The curtain rises, showing the Second Best Throne
Room of the King and Queen. It may either be hung
with softly draped curtains, or have walls, representing
gray rock, hung with old tapestries behind the throne
and on the side walls. There is one entrance at the
right, near the rear wall. In the center rear is a dais,
and upon it a divan. At the right of the dais, near the
front of the stage, is a chest. Opposite, at the left, is
a cradle, with a small stool near by.[3]
The King is seated on the divan, which is the
throne, half facing the right wall, working out a plan of
battle with toy knights on a board. The Queen is
seated on the chest, facing the audience. She is surrounded
by half opened parchments, and is scribbling
in a hurried, worried, manner, with a quill pen. Both
she and the King are dressed for the christening, and
are wearing crowns.
[Pg 7]QUEEN (frantically).
Oh dear, I’m having such an awful time!
KING (not looking up).
What’s that?
QUEEN.
Oh yes, you always say, “What’s that?”
Oh dear!
KING.
Yes, here my knights would make a charge.
QUEEN.
Oh dear, oh dear, oh dear, what can I do?
KING (mildly).
I’m sure I don’t know. What’s the matter dear?—
These knights would steal up in the dark, and then—
QUEEN (interrupting crossly).
And then they’d all be killed, I surely hope.
KING.
My dear, but what an odd remark to make.
QUEEN (biting her pen).
Well, you’d say odd things, too, if you were me.
KING (reprovingly).
“If you were I ,” my dear, you should have said.
You are so careless in these little things,
I can’t imagine what your school was like.
QUEEN.
I never went to school, I’ve told you that.
A nice old wizard taught me everything.
KING (not much interested).
Ah, yes, arithmetic, and things like that—
QUEEN.
No, elementary magic! nothing dull
[Pg 8]
Like spelling, writing, and arithmetic.
We used to have a lesson every day:
Transforming things, stones into little cakes
With icing,—useful things like that we learned. (She turns back to her work.)
Oh dear, I simply can not get this straight!
KING.
What is that you want to do my dear?
QUEEN.
I’m copying the baby’s Christening list
To give the steward—so he’ll know the names
Of all the people that I’ve asked to come.
And now I cannot read the names myself.
I wrote them in a hurry. I don’t know
Who is invited now—or who is not.
The thing is in a simply awful mess,
And now it’s getting late, and all the guests
Will be there in a minute! Dear, oh dear!
KING (Gets up and comes to her side. He takes up
the parchments and puzzles over them).
The writing is a bit like beetle tracks—
QUEEN.
Oh hurry, do, it’s really awfully late.
KING (frowning).
Let’s see whom you’ve asked first. What names are these?
QUEEN.
Those are my cousins, you remember them,
They gave us that enchanted silver bowl
When we were married.
KING.
Yes, oh yes, of course.
The Fairy of the Golden Isles—I see—
[Pg 9]
The Fairy of the Silver Rivers, and
The Fairy of the Crystal Mountains. Yes,
I do remember them now, perfectly.
Nice fairies, too. How stupid to forget.
Who are all these?
QUEEN.
They’re the more common guests
Who’ll just come in for tea this afternoon,
After our ceremonies all are through.
KING.
Ah, Cinderella and the Prince, I see.
Bluebeard? (very angrily.) I don’t see why you asked that man!
QUEEN.
His wife is my best friend.
KING (with meaning).
She won’t be, long.
Who’se this? Aladdin?
QUEEN.
Yes, he’s visiting.
KING.
King Cole—I hope he comes. Perhaps he’ll stay
And smoke a pipe after the rest have gone. (reading hurriedly.)
Fairy of hum te-hum-te-hum te-hum,
King of the hum te-hum te-hum te-hum,
Queen hum-te-de, King tum te tum te tum,
Te tum-te tum—King of the Pearly-gates.
Prince of the Pomegranate Garden-tum-te-tum—
My gracious, but you’ve surely asked a lot.
QUEEN (proudly).
Yes, it’s the biggest party ever held
In all the kingdoms. Baby should be proud. (She looks in the cradle.)
[Pg 10]
That all this great big party’s just for her,
Just for her Christening. Oh the sweetum’s thing.
See—see—the duckie!
KING.
Shsh—don’t wake her up. (He looks at the list again.)
What’s this name here that seems to be scratched out?
QUEEN.
Why I don’t know, I’m sure. What can it be?
KING.
It looks like “Stable Calves”—it can’t be that,
Now can it? That’s an awfully funny name
It seems to me, for any fairy. Why,
The “Fairy of the Stable Calves”—Oh no!
I’m sure we don’t know anyone like that.
QUEEN (recognizing it).
I know—it’s “Fairy of the Sable Caves”!
KING (amazed).
Gadzooks! Aunt Fairy of the Sable Caves!
QUEEN (sitting down on the edge of the dais in
horror).
I’m ’fraid I’ve done a simply dreadful thing!
What shall I do! I wrote that name down last,
And scribbled it so badly, that, well, that
When I sent all my invitations off
I couldn’t read her name, and so I thought
That it was something that had been scratched out,
And so, and so—
KING (angrily).
Odds-bodkins! zounds! gadzooks!
Then do you mean she wasn’t asked at all?
QUEEN (sulkily).
Such language isn’t necessary dear.
[Pg 11]KING (half apologetically but still angry).
Well, I forgot—I’m sorry—but my sweet,—
You didn’t send her invitation off?
Aunt Fairy of the Sable Caves left out!
Zounds, she’ll be simply raving when she hears!
Her temper’s worse than twenty bottles bees!
QUEEN (going toward King).
It’s just a social error, dear, that’s all.
I’m awfully sorry—’cause she is your aunt,
But then, to tell the truth, I never did,
I never could have liked her, very much.
KING.
She surely has a frightful temper. Zounds!
I wouldn’t have offended her for worlds!
It’s just your carelessness again my dear.
She may be very horrid over this.
If you would only be more careful, pet.
QUEEN (starting to weep).
Oh yes, I’ll try. I truly will. Oh dear!
KING (nervously walking up and down).
I wonder if there’s anything to do.
A note apologizing? It’s too late.
Well, well. We’ll simply make the best of it.
(Queen flings herself weeping on
the divan.)
QUEEN.
Oh everything is just too horrible.
I’d rather be a rabbit or a toad,
Or anything alive (sob) except a queen.
KING (trying to quiet her).
There, there, my dear, there, there, now stop, you must.
You’ll wake the baby. Stop! your eyes will be
All red and puffy for the Christening.
[Pg 12]
Get up and put your crown on straight, at once.
And put some powder on your nose. Now come—
Or else you know you’ll be a perfect sight.
QUEEN (sobbing).
I am one anyway, so I don’t care.
KING (frantically).
Get up I say. Now do be sensible.
(Page enters, bows with formality
and stands at attention.)
PAGE (in loud and even tones).
Oh, great and glorious ruler of this realm,
Oh fair and beauteous queen of all the land,
A guest awaits, in thy reception hall,
And rests her from her journey.
KING.
What’s the name?
PAGE (still at attention).
“The Fairy of the Golden Isles,” oh king.
(Queen jumps to her feet.)
QUEEN.
I haven’t even time to fix my hair (she fixes it).
You should have told me it was getting late. (She dabs her face with a little powder puff.)
My eyes look better now I think, don’t you?
KING (takes a handkerchief and wipes a tear away
from the side of her cheek).
There, that’s the last old tear—no one would know
You’d ever cried in all your life. That’s fine!
QUEEN.
Now, is my crown on straight?
KING.
Oh yes, it’s fine.
How is my collar? Is it very mussed?
QUEEN.[Pg 13]
No, not a bit. (She looks in cradle.) The baby’s still asleep.
Just see how sweet! (She sits down primly on the divan.)
I think we’re ready now.
KING (taking up the parchment list of names from
the chest).
Give this unto the steward, boy. But first
Announce the Fairy of the Golden Isles.
(The Page bows and backs out.
The King straightens the room up
a little.)
KING.
I’m sure I hope the banquet is all right.
QUEEN.
