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                         PRICE TWENTY-FIVE CENTS




                              PRINCESS KIKU

                            A JAPANESE ROMANCE

                          FEMALE CHARACTERS ONLY




                            DICK & FITZGERALD
                               PUBLISHERS
                         18 Ann Street, New York

                    *       *       *       *       *

                           COMEDIES AND DRAMAS

                              15 CENTS EACH

                                                                   M. F.

  =ALL THAT GLITTERS IS NOT GOLD (The Factory Girl).= Comic
    Drama of great force; 2 acts; 2 hours                          6  3

  =ARABIAN NIGHTS, THE.= Farcical comedy; always a great success
    with amateurs; 3 acts; 2¼ hours                                4  5

  =BARBARA.= Drama; well-written romantic story with touches of
    genuine humor; 1 act; 50 minutes                               2  2

  =BETSY.= Farcical comedy; keeps audience in roars of laughter
    to final curtain; 3 acts; 2½ hours                             7  6

  =BETWEEN TWO FIRES.= Military drama; 3 acts; 2 hours             8  3

  =BROKEN PROMISES.= Strong temperance play of unflagging interest,
    relieved with much eccentric humor; 5 acts; 1¾ hours           6  3

  =BY FORCE OF IMPULSE. (Off to the War).= Military drama; comic
    and emotional; 5 acts; 2½ hours                                9  3

  =CASTE.= Comedy that always delights the public; 3 acts;
    2¾ hours                                                       5  3

  =CRAWFORD’S CLAIM; OR NUGGET NELL.= Good rattling Western
    drama; 4 acts; 2¼ hours                                        9  3

  =CRICKET ON THE HEARTH, THE.= Dickens’ story dramatized;
    3 acts; 2 hours                                                6  6

  =DEACON’S TRIBULATIONS, THE.= Comedy drama. A worthy successor
    to the ever-popular “Deacon”; 4 acts; 2 hours                  8  4

  =EAST LYNNE.= Standard drama; 5 acts; 2½ hours                   8  7

  =ENGAGED.= Society comedy; full of burlesque fun; 3 acts;
    2¼ hours                                                       5  5

  =FROM PUNKIN RIDGE.= Domestic drama; successful wherever
    produced; 1 act; 1 hour                                        6  3

  =HOME.= Comedy; fresh dialogue and genuine humor combined with
    a very strong plot; 3 acts; 2 hours                            4  3

  =HONEY-MOON ECLIPSE, A.= Comedy marked by spirited dialogue and
    an abundance of comic incidents; 1 act; 30 minutes             1  2

  =IMOGENE; OR, THE WITCH’S SECRET.= Realistic drama sure of being
    enthusiastically received everywhere; 4 acts; 2¼ hours         8  4

  =IN HONOR BOUND.= Drama always given with entire success; 1 act;
    ¾ hour                                                         2  2

  =JACK FOR EVERY JILL, A.= A most successful comedy; 1 act;
    ¾ hour                                                         4  4

  =JEMIMA, OR, THE WITCH OF BENDER.= Very laughable in its
    absurd complications; 3 acts; 2 hours                          4  4

  =JUST FOR FUN.= Up-to-date society comedy. The piece is
    cheerfully recommended; 3 acts; 2 hours                        2  4

  =LA CIGALE. (The Grasshopper.)= Comedy sometimes played as
    “The Circus Girl”; 3 acts; 3 hours                            13  4

  =LADY OF LYONS, THE.= Romantic Drama; 5 acts; 2¾ hours           8  5

  =LADY AUDLEY’S SECRET.= Emotional drama; 2 acts; 1¼ hours        4  3

  =MAJOR ABORN’S PROPOSAL.= Comedy in 1 act; about 45 minutes; a
    pretty comedy especially adapted for amateur production        3  2

  =MARBLE ARCH, THE.= Comedy; one of the most popular little
    plays; 1 act; ½ hour                                           2  2

  =MARRIED LIFE.= Comedy; companion piece to “Single Life”;
    3 acts; 2 hours                                                5  5

  =MEG’S DIVERSION.= Drama; pathetic, humorous and picturesque;
    2 acts; 1¾ hours                                               5  3

  =MEN, MAIDS AND MATCHMAKERS.= Society comedy sparkling with
    wit, interest and human nature; 3 acts; 2 hours                4  4

  =MIRIAM’S CRIME.= Drama; the interest in this play is kept up
    to the very end; 3 acts; 2 hours                               5  2

             DICK & FITZGERALD, Publishers, 18 Ann St., N. Y.

                    *       *       *       *       *




                             PRINCESS KIKU


                   A Japanese Romance. A Play for Girls


                                   BY
                            M. F. HUTCHINSON




                   COPYRIGHT, 1903, BY DICK & FITZGERALD




                                 NEW YORK
                       DICK & FITZGERALD, PUBLISHERS
                              18 ANN STREET




  PRINCESS KIKU

  A JAPANESE ROMANCE.


  [Illustration: Floral decoration]


                                CHARACTERS

  PRINCESS KIKU                          _Favorite niece of the Emperor_
  O MIMOSA SAN }
  O YUKI SAN   }
  O TOTMAI SAN }                                     _Ladies-in-waiting_
  O HARU SAN   }
  SAKARA            _A learned Japanese lady devoted to ancient customs_
  ITO                                  _A little girl, dressed as a boy_
  LADY CECIL CAVENDISH             _An English girl travelling in Japan_
  MISS PRENDERGAST                                       _Her companion_
                             MOONBEAM FAIRIES.

                             LOCATION.--Tokio.

                            TIME.--The present.

                      TIME OF PERFORMANCE.--Two hours.


SYNOPSIS

SCENE I. The Chrysanthemum Garden and Summer-House. PRINCESS KIKU
and her ladies-in-waiting. Intrusion of LADY CECIL. Story of the
shipwrecked baby.

SCENE II. Same as before. SAKARA bribes little ITO to bring misfortune
on the PRINCESS by a play-act, which the PRINCESS believes is reality.
MIMOSA’s description of the Emperor’s reception. The working of
SAKARA’s spell.

SCENE III. Room in a Japanese hotel. MISS PRENDERGAST’s solicitude for
ARTHUR, CECIL’s brother. Mutual quizzing.

SCENE IV. Room in the house of SAKARA. SAKARA gives ITO further
instruction. MIMOSA’s fruitless embassy. SAKARA’s curse.

SCENE V. Room in Japanese house. KIKU’s hallucination: “What I touch
withers.” CECIL and companion’s interview with KIKU’s ladies. MISS
PRENDERGAST’s consternation.

SCENE VI. The Chrysanthemum Garden. ITO repents. KIKU supposed she had
struck ITO blind. He confesses it was play-acting. The story of the
shipwreck. The heiress is found.


COSTUMES

The principal garment worn by Japanese ladies is the kimono. This outer
garment or coat is made of silk, generally of a quiet color ornamented
with Japanese designs; or, for general purposes, of figured calico,
turkey red or orange cotton. The back has no seam and the front is
open from top to bottom, sloping outward below the waist to show the
underskirt; the neck is trimmed V shaped, or faced and turned over to
form a collar, bringing to view a colored kerchief folded across the
breast; the sleeves are loose and end in long, wide, rectangular-shaped
bags, wide open from wrist down and lined. The underskirt, only visible
in front, is of a different color and richly ornamented with gilt and
bright Japanese designs.

To complete the costume, a long, wide sash is passed twice around the
waist and gathered behind into an immense butterfly bow and ends.

The hair is arranged in pompadour style, and the back hair brought high
up on the top of the head and ornamented with large, showy pins and
little fans.

The eyebrows should be penciled black. Two fine black lines, one above
the upper and one below the lower eyelash, continued outward, curved
slightly upward and meeting just beyond the outer corner of each eye,
give quite a Japanese style to the face.

The little “Moonbeam Fairies” should be costumed in similar style as to
their garments, but of white or different light-colored material, the
sleeves shorter and the sash smaller than in the ladies’ costumes, and
white stockings drawn over their shoes.

SAKARA’s costume should be of sombre hues, the face made up for a
wrinkled old hag.

LADY CECIL is in well-fitting English travelling costume.

MISS PRENDERGAST, the same, but in accordance with her sixty years.
Hair, silver-white.


PROPERTIES

SCENE I. Flat square cushions, on which the girls kneel, sitting back
on their heels in Japanese fashion; loose chrysanthemums; stool in
summer-house; girls carry fans in hands or girdles.

SCENE II. Grass or straw rope; Eastern rugs; loose chrysanthemums;
guitar or samisen; cushions.

SCENE III. Sock, thimble, needle; dead flower.

SCENE IV. Presents on tray; books; cushions.

SCENE V. Japanese umbrellas, flowers, vases; square low table; cushions.

SCENE VI. Flowers; tiny silk bag.


NOTES ON SCENERY

SCENE I. Background and wings of dark curtains, with masses of real or
imitation chrysanthemums. A summer-house raised on a small platform can
be made with a Japanese umbrella and a screen, as in diagram.

  [Illustration: Plan of stage, showing:
      Stage Right: Chrysanthemum bed with 1
      Up Stage Right: Chrysanthemum bed
      Up Stage Left: Summer-house 4 with 2 at entrance
      Stage Left: Chrysanthemum bed with 3
   Caption:
      The dotted lines mark the limits of the Chrysanthemum beds.
        1 Totmai.      2 Yuki.      3 Haru.      4 Summer House.]

SCENE II. The same as Scene I.

SCENE III. Perfectly plain screens stretched round the stage. One
wooden table, rush-bottomed chair, portmanteau, coats, dressing-case,
etc.

SCENE IV. Japanese screens, idols or figures, small cabinet, etc. Sword
suspended from screen.

SCENE V. Screens, Japanese draperies, palms, etc., etc.

SCENE VI. Scene I., as before.

       *       *       *       *       *

NOTE.--_The complete words and score of the musical comedy “San Toy,”
to the airs of which the song in this entertainment adapt themselves,
can be supplied by Dick & Fitzgerald, post-paid, on receipt of $2.00._


STAGE DIRECTIONS

R., right, as performer stands facing audience; L., left, as performer
stands facing audience; C., centre; U. E., upper entrance, _i.e._,
entrance nearest the back of stage; 1 E., first entrance, _i.e._,
entrance nearest footlights; UP STAGE, away from footlights; DOWN
STAGE, toward footlights.


FOREWORD

The Japanese are notably and effusively polite in their deportment.
Japanese girls are especially kind-hearted and obliging. Their religion
denies them immortality, and they believe that their paramount duty in
life is to please.

Their education imbues them with an intense love of flowers, bright
colors and all that is beautiful; it inculcates the extreme of social
etiquette in every-day deportment; it adds words of compliment in the
commonest phrases of conversation, and, moreover, teaches them to rely
on signs, omens and tutelary gods, both good and evil.

In this “Romance” the quaint and sprightly style of Japanese
expressions is carried out as faithfully as possible, and the
performers must study carefully the endless obeisances and quaint
dialogue which are indispensable to make it effective.

The scenery, where available, may be elaborate, as in Japanese
operas, but excellent effect may be obtained with a few Japanese
plain and ornamental screens, Japanese umbrellas, fans and plenty of
chrysanthemums, real or artificial, and of various colors.




  PRINCESS KIKU

  A JAPANESE ROMANCE

  [Illustration: Floral decoration]




SCENE I.--_The Chrysanthemum Garden. Summer-house on raised platform,
up stage L. Entrances R. U. E. and L. 1 E. YUKI discovered seated on
the step of the summer-house. TOTMAI and HARU both on one knee down
stage, R. and L., among the flowers. They commence singing a little
before the curtain is raised._


SONG.

_Air: Chorus to “The Moon,” “San Toy,” Act I._

    In the land of Japan,
    Dainty maids wave a fan;
    This way twirl, that way twist,
    With a grace none resist.

