once and buy her whom I adore.

LEA. Ah! I’m going to go right now and buy the one I love.










ACT III.










SCENE I.—ZERBINETTE, HYACINTHA, SCAPIN, SILVESTRE.

SIL. Yes; your lovers have decided that you should be together, and we are acting according to their orders.

SIL. Yes; your partners have decided that you two should be together, and we're following their instructions.

HYA. (to ZERBINETTE). Such an order has nothing in it but what is pleasant to me. I receive such a companion with joy, and it will not be my fault if the friendship which exists between those we love does not exist also between us two.

HYA. (to ZERBINETTE). That kind of request is only pleasing to me. I welcome such a companion with joy, and if the friendship that exists between our loved ones doesn't also exist between us, it won't be my fault.

ZER. I accept the offer, and I am not one to draw back when friendship is asked of me.

ZER. I accept the offer, and I’m not the kind of person to back out when friendship is requested of me.

SCA. And when it is love that is asked of you?

SCA. And what if love is what you're being asked for?

ZER. Ah! love is a different thing. One runs more risk, and I feel less determined.

ZER. Ah! love is different. There's more at stake, and I feel less certain.

SCA. You are determined enough against my master, and yet what he has just done for you ought to give you confidence enough to respond to his love as you should.

SCA. You're strong enough to stand up to my master, and yet what he just did for you should make you feel secure enough to return his love properly.

ZER. As yet I only half trust him, and what he has just done is not sufficient to reassure me. I am of a happy disposition, and am very fond of fun, it is true. But though I laugh, I am serious about many things; and your master will find himself deceived if he thinks that it is sufficient for him to have bought me, for me to be altogether his. He will have to give something else besides money, and for me to answer to his love as he wishes me, he must give me his word, with an accompaniment of certain little ceremonies which are thought indispensable.

ZER. I only partially trust him right now, and what he just did doesn’t really reassure me. I’m generally a happy person and love having fun, that’s true. But even though I laugh, I take many things seriously; your master will be mistaken if he believes that buying me means I’m entirely his. He’ll need to offer more than just money, and if he wants me to respond to his love the way he wants, he needs to give me his word, along with a few little ceremonies that are considered essential.

SCA. It is so he understands this matter. He only wants you as his wife, and I am not a man to have mixed in this business if he had meant anything else.

SCA. He just wants you to know this. He only wants you to be his wife, and I'm not the kind of guy to get involved in this if he meant anything different.

ZER. I believe it since you say so; but I foresee certain difficulties with the father.

ZER. I believe you because you say so, but I can see some challenges with the father.

SCA. We shall find a way of settling that.

SCA. We'll figure out a way to settle that.

HYA. (to ZERBINETTE). The similarity of our fate ought to strengthen the tie of friendship between us. We are both subject to the same fears, both exposed to the same misfortune.

HYA. (to ZERBINETTE). The similarity of our experiences should strengthen the bond of friendship between us. We both share the same fears and are both facing the same misfortune.

ZER. You have this advantage at least that you know who your parents are, and that, sure of their help, when you wish to make them known, you can secure your happiness by obtaining a consent to the marriage you have contracted. But I, on the contrary, have no such hope to fall back upon, and the position I am in is little calculated to satisfy the wishes of a father whose whole care is money.

ZER. You at least have the advantage of knowing who your parents are, and with their support, when you want to introduce them, you can ensure your happiness by getting their approval for the marriage you've entered into. But I, on the other hand, don't have that hope to rely on, and my situation is not likely to meet the expectations of a father whose only concern is money.

HYA. That is true; but you have this in your favour, that the one you love is under no temptation of contracting another marriage.

HYA. That’s true; but you have this going for you: the person you love isn’t tempted to marry someone else.

ZER. A change in a lover's heart is not what we should fear the most. We may justly rely on our own power to keep the conquest we have made; but what I particularly dread is the power of the fathers; for we cannot expect to see them moved by our merit.

ZER. We shouldn’t be most afraid of a change in a lover's heart. We can trust in our own ability to hold onto the love we've gained; but what I truly fear is the influence of the fathers, because we can’t expect them to be swayed by our worth.

HYA. Alas! Why must the course of true love never run smooth? How sweet it would be to love with no link wanting in those chains which unite two hearts.

HYA. Oh no! Why can’t true love ever be easy? How wonderful it would be to love without any missing pieces in the bonds that connect two hearts.

SCA. How mistaken you are about this! Security in love forms a very unpleasant calm. Constant happiness becomes wearisome. We want ups and downs in life; and the difficulties which generally beset our path in this world revive us, and increase our sense of pleasure.

SCA. You're quite wrong about this! Feeling secure in love creates a rather uncomfortable calm. Always being happy can get tiring. We crave the highs and lows in life; the challenges we face in this world invigorate us and heighten our enjoyment.

ZER. Do tell us, Scapin, all about that stratagem of yours, which, I was told, is so very amusing; and how you managed to get some money out of your old miser. You know that the trouble of telling me something amusing is not lost upon me, and that I well repay those who take that trouble by the pleasure it gives me.

ZER. Please, Scapin, share with us your clever plan that I hear is quite entertaining, and tell us how you managed to squeeze some money out of your old miser. You know I appreciate a good story, and I always make sure to show my gratitude to those who take the time to entertain me.

SCA. Silvestre here will do that as well as I. I am nursing in my heart a certain little scheme of revenge which I mean to enjoy thoroughly.

SCA. Silvestre will handle that just as well as I will. I’m secretly holding onto a little plan for revenge that I plan to fully enjoy.

SIL. Why do you recklessly engage in enterprises that may bring you into trouble?

SIL. Why do you carelessly take on projects that could get you in trouble?

SCA. I delight in dangerous enterprises.

SCA. I take pleasure in risky ventures.

SIL. As I told you already, you would give up the idea you have if you would listen to me.