Everything came except the pomegranates,
And rainbow fish instead of golden carp! (Annoyed.)
KING.
Well, we can do without them, I suppose.
QUEEN.
I hope those young spring peacocks won’t be tough,
And that the Roc’s egg omelette isn’t flat.
KING (Sits beside Queen on divan. In doing so he
rests his hand behind her, and then suddenly
leaps to his feet).
Ouch—Ouch! (putting finger in mouth.)
QUEEN (anxious).
Oh dear, whatever have you done?
KING (mumbling).
I’ve pricked it like the very mischief, dear.
QUEEN.
Pricked it—what on?
KING (crossly).[Pg 14]
On something sharp, of course.
QUEEN.
Oh I’m so sorry! Let me see it, do.
KING.
It’s bleeding! Ouch!
QUEEN (tearing her handkerchief).
Here, do it up with this. (She winds it around his finger.)
I wonder if that page has hidden tacks
Beneath our cushions.
KING (fiercely).
If he has—I’ll just—
(Page enters and bows low. The King sits down
suddenly.)
PAGE.
Oh great and gracious king of all this realm.
KING (interrupting in a dreadfully fierce voice).
Stop that—come here—no, nearer, on your knees. (The Page obeys, terrified.)
Tell me the truth now sirrah—did you put
Tacks underneath these cushions? If you did
I’ll send you to my deepest dungeon dark
Beneath the castle moat, and for a month,
Feed you on bread and water. Now, the truth!
PAGE (terrified).
Oh no great ruler; no, I never did.
KING.
Then tell me what it was that pricked my hand.
PAGE (picking up from the divan beside the King,
one of the lead knights he had been manouvering at the
beginning of the play).
[Pg 15]Mayhap, oh king, you pricked your hand on this.
(He holds up the little knight, and the King touches its spear gingerly.)
KING.
I guess that’s it. They’re spilled all over here.
The spear is awfully sharp. Here, hide them quick.
Pick that one up before the guests arrive. (He sweeps
knights into his hand and gives them to the Page.)
QUEEN.
Just stick them underneath the throne.
(Page obeys.)
KING.
That’s right.
What was it now, you were about to say.
PAGE (rising, but trembling).
Oh kind and gracious ruler of this land,
Oh thrice fair beauteous and lovely queen,
The Fairy of the Golden Isles is now
Approaching, up the gold and marble stairs.
KING.
We will receive our cousin, with all joy.
PAGE (backs out).
I go, oh king, benign and bounteous.
KING (to Queen).
I only hope the baby stays asleep.
She’s apt to yell so awfully when she wakes.
PAGE (standing at the door).
The Fairy of the Golden Isles is come.
(The Fairy of the Golden Isles enters, beautifully
dressed, carrying a golden ball on a cushion.)
(She kneels before the King and Queen who kiss
her solemnly on the forehead.)
KING.[Pg 16]
All welcome cousin, on this Christening day,
All welcome for our daughter and ourselves.
QUEEN.
All welcome cousin of the Golden Isles.
Our hearts dance like the golden blooms of spring
To see you here.
FAIRY OF THE GOLDEN ISLES.
And mine rejoices, too.
Sings, and is glad, like wind-kissed daisy fields.
Sings, and is glad on this glad Christening day.
QUEEN (changing to an informal manner).
Now don’t you want to see our baby?
Why!
How well you’re looking! What a lovely dress!
(They all rise and look into the cradle, speaking
rather low.)
FAIRY OF THE GOLDEN ISLES.
Oh what a darling! Why you never said
How awfully sweet she was.
QUEEN.
She is quite sweet.
KING
(turning his moustache proudly).
We seem to like her rather well, you know.
FAIRY OF THE GOLDEN ISLES.
Well, I should think you would (to the Queen).
She’s beautiful!
I think she looks exactly like you, dear.
QUEEN.
Oh no, she looks exactly like the king—
Except the beard—of course. (Tweaks his beard.)
KING.
You flatter me.
(Enter Page.)
PAGE. [Pg 17]
Oh great and glorious ruler of this realm,
Oh fair and beauteous queen of all the land,
Oh radiant Fairy of the Golden Isles—
The Fairy of the Crystal Mountains comes.
QUEEN.
We will receive her here at once.
QUEEN.
Yes—yes.
(Page bows and backs out.)
FAIRY OF THE GOLDEN ISLES.
My dear, your baby simply is too sweet!
PAGE (reenters).
The Fairy of the Crystal Mountains, sire.
(Page goes out as the Fairy of the Crystal Mountains
enters, beautifully dressed, carrying the crystal
globe of wisdom. She kneels in front of the King and
Queen. They kiss her on the forehead.)
KING.
All welcome cousin, on this Christening day.
All welcome for our daughter and ourselves.
QUEEN.
Thou of the Crystal Mountains—welcome thrice.
Our hearts dance like the crystal mists that waft
About your mountain tops, to welcome you.
FAIRY OF THE CRYSTAL MOUNTAINS.
Mine dances too, like glad nymphs in the mists,
Dances and sings on this glad Christening day. (Changing her manner, and getting up.)
Now let me see the baby, I can’t wait! (All look in cradle.)
Oh what a darling! Isn’t she too, too dear!
She looks exactly like the King, I think.
FAIRY OF THE GOLDEN ISLES.[Pg 18]
I think she looks exactly like the Queen.
(Page enters.)
PAGE.
Oh great and glorious ruler of the realm,
Oh fair and beauteous queen of all this land,
Oh radiant Fairy of the Golden Isles,
Fair Fairy of the Crystal Mountains, lo
The Fairy of the Silver Rivers comes.
(The Fairy of the Silver Rivers enters immediately,
beautifully dressed, bearing the mirror of beauty. She
kneels before the King and Queen who kiss her on the
forehead.)
KING.
All welcome cousin, on this Christening day.
All welcome for our daughter and ourselves.
QUEEN.
All welcome—Fairy of the Silver Streams.
Our hearts dance like glad ripples on thy waves
To see thee here.
FAIRY OF THE SILVER RIVERS.
Mine dances, too, like sunlight on the waves,
Dances and sings, on this glad Christening day.—
And I have brought a gift to give thy babe.
FAIRY OF THE GOLDEN ISLES.
And so have I—
FAIRY OF THE CRYSTAL MOUNTAINS.
And I—
FAIRY OF THE GOLDEN ISLES.
I thought I’d wait
Until the others came, so we could dance
Our magic gift dance as we give our gifts.
FAIRY OF THE SILVER RIVERS.[Pg 19]
Why, that’s a good idea—(looks in cradle.)
How sweet she is!
I don’t know which I think she looks like more.
FAIRY OF THE GOLDEN ISLES.
Her mother.
FAIRY OF THE CRYSTAL MOUNTAINS.
No, her father.
FAIRY OF THE SILVER RIVERS.
Like you both.
My, she’s the loveliest baby that I’ve seen.
QUEEN (smiling).
I’m glad you like her. But I’d like to know
Just where you got your dresses. Why, my dears,
They’re wonderful! they’re simply exquisite!
FAIRY OF THE GOLDEN ISLES.
We got them for to-day—we think they’re nice.
KING.
I hate to interrupt this pleasant chat.
But all our other guests will be here soon.
FAIRY OF THE CRYSTAL MOUNTAINS.
And we must dance our dance and give our gifts. (Goes to cradle.)
We’ll have to pull it out a little way,
It’s much too close against the wall to dance.
(They pull the cradle to the center of the stage and
begin a slow dance about it.)[4]
FAIRY OF THE GOLDEN ISLES (holds ball high in air).
Lo—this golden glowing toy
Is the ball of mirth and joy,
[Pg 20]
As a Christening gift I leave thee.
Keep it, and no harm will grieve thee. (She puts it in
the cradle and kisses the baby.)
FAIRY OF THE CRYSTAL MOUNTAINS (holds up globe).
Lo, this crystal globe, before
Thy feet I lay. Deep wisdom’s lore
Is hid therein—Long-bearded sages
Have sought this secret of the ages. (She puts it in
the cradle and kisses the baby.)