    All the day bright and gay,
    Dainty feet none may stay;
    This way slide, that way glide,
    Point and turn, spring aside.

    Swift to rise with the dawn,
    Flowers to bind all the morn;
    This one pluck, that one leave,
    Dainty care all receive.

    In the land of Japan,
    Dainty maids wave a fan;
    With a grace none resist,
    This way twirl, that way twist.

  [_After song TOTMAI and HARU rise and begin picking flowers._


TOTMAI. How sweet honorable blossoms with beautiful dew upon them. The
Princess promises rare flowers for the exalted festival this evening.

YUKI. Which of us will accompany Her Gracious Highness?

HARU. It is said that soon at the august Court all will wear ugly,
clumsy dress of barbarian foreigners.

YUKI _and_ TOTMAI. You say so, O Haru?

HARU. O grief-making! I have honorable knowledge that this is so. What
can be prettier than our dear kimonos and obi? Their strange dresses,
thick, clumsy things on their feet?

TOTMAI. How laughter-making is the great Englishman!

YUKI. Laughter-making? He seems strangely solemn. I expect honorable
barbarian does not like to be so big and clumsy, poor man! Ah
(_laughs_), if your worthy eyes could have seen him at exalted
tea-making! He (_rises and comes down C., imitating gestures_) took
the cup in his big, big hand. Do you know, O Totmai and O Haru, I
thought he would put it all in his mouth when he opened it, without
uttering honorable courtesies, and drank it all down before His August
Majesty had taken more than a sip! Then his face went just like this.
(_Grimaces._)

TOTMAI (_moves to C. YUKI moves R._). That is the way barbarians laugh.
What laughter he gave us in the garden here. You know, O Yuki, he has
had leave from the all-powerful Son of Heaven to walk here. O Haru and
I played ball, when we heard (_imitates_) stamp--stamp--stamp--and then
we saw the barbarian Englishman come swinging along. Before we had time
to move he nearly walked over us, going like this at a great, great
pipe. (_Walks L., imitating heavy tread of Englishman._) We laughed
greatly. O Haru, did we not laugh?

HARU (_coming C._). Then, O Yuki, he took strange covering from
barbarian head, like this, and said, “O-I-say--I-beg-your pardon!” We
laughed and laughed, running away; then stranger still was barbarian
speech: “By-Jove--jolly-little things!” Great was our honorable
laughter. The barbarian Englishman never smile except when they are
killing people. (_Walks up stage and looks off R._) Yonder I see O
Mimosa San.


ENTER _MIMOSA R. U. E. All bow._


MIMOSA. The august Princess gives honorable notice, O Yuki and humble
Mimosa attend her to exalted festival. (_HARU joins TOTMAI L._) O dear
little ones (_to TOTMAI and HARU_), there will be other feasts. The
Englishman, whom the all-powerful Son of Heaven condescends to love,
lingers in beautiful Japan.

TOTMAI (_laughing_). “By Jove--jolly-little-things!” O
laughter-making! Come, O Haru San, there are yet honorable
chrysanthemums to gather.

  [EXEUNT L. 1 E.

MIMOSA (_drawing YUKI to C._). O Yuki, the exalted Princess is not
smiling. She has dreamed strangely, and of _serpents_. She cannot
forget cruel words spoken by the all-wise Sakara. In vain I tell Her
Highness the gods sit on the brow of just--and they, the most powerful
ones, protect the innocent!

YUKI. Truth, indeed--honorable truth--he who curses must look out for
two graves. Trouble not for the venerated Princess. O dear one, we are
as grave as foxes; we shall have honorable laughter to-night!

MIMOSA. O Yuki San, of honorable courtesy forgive, I cannot laugh.
See, I have sewn yet other charms in my girdle. Last night I, too, was
unfortunate and dreamed evil dreams. Great is my folly, I fear the
curses of wise Sakara.

YUKI. O Mimosa, go not forth to meet trouble. Yonder I see swift-flying
butterfly, chase it with honorable laughter (_turns and runs up
stage._) The Princess!


ENTER _TOTMAI and HARU L. PRINCESS ENTERS R. Girls bow to the ground._


MIMOSA (R.). August lady, do you walk for benefit of exalted health?

PRINCESS (_taking flowers from YUKI, who is up stage C., then coming
half way down stage to L. C._). The honorable chrysanthemums are all
gathered. The Englishman, in his cold land, will not have seen such
beautiful blossoms. O fair and rare! I will rest here. (TOTMAI and
HARU arrange cushions L. C.) Sit here, O maidens. I would tell fearful
trouble-bringing dream. (_MIMOSA and YUKI sit R. of PRINCESS, slightly
up stage. HARU and TOTMAI L., down stage._) I dreamed I walked in this
stately garden, among honorable blossoms dear to the heart of Kiku,
their namesake. Sad tears fell down my cheeks. I wiped them away with
the sleeves of honorable kimono. The dearly beloved flowers drooped at
my coming, the most glorious exalted Moon hid her light, the birds and
the dragonflies flew away, for evil Serpent followed me! I awoke with a
cry. What can it mean, O wise Yuki?

YUKI (_bowing_). O dear lady, be comforted. In evil times the hero
appears; a brave man would slay the serpent, as Yorissima slew the
dragon.

PRINCESS. What is honorable thought, O Totmai, of small feet?

TOTMAI. Deign to believe no one can injure exalted Highness. Who throws
stones at the Sun?

PRINCESS. I will forget, O kind ones, though I fear to find it as hard
as trying to blow away fog with a fan. Dance for me. (_YUKI and TOTMAI
dance with fans, finishing dance R. C. PRINCESS watches, clapping
hands._) O Yuki, O Totmai, cleverest geisha could not rival your
excellence.

YUKI (_bowing_). Exalted praise is too great for us. May we speak of
august entertainment for powerful foreigner?

PRINCESS (_laughing_). How strange he is and big, his words so
different to honorable Japanese. Sometimes I think I have heard those
sounds before. There are, in truth, more barbarian foreigners than in
old venerated days. My uncle, all-powerful Son of Heaven, smiles at
their coming. All love them not, Sakara--Truly, O dear little Mimosa
(_bends over MIMOSA, who has touched her sleeve_), I will forget cruel
words. Was it, think you, O maidens, when my soul wandered in another
body I heard the strange speech of the foreigner?

MIMOSA. Truly, O most exalted, the world gathers at august Court.
Condescend to remember this is honorable hour when the Son of Heaven
impatiently awaits you. (EXEUNT _all R., girls carrying flowers._)


ENTER _LADY CECIL CAVENDISH and MISS PRENDERGAST, L._


LADY C. This is too exciting for anything! (_Walks about
inquisitively._) I feel just like Alice in Wonderland. If anybody
called out “Off with her head,” I shouldn’t be in the least astonished.
Should you, G., dear?

MISS P. (_who has stayed near L. 1 E. while CECIL has gone round stage
and finished up and down C., nervously_). I have had so many shocks
since I left the blessed security of home that----

CECIL. Don’t talk of shocks. It makes me remember the earthquakes. I do
hope they won’t have one for us. I should not like all the dear little
houses to go rocking about. One comfort is, if you were buried under a
Japanese house it wouldn’t hurt.

MISS P. Your levity, Cecil, is unbecoming. I certainly dread an
earthquake, though it is not the worst evil I apprehend. I should _hate
to be tortured_.

CECIL (_going toward summer-house_). You dear old goose, they don’t
torture in Japan. You are thinking of China. I must just peep inside
here.

MISS P. (_crossing to up stage, C._). Do not, I beg of you, be so rash.
(_Sighs with relief as CECIL descends._) In the geography book from
which it was my pleasure to instruct you when you were a child, China
and Japan were treated under one chapter.

CECIL. As to geography, I have forgotten all I ever learned. Sit down
there. See, is this (_goes to summer-house_) a table or a stool? I will
make myself comfortable on the ground (_sits on ground by summer-house,
L. C._). Let us discuss the situation. (_MISS P. hesitates._) Do, G.
Nobody can object to our sitting down. You see, the voyage is safely
over and you were not drowned.

MISS P. That is true, Cecil. (_Sits gingerly on stool R. of CECIL._)
I have not, as you say, been consigned to a watery grave. However,
nothing will induce me to enter one of those terribly unsafe carriages
again. Carriages, indeed! Undignified, overgrown perambulators!

CECIL. I enjoyed it. My little man ran and raced and laughed. It really
was most exciting. I thought he would upset and half kill several of
those dear little people. _They_ only laugh.

MISS P. The vacant mind--the ready laugh. They are a small,
insignificant race.

CECIL (_laughing_). Think of Arthur, his height! And those great
beetle-crushers!

MISS P. (_with horror_). My dear!

CECIL. Would you have me say pedal extremities?

MISS P. I should prefer greater dignity of language.

CECIL (_demurely_). Consider, then, my dear brother’s consternation,
his delighted surprise, when he returns to the hotel to find US.

MISS P. (_sighing_). You are singularly heedless, my dear Cecil. Your
brother never took any notice of your letters or telegrams. From that I
construe disapproval. You remember another familiar saying: Scratch a
man and you find a Tartar. We have braved the dangers of the deep----

CECIL. G., dear, you know you enjoyed it. The flirtations you had with
Professor Anstruther----

MISS P. Cecil, I am surprised, astounded! Professor Anstruther is a man
with a peculiarly cultivated mind. I was gleaning all the information I
could on the fascinating subject of antiquities. You remember I often
had cause to beg you to show less levity in your intercourse with
Captain Waring.

CECIL (_rising_). Dear G., I was accumulating information on military
matters. (_MISS P. rises._) There, forgive me I don’t wonder at any one
admiring your sweet, white curls. (_Caresses._) We must not spend the
whole day in the Princess’s garden unasked, though I should love to
poke about these dear little ponds.

MISS P. (_emphatically_). I only consented to leave the place they
dignify with the name of house in order to purchase somewhere thick
curtains. Do they imagine a cultivated Englishwoman will retire to rest
surrounded by paper walls? I am ready, Cecil.

CECIL (_taking MISS P.’s arm_). Just a moment. It is so peaceful here.
(_They walk down R._) And you have really made me nervous about Arthur.
Where do you think the mad boy can be? Why did that foolish old man
leave him the money with the insane remark about a rightful heiress
shipwrecked off the coast of Japan? Who could find a shipwrecked baby
in Japan? And everything possible has been done. The Lady’s parents
were drowned, and therefore, naturally, with so much water a baby
couldn’t escape. I wonder if Arthur has advertised in the papers?
Do they have newspapers in Japan? Oh, yes, I know; you begin at the
wrong end. Or does he travel about the country cross-examining and
fascinating the girls?

MISS P. (_indignantly shaking off C.’s hand and walking away_). Cecil!

CECIL (_following_). Well, you know it’s true. And you and I are
equally foolish about him, and have travelled all this distance,
encountering hideous dangers. (_MISS P. sighs._) All for the love of
his bonny face.

MISS P. (_quickly_). I came to chaperone you, my dear.

CECIL (_faces MISS P., shaking finger_). G., G., speak the truth! You
have a vivid, affectionate memory of a fat little boy clad in a tight
Holland overall, sitting on your knee eating buttered toast.

MISS P. (_indignantly_). Really, Cecil, I never permit myself to think
of his lordship in such indecorous fashion. I would not take such a
liberty.

CECIL (_placing hands on MISS P.’s shoulders_). Who keeps golden curls,
even a tooth or two? Who gave him anything for a kiss--you’ll do the
same again, you naughty old thing!

MISS P. (_turning away R._). I am at a loss to understand. May I ask if
you mean to suggest--that--that----

CECIL. Exactly, dear, that. He will give you, when he sees you, a good
hug, and remark, “I say, you old dear, you grow younger every day.”
Will you bet?