SIL. Like I already said, you would let go of that idea if you would just listen to me.

SCA. I prefer listening to myself.

SCA. I’d rather listen to myself.

SIL. Why the deuce do you engage in such a business?

SIL. Why on earth are you involved in something like that?

SCA. Why the deuce do you trouble yourself about it?

SCA. Why on earth are you worrying about it?

SIL. It is because I can see that you will without necessity bring a storm of blows upon yourself.

SIL. It's because I can tell you’re going to bring a bunch of trouble on yourself for no reason.

SCA. Ah, well, it will be on my shoulders, and not on yours.

SCA. Oh, well, it will be my responsibility, not yours.

SIL. It is true that you are master of your own shoulders, and at liberty to dispose of them as you please.

SIL. It’s true that you’re in control of your own shoulders and can do whatever you want with them.

SCA. Such dangers never stop me, and I hate those fearful hearts which, by dint of thinking of what may happen, never undertake anything.

SCA. Those dangers don't hold me back, and I can't stand those fearful people who, by constantly worrying about what might happen, never try anything.

ZER. (to SCAPIN). But we shall want you.

ZER. (to SCAPIN). But we will need you.

SCA. Oh, yes! but I shall soon be with you again. It shall never be said that a man has with impunity put me into a position of betraying myself, and of revealing secrets which it were better should not be known.

SCA. Oh, yes! But I'll be back with you soon. No one can say they got away with putting me in a position where I have to betray myself and reveal secrets that are better left hidden.










SCENE II.—GÉRONTE, SCAPIN.

GER. Well! Scapin, and how have we succeeded about my son's mischance?

GER. Well! Scapin, how did we do with my son's situation?

SCA. Your son is safe, Sir; but you now run the greatest danger imaginable, and I sincerely wish you were safe in your house.

SCA. Your son is safe, Sir; but you are now facing the greatest danger imaginable, and I truly wish you were safe at home.

GER. How is that?

How's that?

SCA. While I am speaking to you, there are people who are looking out for you everywhere.

SCA. As I talk to you, there are people watching out for you all around.

GER. For me?

GER. For me?

SCA. Yes.

SCA. Yeah.

GER. But who?

But who?

SCA. The brother of that young girl whom Octave has married. He thinks that you are trying to break off that match, because you intend to give to your daughter the place she occupies in the heart of Octave; and he has resolved to wreak his vengeance upon you. All his friends, men of the sword like himself, are looking out for you, and are seeking you everywhere. I have met with scores here and there, soldiers of his company, who question every one they meet, and occupy in companies all the thoroughfares leading to your house, so that you cannot go home either to the right or the left without falling into their hands.

SCA. The brother of that young woman Octave married. He thinks you’re trying to break up their engagement because you want to give your daughter the place she has in Octave's heart; and he’s set on getting revenge on you. All his friends, who are swordsmen like him, are on the lookout for you and are searching everywhere. I’ve encountered dozens of his soldiers scattered around, questioning everyone they see, and they’re blocking all the roads leading to your house, so you can’t get home without running into them.

GER. What can I do, my dear Scapin?

GER. What should I do, my dear Scapin?

SCA. I am sure I don't know, Sir; it is an unpleasant business. I tremble for you from head to foot and.... Wait a moment.

SCA. I honestly don't know, Sir; it's an uncomfortable situation. I feel nervous for you from head to toe and... Wait a second.

(SCAPIN goes to see in the back of the stage if there is anybody coming.)

(SCAPIN checks the back of the stage to see if anyone is coming.)

GER. (trembling). Well?

GER. (trembling). So?

SCA. (coming back). No, no; 'tis nothing.

SCA. (coming back). No, no; it's nothing.

GER. Could you not find out some means of saving me?

GER. Couldn't you find a way to save me?

SCA. I can indeed think of one, but I should run the risk of a sound beating.

SCA. I can definitely think of one, but I might risk getting beat up.

GER. Ah! Scapin, show yourself a devoted servant. Do not forsake me, I pray you.

GER. Ah! Scapin, be a loyal servant. Please don't abandon me.

SCA. I will do what I can. I feel for you a tenderness which renders it impossible for me to leave you without help.

SCA. I will do what I can. I have a deep care for you that makes it impossible for me to walk away without offering help.

GER. Be sure that I will reward you for it, Scapin, and I promise you this coat of mine when it is a little more worn.

GER. Just know that I’ll make it up to you for this, Scapin, and I promise you this coat of mine once it’s a bit more worn.

SCA. Wait a minute. I have just thought, at the proper moment, of the very thing to save you. You must get into this sack, and I....

SCA. Hold on. I've just realized the perfect solution to save you. You need to get into this sack, and I....

GER. (thinking he sees somebody). Ah!

GER. (thinking he sees someone). Ah!

SCA. No, no, no, no; 'tis nobody. As I was saying, you must get in here, and must be very careful not to stir. I will put you on my shoulders, and carry you like a bundle of something or other. I shall thus be able to take you through your enemies, and see you safe into your house. When there, we will barricade the door and send for help.

SCA. No, no, no, no; it’s nobody. As I was saying, you need to get in here, and you have to be really careful not to move. I’ll lift you onto my shoulders and carry you like a package or something. That way, I can get you past your enemies and make sure you get home safely. Once there, we’ll barricade the door and call for help.

GER. A very good idea.

Great idea.

SCA. The best possible. You will see. (Aside) Ah! you shall pay me for that lie.

SCA. The best it can be. You'll see. (Aside) Ah! You're going to owe me for that lie.

GER. What?

What?

SCA. I only say that your enemies will be finely caught. Get in right to the bottom, and, above all things, be careful not to show yourself and not to move, whatever may happen.

SCA. I just mean that your enemies will be easily trapped. Go straight to the bottom, and above all, be careful not to reveal yourself and not to move, no matter what happens.