FAIRY OF THE SILVER RIVERS (holds up mirror).
The mirror of beauty I give to thee,
Thy face will greet thee happily,
The fairest face in all the land—
(Enter Page, running breathlessly.)
PAGE.
I crave thy pardon sire, but I fear!
KING.
What is the matter boy? What is all this?
What do you mean by interrupting us?
PAGE.
Another guest, a dreadful, cross, cross guest!
Her eyes are flashing—oh she’s coming now.
(All listen in consternation to angry sounds without.
The fairies huddle together. The Queen edges
close to the King. The Page, trembling, scuttles to one
side of the dais.)
QUEEN (terrified).
What can it be?
(The Fairy of the Sable Caves rushes in the door
like a whirlwind. All the others open their mouths
[Pg 21]with astonishment and stand staring, in a semicircle.
She stands looking at them in derision.)
FAIRY OF THE SABLE CAVES.
Well, what’s the matter? Are you all struck dumb?
I s’pose you don’t remember who I am,
Or else perhaps you’re overcome with joy
At seeing me. Oh close your foolish mouths. (They close their mouths sheepishly.)
Well, since I’ve come, what have you got to say,
Now for yourselves?
KING (with difficulty).
We’re awfully sorry—it—
FAIRY OF THE SABLE CAVES (disagreeably).
Oh yes, of course, it was an oversight—
You “wouldn’t mean to do it for the world”—
I know those old excuses all by heart.
It doesn’t change the matter—not a bit.
You’re giving a tremendous Christening,
And I, and I—you’ve simply “overlooked.”
No, I was not invited—not a word!
Left out! the Fairy of the Sable Caves!
While these poor silly, frilly fairies here, (She points to three Fairies who shudder and cling together.)
Are given posts of honor. Yes, that’s right.
You’re scared, I’m glad, no one can slight me twice.
You’ll all be sorry, good and sorry, too.
Show me the baby.
QUEEN (terrified).
There she is, in there.
FAIRY OF THE SABLE CAVES.
That ugly baby! looks just like you both. (looking at the King’s hand.)
[Pg 22]
What’s that old rag around your finger for?
KING.
I pricked it, badly.
FAIRY OF THE SABLE CAVES.
Pricked it? Pricked it—humph!
QUEEN.
We’re very sorry, it was all my fault.
FAIRY OF THE SABLE CAVES.
It doesn’t matter now whose fault it was,
You should have thought of that before.
QUEEN.
Oh please!
FAIRY OF THE SABLE CAVES.
Oh you will rue the day you slighted me—(She faces the audience, waving her arms and
weaving a spell.)
Oh evil spirits of the blackest night!
Oh ghosts and goblins, ghouls and specters drear—
Oh wraiths who haunt dim starlit country roads—
Demons and trolls who dwell in dungeon moats—
Come near[5]—come near and weave a spell with me,
Come near and make a Christening present drear,
A Christening present for this sleeping child.
KING (starting forward).
You shall not hurt my daughter! I forbid.
FAIRY OF THE SABLE CAVES.
Back, back, or I will turn you into stone. (She compels
him to step back.)
Hark to the spell I lay upon this child:
For sixteen years these silly spells shall last—(pointing to three fairies.)
[Pg 23]
She shall be happy, wise, and beautiful—
Dance in the sunlight—sing and laugh and play—
And then—and then—draw near, ye elves of doom,
Draw near ye spirits of my cave’s deep gloom,
Upon a distaff sharp your child shall prick
Her finger, till it bleeds; and pale and sick
She’ll grow—(beckoning) imps from my cobweb tangled sky!
Pale, wan, and ill and then your child will—
(She stands triumphant while the others cower in
fear.)
KING (interrupting).
No—oh no—not that—have mercy—oh—I pray!
FAIRY OF THE SABLE CAVES.
Good-bye, I hope you’ll have a pleasant day.
(She laughs wildly and rushes out. The Queen
flings herself sobbing upon the King. The others recover
a bit.)
FAIRY OF THE SILVER RIVERS (comes forward toward Queen).
Stop crying now, there’s something I can do.
Her power equals mine and so I can’t
Destroy her evil charms entirely.
But I can make them less, less, horrible.
Give me your hands. (The three Fairies join hands over the cradle.)
Now close your eyes and wish.
Wish that the words I say will all come true.
The Princess shall not die, she shall not die,
But fall asleep instead, and sleep and sleep,
Sleep for a hundred years, until at last,
A prince shall break the spell by kissing her,
And she shall wake again to life and joy.
(All drop hands and the tension is relaxed.)
KING (mopping face with handkerchief).[Pg 24]
Well, I can’t tell you how obliged I am,
You’re too—too kind—I—well—I simply can’t.
QUEEN.
We have no words, we feel, far, far too much.
I don’t believe in evil spells at all,
Only in good ones, never bad ones.
(To King) But I’ll never have a distaff in this house.
KING.
We’ll be on the safe side. Ho page—attend! (The Page hurriedly comes before him.)
Proclaim to all my people in the land,
That from this time no distaff may be brought
Within my castle walls, on pain of death.
And he who disobeys me—dies at once.
PAGE.
I go—oh sire! (He goes out.)
QUEEN (frantically to King).
Oh, I simply can’t
Go on and have the party after this.
KING.
You must, now pull yourself together, dear,
And make it a success; smile, grit your teeth!
QUEEN (to Fairies).
Don’t look so sad my dears, it’s over now,
We’ll all forget it for the afternoon.
PAGE (entering).
Oh great and glorious rulers of this realm,
The Christening guests await thee, all without.
KING.
Then let us go to them. Come on, my dear.
QUEEN (goes to cradle).
We’ll take the princess then. Come sweetums, come,
[Pg 25]
Come to your Christening, sweet. Come, everyone. (The Page lifts up the cradle, as he does so the
Queen turns to the Fairies.)
Forget that wicked charm,
it mustn’t spoil
Our lovely Christening party, and besides,
All evil spells are nonsense; so my dears,
We’ll simply never think of it again.
(The Page goes out bearing the cradle. The others
follow in single file. Queen, King and Fairies.)
Curtain.
[Pg 26]Act II. Scene 1.
(Same as Act I. Sixteen years later.)
(The curtain rises upon the same room. The only
change is that now a bench is in place of the cradle.
The Princess, her Attendant, and the Courtier, who is
the Page of the first act, grown up, are sitting on the
dais steps. The Princess is in the middle. She is trying
to play a mandolin, and is doing very badly. The
Courtier is much bored. He and the Attendant have
a little by-play behind the Princess’ back, as she plays.)
PRINCESS.
There now, that’s right, I think, yes, yes, that’s right.
COURTIER.
Well, even yet—I hardly think that it’s—
ATTENDANT (gently).
I think you ought to strike the strings like this.
PRINCESS (crossly).
I think a princess ought to know the way.
COURTIER.
Oh yes, Your Highness owns the crystal globe
Of wisdom, and knows everything on earth.
PRINCESS.
Oh fiddlesticks!
COURTIER.
And as for beauty—why
The morning star is but a homely thing,
A common little stupid point of light, (He snaps his fingers as if at the morning star)
Compared to you. (The Princess bends over her mandolin,
much absorbed in it, and the Courtier immediately tries to hold the hand of the Attendant.)
PRINCESS (meaning his flattery).
Oh stop such foolishness.
COURTIER (quickly removing his hand).[Pg 27]
And as for joy, the bubbling mirth of spring,
The glamorous delight of golden hours,
The soft, sweet, soothing scent of summer showers,
The radiant happiness—
PRINCESS.
Oh what a fib—
You know yourself that I am just as cross
As I can be to-day. I wish I knew
What was the matter with me. Oh, I wish
It were tomorrow. I have always longed
To have that birthday come: my seventeenth!
I wonder if I’ll feel much more grown up
Tomorrow. Well, at any rate I hope
I won’t feel quite so cross—You wish it, too,
I guess, poor dears—I’m sorry. (She suddenly makes
a most horrible noise on the mandolin.)