MISS P. (_with horror_). Bet? When I relinquished the reins of
government such a word was utterly unknown to you. I am shocked,
grieved.

CECIL (_demurely_). Only a pair of gloves, dear.

MISS P. This familiarity with odious habits offends me. I hope his
lordship does not favor such vulgar practices.

CECIL. I don’t mind asserting one thing, and that is, he is bound to
bet you something--and that you’ll take it, _there_! Well, we must not
stay here forever. (_Moving C. and leaving MISS P. R._) Come, G., dear,
I pine for a run in a rickshaw. Mine shall race yours.

MISS P. I will not submit to be dragged in such unseemly fashion. (EXIT
CECIL L.) I prefer to trust to my own--powers of--locomotion. Cecil!
Cecil! (_Quick curtain as MISS P. runs across the stage._)

CURTAIN.




SCENE II.--_The Chrysanthemum Garden, as before._


ENTER _SAKARA L., with ITO._


SAKARA. Hear, O little Ito, the wise woman sees excellencies! (_Child
bows._) At house of honorable mother, Sakara heard clever proverbs, saw
play-acting. I love wise little boys, therefore would give happiness,
O Ito! (_Child bows._) This is the chrysanthemum garden of august
Princess; here are beautiful blossoms for the flower-viewing. Say,
little Ito, would you have worthy coins to spend? (_Child bows three
times._) Sit here, recite true proverbs. (_Sits L. C., ITO C._)

ITO (_quickly_). Many words, little sense. For woman to rule is as for
a hen to crow in the morning!

SAKARA. Stay, Ito. Would you, O wise little man, have new playing
cards? A toy that water will work? I saw excellent one of a man beating
rice husks. Would have it for your own? (_ITO shakes head, bowing._)
Some shrill-voiced grasshoppers in bamboo cages?

ITO (_bowing_). August Lady is too kind to little Ito.

SAKARA. What shall it be, then? Think in your mind. Act the doctor for
me, O wise little Ito, then you shall say.

ITO (_bowing_). Allow most unworthy to feel honorable pulse of august
patient. (_Takes hand, bowing._) There is fever! Allow highly ignorant
to gaze on venerated tongue. (_Examines, kneeling._) Honorable medicine
must be prepared, if august one will condescend to take.

SAKARA. Truly, O wise little Ito, it is good play-acting. Would play
new honorable game for me? Tell me what heart desires.

ITO. Thanks for honorable kindness. Books are my desire.

SAKARA. Books? That is wise, O little Ito. Honorable books shall be
procured. New play-acting done, money shall obtain them. Listen, O
little Ito. There are thorns on every rose-tree. Even Sakara has
heart-tormenting troubles; little wise Ito may help. Would have me for
friend? (_ITO bows._) In the morning I will wait for Ito at the gate
yonder, but I shall not accompany wise, clever play-actor. A lady in
scarlet kimono will walk here, and augustly speak, calling to Ito. So,
after honorable courtesies, he will draw near, when she touches him,
for this lady loves treasure-flowers. Ito will play-act thus: (_SAKARA
stands C., clasps hands tragically._) O Amairu, mercy, mercy! I see
not. I am blind--blind! (_Staggers, clasps hands over eyes._) Is it
difficult play-acting, O Ito? See, I touch now. When you have called
play-acting words, run as if you followed swift-flying kite. Show me, O
wise little Ito.

ITO (_imitating carefully_). O Amairu, mercy, mercy! I am blind--blind!
(_Moving R., then coming back._) Will honorable lady like new
play-acting?

SAKARA. Greatly, O clever little Ito. Books, honorable books, shall be
many if quick-flying feet carry you away and you do not stay to hear
honorable praise, but run quickly to me; if feet run after thee speed
the quicker. Ito, the flying-footed, sounds well.

ITO (_doubtfully_). It is new play-acting.

SAKARA. Truly, one cannot always play-act doctoring or funerals. Show
me again, O little Ito.

ITO (_imitating as before_). O Amairu, mercy! I am blind--blind! (_Runs
L., then returns._)

SAKARA (_caressingly_). Good, wise little Ito, ’tis excellent
play-acting. Make it not common for all children; keep it for me and
thee. I shall speak warm words to excellent father. A good son makes
a happy father. All good is for those Sakara loves, O pleasure-giving
little man! Honorable mother waits. Take honorable leave-taking. The
sentries (_child bows three times_) will allow you to pass; you came
with me, O wise little Ito. Sayonara! (ITO EXITS L.) The night is
warm, the garden fair and peaceful. (_Goes up stage C., and looks off
R._) The entertainment for hated foreigner passes; here I tarry. The
Princess may walk here, if honorable light-giving moon shines. I would
alarm her again, or in deep darkness steal her charm-bag. What could
then protect? (_Ascends summer-house steps, peers in._) Sakara, the
wise woman, wisest in all Japan, will fight for and protect ancient
excellencies of the kingdom. I plan to make the most exalted Emperor,
Son of Heaven, lose his love for Princess Kiku, child of honorable
Prince Yamen.

Can she, foolish one, be truly of sacred royal blood? Could a Princess
of Japan love hated foreigners? (_Clenches hand._) Barbarian devils!
It pleases her to have them at august Court, and old men growing too
old obey the children. The ministers of State laugh at fears of Sakara
(_raises both arms_), who fights for Japan.

What will the august Emperor say to hear that the touch of his favorite
makes a child, a little boy, blind? (_Crosses to L._) Truly they will
send the police through the city, but the wise woman is cleverer than
they. I HATE HER! My spells must work, shall work, if I steal her
charm-bag. Here I wait and hide. (_Looks round stage, mounts steps,
descends, goes towards L._) They will walk under honorable gaze of
the moon. (_Starts, listening to song in the distance, “In the Land,”
then prostrates herself, calling_:) O Shinto, all-powerful! O Benten,
all-merciful--Nichoren, Amairu, aid me! They come! (_Hides among
flowers L._)


ENTER _YUKI and MIMOSA R._


YUKI (_coming down L. C._). O Mimosa San, the light of honorable
moon falls upon the garden, sentries watch at the gates, and exalted
Princess thinks if she rests here in summer-house honorable sleep will
dwell upon her eyelids. She dreads the hour of the Ox, and fearful
darkness in the Palace. Here among fragrant flowers will be venerated
peace.

MIMOSA (C.). The samisen must sing her to land of health-giving sleep.
O Yuki, we can watch that no evil comes. O Totmai and O Haru can rest
in the Palace. See, they come.


ENTER _TOTMAI and HARU L., running. All bow._


TOTMAI. O Mimosa San, how pretty and sweet you look! Did you enjoy much
honorable pleasure?

HARU. How slow to speak! (_Moves up stage._)

TOTMAI. Was Morita there? Looked he for Totmai? What was honorable
meal? Did any wear very rich kimonos?

MIMOSA (_laughing_). Many are questions, O Totmai! (_YUKI and HARU talk
aside, up stage, L. C._) Honorable Morita was there. I had no excellent
speech with him.

TOTMAI. O vexing little one, make us laugh quick, about the barbarian
Englishman!

  [_All sit in centre of stage clustering round MIMOSA, who is in C.
  with HARU on the R. and YUKI and TOTMAI on her L._

HARU. Tell us, O Mimosa San, and you, O Yuki, of the doings of this
strange man.

TOTMAI. What were the garments of the foreigner, and, O Mimosa
(_laughing_), what was his speech? Did he say jolly little things?

HARU (_imitating as before_). O--I--say----

TOTMAI. Did he like honorable food?

YUKI. When he was talking to the exalted Princess he looked much like a
huge black crow speaking to a beautiful heron.

MIMOSA (_laughing_). His coat was black.

TOTMAI _and_ HARU. Black!

MIMOSA. There was a white piece in front. Honorable tailor had had
little stuff. It was strangely short in front and long behind. Over the
white he wore one pretty thing, a band of blue ribbon with something
jewelled and shining. Long stockings came up to his knees.

TOTMAI. Black for a festival!

MIMOSA _and_ YUKI. Black as a crow.

MIMOSA. O Yuki, how hard to keep honorable laughter from our faces!

YUKI. Truly, O Mimosa, when we saw him with the excellent flower!
(_Laugh._)

TOTMAI. Tell us, O Yuki San. We would laugh, too.

HARU. With honorable kindness, tell us quick.

YUKI. The august Princess took excellent chrysanthemum standing alone
in large vase----

MIMOSA. O Yuki, speak first of the bow! (_Laughs behind fan._)

YUKI. O Mimosa, how laughter-making! See, O Totmai and O Haru.
(_Imitates the bow of an Englishman._)

TOTMAI _and_ HARU. To venerated Princess?

YUKI. Just like this. (_Bows again, others copy._) Like a policeman
when he has roped his prisoner and said, “After you.” Then the exalted
lady gave him with gracious courtesy a great white chrysanthemum. What
do honorable minds _think he did with it_?

TOTMAI. Ate it!

HARU. Let excellent flower fall!

YUKI (_shakes head, laughing_). O Mimosa, how can they ever guess?

MIMOSA. He took excellent blossom like this, pulled at his strange
black coat (_imitates_); in it there _must_ have been a hole, for after
he had bowed again----

ALL (_imitating_). The bow of a barbarian Englishman----

MIMOSA. _He put it in his coat!_ (_Laughs._)

TOTMAI. In his coat? Was it large honorable flower?

YUKI. Excellently large, just like this. (_Touches flower._)

TOTMAI (_eagerly_). Oh, tell us more, tell us more!

MIMOSA. We sat on foreign chairs. All honorable guests showed exalted
courtesy. The Englishman looked O so big, and once or twice I know he
wished he was eating their dreadful raw beef!

TOTMAI. Oh, that I had been there! O Yuki, did the geisha dance new
dance?

MIMOSA. The flower dance was pretty; she had no fan, just a spray of
cherry blossoms. Show them, O Yuki, clever dancer.

YUKI. It is late. O Totmai and O Haru, know not august wish of beloved,
venerated Princess to sleep in the summer-house?

TOTMAI _and_ HARU. Sleep in the summer-house?

MIMOSA. She dreads fearful dreams. O Yuki and I sleep at her feet. O
Yuki will of honorable kindness show beautiful dance, then O Totmai of
little quick feet will with excellent kindness run quickly to fetch
bed-coverings with Haru. The Princess would not have foolish, eager
talk at the Palace.

TOTMAI. O Haru and I fly like the birds! I should fear night-devils
sleeping in the summer-house.

  [_YUKI dances C., MIMOSA and HARU withdrawing R. and TOTMAI L. during
  dance. After dance YUKI bows, others applaud, saying: “Honorable
  thanks.”_

TOTMAI. Great is excellent kindness.

MIMOSA. Will you run swiftly, O little Totmai?

TOTMAI (_taking HARU’s hand_). We fly! [EXEUNT R.

MIMOSA. O Yuki, have you ever sought honorable sleep in a garden
before? See, we will bind this rope of rice straw round the
summer-house. (_Goes up steps._) Then the all-powerful, gracious Shinto
will keep away night-devils.

YUKI (R. C.). I feel no fear, O Mimosa.

MIMOSA (_descending steps_). Honorable moon will condescend to shine.
We shall dream excellent dreams.


ENTER _TOTMAI and HARU R._


TOTMAI and HARU. We have been truly as swift as birds. Shall we spread
the beds here in the summer-house? (_Ascends steps._)

MIMOSA. The Princess!


ENTER _PRINCESS R._


PRINCESS. You have made all ready for me, O kind maidens? (_All bow._)
I dare not dream as I did last night. To dream of serpents--what
misfortune--trouble-bringing!

TOTMAI (_bowing_). It is said, O august Lady, inquire seven times
before you believe a report. Once to dream, deign to believe, is
nothing.