GER. You may trust me to keep still.

GER. You can count on me to stay quiet.

SCA. Hide yourself; here comes one of the bullies! He is looking for you. (Altering his voice.) {Footnote: All the parts within inverted commas are supposed to be spoken by the man Scapin is personating; the rest by himself.} "Vat! I shall not hab de pleasure to kill dis Géronte, and one vill not in sharity show me vere is he?" (To GÉRONTE, in his ordinary tone) Do not stir. "Pardi! I vill find him if he lied in de mittle ob de eart" (To GÉRONTE, in his natural tone) Do not show yourself. "Ho! you man vid a sack!" Sir! "I will give thee a pound if thou vilt tell me where dis Géronte is." You are looking for Mr. Géronte? "Yes, dat I am." And on what business, Sir? "For vat pusiness?" Yes. "I vill, pardi! trash him vid one stick to dead." Oh! Sir, people like him are not thrashed with sticks, and he is not a man to be treated so. "Vat! dis fob of a Géronte, dis prute, dis cat." Mr. Géronte, Sir, is neither a fop, a brute, nor a cad; and you ought, if you please, to speak differently. "Vat! you speak so mighty vit me?" I am defending, as I ought, an honourable man who is maligned. "Are you one friend of dis Géronte?" Yes, Sir, I am. "Ah, ah! You are one friend of him, dat is goot luck!" (Beating the sack several times with the stick.) "Here is vat I give you for him." (Calling out as if he received the beating) Ah! ah! ah! ah! Sir. Ah! ah! Sir, gently! Ah! pray. Ah! ah! ah! "Dere, bear him dat from me. Goot-pye." Ah! the wretch. Ah!...ah!

SCA. Hide! A bully is coming! He's looking for you. (Altering his voice.) {Footnote: All the parts within inverted commas are supposed to be spoken by the man Scapin is impersonating; the rest by himself.} "What! I'm not going to have the pleasure of killing this Géronte, and no one will kindly show me where he is?" (To GÉRONTE, in his ordinary tone) Stay put. "I swear! I will find him even if he’s lying in the middle of the earth." (To GÉRONTE, in his natural tone) Don't come out. "Hey! You, with the sack!" Sir! "I’ll give you a pound if you tell me where I can find this Géronte." You’re looking for Mr. Géronte? "Yes, that's right." And what’s the reason for your visit, Sir? "What reason?" Yes. "I swear! I'm going to beat him with a stick until he’s dead." Oh! Sir, people like him aren't beaten with sticks, and he's not someone to be treated like that. "What! This fop of a Géronte, this brute, this cad." Mr. Géronte, Sir, is neither a fop, a brute, nor a cad; and you should, if you don't mind, speak differently. "What! You’re talking back to me?" I'm defending, as I should, an honorable man who has been slandered. "Are you a friend of this Géronte?" Yes, Sir, I am. "Ah, ah! You're his friend, that's good luck!" (Beating the sack several times with the stick) "Here’s what I give you for him." (Calling out as if he received the beating) Ah! ah! ah! ah! Sir. Ah! ah! Sir, easy! Oh, please. Ah! ah! ah! "There, send this from me. Goodbye." Ah! the scoundrel. Ah!...ah!

GER. (looking out). Ah! Scapin, I can bear it no longer.

GER. (looking out). Ah! Scapin, I can't take it anymore.

SCA. Ah! Sir, I am bruised all over, and my shoulders are as sore as can be.

SCA. Ah! Sir, I'm sore all over, and my shoulders hurt a lot.

GER. How! It was on mine he laid his stick.

GER. What! He put his stick on mine.

SCA. I beg your pardon, Sir, it was on my back.

SCA. I'm sorry, Sir, it was on my back.

GER. What do you mean? I am sure I felt the blows, and feel them still.

GER. What do you mean? I'm certain I felt the hits, and I still feel them.

SCA. No, I tell you; it was only the end of his stick that reached your shoulders.

SCA. No, I'm telling you; it was just the tip of his stick that touched your shoulders.

GER. You should have gone a little farther back, then, to spare me, and....

GER. You should have gone a bit further back to save me, and....

SCA. (pushing GÉRONTE'S head back into the sack). Take care, here is another man who looks like a foreigner. "Frient, me run like one Dutchman, and me not fint all de tay dis treatful Géronte." Hide yourself well. "Tell me, you, Sir gentleman, if you please, know you not vere is dis Géronte, vat me look for?" No, Sir, I do not know where Géronte is. "Tell me, trutful, me not vant much vit him. Only to gife him one tosen plows vid a stick, and two or tree runs vid a swort tro' his shest." I assure you, Sir, I do not know where he is. "It seems me I see sometink shake in dat sack." Excuse me, Sir. "I pe shure dere is sometink or oder in dat sack." Not at all, Sir. "Me should like to gife one plow of de swort in dat sack." Ah! Sir, beware, pray you, of doing so. "Put, show me ten vat to be dere?" Gently, Sir. "Why chently?" You have nothing to do with what I am carrying. "And I, put I vill see." You shall not see. "Ah! vat trifling." It is some clothes of mine. "Show me tem, I tell you." I will not. "You vill not?" No. "I make you feel this shtick upon de sholders." I don't care. "Ah! you vill poast!" (Striking the sack, and calling out as if he were beaten) Oh! oh! oh! Oh! Sir. Oh! oh! "Goot-bye, dat is one littel lesson teach you to speak so insolent." Ah! plague the crazy jabberer! Oh!