COURTIER (putting his hands over his ears).
Please—oh please.
PRINCESS (sternly).
I think you’re very rude. You ought to like
Whatever I may do. (Considering) I think perhaps
I’ll have your head chopped off at once for that.
COURTIER (on his knees).
I humbly crave thy pardon, Highness, dear,
I pray thee, let me keep my head awhile—
At least a little longer. I have tried
So long to get this moustache, worked so hard,
I should be desolate if all that work
Were done in vain. And then, consider this—
My head would not be handsome on a pole.
PRINCESS.
I think you’re much too vain. Get up at once. (He gets up, and the Princess attempts to play
[Pg 28]something on the mandolin. They listen attentively.
She finishes and looks up for applause.)
What was I playing then? I love that piece.
COURTIER.
The death song of the Seven Kitchen Cats?
PRINCESS (disgusted).
No, no, it’s not. I wouldn’t speak at all
If every time I spoke I showed myself
As awfully stupid as you seem to be.
COURTIER.
We’re not all gifted as your Highness is.
PRINCESS.
That’s very clear. I s’pose it’s not your fault
That you’ve been born without the slightest ear
For music. Now the name of that piece was,
“Beneath thy turret window, love, I wait.”
COURTIER.
I crave thy pardon, Highness, my mistake.
PRINCESS.
Come on let’s stop—I’m awfully sick of this.
This is the dullest day I’ve ever known.
I wish it were tomorrow.
COURTIER (feelingly).
So do I. (The Princess looks at him sternly and he hastily
continues.)
Your birthday, Highness, is a festal day—
The Kingdom and its subjects all rejoice—
To think that you were born to fill the world
With radiance—
PRINCESS (in a towering rage).
Gadzooks! odds-bodkins! now, this is enough!
ATTENDANT (in horror).[Pg 29]
Your Highness, oh such language!
PRINCESS.
Well, papa
Says just those words, don’t interrupt me please.
He’s simply making fun of me, I know.
I can’t stand any more of this—Ho guards!
(Courtier and Attendant throw themselves on
floor.)
ATTENDANT.
Pray pardon him, oh Princess—think—just think
He does, amuse us—
COURTIER.
Yes, and I might spoil
If I should languish in a dungeon dark.
PRINCESS.
Get up, get up—I’m acting like a pig!
A perfect pig, and you’re just idiots.
I’m sure I hope the day will end without
My doing something simply horrible.
COURTIER (ruefully).
I’m sure I hope so, too.
PRINCESS.
Well, please look out.
I think I’ll get my golden ball of joy—
We’ll try to have a little fun with that.
ATTENDANT.
I’ll get it for you.
COURTIER.
No, let me, let me.
PRINCESS.
Stay there and rest. You’d need it I should think.
[Pg 30](She runs out. The others sink down with relief
on the dais steps.)
ATTENDANT.
Why, in the name of heaven, do you say
Such awful things?
COURTIER.
What awful things, dear heart?
ATTENDANT.
You know, all that about her radiance?
Of course it makes her simply furious.
I thought that you were done for twice at least.
COURTIER.
I was a little nervous there myself.
When they begin to talk that regal stuff
You never know where they, or you, will end.
Yes, that’s the trouble with these kings and queens,
They get a little mad, perhaps, and then
They stick you in a dungeon, or perhaps
They cut your head off—just like this—(Makes motion of cutting off head.)
Oh, well—
The whims of Kings and things are passing strange! (He makes a nonchalant gesture.)
(He tries to kiss her—the Princess enters but does
not see them.)
PRINCESS.
Come on now, here it is, let’s have a game.
(They throw the ball.)
ATTENDANT.
Perhaps we’d better all go out and play,
We might break something here, I think.
PRINCESS.
No—no—
The sun’s too hot—my head aches—no, I won’t.
Besides it’s much more fun to play in here.
Much more exciting, just because we might
Knock something over. My I’d like a crash—
A good loud crashing smash.
(To Courtier) You throw too high,
It isn’t fair. (He throws the ball off stage.)
There now, see what you’ve done!
(All follow ball toward door. The Princess scrambles
to catch it.)
ATTENDANT.
Oh, where’s it gone?
(The Princess disappears out of the door and calls
back.)
PRINCESS (outside).
It slipped out of my hands,
[Pg 32]
It’s dropped down in the courtyard,—hurry, do,
It’s rolling toward the fountain, stop it, quick. (The Courtier rushes out, and the Princess comes
back and throws herself down on the divan.)
Now, isn’t that a nuisance! What a day!
Just everything’s gone wrong, oh, what a bore!
The ball will probably stop up the drain,
And then papa will be so awfully cross.
ATTENDANT.
Perhaps it would amuse you if I brought
The magic mirror of your beauty.
PRINCESS.
No—of course I know I’m very beautiful,
So what’s the use of looking in the glass?
ATTENDANT.
I’m sure that it would never bore me so.
PRINCESS (with unintentional unkindness).
Perhaps not you. Oh well, then bring it on.
Why can’t we change our faces like our clothes.
You get so tired of the same old face. (Attendant hands her the mirror. The Princess
gives a sudden scream.)
Oh, oh, oh, oh, oh, do I look like that?
ATTENDANT.
Like what—like what?
PRINCESS.
All queer and lumpy—oh—
What can have happened—oh how horrible—
I’m sure that I don’t look like that—oh no!!
ATTENDANT (frightened, looking first at Princess
then at mirror).
You don’t, you don’t—the mirror’s just gone bad,
The glass is sort of curdled.
[Pg 33]PRINCESS.
So it is.
Like sour milk, how dreadful, take it, quick!
I never knew that glass could act like this—
It makes me feel quite seasick. Let’s go out.
ATTENDANT.
Perhaps you’d best lie down a little while
And take some wine, some of your father’s—do—
I’ll call your mother—
PRINCESS (grabbing her).
Stop it—no, you won’t.
She’d tell Papa—I wouldn’t have him know
For anything. He’d be so awfully cross
If anything has happened to that glass.
He’s always told me I must take such care
Of it—and of my ball and of the globe.
I s’pose I haven’t kept it clean enough—
Or something. Hide it underneath the throne—(She does so.)
Perhaps a cool dark place will make it right.
Come on—let’s go and help fish out the ball—
I think the Courtier must have fallen in
The fountain, he’s been such a length of time.
(Exit both. Enter King and Queen. Queen carries
a chess board.)
KING.
Well, now, my dear, she’s almost seventeen,
And nothing’s happened yet. I think she’s safe.
Tomorrow is her birthday. I’d forget
That foolish prophesy if I were you.
QUEEN (sits down on chest).
Well, you’re a man. Of course you’d talk like that.
KING.[Pg 34]
It isn’t likely now that such a thing
Could happen, dear. I think it was a bluff
To scare us all—and it’s so long ago—
I’m sure Aunt Fairy of the Sable Caves,
Has just forgotten all about the child.
QUEEN.
Oh well—of course, you men have just no nerves.
I shan’t feel safe until tomorrow’s come.
KING.
Why, if it were to happen, seems to me,
It would have happened long ago, my dear.
QUEEN.
Well, this has been a simply ghastly year,
I’ve hardly dared to let her from my sight,
For fear that frightful spell would just swoop down.
KING.
It surely has, my dear—and I’ll be glad—
More glad than I can say to have it end
Tomorrow—there’s no reason is there dear
Why you’re particularly worried now?
Has anything gone wrong?
QUEEN.
No, not at all.
Except the child seems very cross to-day—
And that’s not natural at all you know.
KING.
Oh well, perhaps she feels us worrying.
Her magic charms are perfectly all right
I hope.
QUEEN.
Oh yes—she had them all last night—quite safe.
The ball and globe and mirror.
KING.[Pg 35]
Well, then, come on, let’s have a game of chess. (They go up to divan, sit down, and begin to play.)
I hear our next door kingdom’s much distressed
And ravaged by a dragon that’s appeared.
QUEEN.
No—you don’t say? Now isn’t that a shame!
I hope the nasty thing won’t come to ours.