YUKI. Shall I bid samisen speak, O Princess?

  [_PRINCESS nods consent and sits on steps. TOTMAI and HARU up stage
  C., MIMOSA L., YUKI R. C._

YUKI.

_Air: “Chinee Soje Man,” last sixteen measures, “San Toy,” Act II._

    Rising swiftly great god of Night
      Called loudly to ling’ring Day,
    My rule begins, I come, I come,
      Tossing deep shadows grim and gray.

    Calling loudly, great god of Night,
      Bringeth strong winds from caverns deep,
    Ruleth sternly all Sea and Sky,
      Setteth bright stars their watch to keep.

    Watching, watching, great god of Night
      Leaveth his seal on ev’ry eye,
    Closeth flowers with finger strong,
      Lest they may see him passing by.

    Hearken, hearken, great god of Night,
      Calleth deep to the silver Moon,
    Setteth her track in sombre sky,
      Climbs she stately, nor shines too soon.

PRINCESS. Honorable thanks. Sweet is the song. You shall sing it to the
great Englishman, O tuneful Yuki; it will remind him of the birds in
his own land. I like to hear him speak. I think excellent sleep comes
to me now. See, I go to rest. (ENTERS _summer-house. TOTMAI and HARU
EXIT R._)

MIMOSA. Rest, well beloved, exalted Lady! Excellent charms are safe?

PRINCESS. In my girdle and my sleeve. Surely, the all-powerful ones
will protect Kiku when she journeys into the land of Sleep?

MIMOSA. Deign to fear nothing--no evil will come. O Yuki San and Mimosa
sleep at worshipful feet when we have bound this rope of rice straw
round the summer-house. Sleep, O dear lady.

  [_Soft music, stage darkens. SAKARA creeps forward to C._

SAKARA. They sleep--have I not heard enough? (_Looks round at
summer-house._) Have I not heard bitter truths? She thinks and speaks
of the evil barbarian--it is she who persuades august Son of Heaven
to set aside honorable customs of exalted land. They sit on foreign
chairs. Oh, evil be to them! Can I steal her charms? A sudden call
when soul journeys in land of Sleep, we know it means danger. Shall I
call loudly here? O foolish Sakara, sentries have ears, though they
cannot see in the dark! With clever craft I will steal her charm-bag.
She is then at my mercy. (_Laughs._) The mercy of Sakara! (_Goes to
summer-house and creeps back._) Dare I cut venerated rope of rice
straw? Will all-powerful Shinto forgive? With excellent care I will
creep under. (_Creeps up steps._)

PRINCESS. O fear-bringing--I dream--I dream! The terrible creeping
Serpent. [_SAKARA drops down._

MIMOSA. It is nothing, O dear Princess. Seek honorable sleep again. The
gods protect! [SAKARA creeps back L.

SAKARA. Shall I hide among beautiful blossoms and wait for fear-giving
hour of the Ox? Nay, honorable Moon rises yonder--away, Sakara, wait
for the morning--no eyes must see thee now or then. [EXIT L.

  [_Moonlight, MOONBEAM FAIRIES appear. They sing and dance between each
  verse._

_Air: “Samee Gamee,” “San Toy,” Act I._

    Glimm’ring moonbeams through azure sky,
    Drifting earthwards from worlds on high;
    Bringing sweet dreams to tired eyes,
    Changing to smiles all weary sighs!

    Glimm’ring moonbeams from azure sky,
    Drifting earthwards where mortals lie;
    Swaying bright wands of silver hue,
    Strength’ning sad hearts to efforts new.

    Glimm’ring moonbeams in early dawn,
    Fading swiftly with light of morn;
    Leaving earth’s sons till night again
    Hushes to rest all toil and pain!

  [_FAIRIES disappear, daylight deepens._

NOTE.--_Here may be introduced the “March of the Chinese Lanterns,” a
very effective series of evolutions. Illustrated description of the
march can be furnished by the Publishers, Dick & Fitzgerald, 18 Ann
Street, New York, on receipt of 15 cents._


ENTER _TOTMAI and HARU R._ ENTER _ITO L. and stays among flowers._


TOTMAI (_ascending steps_). Have the gods sent excellent sleep, O most
gracious lady?

PRINCESS (_slowly descends_). In truth, at first it seemed to me the
fearful serpent came near, and then I was in fairy land. Such sweet,
excellent dream! My heart is bright and gay this morning. I see yonder
a little child. Whose can he be that sentries permit to pass? Do you
know, O Mimosa San?

MIMOSA. He smells at beautiful flowers.

PRINCESS (_coming down C., the others behind her_). Little
treasure-flower! I will give blossom or two--bring him hither, O
Totmai. O Haru, he will like gay colors. Here, O little man, shall I
give excellent flowers? (_ITO bows three times._) Come, take them,
giving worthy name. (_ITO advances, bowing; as the PRINCESS touches
him he starts and cries: “O Amairu, mercy! mercy! I am blind! blind!”
Repeats twice, then rushes L. All remain motionless with fear._)

PRINCESS (_flinging up arms and turning and staggering up stage_). The
curse--the awful curse has fallen! My touch brings evil--oh, horrible
evil to a little child! Nay, none shall come near me, I command. Let me
die alone. [EXIT R.

YUKI. O Totmai and O Haru, run speedily to the Palace; bid them
question the sentries, we will then to the shrines to pray. O Mimosa,
weep not so bitterly.

  [EXEUNT _TOTMAI and HARU R._

MIMOSA. Trouble has crossed the threshold--the gods permit the evil
spells of Sakara. She, the wise woman, is jealous; she belongs to the
Imperial house, and thinks exalted thoughts of the noble Society for
the Preservation of Ancient Excellencies. There was anger in her heart
when she heard of the festival for the Englishman. Listen, O Yuki! Let
us take presents in our hands and with humble courtesies visit Sakara.

YUKI. Visit her! As well walk into the fire with a bundle of bamboos.
All will soon be well. The Englishman will sail away, and we----

MIMOSA. O Yuki, we shall see the Princess lying dead, with her kimono’s
sleeve flung across her face, like the helpless broken wing of a fallen
bird.

YUKI. Nay, O Mimosa, if you visit Sakara she will say, before argument,
proof; but if she hates the august Princess you may as well try to bale
the ocean with your hand as change her. Leave all honorably alone, lest
worse come. Poke a canebrake and a snake will slip forth. Come, come to
the Palace. [EXIT R.

MIMOSA. Yuki thinks the exalted Princess will happily forget. I know
that her heart is breaking; when our hearts break we laughter-loving
die. I remember well the fear-bringing words of Sakara. Those who speak
and laugh with barbarian devils bring curses on themselves and those
they love. Have a care, O Kiku, lest you droop like one of the noble
chrysanthemums they named you from. To her honorable dwelling I will
go with pleasant, courteous words, and presents in my hand. There is
no standing without stooping. She will hear if I speak humbly. To the
shrines of the great all-powerful ones I will creep, and they, the
merciful, the strong, will hear the humble prayers of Mimosa. (_Starts
to go off L. as curtain falls._)

CURTAIN.




SCENE III.--_Interior of a room in a Japanese hotel. Table C., with
faded white chrysanthemum on it. Chair up stage, C. Open portmanteau,
L. Coats, etc., R. 1 E._


ENTER MISS PRENDERGAST.


MISS P. I am afraid all these expeditions will be too much for the
young people. I intend looking over my dear boy’s wardrobe--I mean his
lordship’s wardrobe. (_Crosses L._) Maitland is an excellent servant,
but I feel anxious about socks. Dear, dear! how untidy this portmanteau
looks! (_Kneels down by one._) Ah, this is a sock; there is a hole.
(_Produces thimble, etc., draws chair to L. of table._) No wonder he
has a cold. Dear me! I would not allow any one to know it for the
world, but the memory of a dear little boy is kept warm in my heart.
(_Hands rest in lap._) What dear, coaxing ways he had--how I loved the
touch of his arms! Well, they say the heart of a woman at sixty-nine
is the same as that of a young girl. Not (_works briskly_) that I am
sixty. Far, far from it! I feel quite positive that Cecil believes I
made this journey, consented to it, merely for her sake, and I am glad
she should believe I faced deadly perils in order to chaperone her.

Dear me (_hands drop, spectacles fall_), it is just two years ago
since that terrible time in London when I found that all my money was
gone--lost in the failure of that wicked gold-mining company. I think
with shudders of my vulgar landlady and the day when I had barely a
shilling left. My mid-day repast was a morsel of bread, a little tea.
I was wondering hopelessly--God forgive me!--what to do, where to
go. Then, the sudden clamor in the house, the loud voices (_rises_),
Arthur, his lordship, burst into my room. He was excited. He caught
hold of me and hugged me tight, and said, “You wicked old woman, G--”
(they have always called me G--since the time Cecil was so naughty
over that letter in the pictorial alphabet. G. stands for Grannie, and
also for goose.) He said, “Go upstairs and put on your cap or your
hat and come away with me. Maitland can pack your fal-lals. Cecil is
waiting, so you must hurry.” I am afraid--well, yes, I certainly cried
a little. (_Wipes eyes with socks_). Then he pushed me out of the room,
and I heard him talking to the landlady in a very loud voice; she was
trembling afterward. I was so upset that, after all, I carried my
bonnet downstairs and he put it on with his own dear hands, and hugged
me again. We drove off at once to their London house, and what a happy
home they have made it!

They will not hear of my leaving them, though things are not so bad
as I feared. Some of my money was saved, so that I am not entirely
dependent on my dear boy’s bounty. Then I knit all his socks, the best
silk, and he assures me that I save him pounds; he had always paid 18s.
a pair in Regent Street. Iniquitous robbery!

I do not think I should really mind if I had not a farthing, for the
little one I loved has grown into such a real nobleman. (_Wipes eyes
with socks._)


ENTER CECIL R.


CECIL. Sentimentalizing over Arthur’s socks?

MISS P. (_starting and jumping up_). I deplore these abrupt
entrances--a--(_agitatedly._) Is Arthur, is his lordship there?

CECIL. His lordship is tearing along in a rickshaw, but her ladyship
(_curtsies_), finding the heat oppressive, has returned to the hotel
and the society of her beloved G.

MISS P. (_sinking back_). Really, Cecil----

CECIL (_coming behind chair_). My language was sufficiently correct
to please even you. What are you doing in this untidy boy’s room? I
suppose, like me, he has nowhere to keep his things, only a chair
and a table obligingly supplied by the Police Station. (_Coming R.
of table._) Now, what is he doing with a dead chrysanthemum? Look at
the stalk of it. Did you give it to him, G., dear? (_MISS P. examines
through glasses._) If you are engaged in a general tidying-up, I think
this might be thrown away. (_Drops flower in front of table. MISS P.
picks it up._)

MISS P. I was merely doing some--Why, dear me, I have no silk in my
needle! (_Holds up sock._)

CECIL (_coming in front of table and laughingly snatching sock_). Just
as I said, sentimentalizing over Arthur’s socks, the dear boy! (_MISS
P. recovers sock, continues working._) You see, he did not receive us
with vials of wrath. I like the Princess Kiku, don’t you?

MISS P. She has pretty, caressing manners, but their incessant bows and
elaborate politeness try me.

CECIL. I should have thought you would have revelled in it. However,
here we are, but Arthur is no nearer finding the shipwrecked baby. Why
can’t the foolish boy enjoy the money? He now intends to lay the whole
thing before the Emperor, and he’ll send a--what do you call it--an
edict or something through the land, and all the lost infants will
assemble here. Won’t it be fun? Why, though, G. dear, how stupid of me!
She won’t be a baby now. She will be as old as I am, twenty-three.

MISS P. (_precisely_). An exact definition of age is unnecessary in
a woman; it is sufficient for you to assert that you are of age, or
that you have reached years of discretion--a little more reserve is
advisable.