SCA. (pushing GÉRONTE'S head back into the sack). Watch out, here’s another guy who looks like a foreigner. "Friend, I run like a Dutchman, and I can’t find all the time this annoying Géronte." Hide yourself well. "Tell me, sir, if you please, do you know where this Géronte is, that I’m looking for?" No, sir, I don’t know where Géronte is. "Honestly, I don’t want much from him. Just to give him one good hit with a stick and two or three stabs with a sword through his chest." I assure you, sir, I don’t know where he is. "It seems I see something moving in that sack." Excuse me, sir. "I’m sure there’s something or other in that sack." Not at all, sir. "I’d like to give one hit with the sword in that sack." Ah! Sir, please beware of doing that. "But, show me what’s in there?" Gently, sir. "Why gently?" You have nothing to do with what I’m carrying. "And I, but I will see." You shall not see. "Ah! What nonsense." It’s just some clothes of mine. "Show me them, I tell you." I will not. "You won’t?" No. "I’ll make you feel this stick on your shoulders." I don’t care. "Ah! You will regret it!" (Striking the sack, and calling out as if he were beaten) Oh! oh! oh! Oh! Sir. Oh! oh! "Goodbye, that’s a little lesson to teach you not to speak so insolently." Ah! Curse that crazy chatterbox! Oh!

GER. (looking out of the sack). Ah! all my bones are broken.

GER. (looking out of the sack). Ugh! I think all my bones are broken.

SCA. Ah! I am dying.

SCA. Ah! I'm dying.

GER. Why the deuce do they strike on my back?

GER. Why the heck are they hitting me in the back?

SCA. (pushing his head back into the bag). Take care; I see half a dozen soldiers coming together. (Imitating the voices of several people.) "Now, we must discover Géronte; let us look everywhere carefully. We must spare no trouble, scour the town, and not forget one single spot Let us search on all sides. Which way shall we go? Let us go that way. No, this. On the left. On the right. No; yes." (To GÉRONTE in his ordinary voice) Hide yourself well. "Ah! here is his servant. I say, you rascal, you must tell us where your master is. Speak. Be quick. At once. Make haste. Now." Ah! gentlemen, one moment. (GÉRONTE looks quietly out of the bag, and sees SCAPIN'S trick.) "If you do not tell us at once where your master is, we will shower a rain of blows on your back." I had rather suffer anything than tell you where my master is. "Very well, we will cudgel you soundly." Do as you please. "You want to be beaten, then?" I will never betray my master. "Ah! you will have it—there." Oh!

SCA. (pushing his head back into the bag) Be careful; I see about six soldiers gathering. (Imitating the voices of several people) "We need to find Géronte; let’s search every corner carefully. We can’t leave any stone unturned, let’s scour the town, and not miss a single place. Let’s check everywhere. Which way should we go? Let's go that way. No, this one. To the left. To the right. No; yes." (To GÉRONTE in his normal voice) Make sure you hide well. "Ah! Here’s his servant. Listen, you rascal, you have to tell us where your master is. Speak up. Hurry. Right now. Make it quick. Now." Oh! Gentlemen, just a moment. (GÉRONTE looks quietly out of the bag and sees SCAPIN'S trick.) "If you don’t tell us immediately where your master is, we’ll rain blows down on your back." I’d rather endure anything than reveal my master’s location. "Fine, we’ll beat you up then." Do whatever you want. "So you want to be beaten, huh?" I will never betray my master. "Ah! You’re asking for it—there." Oh!

(As he is going to strike, GÉRONTE gets out of the bag, and SCAPIN runs away.)

(As he is about to strike, GÉRONTE crawls out of the bag, and SCAPIN runs off.)

GER. (alone). Ah! infamous wretch! ah I rascal! ah! scoundrel! It is thus that you murder me?

GER. (alone). Ah! infamous wretch! Ah, you rascal! Ah! Scoundrel! Is this how you kill me?










SCENE III.—ZERBINETTE, GÉRONTE.

ZER. (laughing, without seeing GÉRONTE). Ah, ah! I must really come and breathe a little.

ZER. (laughing, without seeing GÉRONTE). Ah, ah! I really need to come and take a breath.

GER. (aside, not seeing ZERBINETTE). Ah! I will make you pay for it.

GER. (aside, not seeing ZERBINETTE). Ah! I will make you pay for it.

ZER. (not seeing GÉRONTE). Ah, ah, ah, ah! What an amusing story! What a good dupe that old man is!

ZER. (not seeing GÉRONTE). Ah, ha, ha, ha! What a funny story! What a great fool that old man is!

GER. This is no matter for laughter; and you have no business to laugh at it.

GER. This isn't something to laugh about, and you shouldn't be laughing at it.

ZER. Why? What do you mean, Sir?

ZER. Why? What are you talking about, Sir?

GER. I mean to say that you ought not to laugh at me.

GER. I just want to say that you shouldn't laugh at me.

ZER. Laugh at you?

ZER. Laugh at you?

GER. Yes.

Sure.

ZER. How! Who is thinking of laughing at you?

ZER. How! Who's thinking of making fun of you?

GER. Why do you come and laugh in my face?

GER. Why do you come and laugh in my face?

ZER. This has nothing to do with you. I am only laughing with myself at the remembrance of a story which has just been told me. The most amusing story in the world. I don't know if it is because I am interested in the matter, but I never heard anything so absurd as the trick that has just been played by a son to his father to get some money out of him.

ZER. This has nothing to do with you. I'm just laughing to myself thinking about a story I just heard. It's the funniest story in the world. I’m not sure if it’s because I care about the issue, but I've never heard anything as ridiculous as the stunt a son pulled on his father to get some cash from him.

GER. By a son to his father to get some money out of him?

GER. By a son to his father to get some cash from him?

ZER. Yes; and if you are at all desirous of hearing how it was done, I will tell you the whole affair. I have a natural longing for imparting to others the funny things I know.

ZER. Yes; and if you're interested in hearing how it all went down, I'll share the whole story. I have a natural urge to pass on the funny things I know.

GER. Pray, tell me that story.

GER. Please, tell me that story.