KING (about the chess).
I’ve almost caught your queen now.
QUEEN (listening).
Here she comes.
(Enter Princess with Courtier and Attendant. The
two latter bow formally to King and Queen, then stand
at attention at either corner of the dais. The Princess
sits down on the divan beside the King, rubs her face
against his, and puts one arm around his neck. He
squirms.)
KING.
Well pet—where have you been? Excuse me, dear—
You know, I love your arm about my neck—
But really now—it’s just a little damp.
What can you have been doing with it, dear?
QUEEN (worried).
What, is it very wet? You may catch cold!
PRINCESS (bored).
Oh no, I won’t catch cold—it’s nothing—please—
Papa, it’s really hardly wet at all.
QUEEN.
How did you get your arm wet? It’s very odd.
PRINCESS.
Well, we’ve been dabbling in the fountain there,
And so my sleeve slipped in a bit—that’s all.
KING.[Pg 36]
She probably was sailing little boats.
PRINCESS (irritated).
I’m not a child, Papa. Tomorrow I’ll
Be seventeen, please do remember that.
QUEEN.
Why were you playing in the fountain, dear?
You haven’t told us yet.
PRINCESS.
Oh, just because
Something of mine dropped in it. That was all.
KING.
And did you get it out again, my dear?
PRINCESS.
I didn’t, no. I think the yellow frog
Has swallowed it. It wasn’t anything
Especially important anyway. (Courtier and Attendant exchange glances.)
Now please don’t talk about it any more.
I wish that something nice would happen. Oh
It’s been a horrid day, just everything’s
Gone wrong, and I feel simply bored to death.
KING (alarmed).
Well, let’s do something then to cheer you up.
PRINCESS.
There’s not a thing to do—there never is.
QUEEN.
Let’s talk about your birthday presents then.
PRINCESS.
Oh, no, that’s such a bore. Tomorrow seems
As though it were a hundred years away.
[Pg 37](The King and Queen start in consternation and
horror and turn pale if possible.)
QUEEN (gasping).
Oh don’t child; don’t—
KING (sternly).
Child, why did you say that?
PRINCESS (yawning).
Oh, I don’t know I’m sure—why such a fuss?
(Languidly) Come on let’s get my crystal globe and see
If there is anything at all in that
That is amusing. Courtier—get it, please.
(He bows and goes out of the room.)
QUEEN.
Oh, do you think it wise, to-day I mean.
PRINCESS.
I’m sure I can’t see why it isn’t wise,
To look into my globe of wisdom now,
Or any other time.
QUEEN (reluctantly).
Well, as you wish.
(Courtier enters with it, bows and places it on the
dais in front of the Royal Group.)
KING.
What shall we look for dear? You’d better choose.
PRINCESS (kneeling in front of King and Queen and
looking in globe).
I know what would be fun—let’s look ahead
And see the future. Take tomorrow first.
Show us tomorrow globe—now all look hard.
(All are silent a minute gazing in globe.)
PRINCESS.
Show us tomorrow—quick you stupid thing—
[Pg 38]
It’s awfully queer and cloudy—sort of black—
I never saw it act that way before.
QUEEN (nervously).
Oh, why do you suppose it’s acting so?
KING (with common sense).
We simply are not in the proper mood,
No other reason.
PRINCESS.
No, it isn’t that.
It’s always clear, with pictures that are bright.
The future’s stupid anyway. Let’s look
At something in the past—my Christening—
QUEEN (agonized).
Oh no, not that to-day, not that to-day.
PRINCESS (as a spoiled child).
Oh fiddlesticks, why not. Ah here it is.
Yes, yes, here’s this same room—now this is clear—
Oh there you are, Papa, and there’s Mamma—
How funnily you’re dressed—the styles have changed
Since then Mamma. Oh who are these—these three
Quite lovely people?
QUEEN (in a stifled voice).
They’re the fairies, dear,
Who gave you your three lovely gifts you know.
Now, that’s enough my dear—let’s put it up.
PRINCESS.
No, no, I won’t. I want to see the rest.
Why who’se this coming in? A queer black thing,
She’s awfully angry, and you look so scared.
And see—the words she says are written out—
“Hark to the spell I lay”—
“LET’S LOOK AHEAD AND SEE THE FUTURE”
KING.
Odds-bodkins! zounds!
[Pg 39](He raises his scepter and smashes the crystal
globe. The Queen and Princess rise in horror and
amazement.)
PRINCESS.
Papa—papa—how could you—oh papa!
You’ve broken it—my precious crystal globe.
How could you—and you’ve spoiled the picture, too!
I think it’s just too bad (she sobs).
KING (dominating the scene).
My child, no more—
I am the king, no one may question me!
My power comes from heaven, that you know
As well as I. And if I choose to break
The crystal globes of all my subjects—then
Break them I will and none may question why—
Aye, if I choose, to go throughout the land
Into each kitchen of each home therein,
And with my scepter, sweep from off the shelves,
The crockery, and smash it on the floor—
And dance upon the fragments, even then
No one may question me, but must submit,
And with a gracious spirit, being glad
They have a king so wise and lenient.
Now take this little lesson to thy heart.
PRINCESS (quite humbly, kneeling).
Father, I will—thy word, of course, is law—
And I would not presume to question thee.
I crave thy pardon sire.
(To Courtier and Attendant) Come along (She jumps
to her feet.)
Let’s go up to the tower room and see
If any swallows’ eggs have hatched to-day.
(The King mops his brow. As Princess, Attendant
and Courtier are about to go out, the Queen sees
[Pg 40]something sticking out from under the throne. She
takes it out and sees the magic mirror, spoiled.)
QUEEN (in horror).
My dear, your magic mirror—why, it’s spoiled!
PRINCESS (pretending unconcern).
I know, I found it out this afternoon
Just after I had lost my ball of joy
Down in the fountain—Isn’t it a shame.
(She rushes out with Attendant and Courtier
anxious to escape. The King and Queen look at each
other in horror.)
QUEEN (in a whisper).
The fairies’ charms are ruined—
KING (in despair).
And what next?
Curtain.
[Pg 41]
Act II. Scene 2.
(The Attic near the tower room; a dim mysterious
place; the fairy of the Sable Caves, disguised in a cap
and apron, is spinning in one corner as the curtain
rises.)
FAIRY OF THE SABLE CAVES (chanting).
Wind, wind, wind; the weary years roll by,
Wind, wind, wind; the time is drawing nigh,
Wind, wind, wind; the lagging moments creep.
Wind, wind, wind; the Princess soon shall sleep.
(She stops and listens a moment, and hears the
Princess’ voice outside.)
PRINCESS (outside).
No, not a single swallow’s egg has hatched.
Oh—feel the wind blow on your face and see
The clouds race by.
COURTIER (outside).
Look down and see the knights.
PRINCESS (outside).
They look like tiny ants—we are high up.
Come, let’s go down. Oh what’s that funny door?
COURTIER.
What door?
PRINCESS.
That little one, hid in the wall,
I’ve never seen it there in all my life.
I wonder where it leads to,—let’s explore.
COURTIER.
Oh, no, let’s not, let’s go down where it’s warm.
That probably leads in beneath the roofs—
Into the palace attics. Don’t go in,
There’s nothing there but dark and dust and bats.
[Pg 42]PRINCESS (outside).
Ohee—that sounds exciting—come along.
ATTENDANT (outside).
Oh don’t let’s, Princess dear. It’s awfully dark.
PRINCESS (outside).
Oh fiddlesticks—come on.
FAIRY OF THE SABLE CAVES (muttering to herself).
Come on—come on.
(The Princess steps in slowly, and wonderingly, the
others following. They do not at first notice the Fairy
of the Sable Caves who pays no attention to them but
goes on spinning and winding her distaff in the corner.)
PRINCESS (almost whispering).
My what a queer old place!
ATTENDANT.
Ouch—there’s a bat!
FAIRY OF THE SABLE CAVES (chanting).
Wind, wind, wind, the weary years roll by.
PRINCESS.
Shhh—shhh—what’s that? Some one is singing—Hush.