CECIL. With you, G.? Why, you came to us when Arthur was only four, and
he is five years older than I am, that----

MISS P. (_hastily_). Cecil, my dear, I have dropped my needle.

CECIL. It is sticking aggressively in that sock. I am jealous. Arthur
has his man, and I have no maid; you don’t trouble about my wardrobe.

MISS P. A woman should be at home with her needle. Ar--his lordship
cannot darn socks, and though Maitland is as handy as all old soldiers,
I could not trust him with silk ones.

CECIL. Nobody knits me anything, I--am only a girl. (_Turns L._) G.,
dear, I smell (_MISS P. starts_)--I smell a whiff of real English
tobacco; his lordship, having wearied of running coolies off their
legs, has returned. You will be caught--G., dear, you will be
caught--you will be caught! (_MISS P. hurries across stage, dropping
sock, etc._)

  [EXIT _L. CECIL laughs, and turns to follow as curtain
  falls._

CURTAIN.




SCENE IV.--_A room in the house of SAKARA, who is seated C. by a
table, which is covered with Japanese books, etc., a box in front of
her, two or three small tables (really low, square stools), some rugs
on the floor, sword hanging from roof C., R. 1 E. and L. 1 E. The room
is made with plain screens. ITO stands R., down stage._


SAKARA. See, little Ito, there are books for excellent play-acting.
(_ITO bows._) Are they not joy to eager eyes? See, here are coins,
honorable coins. Place safely in girdle, O little Ito! (_Child bows
again before taking money._) No words, O grave and wise?

ITO. The police with ropes in pockets go from dwelling to dwelling
asking for blind boys.

SAKARA (_scornfully_). _Afraid of the police?_ See, here is sacred
charm; place also in girdle, O little Ito. (_Child examines and bows._)
Fear nothing, the gods protect. (_Draws child beside her._) I see there
are words in thy throat.

ITO. Honorable lady in the garden was beautiful as a flower. (_Looks
up._) Why did she not love excellent play-acting, and I the best
play-actor among children in many honorable dwellings?

SAKARA. Who said, O little Ito, venerated Lady did not like?

ITO. The police. I fear not till lanterns are lit, and night-devils and
evil spirits walk. I called out in honorable sleep; the kind mother
heard. (_Places book under arm._) If police put a rope round me I will
say it was play-acting of Sakara, the wise lady.

SAKARA. Truly, the dog bites the hand that caresses it!

ITO. Honorable meaning I do not understand. Play-acting of doctor or
funeral exalted lady would have liked.

SAKARA. Fear not, O little Ito; all good comes to the friends of
Sakara! Keep close mouth (_child starts_) _lest_.... Here hangs
honorable sword, fear nothing, O little Ito (_child draws nearer_), the
words on excellent blade, “There’s naught ’twixt heaven and earth a man
need fear who carries this single blade!” Soon, O little Ito, manhood
will come, strong, powerful manhood, and Sakara will fasten this sword
herself to girdle of wise Ito.

ITO. August lady is most honorably kind to little Ito; those in prison
may not wear worthy swords! Will excellent charm keep away night-devils?

SAKARA. None can come. Have no fear, O Ito, and remember the words of
Sakara--the mouth is the door of mischief. Keep close lips; excellent
happiness will then come. Take honorable leave-taking, O wise Ito. I
hear footsteps.

ITO (_bowing deeply, taking SAKARA’s hand to his forehead_). I thank
thee, O most exalted and wise, for books and money. Honored words my
foolish mind will keep, but I fear greatly night-devils. [EXIT L.

SAKARA. It is the foot of O Mimosa San!


ENTER _MIMOSA R., carrying presents. Bows in doorway._


MIMOSA. O most exalted Sakara, I come with honorable presents in humble
hands. Deign to accept, O most powerful. Tell me of noble health
since last I worshipped thy eyebrow. (_SAKARA sits motionless. MIMOSA
bowing._) I regret humble and unworthy feet should soil venerated
chamber, and that one so poor, so foolishly weak, should cross
excellent threshold! (_Stands motionless._)

MIMOSA (_hesitates, then bows, speaking louder_). I come, O great and
wise, after exalted custom of noble land with presents in humble hands,
pleasant words on foolish tongue.

SAKARA (_bows once_). It has been said, O Mimosa San, that the mouth
is the door of mischief. I have deep thoughts. I return honorable
greeting. Deign to sit.

MIMOSA (_bowing_). Condescend to accept humble offering to great wisdom!

SAKARA. _Wisdom_--you love the folly of the Palace! He who touches
vermilion becomes red. It is only the gravely thoughtful who pray the
aid of Sakara.

MIMOSA. Am I, then, a wolf in sheep’s clothing, that you receive
honorable greeting and poor unworthy presents with little excellent
courtesy? I will leave offerings at exalted feet, and take away the
burden of letting venerated eyes rest upon Mimosa! (_Aside._) O Shinto,
grant wisdom; to show eagerness is loss!

SAKARA. Nay, O Mimosa San, rest on humble floor; they shall lay
honorable tea before you. What can the ignorance of Sakara do? Forgive
seeming discourtesy. (_Bows._) I twanged my bow on the box here,
talking to spirits of the most exalted dead (_MIMOSA shrinks_) as to
the evil coming to beautiful, beloved Japan.

MIMOSA. Will there be trembling of the catfish? Will honorable
dwellings fall?

SAKARA (_scornfully_). Earthquake? or swift-moving fire? The humble
servants of the great ones. That is nothing.

MIMOSA (_rising_). My excellent brother travels to the Shrine of
Ise--could he bring thee charms? and let honorable prayers avert evil
days?

SAKARA (_rising_). O Mimosa San, there is no escape from the nets of
Heaven.

MIMOSA (_tremblingly moves toward R._). Honorable leave-taking! Will
most gracious favor chrysanthemum-viewing at the Palace with exalted
presence?

SAKARA. My feet turn not again to the Palace; the absent get farther
off every day!... Honorable minds (_scornfully_) will soon forget
Sakara, who will sit (_seats herself C., draws bow along box_) and
commune with the spirits who protect Japan--exalted, powerful gods!

MIMOSA (_advancing_). I came with honorable presents in my hand----

SAKARA. Hai--you would give honey to eat!

MIMOSA (_drawing nearer, though avoiding box_). Nay, the small fox
may borrow strength and wisdom from the powerful tiger. I came to sit
humbly at thy feet----

SAKARA (_twanging bow, laughs_). Would foolish fox enter the tiger’s
den? (_MIMOSA shrinks._) After the swallowing, scalding is forgotten.
(_Turns to MIMOSA, who struggles to appear brave._) What think you, O
Mimosa San, of poor, unworthy dwelling of the wise woman? Ignorantly
speaking of bringing charms to one who makes charms--charms of long
life, happiness, love, lasting beauty!

MIMOSA. I rob you, O Sakara, of honorable time. I----

SAKARA (_beckons MIMOSA C._). Stay, O Mimosa, foolish Mimosa. You came
to learn wisdom sitting at the foot of Sakara. Condescend to remain.
O Mimosa San, if you would be wise, honorably exalted, all good shall
come from the doing of one little thing----

MIMOSA. Deign to name the very little thing, O most honorable?

SAKARA. A very little thing! Condescend to sit, O Mimosa. First with
honorable kindness answer, have your eyes seen excellent venerated
lotus-flower in the mud?

MIMOSA (_with astonishment_). Never, O Sakara; the sacred flower?

SAKARA (_speaking impressively_). Do my bidding and you shall never be
trampled like a dead, forgotten flower. Neither shall you grow old,
and love will never leave you! Death by drowning, or long, pain-giving
illness shall not be yours. At a venerated age you shall fall asleep
in the embracing arms of the gods. I know, O Mimosa San, that the most
worshipful Toko has fastened the sprig of lime to thy father’s door
and woos thee; the gods, the all-powerful, shall smile upon him also.
(_Rises slowly._) The terrible destroying earthquake, the swift-moving
fire shall never touch you! Your joys shall last like the pine trees.
You shall remain beautiful as the cherry blossom and as spotless.
(_Stands with folded arms looking at MIMOSA._)

MIMOSA. What can I all unworthy do to gain exalted happiness?

SAKARA (_walking forward, keeping face from MIMOSA_). It is a very
little thing, O Mimosa. You have come with courteous words to Sakara.
Thy heart is not all folly, for the magnet can attract iron, but not
stone. Do as I bid, beloved Japan shall venerate thee. Be honorable
friend of wise, powerful Sakara, and you shall be protected by exalted
gods, and the name of O Mimosa San shall _live_ when all else perishes.
(_Crosses R._)

MIMOSA (_follows, bowing_). Tell me, venerated will. Great is the good
you promise, O powerful Sakara, when I do thy bidding. (_Kneels._) Hear
one humble little prayer.

SAKARA (_turning, seizes MIMOSA’s hands_). Bring for one little day the
charm of life from the Princess Kiku’s girdle.

MIMOSA. I to bring the charm of life from august Princess’s girdle?

SAKARA (_drops MIMOSA’s hand, speaking quietly_). Deign to see it is a
very little thing.

MIMOSA. Verily, you hide the sword with a smile. What would you with
venerated charm? Nay (_SAKARA prepares to speak_), nay, purse lips now,
for you have spoken loud. (_Lowering voice._) Hold the powerful charm,
and exalted lady’s life is yours.

SAKARA (_placidly_). Fallen blossom does not return to the twig. All
powerful Son of Heaven will forget her foolish fancies, and in beloved
Japan all will excellently remain as it did in the days of honorable
fathers--and--Mimosa----

MIMOSA (_kneeling_). Condescend to kill me, and spare her!

SAKARA. Never!

MIMOSA. Then the gods will shield, O most wicked! (_SAKARA listens with
amazement._) Mimosa will walk barefoot to every shrine. She will not
do your bidding. (_SAKARA folds arms._) Nay, I fear not. Prophets know
nothing of themselves. Is there no one who would work you evil? no god
whom you have angered?

SAKARA (_raising hand_). Peace, O most foolish. I am Sakara the wise.
In my own house evil words? (_Stands over MIMOSA._) Would the evil
curse light on you, too? Thy mistress sent thee with tears and humble
prayers. (_Contemptuously._) As well cut a stick after the fight.
Listen, O Mimosa! I, Sakara, speak these words. The curse of her
fathers, the fathers of Japan, rests upon her. Those she loves (_MIMOSA
throws out arms_) shall wither, those she touches shall fail--when she
wishes good evil shall come! I, Sakara----

MIMOSA (_passionately_). She shall not hear evil words. I shall not
repeat.

SAKARA (_contemptuously_). Hearken, O very foolish little one--while
you speak here her eyes _read_ the words--the curse I have spoken.
(_MIMOSA cries out._) The all-powerful spirits commanded their willing
servant Sakara to honorably write. Fear-giving words _were_ written,
carried by excellently swift messenger! _Thou_, (_pointing_), _thou_
shalt see her fade and die--_thou_, thyself.

MIMOSA. See, I hold between me and thee my girdle of charms. I fear
thee not. The gods will judge.

SAKARA (_scornfully_). Judge for _thee_?

MIMOSA. I will not buy happiness at the cost of another’s. Nay (_SAKARA
steps toward her_) thou shalt not touch me or my charms! I am Mimosa,
the swift-footed. (_Springs back to door R._) Remember, O most wise,
wicked one (_stands with outstretched hand_), he who curses must look
out for two graves!

CURTAIN.




SCENE V.--_A room made with screens in a Japanese house, opening, if
possible, on to a veranda, up stage C. L. 1 E. and R. 1 E. Plenty of
cushions, rugs and little low stools about the room. YUKI (down L.),
TOTMAI (R. of entrance to veranda), HARU (L. of entrance to veranda),
recline lazily._


TOTMAI. O Haru, a bird flew past the window--a visitor comes; let us
adorn our hair.