ZER. Willingly. I shall not risk much by telling it you, for it is an adventure which is not likely to remain secret long. Fate placed me among one of those bands of people who are called gypsies, and who, tramping from province to province, tell you your fortune, and do many other things besides. When we came to this town, I met a young man, who, on seeing me, fell in love with me. From that moment he followed me everywhere; and, like all young men, he imagined that he had but to speak and things would go on as he liked; but he met with a pride which forced him to think twice. He spoke of his love to the people in whose power I was, and found them ready to give me up for a certain sum of money. But the sad part of the business was that my lover found himself exactly in the same condition as most young men of good family, that is, without any money at all. His father, although rich, is the veriest old skinflint and greatest miser you ever heard of. Wait a moment—what is his name? I don't remember it—can't you help me? Can't you name some one in this town who is known to be the most hard-fisted old miser in the place?

ZER. Sure. I won’t risk much by telling you this because it’s an adventure that won't stay secret for long. Fate landed me among a group of people called gypsies, who travel from place to place, telling fortunes and doing all sorts of things. When we arrived in this town, I met a young man who, upon seeing me, fell in love. From that moment, he followed me everywhere; like most young men, he thought that just by speaking up, things would go his way, but he encountered a pride that made him reconsider. He confessed his love to the people who had control over me, and they were willing to let me go for a certain amount of money. But the sad part is, my lover was just like most young men from good families—completely broke. His father, even though he’s wealthy, is the biggest cheapskate and miser you could imagine. Wait—what’s his name? I can’t remember—can you help me? Can you name someone in this town who’s known as the most stingy old miser around?

GER. No.

No.

ZER. There is in his name some Ron...Ronte... Or...Oronte...No. Gé...Géronte. Yes, Géronte, that's my miser's name. I have it now; it is the old churl I mean. Well, to come back to our story. Our people wished to leave this town to-day, and my lover would have lost me through his lack of money if, in order to wrench some out of his father, he had not made use of a clever servant he has. As for that servant's name, I remember it very well. His name is Scapin. He is a most wonderful man, and deserves the highest praise.

ZER. There's a guy in his family named Ron...Ronte... Or...Oronte...No. Gé...Géronte. Yes, Géronte, that's my miserly old man’s name. I've got it now; it's the old tightwad I'm talking about. Anyway, back to our story. Our friends wanted to leave this town today, and my boyfriend would have lost me because he didn't have enough money if he hadn’t used a clever servant of his to get some from his father. And I remember that servant's name perfectly. His name is Scapin. He's an amazing guy and deserves all the praise.

GER. (aside). Ah, the wretch!

GER. (aside). Ah, the poor soul!

ZER. But just listen to the plan he adopted to take in his dupe—ah! ah! ah! ah! I can't think of it without laughing heartily—ah! ah! ah! He went to that old screw—ah! ah! ah!—and told him that while he was walking about the harbour with his son—ah! ah!—they noticed a Turkish galley; that a young Turk had invited them to come in and see it; that he had given them some lunch—ah! ah!—and that, while they were at table, the galley had gone into the open sea; that the Turk had sent him alone back, with the express order to say to him that, unless he sent him five hundred crowns, he would take his son to be a slave in Algiers—ah, ah, ah! You may imagine our miser, our stingy old curmudgeon, in the greatest anguish, struggling between his love for his son and his love for his money. Those five hundred crowns that are asked of him are five hundred dagger-thrusts—ah! ah! ah! ah! He can't bring his mind to tear out, as it were, this sum from his heart, and his anguish makes him think of the most ridiculous means to find money for his son's ransom—ah! ah! ah! He wants to send the police into the open sea after the Turk's galley—ah! ah! ah! He asks his servant to take the place of his son till he has found the money to pay for him—money he has no intention of giving—ah! ah! ah! He yields up, to make the five hundred crowns, three or four old suits which are not worth thirty—ah! ah! ah! The servant shows him each time how absurd is what he proposes, and each reflection of the old fellow is accompanied by an agonising, "But what the deuce did he want to go in that galley for? Ah! cursed galley. Ah! scoundrel of a Turk!" At last, after many hesitations, after having sighed and groaned for a long time...But it seems to me that my story does not make you laugh; what do you say to it?

ZER. But just listen to the plan he came up with to trick his victim—ah! ah! ah! I can't think of it without bursting into laughter—ah! ah! ah! He went to that old miser—ah! ah! ah!—and told him that while he was walking around the harbor with his son—ah! ah!—they spotted a Turkish galley; that a young Turk had invited them aboard to check it out; that he had treated them to lunch—ah! ah!—and that while they were eating, the galley had sailed off into the open sea; that the Turk had sent him back alone with strict orders to say that unless he sent him five hundred crowns, he would take his son to be a slave in Algiers—ah, ah, ah! You can imagine our miser, our stingy old cheapskate, in utter despair, caught between his love for his son and his love for his money. Those five hundred crowns feel like five hundred knife wounds—ah! ah! ah! He just can’t bring himself to part with that amount, and his torment leads him to think of the most ridiculous ways to find money for his son's ransom—ah! ah! ah! He wants to send the police out to sea after the Turk's galley—ah! ah! ah! He asks his servant to take his son's place until he can get the money to pay for him—money he has no intention of actually giving—ah! ah! ah! He offers up, to make the five hundred crowns, three or four old suits that aren’t worth thirty—ah! ah! ah! The servant shows him each time how absurd his ideas are, and each time the old guy reflects with a painful, "But what the hell did he want to go on that galley for? Ah! cursed galley. Ah! scoundrel of a Turk!" Finally, after many hesitations, after sighing and groaning for what feels like forever... But it seems to me that my story isn’t making you laugh; what do you think?

GER. What I say? That the young man is a scoundrel—a good-for-nothing fellow—who will be punished by his father for the trick he has played him; that the gypsy girl is a bold, impudent hussy to come and insult a man of honour, who will give her what she deserves for coming here to debauch the sons of good families; and that the servant is an infamous wretch, whom Géronte will take care to have hung before to-morrow is over.