ATTENDANT.
Come, let’s go down—
PRINCESS.
No, let’s see who it is. (She steals up nearer to the Fairy of the Sable
Caves.)
Good-day, old mother, may I watch thy work?
FAIRY OF THE SABLE CAVES (not paying any attention).
Wind, wind, wind; the time is drawing nigh. (then suddenly starting and looking at her.)
[Pg 43]
Hey—what you say? I’m getting deaf, my dear?
PRINCESS.
I asked if I might watch you at your work?
It’s fascinating. I have never seen
Such work before.
FAIRY OF THE SABLE CAVES.
What’s that you say? I’m deaf.
Come nearer, please.
PRINCESS (shouting).
Your work; I like your work!
FAIRY OF THE SABLE CAVES (as though she misunderstood).
No, no, there isn’t any bats up here.
PRINCESS (shouting).
Not bats, not bats—your work—I like your work.
Please tell me how you do it—it’s so strange.
FAIRY OF THE SABLE CAVES (agreeably).
Well, first you take it in your hand like this.
COURTIER (to Attendant).
What’s that?
ATTENDANT.
A distaff; why?
COURTIER.
Good heavens, no!!
The King’s command—Don’t touch it Princess, don’t.
FAIRY.
Just take it in your hand like this and wind.
COURTIER (pulling Princess away).
Don’t touch it!
PRINCESS (enraged).
Sir, how dare you!
[Pg 44]COURTIER.
Princess, don’t, upon your life, your father—
PRINCESS (imitating her father’s manner).
Silence, sir—
I am the Princess, would you question me?
My power came from heaven, and I touch
Whatever I may please; no matter what (Changes suddenly to the manner of a child.)
My father says. So there!
COURTIER.
You’ll not touch this.
PRINCESS.
Report unto the executioner at once.
Such insolence!!
COURTIER.
It matters not, I care not if I die,
But you shall not!
(He starts forward to prevent her taking the distaff.)
FAIRY (to Courtier).
Back, back, or I will turn you into stone—
Your arm is stone; you cannot move or speak. (Courtier stands motionless with arm upraised.)
(To Princess.) Now take it in your hand and wind, and wind,
Wind, wind, wind, the lagging moments creep—
PRINCESS.
What fun, what jolly fun, this little thing
Must be quite new. I’d like to show mamma!
FAIRY.
Do take it down and show mamma,
And give your parents a surprise; a nice surprise.
PRINCESS.[Pg 45]
Oh thanks a thousand times. (looking at Courtier) Please let him come.
I think he’s sorry now.
FAIRY.
He’ll be down soon,
Go on, my dear, go down.
PRINCESS.
Oh thank you, thanks. (Exit, pulling the reluctant Attendant.)
FAIRY.
Wind, wind, wind, the Princess soon shall sleep.
Curtain.
Act II. Scene 3. Same as Scene 1.
(The King is walking nervously up and down the
room. The Queen is sitting on the bench, sewing on an
embroidery frame.)
KING (pulling his moustache).
I wish to goodness she’d come back. Dear me,
I’ve never known as long a day as this.
QUEEN.
Let’s try to think of something else. Let’s talk
Of something pleasant. Do you think, my dear,
That dragon in the kingdom next to ours
Will cross the border into this?
KING.
I don’t.
That new thorn hedge I’ve just had planted there
Will keep all dragons out—it’s dragon proof.
QUEEN (gets up and walks to King).
It’s awfully low.
KING.[Pg 46]
Yes, but it’s awfully sharp.
QUEEN.
Oh see, it’s growing dusk!
KING.
Why, so it is,
The day is almost over.
QUEEN.
And she’s safe—
Yes, almost safe, I think.
(The Princess dashes in behind the King. The
Attendant follows.)
PRINCESS (in the King’s ear).
Booo!
KING (jumping and turning around).
Oh, my child,
Odds-bodkins how you frightened me. Dear me
My heart is going pit-a-pat with fear.
PRINCESS.
Oh you old timid thing to be a king.
Papa, mamma, what do you think I’ve found!
QUEEN (interested and relieved now that the Princess has
returned in such good spirits).
I can’t imagine dear—what have you found?
PRINCESS.
I’ve got it here behind my back. Just guess.
It’s something awfully interesting and strange.
Now, guess papa—just guess what it can be.
KING (indulgently).
Well, now—let’s see—a phoenix egg, perhaps,
Dropped in the tower.
PRINCESS.[Pg 47]
No! Mamma you guess.
QUEEN.
A snow-white kitten with a golden tongue.
PRINCESS.
No—no—what foolish guesses! Now papa.
KING.
A talking gold finch—or a magic purse.
PRINCESS.
No, no, it’s none of these; now watch me, see—(She jumps up to the throne, stands before them
and displays the distaff proudly.)
It’s quite the strangest thing I’ve ever seen.
(All stand petrified with horror—a deep sigh escapes
from the King and Queen.)
KING-QUEEN.
A distaff!
QUEEN.
Oh my child; my little girl!
PRINCESS (gaily).
Why do you look so scared? It works like this. (The King makes a sudden leap to snatch it from
her hand. As he does so, it scratches her.)
Don’t, don’t, Papa—ouch, ouch, I’ve scratched my hand.
QUEEN.
Oh no—oh no!
KING (as if frozen).
She has my dear—she has.
Here bind it quickly. No this is the spell!
Alas, the spell.
PRINCESS.[Pg 48]
Good gracious what a fuss.
It’s just a little tiny scratch; that’s all—
Why bother so? (She sits down on divan.)
Dear me, I seem to be (She yawns.)
Most awfully sleepy, and mamma you look
About to drop right off (she stretches out).
I think I’ll take
A little nap. Sweet dreams (she dozes off).
KING (kissing her and arranging her dress comfortably).
Sweet dreams, my dear—
(He yawns—the Queen and Attendants yawn.)
QUEEN (nodding).
And I feel sleepy, too—I think that I—
(She drops off to sleep.)
KING (yawning).
Attendant, go prepare the Princess’ bed.
I think perhaps she’ll sleep for rather long (shivers).
(Courtier is heard calling from outside, then he
dashes in.)
COURTIER.
Take it away from her my lord—She has
A distaff—Oh, I tried—A frightful spell
Held me—oh—oh, I’m not too late,—I’m not
Too late—I tried,—I tried,—but failed.—
(He sinks down upon the floor, asleep, with his
head in the lap of
the Princess’ Attendant.)
Curtain.
[Pg 49]
Act III. Scene 1.
(Outside the thorn hedge that separates the palace
of the Sleeping Beauty from the world. A horn is
heard off stage. Presently the Prince enters with horn
and spear. He stands in front of the hedge and blows
again, then calls.)
PRINCE.
Haloo—haloo.
ANSWER (faintly).
Haloo.
PRINCE.
Come on this way,
I’ve found a little clearing—come along.
(Crackling outside and Gentleman in Waiting appears.)
GENTLEMAN.
Zounds, but I’m all scratched up—these beastly thorns
Are just like lion’s claws. Where are we now?
PRINCE (shrugging his shoulders).
Oh don’t ask me—I’m perfectly at sea—
GENTLEMAN.
It seems to me we’re more like in the woods.
PRINCE (laughing).
Ha—ha—you’re right—come on old boy, cheer up.
GENTLEMAN (grumpily).
Humph—what’s the use, we’re lost—we’ve got to starve.
We’ve followed this old claw thorn hedge all day,
The forest is as thick as banks of spears,
Solid—it is—our falcon’s blown away—
We didn’t get the stag we chased—gadzooks
My arm’s like ribbons on a maying pole.
PRINCE.[Pg 50]
Oh well, cheer up, at least we’re still alive.
GENTLEMAN.
That’s just the trouble. If I weren’t alive
I wouldn’t know how beastly starved I am.
PRINCE (sitting down comfortably with his back to
the hedge).
I guess we’ll last a little longer.
GENTLEMAN.
Humph!
PRINCE (feeling in his pouch).