YUKI. Is not the word of the Princess known? None may enter the gate.
Watchful sentries would not even allow honorable dog to pass!

TOTMAI (_sinking back on cushions_). Truly, O Yuki, I had forgotten.
O Haru, deign with honorable kindness to tell excellent tale? (_HARU
shakes head._) I would like one with a great, powerful and noble Prince
who sends away trouble with swift sword! There, O Yuki, rapid one flew
past again. Excellent message of its honorable flight I have never
known to fail! (_Sits upright._) Then, O most wise Yuki, in honorable
cup of tea there was a tea leaf that stood upright. O Haru, come! (HARU
_sits before TOTMAI, who arranges pins._)

YUKI. I had foolishly forgotten. Here come the Princess and O Mimosa
San. Smile gaily, O Totmai and O Haru. Exalted lady is sad enough.
(_All bow._)


ENTER _PRINCESS R., MIMOSA following._


PRINCESS. O poor maidens, has terrible evil come to you yet? You would
come with me, foolish yet excellently loving hearts. Your honorable
hands, brightly seeing eyes, excellent hearing, is all well? (_Comes C.
and looks eagerly from one to another._)

TOTMAI (_coming down R. C. with flowers in her hand_). O most august
Princess.

PRINCESS. Totmai, you forget. I will not be called Princess any longer.
I am Kiku, the chrysanthemum, a fading flower!

TOTMAI. O beloved lady, in sweet, health-giving country air all will be
excellently well. We can dance, sing, honorably eat.

PRINCESS. Who can tell when the terrible curse falls?

TOTMAI (_bowing_). All-powerful gods are good. From one excellently
sweet as thou art no evil comes, O most worthily loved.

PRINCESS. My august uncle would know, O Mimosa, how long I tarry here
with you for refreshment of sweet-smelling air full of the scent of
fragrant flowers. Do you think the fair chrysanthemums at the Palace
will fade without our loving care? O trouble-bringing--I forgot--they
wither at my touch!

MIMOSA (_taking flowers from TOTMAI_). Deign to hold honorable blossoms
in venerated hands----

PRINCESS (_moving away up stage on L._). Nay, I would not have dear
ones die.

MIMOSA (_crossing, TOTMAI follows PRINCESS_). Condescend to listen to
humble Mimosa--take them, O dear lady--deign to see I lay them against
you.

PRINCESS (_hesitatingly_). They, the beautiful ones, die not now, but
watch in an hour, before dark night comes--_they will be dead_!

MIMOSA (_cheerfully_). We will set honorable blooms in water (HARU and
YUKI arrange in vases on stool at L.), we will watch; deign to believe
they will not fade. The people in the village hold happy festival. They
pray humbly for august presence.

PRINCESS. O Mimosa--_I_ go among them? _I?_ (_Moving down R._) I
hear again the cry, the terrible cry of the little child! “O Amairu,
mercy--mercy--I see not, I am blind--blind!”

TOTMAI (_coming up to her R. C._). O Princess, my honorable father
often excellently said: “Live under your own hat. Do well. Deign not to
think what worthy neighbors say!”

YUKI (L.). O Princess, the bird that flies upward does not ruffle
water. The gods are good and merciful, excellent charms are safe. O
lady, forget!

MIMOSA (C.). Condescend to return to the Palace.

PRINCESS. Are these wise words, O Yuki, “Return to the Palace?” O
Mimosa, heart would break if my touch brought evil to the august Son of
Heaven. I will not weep. O kind ones, I will write words to my exalted
uncle. Would that _you_ returned to the gay Palace.

ALL (_bowing_). With you, O most excellently loved!

  [_PRINCESS EXITS R., MIMOSA follows._

YUKI. If I had my way the whole trouble-bringing story should be laid
before the august Emperor and truth threshed forth.

TOTMAI. How, O Yuki?

YUKI. The police, if I were Emperor, should bind Sakara!

HARU (_by curtain C._). The bird again!

TOTMAI (_back to first place_). It must speak honorable truth; let us
adorn our hair better. Sit here, O Haru. I will arrange beautiful fans.

YUKI (_crosses to veranda_). Friends come not in the wilderness. The
great white mountain, sacred though it be, I weary of it! Much would
I give to hear the sound of feet on honorable path. (_Steps onto
veranda._)

TOTMAI. Do excellent eyes see honorable visitors, O Yuki?

YUKI. From the threshold I see only great lofty head of Fuzi--from
the village there are sounds of music. O Totmai and O Haru (_takes
Japanese umbrella_), let us forth to the spreading garden to hear
honorable laughter. There is no need to be gloomy and sad, for the sun
shines--and the gods hear prayers! Come! [EXEUNT _all by veranda._


ENTER _LADY CECIL L., followed by MISS PRENDERGAST._


MISS P. (_gasping_). Cecil, how can you be so lamentably, foolishly
rash? People have been thrown into prison for bribing sentries. You
walk in here as if you were the Mikado-ess of Japan! I knew that we
should not escape without some grievous trouble. Come away! (_Pulls
CECIL, who looks around inquisitively._) Come away before they see us
and it is _too late_!

CECIL. Dear G., don’t you like exploring expeditions? No? I remember,
you prefer excavations. Didn’t Professor Anstruther discourse eternally
on the excavation of antiquities? Think what a lovely day we have had!
I contemplate taking my dear little rickshaw man and his carriage back
to London to be the sensation when we go home.

MISS P. (_sighing_). To England? We shall never see our native land
again--and you promised that we should be at home in time for the Sales!

CECIL. So I did, but you wouldn’t like to leave poor Arthur lamenting
alone, searching for the lost heiress? The Princess has left the
Palace. She would have interested the Emperor for him. I must know if
the villagers speak the truth and she is here. G., don’t you think
things assume a darkly tragic air?

MISS P. Dark and tragic, indeed! _It is exactly what I have predicted!_
Ar--his lordship has offended, I feel sure he has offended innocently,
and those horrid little policemen, looking as if they had come out
of a pantomime or a box of toys, will take him off to prison. Then
(_tearfully_) it will be your turn, through your headstrong folly.
Cecil, I implore you not to look out from there--and I--in my
old--ahem!--in the prime of life, will have to accompany you!

CECIL (_at veranda_). G., dear, do come and look at this delicious view!

MISS P. (_remaining L._). I shall not stir from this spot!

CECIL (_running up to her_). Nothing will happen, so don’t draw gloomy
pictures about Arthur. Fancy, roped by these policemen, would one come
for him, or two, or six? They are so painfully polite; one could not
hurt their feelings by refusing. Think what pictures for _Punch_, what
headlines for newspapers. (_Puts an arm around MISS P._) Wouldn’t you
like to be in history?

MISS P. (_emphatically_). Certainly not, my dear! All gunpowder,
conspiracies and plots! Do come away, Cecil, do!

CECIL. There, you have moved and no catastrophe occurs. (_MISS P.
starts and returns to original position._) So sit down. Well, if you
are so in love with that spot, move just an inch or two. I will put
three or four of these charming cushions together. You will be so
comfortable! (_MISS P. sits reluctantly._) Do be a darling and like
explorations as much as excavations. If it is the Princess, think what
news for Arthur!

MISS P. If the gossip Fuyijama tells us correctly, the Princess is a
dangerous young woman.

CECIL (_sitting_). I shall sit real Japanese fashion. Fancy,
an enlightened, highly educated English lady listening to such
superstitious tales!

MISS P. It is all very well, but once you land yourself in prison
nothing can be done to save you. I believe you would quite enjoy
steeping Europe in bloodshed.

CECIL (_laughing_). Europe? Oh, G., when I think of the geography you
made me learn! There, I won’t tease any more. I want to see this poor
little Princess. She is not a bit real Japanesy, you know she isn’t;
and I will tell you a secret, and that is Arthur admires her very much.

MISS P. (_lifting hands in horror_). Poor, innocent, misguided boy!

CECIL. He is not going to ask a Japanese to marry him, but he gave me
to understand he wished she had been English.

MISS P. Beg him instantly to leave the country--tell him you are
ill--the climate is affecting your reason, and we will start to-night!

CECIL. In a little open boat? There is no mail steamer. Think how ill
you were. Would you brave even an open boat for that boy? You need not
be afraid of any terrible _contretemps_. We Cavendishes have a little
common-sense. Listen! what merry laughter. (_Jumps up, helps MISS P. to
her feet._)

TOTMAI (_without_). O Haru, did your eyes ever see the rickshaw tumble
over and the man go sprawling on his face?


ENTER _Japanese girls from veranda, bow profoundly. CECIL also bows.
MISS P. nods stiffly._


THREE GIRLS (_coming down R._). Welcome--honorable welcome!

CECIL (_aside_). Oh, G., I wish I had an elastic backbone!
(_Advances._) The most exalted Princess, can I, ah--G., what is the
right expression? Is it kiss her foot? No, it has something to do with
eyes. I’ll try this--can I salute her eyelids?

YUKI (_bowing_). The most exalted Princess would be honorably pleased
to worship your eyebrow----

CECIL. There, why didn’t I get it right?

YUKI. She will not, O most distinguished, see any one.

CECIL. I hope the--ah--the ah--shadow of the Princess has not grown
less?

ALL. Shadow? The most venerated is not a ghost.

CECIL (_sighing_). Wrong again! G., do help me.

MISS P. (_clearly and emphatically_). Tell the Princess a very great
lady wishes to see her.

HARU (_bowing_). She would wish to see one so very honorably old----

MISS P. Cecil, my dear----

TOTMAI (_bowing_). In our land we venerate the aged.

YUKI (_bowing_). Thy head, O Most Ancient, resembles the snows of
Fuzi----

MISS P. (_looking from one to the other_). Cecil! (_Gasps._)

CECIL (_smiling_). In our land the people have white hair when they
are--quite--young.

TOTMAI. Oh, they are funny in your land--jolly little things!
(_Laughs._)

CECIL. Now, I wonder who taught you that?

HARU. O most worshipful, the great barbarian Englishman.

CECIL. There, G., that’s your beloved Arthur. Do you mean the very tall
Englishman, my brother?

TOTMAI. The Princess has spoken of you, O most excellent. You are the
lady who came with the most worshipful foreigner to the Palace. O Yuki
will run instantly and tell O Mimosa San that you are here with the
most venerated Ancient One.

MISS P. (_turning away_). They are very ignorant, poor little things!

CECIL (_to TOTMAI_). Would you tell me your name?

TOTMAI (_bowing_). Totmai.

CECIL. What do you find to do all day?

TOTMAI. We dance, laugh, sing and care for honorable flowers, we read
and work.

CECIL. Quite like English girls! What do you read?

TOTMAI (_proudly_). I have read the greater learning--the lesser
learning--I know excellently the model letters--and there are many
pleasure-giving stories about fairy princes and powerful soldiers.

CECIL. I am afraid I am too old to care for fairy princes, but tell
me----


ENTER _MIMOSA R., followed by YUKI. Bows deeply._


MIMOSA. O great lady, the exalted Princess sleeps after much sorrow. We
know not where her soul wanders. To call suddenly is evil-bringing.

CECIL. I will come again. Let me see (_triumphantly_), worship her most
exalted eyelash--no, I mean eyebrow----

MIMOSA (_sorrowfully_). The Princess, O most honorable and venerated,
will see no one. She has wiped sad eyes with her kimono sleeve; and we
are laughter-loving in Japan.

CECIL (_kindly_). I hope--ah--happiness will return. We are leaving
your beautiful country. (_Moving C._) Mimosa--may I call you Mimosa?

MIMOSA (_R. C., smiling_). It is my humble name. Leaving beautiful
Japan?