GER. What am I saying? That the young man is a jerk—a worthless guy—who will be punished by his father for the trick he pulled; that the gypsy girl is a brazen, shameless woman for coming here and insulting a man of honor, who will make sure she gets what’s coming to her for trying to corrupt the sons of good families; and that the servant is a despicable scoundrel, whom Géronte will ensure is hanged before tomorrow is over.










SCENE IV.—ZERBINETTE, SILVESTRE.

SIL. Where are you running away to? Do you know that the man you were speaking to is your lover's father?

SIL. Where are you going? Do you realize that the guy you were talking to is your lover's dad?

ZER. I have just begun to suspect that it was so; and I related to him his own story without knowing who he was.

ZER. I've just started to suspect that it was true; and I told him his own story without knowing who he was.

SIL. What do you mean by his story?

SIL. What do you mean by his story?

ZER. Yes; I was so full of that story that I longed to tell it to somebody. But what does it matter? So much the worse for him. I do not see that things can be made either better or worse.

ZER. Yeah; I was so caught up in that story that I really wanted to share it with someone. But what does it matter? Tough luck for him. I don't think things can be made any better or worse.

SIL. You must have been in a great hurry to chatter; and it is indiscretion, indeed, not to keep silent on your own affairs.

SIL. You must have been in such a rush to talk; and it's really inappropriate to not keep quiet about your own business.

ZER. Oh! he would have heard it from somebody else.

ZER. Oh! he must have heard it from someone else.










SCENE V.—ARGANTE, ZERBINETTE, SILVESTRE.

ARG. (behind the scenes). Hullo! Silvestre.

ARG. (behind the scenes). Hey! Silvestre.

SIL. (to ZERBINETTE). Go in there; my master is calling me.

SIL. (to ZERBINETTE). Go inside; my boss is calling me.










SCENE VI.—ARGANTE, SILVESTRE.

ARG. So you agreed, you rascals; you agreed—Scapin, you, and my son—to cheat me out of my money; and you think that I am going to bear it patiently?

ARG. So you all agreed, you troublemakers; you agreed—Scapin, you, and my son—to scam me out of my money; and you think I'm just going to take it quietly?

SIL. Upon my word, Sir, if Scapin is deceiving you, it is none of my doing. I assure you that I have nothing whatever to do with it.

SIL. Honestly, Sir, if Scapin is tricking you, it’s not my fault. I promise I have nothing to do with it at all.

ARG. We shall see, you rascal! we shall see; and I am not going to be made a fool of for nothing.

ARG. We'll see, you scoundrel! We'll see; and I'm not going to let you make a fool out of me for no reason.










SCENE VII.-GÉRONTE, ARGANTE, SILVESTRE.

GER. Ah! Mr. Argante, you see me in the greatest trouble.

GER. Ah! Mr. Argante, I'm in the biggest trouble.

ARG. And I am in the greatest sorrow.

ARG. And I am in deep sadness.

GER. This rascal, Scapin, has got five hundred crowns out of me.

GER. This trickster, Scapin, has taken five hundred crowns from me.

ARG. Yes, and this same rascal, Scapin, two hundred pistoles out of me.

ARG. Yes, and this same trickster, Scapin, stole two hundred pistoles from me.

GER. He was not satisfied with getting those five hundred crowns, but treated me besides in a manner I am ashamed to speak of. But he—shall pay me for it.

GER. He wasn't content with just getting those five hundred crowns; he also treated me in a way that I'm embarrassed to talk about. But he'll pay me for it.

ARG. I shall have him punished for the trick he has played me.

ARG. I'm going to make him pay for the trick he pulled on me.

GER. And I mean to make an example of him.

GER. And I plan to make an example out of him.

SIL. (aside). May Heaven grant that I do not catch my share of all this!

SIL. (aside). I hope I don't end up with any of this!

GER. But, Mr. Argante, this is not all; and misfortunes, as you know, never come alone. I was looking forward to the happiness of to-day seeing my daughter, who was everything to me; and I have just heard that she left Tarentum a long while since; and there is every reason to suppose that the ship was wrecked, and that she is lost to me for ever.

GER. But, Mr. Argante, that's not all; you know misfortunes never come alone. I was really looking forward to today to see my daughter, who meant everything to me; and I’ve just heard that she left Tarentum a long time ago, and there’s every reason to believe that the ship went down and that she’s lost to me forever.

ARG. But why did you keep her in Tarentum, instead of enjoying the happiness of having her with you?

ARG. But why did you keep her in Tarentum instead of enjoying the happiness of having her with you?

GER. I had my reasons for it; some family interests forced me till now to keep my second marriage secret. But what do I see?

GER. I had my reasons; some family issues made me keep my second marriage a secret until now. But what do I see?










SCENE VIII.—ARGANTE, GÉRONTE, NÉRINE, SILVESTRE.

GER. What! you here, Nérine?

What! You’re here, Nérine?

NER. (on her knees before GÉRONTE). Ah! Mr. Pandolphe, how....

NER. (on her knees before GÉRONTE). Ah! Mr. Pandolphe, how....

GER. Call me Géronte, and do not use the other name any more. The reasons which forced me to take it at Tarentum exist no longer.

GER. Call me Géronte, and don’t use the other name anymore. The reasons that made me take it in Tarentum no longer exist.

NER. Alas! what sorrow that change of name has caused us; what troubles and difficulties in trying to find you out!

NER. Alas! how much sadness that name change has brought us; what struggles and challenges in trying to track you down!

GER. And where are my daughter and her mother?

GER. And where are my daughter and her mom?

NER. Your daughter, Sir, is not far from here; but before I go to fetch her, I must ask you to forgive me for having married her, because of the forsaken state we found ourselves in, when we had no longer any hope of meeting you.