Look here, look here, I’ve got a bit of bread,
I brought it out to feed the falcon with.
Here take it if you’re hungry.
(He tosses it to Gentleman.)
GENTLEMAN (glumly).
No, sire, no—
PRINCE (breaking it and taking much the smaller
piece).
We’ll share it then. (He feels again in his pouch.)
Why, here’s a piece of cheese!
GENTLEMAN (starting to put it in his mouth).
Good—good.
PRINCE.
Oh, no, it’s just a candle’s end.
GENTLEMAN.
Ugh! I was just about to eat it—bah!
PRINCE.
Here save it—we may have to eat it yet.
GENTLEMAN.
The bread is awfully dry—I wish I had
A good meat pastry now—
PRINCE.[Pg 51]
With brown old ale!
(Singing lustily.) Oh give me the good meat pies of old;
I’ll make them jealous? (Stands up, takes off his hat and bows.) Birds, I humbly crave thy pardons.
GENTLEMAN (rising).
No, my Lord—I only thought
That since we don’t know what is hidden there—
Your voice perhaps—
PRINCE.
Yes, I’ll admit my voice
May startle even dragons into rage.
GENTLEMAN (in fear).
Oh, no, don’t say you think there’s dragons there.
(Pointing behind hedge.)
PRINCE.
I shouldn’t be surprised—big scaly ones.
[Pg 52]GENTLEMAN (putting an eye fearsomely to hedge).
I don’t see any; oh let’s go away.
I wouldn’t want to meet a dragon—sire.
PRINCE.
You’re safe enough I think—the hedge seems high
And sharp enough to keep all dragons out. (then seeing that the Gentleman is truly terrified.)
Why I was only fooling you, old boy.
The only dragons live in minstrels’ tales—
There’s not one left alive these days. But still
There’s something queer about these woods.
GENTLEMAN.
I know.
Too queer for me!
PRINCE.
Why all day long I’ve thought
Of those old minstrels’ tales I used to love
When I was just a little lad, and sat
Before the great log fire, listening,
So thrilled and frightened that I hardly breathed.
GENTLEMAN.
I always went to sleep when minstrels came (sitting down).
PRINCE.
And there was one tale that they used to tell
About this very forest, so they say,
That there was once a castle here, and all
The people in it were asleep: the King
And Queen, and even all the mice and rats
Were sleeping. And there was a Princess, too,
So beautiful she made your heart stand still.
I used to dream about her on those nights,
[Pg 53]
And wake and look across our battlements,
And vow I’d marry her when I grew up.
But those were minstrels’ tales—(He sighs)
Come on, wake up—(He shakes Gentleman’s shoulder.)
I swear I’ll find a way inside the hedge.
GENTLEMAN.
Oh don’t—oh don’t, I’m sure it isn’t safe.
PRINCE (nobly).
Seek safety when we’re old, but while we’re young
We’ll seek adventure with courageous hearts!
GENTLEMAN (sighing).
All right my lord, you’re right—As usual.
But still I think that we were fools to come
And hunt here in these woods when everyone
Said it was dangerous.
PRINCE.
Old women’s talk! (He searches up and down hedge.)
I wonder what’s behind it. Oh look here!
I see an opening I think—yes—yes—(He crawls half through hedge, his feet sticking back.)
It’s tiny—I can make it bigger though.
GENTLEMAN.
You’re fooling me again.
PRINCE.
I’m not I swear—(He works at making hole bigger.)
GENTLEMAN.
Well, I believe you—for you never lie.
PRINCE.
Haloo—I’m through. Well, by my halidome!
GENTLEMAN.[Pg 54]
What do you see?
PRINCE.
Well by my halidome!
GENTLEMAN (terrified).
What is it? Are you hurt my lord?
Come out (he tries to pull the Prince back by his legs).
PRINCE.
Good heavens, no—let go you idiot
You’ll pull my legs off—hi—let go I say.
(Gentleman lets go—the Prince disappears and
speaks from outside.)
GENTLEMAN.
A dragon’s got you! Oh, my lord—my lord.
PRINCE.
No, no, there’s not a sign of one—but oh
Come through, come quick, oh, oh, how wonderful:
A palace, gray and old, and everything
All grown around it, thick rank vines and trees—
And crumbling turrets, and a drawbridge, too,
All tumbling in, and there’s a green old moat.
Come, let’s explore the castle, hurry through.
(The Gentleman in Waiting fearsomely scrambles
through.)
Curtain.
Act III. Scene 2.[Pg 55]
Same as Act II. Scene 3.
(The tableau is the same, except that great cobwebs
are about. The King, Queen, Princess, and attendants
are all sleeping quietly. It is growing dusk.
A thin thread of light comes in the door. The Prince
enters, carrying his candle. He comes slowly and
quietly and looks about in wonder. At first he does
not see the Princess who is in deep shadow. The
Gentleman in Waiting follows him in fear.)
PRINCE.
Shhh—hush, go softly—
GENTLEMAN.
Are they dead, my lord?
PRINCE.
Asleep, I think. They’re breathing easily. (Flashes his light on Man at Arms in doorway.)
Look there, a spider’s web about his spear.
GENTLEMAN (in scorn).
Some soldier that! bound by a spider’s web.
PRINCE.
Asleep—the whole whole palace is asleep.
GENTLEMAN.
The roof is crumbling in up there, my lord.
PRINCE.
And see, a vine has grown between the stones.
(Dreamily.) The dust is inches thick upon the floor—
How easily they breathe! How strange—how strange.
Is all this real—or am I in a dream?
I’ve stepped into some minstrel’s tale myself.
And all this glamour of enchantment deep,
[Pg 56]
The mystery, and silence, and the ache
Of wonder in my heart,—and I myself—
Are all just brilliant, colored words and thoughts,
Told for a moment on a winter’s night,
Told and forgotten e’re the fire dies.
GENTLEMAN (touching him).
See, there’s a fly asleep upon the wall.
PRINCE (jumping).
There are no flies in dreams, so this is real—
GENTLEMAN.
It’s real enough, my lord—come on, let’s go.
My spine feels just like icicles—come on.
PRINCE.
They’ve slept a long, long time, I think. Those clothes
Are like the ones they wore long, long ago—
I wonder if they’ve dreamed and what they’ve dreamed.
Yes, they’ve slept long enough.
(He calls) Wake up—wake up!
(Silence.)
GENTLEMAN.
Oh come, come home, this is a dreadful place.
PRINCE (calling again).
Hi there—haloo—wake up (he shakes the Courtier).
GENTLEMAN.
They’re in a spell—
This place is haunted—come away my lord.
PRINCE.
I follow this adventure to the end—
GENTLEMAN.
I didn’t like those rows of men at arms
All sleeping in their armor in the halls,
[Pg 57]
Nor all the sleeping servants that we passed—
It’s dangerous I tell you—come away—
PRINCE.
Not yet, not yet, the old tales said there was
A princess.
GENTLEMAN (looking at King).
Well, here’s someone in a crown.
PRINCE.
Ah—there’s the king, the princess must be near.
GENTLEMAN (disgusted).
His crown’s all crooked.
PRINCE (rebuking him).
Still—he is a king (he bows to the sleeping King as he passes him).
(The Gentleman in Waiting stops before the Princess’
Attendant in admiration. The Prince steps up on
the dais, and holds his candle so that the light, but not
the grease, falls upon her face. He stands silent a
moment, gasps in wonder, then takes off his plumed
hat reverently.)
Oh wondrous one, the olden tales were true—
Thy beauty, oh, thy beauty floods my soul
With golden visions of eternal joy.
Here let me kneel and worship at thy shrine.
(He kneels and kisses her—a long kiss. She slowly
opens her eyes and gazes at him. The others begin to
awaken slowly.)
PRINCESS (smiling at him dreamily).
Do it again.
PRINCE (kissing her hand).
Beloved.
PRINCESS.
Who are you?
[Pg 58]PRINCE.
I am thy prince.
PRINCESS (half sitting up).
My prince, my very own?
How glorious! I’ve dreamed that you would come—
PRINCE.