CECIL. My brother, the barbarian, as you call him----

MIMOSA (_earnestly_). The most exalted stranger----

CECIL. Came here to find a girl shipwrecked off the coast of Japan
years ago (_smiles at MISS P._), more than twenty years ago. The
parents were drowned, but one of the sailors has always persisted that
the baby was not drowned, but adopted by kind Japanese. All sorts of
inquiries have been made. A great deal of money comes to her if she
can be found, but my brother, who keeps it if no trace of her can be
discovered, would not rest satisfied until he had visited Japan himself.

MIMOSA. Is it the treasure-flower of most worshipful Englishman that
has been sadly lost?

CECIL. Treasure-flower? What a sweet name! No, Mimosa. The great
barbarian has no little barbarians!

MISS P. Barbarian, indeed! One of the most enlightened and cultivated
members of the powerful English aristocracy!

MIMOSA (_bowing_). We reverence your words, O Most Ancient. Treat an
honorable old woman as thy mother (_bows_) we learn in our cradles. May
you, O most venerated, grow more and more like the pine and the lobster!

MISS P. (_indignantly_). Cecil, I am insulted! A lobster, indeed! Is my
face heated?

CECIL (_quickly_). No, no! Don’t look vexed. It means something
immensely complimentary. See, they are bowing again.

MIMOSA. O most exalted, will you let honorable feet rest longer on
unworthy floor while I see if most exalted Princess returns from the
land of Sleep? Is it known to your powerful intelligence that the
Princess fears a terrible curse?

CECIL. We heard it, Mimosa.

MIMOSA. Would you, O most excellent, fear the touch of the Princess?

CECIL. Fear? Not the least little scrap.

YUKI. And you, O most honorable Ancient?

MISS P. (_snappishly_). If you are addressing me, young woman, it is
all nonsense. I shall be thankful to find myself safely out of this,
and not in prison!

VOICE (_calls_). O Mimosa San!

GIRLS. The Princess!


ENTER PRINCESS R.


CECIL. I have a horrible feeling that I should bow to the earth--kiss
her feet, or something. Poor child, how sad she looks! Now, for a very
low bow.

PRINCESS (_seeing her, starts; she removes R._). Away, most exalted
stranger--away, lest evil come--I am accursed! Away, O most venerable!

MISS P. Are they all mad or blind?

CECIL. We are not afraid--Princess--your Highness. (_Crosses stage._)

PRINCESS. You are brave to come, most honorable lady--come not nearer.
I--am--accursed. (_Hides face._)

CECIL. Accursed? (_Advances impetuously._) Don’t look so sad, you poor
little thing! (_MISS P. expresses horror by many gesticulations._) I
must talk plain English, not high-flown sentiment. Princess or not, I
take both your hands and look into your pretty eyes.

PRINCESS (_shrinking_). Nay, the curse will fall upon you--those I
touch, even the flowers.

MIMOSA (_bowing_). See honorable blossoms, august lady, as fresh and
sweet----

PRINCESS (_advancing slowly_). Is this venerated truth?

CECIL. Oh, don’t shrink like that. If you were in England I should give
you a good hug--it is so comforting.

MISS P. (_crosses excitedly_). You will certainly be in prison before
night. The German Emperor does not call himself Son of Heaven and you
talk to this----

PRINCESS (_sadly_). Is this most exalted lady with excellent hair as
white as Fuzi afraid? Afraid of the curse?

CECIL (_aside_). Now, G., be nice! If you are not I will tell Arthur.

MISS P. (_advancing hurriedly_). No, my dear, I’m not afraid. Give me
your hand. (_Shakes heartily, then drops it hurriedly, glancing at
CECIL._)

PRINCESS. The English ways are strange, yet I like them. Still, O kind
ones, Kiku’s heart is breaking!

MIMOSA (_aside to CECIL_). Deign to beg august one to return to the
Palace.

CECIL (_to PRINCESS_). Dear lady, do not sorrow so. We are leaving
Japan. (_PRINCESS raises head._) Could you not return to the Palace?
You promised graciously to show me your chrysanthemums, and my brother
would be so grateful for your help--he is hunting for a lost heiress.
Dear Princess, return. (_MISS P. sighs._)

PRINCESS. My honorable chrysanthemums would wither.

  [_YUKI lays flowers at feet of PRINCESS, who looks down hesitatingly._

CECIL. Dearest Princess, return.

PRINCESS. It is the cry of the child, the dear little honorable child:
“Oh, I am blind--blind!” It echoes in my heart, rings in my ears! A
child! O lady--a little treasure-flower!

CECIL. It couldn’t be true, dear Princess. It couldn’t possibly be
true. It might have been a touch of sunstroke, but not blindness from
your touch. These dear little hands could not hurt a fly. Be comforted,
return. Something tells me you will be glad if you do. Dear lady,
return!

PRINCESS (_clasping hands_). I am--accursed. My touch brought evil to a
child. O powerful gods, be merciful to Kiku! Worshipful lady, though it
tears my heart, I will show you my chrysanthemum garden, and help if I
can the exalted foreigner.

  [_The girls crowd round the PRINCESS and CECIL, laughing excitedly and
  joyously and clapping hands._

CURTAIN.




SCENE VI.--_The Chrysanthemum Garden, as before._

_MIMOSA up stage among flowers._


MIMOSA. O dear honorable ones, hold up exalted heads to comfort august
lady with beauty! She comes hither with the kind, worshipful English
lady who tells strange story of little lost one. (_Comes slowly down
C._) The sun shines to-morrow, and the gods will send Mimosa wisdom!
(_Turns to flowers._) O dear ones, beautiful and fresh, I would not the
Princess saw one drooping head.


ENTER _ITO L., cautiously, without perceiving MIMOSA._


ITO. For many mornings I come here. The sentries smile at me, there is
no one to see Ito’s play-acting, and I, the best play-actor in many
honorable dwellings, did not my own play-acting, but that of wise
Sakara, therefore beautiful lady liked not. Would she could see me
play-act doctor or the funeral.

MIMOSA (_throws herself on her knees, half laughing, half crying_). O
dear one, sent by the gods, thy eyes, honorable eyes?

ITO (_drawing back_). I will not play-act that again, most worshipful!

MIMOSA. _Play-act?_

ITO. It was not my play-acting. I would august lady saw my own
excellent games. It was Sakara taught this to me. None liked; even the
policemen said angry words!

MIMOSA. Come to me, O dear little one. Be not afraid, it is joy;
honorable desire to see excellent play-acting.

ITO. The beautiful lady! I would she knew Ito is the most excellent
play-actor. She did not like game of Sakara.

MIMOSA. Dear treasure-flower, beautiful lady will indeed love excellent
play-acting. When the powerful sun travels higher in the sky, if little
Ito returns to the garden he shall do excellent play-acting, the
venerated Princess will like rarely.

ITO. Ito wants neither money nor books, but smiles from the beautiful,
exalted lady.

MIMOSA. O dear kind one, the Princess will give smiles. All will love
honorable, kind little Ito. Make leave-taking, and return, Ito, the
comfort-bringing!

ITO. The lady _will_ smile?

MIMOSA. Truly, O little Ito.

ITO. Then I return. Shall I play-act the doctor or the funeral?

MIMOSA. All the play-acting. Only return. (_ITO bows. EXIT L._) O
joy, joy! Shall I with haste fly to the Princess? Ah, she comes, with
worshipful lady and venerated Ancient One!


ENTER _PRINCESS R. with LADY C. and MISS P., followed by three girls._


PRINCESS. This, O kind ones, is the Chrysanthemum Garden. See honorable
blossoms, how fresh and sweet. They will be gathered for thee; deign to
accept. I will not myself pluck, lest evil come.

CECIL (_briskly_). Dear Princess, you are very kind. May I tell you
more about my brother’s search for the little one?

MIMOSA (_throws herself with a cry at feet of PRINCESS_). O dear
lady, forgive, the gods have sent Mimosa wisdom. Deign to remember.
(_PRINCESS starts._) Nay, O most beloved, it is not evil. Condescend to
remember the words of the most worthy Yamen who sleeps with the gods.
Did he not say the gods of the sea sent thee to cheer his house with
honorable laughter?

PRINCESS (_with surprise_). I remember well, O Mimosa San. Sometimes
when still a little one I heard in the dark the sound of angry waves
and strange moanings, as of voices calling in the hours when sleep
condescended not to rest on my eyelids. He told me to still childish
fears.

CECIL (_aside to MISS P._). G., this is exciting. We are not only
explorers, but discoverers, and that is more than your professor will
ever be!

MISS P. (_to PRINCESS, speaking in loud voice_). Are your father and
mother dead?

PRINCESS. The noble Yamen and the exalted lady sleep with the gods.

MIMOSA. Deign, O most august, to remember the little bag they gave--the
bag worn round venerated neck.

PRINCESS. The bag, O Mimosa San?

MIMOSA. The little honorable silk bag--the gracious Princess has told
Mimosa of it, and the bidding of the powerful Yamen to open it if
trouble dwelt on thy threshold. And we, O most foolish, have forgotten
it.

PRINCESS. The bag? I have worn it so long that, indeed, I had forgotten
honorable words, O wise Mimosa. See, here it is.

CECIL (_excitedly_). Open it, Princess.

MISS P. If you are the young person to whom the money belongs, Ar--his
lordship--will lose £5000 a year.

CECIL (_laughing_). G., you forget. You have called a Princess a young
person. What about the prison?

PRINCESS (_hesitating_). O Mimosa, I cannot! Fear has come to me--my
fingers tremble. It may be I shall learn more evil!

YUKI. Open it, most worshipful. It is only the putting-off man who
sharpens his arrows when he sees the lion. This may be an arrow to
pierce the heart of wicked Sakara!

MIMOSA. Give it to me, beloved Princess. If it be evil-bringing, let
the grief come to me and not to thee.

PRINCESS. Nay, I will not fear. It was here the little one, the
treasure-flower, cried out the cry that has broken my heart. I have
brought sorrow to a child--what else matters? See--I--open! (_Draws out
paper and reads._) “The Princess Kiku has been to the unworthy Yamen
the light of life. The gods of the sea sent her to cheer a threshold
brightened by no treasure-flowers--from a wreck the little one was
saved. The deep secret is known only to the august Son of Heaven.”

CECIL. O you dear little thing! But I suppose £5000 a year is nothing
to a Princess.

MISS P. I am thankful it isn’t one of those solemn Japanese babies.

MIMOSA. O beloved. (_Bows._) Exalted! (_Bows._) August. (_Bows._) There
is no curse. Sakara said the curse of the fathers of Japan. You, O most
gracious, are a barbarian baby.

ALL JAPANESE GIRLS. Comfort-bringing, there is no curse.

PRINCESS. If this is so, I do not mind being a barbarian baby.

MISS P. I should think not, indeed. A most fortunate young woman.

PRINCESS. It is the cry of the child--that terrible cry! (_MIMOSA claps
hands, runs L., returns with ITO. General astonishment._) The little
one! MIMOSA (_excitedly_) his eyes--his eyes!

ITO (_solemnly_). I grieve, most excellent, that play-acting gave not
happiness. It was play-acting of Sakara. Those who are too grave and
wise cannot play-act. I will be----

PRINCESS. O joy too great! O little treasure-flower, my touch harmed
thee not?

ITO. It was play-acting--but it was grief-bringing that play-acting
brought no honorable hand-clapping. I----

PRINCESS (_caressing_). Thou shalt be Princess Kiku’s play-actor. Nay
(_turns to CECIL_), I forgot, most worshipful, I am no Princess, only
a very happy girl (_holds ITO_). Is the excellent Englishman now my
brother?

CECIL. No, your cousin. Do you have cousins in Japan? I will instantly
send to him to come.

YUKI. Let us dance our joy!

TOTMAI. Jolly little things!

HARU. Oh, I say!