NER. Your daughter, Sir, is not far from here; but before I go to get her, I need to ask you to forgive me for marrying her, because of the abandoned situation we were in when we no longer had any hope of seeing you.

GER. My daughter is married?

Is my daughter married?

NER. Yes, Sir.

NER. Yes, Sir.

GER. And to whom?

And to who?

NER. To a young man, called Octave, the son of a certain Mr. Argante.

NER. To a young man named Octave, the son of a man named Mr. Argante.

GER. O Heaven!

Oh heaven!

ARG. What an extraordinary coincidence.

Wow. What an incredible coincidence.

GER. Take us quickly where she is.

GER. Take us to her quickly.

NER. You have but to come into this house.

NER. You just have to come into this house.

GER. Go in first; follow me, follow me, Mr. Argante.

GER. You go in first; just follow me, Mr. Argante.

SIL. (alone). Well, this is a strange affair.

SIL. (alone). Well, this is a weird situation.










SCENE IX.—SCAPIN, SILVESTRE.

SCA. Well, Silvestre, what are our people doing?

SCA. So, Silvestre, what are our people up to?

SIL. I have two things to tell you. One is that Octave is all right; our Hyacintha is, it seems, the daughter of Géronte, and chance has brought to pass what the wisdom of the fathers had decided. The other, that the old men threaten you with the greatest punishments—particularly Mr. Géronte.

SIL. I have two things to tell you. First, Octave is fine; our Hyacintha turns out to be Géronte's daughter, and fate has unfolded what the fathers had planned. Second, the old men are threatening you with severe punishments—especially Mr. Géronte.

SCA. Oh, that's nothing. Threats have never done me any harm as yet; they are but clouds which pass away far above our heads.

SCA. Oh, that’s nothing. Threats have never harmed me yet; they’re just clouds that drift away high above us.

SIL. You had better take care. The sons may get reconciled to their fathers, and leave you in the lurch.

SIL. You should be careful. The sons might make up with their fathers and leave you hanging.

SCA. Leave that to me. I shall find the means of soothing their anger, and....

SCA. Leave that to me. I'll figure out how to calm their anger, and....

SIL. Go away; I see them coming.

SIL. Leave now; I see them approaching.










SCENE X.—GÉRONTE, ARGANTE, HYACINTHA, ZERBINETTE, NÉRINE, SILVESTRE.

GER. Come, my daughter; come to my house. My happiness would be perfect if your mother had been with you.

GER. Come, my daughter; come to my place. My happiness would be complete if your mother were with you.

ARG. Here is Octave coming just at the right time.

ARG. Here comes Octave right on time.










SCENE XI.—ARGANTE, GÉRONTE, OCTAVE, HYACINTHA, ZERBINETTE, NÉRINE,

SILVESTRE.

SILVESTRE.

ARG. Come, my son, come and rejoice with us about the happiness of your marriage. Heaven....

ARG. Come, my son, come and celebrate with us the joy of your marriage. Heaven....

OCT. No, father, all your proposals for marriage are useless. I must be open with you, and you have been told how I am engaged.

OCT. No, Dad, all your marriage proposals are pointless. I need to be honest with you, and you've been informed that I'm already engaged.

ARG. Yes; but what you do not know....

ARG. Yes, but what you don't know...

OCT. I know all I care to know.

OCT. I know all I want to know.

ARG. I mean to say that the daughter of Mr. Géronte....

ARG. I mean to say that Mr. Géronte's daughter....

OCT. The daughter of Mr. Géronte will never be anything to me.

OCT. Mr. Géronte's daughter will never mean anything to me.

GER. It is she who....

GER. It's her who....

OCT. (to GÉRONTE). You need not go on, Sir; I hope you will forgive me, but I shall abide by my resolution.

OCT. (to GÉRONTE). You don’t have to continue, Sir; I hope you’ll understand, but I’m sticking to my decision.

SIL. (to OCTAVE). Listen....

SIL. (to OCTAVE). Hey, listen....

OCT. Be silent; I will listen to nothing.

OCT. Be quiet; I won’t hear anything.

ARG. (to OCTAVE). Your wife....

ARG. (to OCTAVE). Your spouse....

OCT. No, father, I would rather die than lose my dear Hyacintha (crossing the theatre, and placing himself by HYACINTHA). Yes, all you would do is useless; this is the one to whom my heart is engaged. I will have no other wife.

OCT. No, Dad, I’d rather die than lose my beloved Hyacintha (crossing the theater and sitting next to HYACINTHA). Yes, everything you do is pointless; this is the one my heart belongs to. I won’t have any other wife.

ARG. Well! she it is whom we give you. What a madcap you are never to listen to anything but your own foolish whim.

ARG. Well! It's her we present to you. What a crazy person you are to only listen to your own silly desires.

HYA. (showing GÉRONTE). Yes, Octave, this is my father whom I have found again, and all our troubles are over.

HYA. (showing GÉRONTE). Yes, Octave, this is my dad whom I’ve found again, and all our troubles are behind us.

GER. Let us go home; we shall talk more comfortably at home.

GER. Let's head home; we can talk more comfortably there.

HYA. (showing ZERBINETTE). Ah! father, I beg of you the favour not to part me from this charming young lady. She has noble qualities, which will be sure to make you like her when you know her.

HYA. (showing ZERBINETTE). Ah! Dad, I really hope you won’t separate me from this wonderful young woman. She has great qualities that will definitely make you like her once you get to know her.

GER. What! do you wish me to take to my house a girl with whom your brother is in love, and who told me to my face so many insulting things?

GER. What! You want me to bring home a girl your brother is in love with, and who said so many insulting things to my face?

ZER. Pray forgive me, Sir; I should not have spoken in that way if I had known who you were, and I only knew you by reputation.