And I of you beloved—
PRINCESS.
But my dreams
Weren’t half as wonderful as you—not half!
(Gradually the people awaken. The Queen sneezes
loudly and suddenly, and all but the Prince and Princess
rise.)
QUEEN.
Kechew—kechew—what simply frightful dust!
Why there’s a cobweb in your crown—get out!
You nasty thing (brushes off King’s crown).
KING (stretching).
I think I’ve had a nap. How dark it is!
Open the casement, Courtier. (The light grows brighter as Courtier obeys.) I declare!
QUEEN.
Who are those strange young men I’d like to know!
(The Prince’s Gentleman has been trying to kiss the
Princess’ Attendant.)
ATTENDANT.
The brute! He tried to kiss me!
COURTIER (to Gentleman).
Here, get out! (A scuffle ensues.)
KING.
Come, stop this most disgraceful row at once.
[Pg 59]
(To Prince) And who in thunder, sir, are you? And what,
What have you done?!!!
PRINCE.
I’ve kissed your daughter, sire (All are horrified).
KING.
And you admit it to my face! What, ho
My guards! You will repent this insult gross
At leisure in my deepest dungeon dark!
PRINCE.
Do with me as you will, I’ll gladly spend
My life in any dungeon that you choose,
To pay for that one kiss. The price is small.
QUEEN.
It’s surely very rude; I’m quite surprised.
KING.
Rude, rude!! Well, I should say! Perhaps you think
Because I just dropped off for forty winks,
That I’m so old and lazy that I can’t
Protect my daughter from such men as you.
PRINCESS.
Papa, papa, oh please don’t be so cross.
KING.
Please tell me how you two got through the hall.
What were my men all doing to allow
Intruders here? That’s what I’d like to know.
PRINCE.
They were all sleeping, sir, as we came past.
QUEEN.
Were they all sleeping, too? How very odd!
I think we must have eaten something queer
For lunch that made us all drop off to sleep.
[Pg 60]
Perhaps it was those canned pomegranate seeds.
KING.
What nonsense—to the dungeon, sir, you go.
PRINCESS.
Then I go too. I like him very much. (She takes his
hand proudly and steps toward the front of the
dais. As she does so she kicks the distaff and it
rolls into view.)
QUEEN.
Oh there’s that horrid distaff—throw it out.
I’m so afraid you’ll prick your finger, dear.
PRINCESS.
Why, so I did before I went to sleep—
KING.
Before we went to sleep—How long—how long, have we been sleeping?
Note 1. The Sleeping Beauty is a story especially
suitable for Spring presentation, since for many centuries
and by many races its meaning has been symbolic
of the reawakening of nature. Winter, personified by
the Wicked Fairy, lays a spell upon Nature, causing
her to fall into a deep sleep. This may be dispelled
only by the kiss of Spring, the Prince of the fairy tale.
Note 2. The play as it stands may easily be expanded
into a pageant by the addition of more characters,
and the interpolation of dances.
The extra characters may be:
Fairies attending the Fairy of the Golden Isles,
the Fairy of the Crystal Mountains, and the Fairy
of the Silver Rivers.
Evil Imps and Goblins to come at the summons
of the Fairy of the Sable Caves.
Pages, Minstrels, Ladies and Gentlemen in
Waiting, Men at Arms, Castle Attendants, Cooks,
etc.
Note 3. If the play is presented as a pageant with
many additional characters, it is suggested that the
action take place in the Best, instead of the Second Best
Throne Room of the King and Queen. The Second
Best Throne Room was rather small and therefore
more appropriate for the few characters of the original
cast.
Note 4. The first dance may take place in the
First Act, when the three Fairies present their gifts to
the baby Princess. As many fairies as are desired may
be used for this dance. See note 10 for all music.
[Pg 63]
Note 5. The second dance may be a dance of
Imps and Goblins, also in the First Act. They enter
with a screaming rush at the words of the Fairy of the
Sable Caves:
“Demons and Trolls who dwell in dungeon moats,
Come near, come near—”
Then they join in a wild sinister dance. The Fairy
of the Sable Caves stops speaking until they finish the
dance, then she continues with:
“Come weave a spell with me!”
They make their exit as she leaves the stage.
Note 6. The third dance may be in the Second
Act when the Princess brings in the Golden Ball.
Ladies and Gentlemen in Waiting follow her as she
enters. They toss the ball back and forth slowly to
music. The extra dancers make their exit after the
words, “It’s rolling toward the fountain, stop it,
quick!”
Note 7. The last dance takes place at the end of
the play. Its participants are the additional Pages,
Minstrels, Jesters, Ladies and Gentlemen in Waiting,
Men at Arms, Castle Attendants, Cooks, etc.
If this dance is desired it will be necessary to insert
a few lines after the King’s speech ending:
“Rise Son, I give my daughter unto you,
And half my kingdom shall be yours as well.”
INSERT.
QUEEN.
Call all the people of the palace here,
That they may all rejoice in this glad day.
[Pg 64]COURTIER (Goes to the door and calls).
What ho! Attendants of the palace all
Your presence is desired by the Queen!
KING (as they enter).
Let there be revelry and mirth and joy.
The evil spell is broken, and here stands
Your future king!
QUEEN.
Come, minstrels, strike the lute
And let the clarion play.
PRINCESS (clapping her hands joyfully).
Let’s dance!
PRINCE.
Yes, dance
The dead dust of a hundred years away.
Note 8. If the play is too long with the suggested
additions it is possible to omit Scene 2, Act II., and
Scene 1, Act III.
PROPERTIES.
Note 9. The most important properties are tapestries,
the cradle, crowns, headdresses, parchments, the
Fairies’ gifts, swords, spears, scepter—armor, if there
are men at arms, the spinning wheel and distaff.
The tapestries may be made by painting with house
paints upon burlap. Crowns, headdresses and armor
may be made out of heavy buckram painted with silver
paint; the parchments, of strips of ordinary brown
wrapping paper, painted with white house paint, then
roughly illuminated with lines of gold paint, touches of
green and red water colors added, and then hand
[Pg 65]printed in heavy ink. The white paint must be put on
thinly, with a rotary movement of the brush.... The
Crystal Globe of Wisdom may be a crystal colored
Christmas tree ornament.
For the last scene in the last act, an excellent effect
is gained by fastening great cobwebs of woven string
across the front of the stage, and by putting smaller
ones over the sleeping figures. There is a spider web
pattern used in linen hand drawn work, which may be
made many times larger.
Note 10. Music for the Sleeping Beauty.
Act I.
(1) Fairy Dance around the Cradle.
Minuet in G, Beethoven.
(Victor Record 17,934-B. Natalie and
Victor Bashko.)
(2) Dance of Evil Imps.
Marche Slave, Tschaikowsky.
(Victor Record 70050. Victor Herbert’s Orchestra.)
Play first part only, slow movement—stopping before portion is
reached where old National Anthem is used.
(3) Music while the Fairy of the Silver River
changes the spell.
Minuet in G—first part played softly.
(4) Exit—
Chanson Louis XIII and Pavane—Couperin-Kreisler.
(Victor Record 64,292. Fritz Kreisler.)
[Pg 66]
Act II.
(1) Game with Golden Ball.
Paderewski’s “Minuet.”
(2) End—where Princess and Court go to sleep.
Minuet in G played softly.
Act III.
Dance of Court.
Minuet—Boccherini (“Celebrated Minuet.”)
(Victor Record 64,614. Fritz Kreisler.)
Transcriber’s Notes
Obvious typographical errors and punctuation errors have
been silently corrected after careful comparison with
other occurrences within the text and consultation of
external sources. Some hyphens in words have been silently
removed and some silently added when a predominant
preference was found in the original book. Some stage directions have
been reformatted to improve consistency.
Except for
those changes noted below, all misspellings
and inconsistent spellings have been retained.
Page 16: replaced “turning his moustach” with “turning his moustache”.
Page 25: replaced “it musn’t spoil” with “it mustn’t spoil”.
Page 26: replaced “ACT II.” with “ACT II. SCENE 1.”.