ITO. When shall excellent play-acting be?

CECIL. I hope you notice, G., the impression that the most enlightened
member of the powerful British aristocracy has produced. However
(_Japanese girls dance forward_), this is only the beginning. What will
be the end of this Japanese Romance?

  [_Kneels by PRINCESS, taking her hand._

CURTAIN.

                    *       *       *       *       *

                            A BUNCH OF ROSES

            A BURLESQUE MUSICAL ENTERTAINMENT, BY W. D. FELTER

                       [Illustration: Decoration]

                             _PRICE, 15 CENTS_

                            CAST OF CHARACTERS

  MRS. PHŒBE ANN ROSE                                   _from Kalamazoo_
  PRUDENCE LOBELIA }
  POLLY CLORINDA   }
  PRISCILLA        }                                _the Bunch of Roses_
  PAMELIA          }
  PATIENCE         }
  PENELOPE         }
  LILLY  }
  PANSY  }
  VIOLET }                                               _the Rose-buds_
  DAISY  }
  SALLY SPARKS                                   _who only “thinks so.”_
  MATILDA JANE                                          _the Hired Girl_
  MELVIN MELROSE                        _the Only Young Man on the Spot_

A burlesque musical entertainment in 1 act, by W. D. Felter (author
of “The Sweet Family,” etc.), 1 male, 13 female characters. Time of
performance about 1½ hours. This is a miscellaneous programme rendered
for the benefit of “The Free Ice Fund for the Philippine Islanders.” It
includes various “specialties,” living pictures, Mother-Goose chorus,
etc., and concludes with a burlesque operetta entitled “JOHNNY JONES.”
The Roses, the Rosebuds and the Only Young Man on the Spot make up an
entertainment that cannot fail to excite continuous mirth for the
better part of an evening. The author has produced this burlesque at
church entertainments in many parts of the country, with unvarying
success.

                    *       *       *       *       *

                           GERTRUDE MASON, M.D.
                           Or, THE LADY DOCTOR

  A FARCE IN ONE ACT, FOR FEMALE CHARACTERS, BY L. M. C. ARMSTRONG

                       [Illustration: Decoration]

                             _PRICE, 15 CENTS_

                            CAST OF CHARACTERS

  GERTRUDE MASON. M.D.                               _a young Physician_
  BERTHA LAWRENCE }
  ELLA GRAY       }                                        _her Friends_
  MISS JANE SIMPKINS                       _a Spinster of Uncertain Age_
  MRS. VAN STYLE                                      _one of the “400”_
  NORAH                                               _Dr. Mason’s Cook_
  MARIE                                                  _a Lady’s Maid_

                  TIME.--The Present. PLACE.--New York.
                 TIME OF REPRESENTATION.--Thirty Minutes.

An exceedingly bright piece for young ladies, in which young Dr.
Gertrude, already a victim of circumstances, is made the victim of
a practical joke. The scenes with _Mrs. Van Style_, who mistakes
the doctor for a pawnbroker, and _Miss Jane Simpkins_, who brings a
sick dog to be cured, are hilarious, while _Norah_, an Irish cook,
is deliciously droll. The cook is the star of the piece, but all the
personages are vivacious and every situation bristles with fun.

        DICK & FITZGERALD, PUBLISHERS, 18 ANN STREET, NEW YORK

                    *       *       *       *       *

                           COMEDIES AND DRAMAS

                              15 CENTS EACH

                                                                   M. F.

  =MY AWFUL DAD.= Comedy that always makes a brilliant hit;
    3 acts; 2 hours                                                6  6

  =NIGHT IN TAPPAN, A.= Farce comedy; excessively funny and sure
    to take; 1 act; ½ hour                                         2  3

  =NOT SO BAD AFTER ALL.= Comedy; sometimes plays as “Is Marriage
    a Failure?” 3 acts; 1¾ hours                                   6  5

  =NOT SUCH A FOOL AS HE LOOKS.= Comedy; one of the best examples
    of modern farcical comedy ever written; 3 acts; 2½ hours       5  4

  =OUR BOYS.= Comedy; always succeeds; 3 acts; 2 hours             6  4

  =OUT IN THE STREETS.= Drama. Wherever this play is presented it
    is received with the greatest enthusiasm; 3 acts; 1 hour       6  4

  =PAIR OF IDIOTS, A.= Up-to-date society comedy, with bright and
    witty dialogue and telling situations; 2 acts; 2 hours         3  3

  =PICKING UP THE PIECES.= Effective comedy either as a parlor
    play or curtain raiser; 1 act; 30 minutes                      1  1

  =ROBERT EMMET.= (New version.) A new, actable version of this
    great historical drama; 3 acts; 2 hours                       10  2

  =SAVED FROM THE WRECK.= Drama; serio-comic; 3 acts; 2 hours      8  3

  =SCRAP OF PAPER, A.= Comedy of the present time, full of healthy
    laughter; 3 acts; 2 hours                                      6  6

  =SHAKESPEARE WATER CURE.= Burlesque comedy; each character a
    star; 3 acts; 2 hours                                          5  4

  =SINGLE LIFE.= Comedy; the characters are all comic and all
    “Stars”; 3 acts; 2 hours                                       5  5

  =SNOWBALL, THE.= Farcical comedy; the popularity of this comedy
    is unexcelled; 3 acts; 2 hours                                 4  3

  =SOLON SHINGLE.= Yankee comedy; 2 acts; 1½ hours                 7  2

  =STRIFE. (Master and Men.)= Great labor drama; a play for the
    masses; 4 acts; 2¼ hours                                       9  4

  =SUNSET.= Comedy; requires some acting with reserve force in both
    comedy and pathos; 1 act; 50 minutes                           3  3

  =SWEETHEARTS.= Comedy combining fun and pathos; 2 acts; 1 hour   2  2

  =TEN NIGHTS IN A BARROOM.= New and simplified version of an old
    favorite that will draw hundreds where other plays draw dozens;
    5 acts; 2 hours                                                7  4

  =THREE HATS.= Farcical comedy; one of the greatest favorites;
    cannot fail to be a success; 3 acts; 2 hours                   5  4

  =TIMOTHY DELANO’S COURTSHIP.= Yankee comedy full of laughable
    incidents; 2 acts; 1 hour                                      2  3

  =TRIED AND TRUE.= Stirring play of city life, full of brisk
    action and lively dialogue; 3 acts; 2¼ hours                   8  3

  =TRIPLE WEDDING.= Short excellent drama of home life by the
    author of “The County Fair”; 3 acts; 1¼ hours                  4  4

  =UNCLE JACK.= Drama; comic, with a good moral; 1 act; 1¼ hours   3  4

  =UNCLE TOM’S CABIN.= New version. An old favorite rewritten so
    that it can be played in any hall; 5 acts; 2¼ hours            7  5

  =UNDER A CLOUD.= Comedy drama; bright, breezy, full of snap and
    go; 2 acts; 1½ hours                                           5  2

  =UNEXPECTED FARE, AN.= Comedy affording excellent scope for
    amusing situations and by-play; 1 act; ½ hour                  1  5

  =WANDERER’S RETURN, THE. (Enoch Arden.)= Drama with strong
    plot and effective characters; 4 acts; 2½ hours                6  4

  =WOODCOCK’S LITTLE GAME.= Farce-comedy; funny; 2 acts; 1 hour    4  4

  =WOVEN WEB, THE.= Strong and sparkling drama; has a military
    flavor, and is frequently played under the title of “In Old
    Virginia”; 4 acts; 2¼ hours                                    7  3

          =DICK & FITZGERALD, Publishers, 18 Ann St., N. Y.=

                    *       *       *       *       *

                           COMEDIES AND DRAMAS

                              25 CENTS EACH

                                                                   M. F.

  =ALL THE COMFORTS OF HOME.= Comedy by William Gillette. Only
    authorized edition of this famous play; 4 acts; 2½ hours      10  7

  =BREAKING HIS BONDS.= Strong drama with comic underplay;
    easily staged; 4 acts; 2 hours                                 6  3

  =BUTTERNUT’S BRIDE; OR, SHE WOULD BE A WIDOW.= Farce comedy
    for laughing purposes only; 3 acts; 2½ hours                  11  6

  =CAPTAIN DICK.= Effective drama, founded on an episode of
    the Civil War; 3 acts; 2 hours                                 9  6

  =DEACON, THE.= Comedy drama that is simply immense. Alvyn
    Joslyn type, old man leading character; 5 acts; 2½ hours       6  6

  =EDWARDS THE SPY.= Drama; a brilliant episode of the Civil
    War; 5 acts; 2½ hours                                         10  4

  =ERIN GO BRAGH.= Up-to-date Irish drama; both serious and
    comic in scope, not sensational; 3 acts; 2 hours               5  4

  =GOLDEN GULCH. (The Government Scout.)= Drama that combines
    fun, sentiment, and exciting situations; 3 acts; 2¼ hours     11  3

  =GYPSY QUEEN, THE.= Romantic drama with bright comedy parts;
    4 acts; 2½ hours                                               5  3

  =JAILBIRD, THE.= Drama of city life, containing a vivid plot
    with well-diversified interest, together with a pretty
    love-story; 5 acts; 2½ hours                                   6  3

  =JOHN BRAG, DECEASED.= Farce comedy; one of the best farces
    ever published; nothing slow in this piece; 4 acts; 2½ hours   8  5

  =JOSIAH’S COURTSHIP.= Farcical comedy drama; uproarious comedy
    features alternate with forceful, but not heavy pathos;
    4 acts; 2 hours                                                7  4

  =MAN FROM MAINE.= Comedy drama with a wide-awake hero from
    “Down East”; 5 acts, 2¼ hours                                  9  3

  =MISS MOSHER OF COLORADO.= Comedy drama with great “character”
    parts; 4 acts, 2¼ hours                                        5  3

  =MY LADY DARRELL.= Drama possessing all the elements of
    success; powerful situations, effective stage pictures,
    and grand climaxes; 4 acts; 2½ hours                           9  6

  =NIGHT OFF, A.= Comedy of Augustin Daly; printed from the
    original prompt-copy; 4 acts; 2½ hours                         6  5

  =PRISONER OF ANDERSONVILLE.= Military comedy drama. An excellent
    play for amateurs, as all the parts are good and evenly
    divided; 4 acts; 2¼ hours                                     10  4

  =REGULAR FLIRT, A.= Up-to-date comedy, especially recommended
    to those who have produced the author’s “Just for Fun”;
    3 acts; 2 hours                                                4  4

  =SEVEN-TWENTY-EIGHT.= By Augustin Daly. There have been several
    imitations of this comedy, but none of them approaches the
    original; 4 acts; 2½ hours                                     7  4

  =SHAUN AROON.= Stirring drama of home life in Ireland; a simple
   real picture of country life in the Emerald Isle; 3 acts;
   2 hours                                                         7  3

  =SQUIRE TOMPKINS’ DAUGHTER.= Strong comedy drama; 5 acts;
    2½ hours                                                       5  2

  =STEEL KING, THE.= Comedy drama with brisk action; depicts the
    struggle between labor and capital; 4 acts; 2½ hours           5  3

  =WHAT’S NEXT?= Farce comedy; 3 acts; plays 150 minutes; raises
    150 laughs                                                     7  4

  =WHITE LIE, A.= Comedy drama; abounds in laughable comedy
    features and strong situations of serious interest; 4 acts;
    2½ hours                                                       4  3

        =DICK & FITZGERALD, Publishers, 18 Ann St., N. Y.=




Transcriber’s Notes:

  Changed =Prendargast= to =Prendergast= in “Miss Prendergast’s
    solicitude for Arthur” on page 3.

  =bp= changed to =by= in “sits on ground by summer-house” on page 11.

  =Nora= changed to =Norah= to agree with list of characters in
    “Gertrude Mason”.