ZER. Please forgive me, Sir; I wouldn't have spoken that way if I had known who you were, and I only knew you by your reputation.

GER. By reputation; what do you mean?

GER. By reputation; what do you mean?

HYA. Father, I can answer for it that she is most virtuous, and that the love my brother has for her is pure.

HYA. Dad, I can assure you that she is very virtuous, and that my brother's love for her is genuine.

GER. It is all very well. You would try now to persuade me to marry my son to her, a stranger, a street-girl!

GER. That's great. Now you're trying to convince me to marry my son to her, a stranger, a street girl!










SCENE XII.-ARGANTE, GÉRONTE, LÉANDRE, OCTAVE, HYACINTHA, ZERBINETTE,

NÉRINE, SILVESTRE.

Nérine, Silvestre.

LEA. My father, you must no longer say that I love a stranger without birth or wealth. Those from whom I bought her have just told me that she belongs to an honest family in this town. They stole her away when she was four years old, and here is a bracelet which they gave me, and which will help me to discover her family.

LEA. Dad, you have to stop saying that I love a stranger who has no family or money. The people I bought her from just informed me that she comes from a good family in this town. They took her when she was four, and here’s a bracelet they gave me that will help me find her family.

ARG. Ah! To judge by this bracelet, this is my daughter whom I lost when she was four years old.

ARG. Ah! Based on this bracelet, this is my daughter whom I lost when she was four years old.

GER. Your daughter?

Hey. Your daughter?

ARG. Yes, I see she is my daughter. I know all her features again. My dear child!

ARG. Yes, I see she is my daughter. I recognize all her features again. My dear child!

GER. Oh! what wonderful events!

Wow! What amazing events!










SCENE XIII.—ARGANTE, GÉRONTE, LÉANDRE, OCTAVE, HYACINTHA,

ZERBINETTE, NÉRINE, SILVESTRE, CARLE.

ZERBINETTE, NÉRINE, SILVESTRE, CARLE.

CAR. Ah! gentlemen, a most sad accident has just taken place.

CAR. Ah! Gentlemen, a very unfortunate accident has just occurred.

GER. What is it?

GER. What's that?

CAR. Poor Scapin....

CAR. Poor Scapin....

GER. Is a rascal whom I shall see hung.

GER. He's a jerk who I want to see hanged.

CAR. Alas! Sir, you will not have that trouble. As he was passing near a building, a bricklayer's hammer fell on his head and broke his skull, leaving his brain exposed. He is dying, and he has asked to be brought in here to speak to you before he dies.

CAR. Oh no! Sir, you won't have that trouble. As he was walking by a building, a bricklayer's hammer fell on his head and cracked his skull, leaving his brain exposed. He is dying and has asked to be brought in here to talk to you before he passes away.










SCENE XIV.—ARGANTE, GÉRONTE, LÉANDRE, OCTAVE, HYACINTHA, ZERBINETTE,

NÉRINE. SILVESTRE, CARLE, SCAPIN.

Nérine. Silvestre, Carle, Scapin.

SCA. (brought in by some men, his head wrapped up, as if he were wounded). Oh, oh! gentlemen, you see me.... Oh! You see me in a sad state. Oh! I would not die without coming to ask forgiveness of all those I may have offended. Oh! Yes, gentlemen, before I give up the ghost, I beseech you to forgive me all I have done amiss, and particularly Mr. Argante and Mr. Géronte. Oh!

SCA. (brought in by some men, his head wrapped up, as if he were injured). Oh, oh! gentlemen, you see me.... Oh! You see me in a terrible state. Oh! I would not die without coming to ask for forgiveness from all those I may have hurt. Oh! Yes, gentlemen, before I take my last breath, I beg you to forgive me for all my wrongs, especially Mr. Argante and Mr. Géronte. Oh!

ARG. I forgive you; die in peace, Scapin.

ARG. I forgive you; die in peace, Scapin.

SCA. (to GÉRONTE). It is you, Sir, I have offended the most, because of the beating with the cudgel which I....

SCA. (to GÉRONTE). It's you, Sir, whom I've offended the most, because of the beating with the stick that I....

GER. Leave that alone.

GER. Leave it alone.

SCA. I feel in dying an inconceivable grief for the beating which I....

SCA. I feel an overwhelming sadness about the beating that I...

GER. Ah me! be silent.

GER. Oh no! Be quiet.

SCA. That unfortunate beating that I gave....

SCA. That unfortunate beating I gave....

GER. Be silent, I tell you; I forgive you everything.

GER. Be quiet, I’m telling you; I forgive you for everything.

SCA. Alas! how good you are. But is it really with all your heart that you forgive me the beating which I...?

SCA. Oh no! You're so kind. But do you truly forgive me from the bottom of your heart for the beating that I...?

GER. Yes, yes; don't mention it. I forgive you everything. You are punished.

GER. Yeah, yeah; no need to mention it. I forgive you for everything. You're already punished.

SCA. Ah! Sir, how much better I feel for your kind words.

SCA. Ah! Sir, I feel so much better because of your kind words.

GER. Yes, I forgive you; but on one condition, that you die.

GER. Yeah, I forgive you; but only if you die.

SCA. How! Sir?

SCA. How! Sir?

GER. I retract my words if you recover.

GER. I take back what I said if you get better.

SCA. Oh! oh! all my pains are coming hack.

SCA. Oh no! All my pain is coming back.

ARG. Mr. Géronte, let us forgive him without any condition, for we are all so happy.

ARG. Mr. Géronte, let's forgive him without any conditions, because we are all so happy.

GER. Well, be it so.

Fine, let's go with that.

ARG. Let us go to supper, and talk of our happiness.

ARG. Let's go have dinner and talk about our happiness.

SCA. And you, take me to the end of the table; it is there I will await death.

SCA. And you, lead me to the end of the table; that's where I'll wait for death.








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