Part 5 out of 5
you Rex--What does Rex, cap. 27, para. 198, say? _Via_, says Rex,
meaning the road; _communis_ is common; _omnibus_ to all, meaning
thereby--but perchance I weary you?
DAUGHTER. Mother, who is he?
TALKER. Ah, Mademoiselle Nightingale, you may indeed ask. Who is
he? Is he the Pope of Rome? Nay, he is not the Pope of Rome. Is he
the Cham of Tartary? Nay, he is not the Cham of Tartary, for an he
were the Cham of Tartary--
MOTHER. I beg you, sir, to tell us as shortly as you can who you
are and what you want.
TALKER. Madam, by nature I am a taciturn man; Silent John I am
named by my friends. I am a glum body, a reserved creature. These
things you will have already noticed. But now I will commit to you
it secret, known only to my dearest friends. Uncommunicative as I
am by nature (he disappears and reappears at the middle window), I
am still more so when compelled to hold converse with two such
ornaments of their sex (he disappears and reappears at the
right-hand window) through a lattice window. Am I getting any
nearer the door?
MOTHER (resigned). Pray, sir, come in and tell us all about it. I
see that we must have your tale.
TALKER. To be exact, Madame, I have two tails who follow me about
everywhere. One is of my own poor sex, a man, a thing of whiskers;
the other has the honour to belong to that sex which--have I said
it?--you and Mademoiselle so adorn. Have I your ladyship's permission?
DAUGHTER (eagerly). Oh, Mother, let them come.
MOTHER. Well, I suppose I must have you all.
TALKER (with a bow). Madame, I shall never forget this. Though I
live to be ninety-three, this will always be engraved upon my
memory. My grandchildren climbing upon my knee will wonder
sometimes of what the old man is thinking. Little will they know--
But I will attend you further within. [He bows and disappears.]
DAUGHTER. Mother, something _is_ going to happen at last.
MOTHER. Oh, child, were you as weary as that?
[The TALKER comes in at the door, followed by the SINGER and the
FIDDLER. The SINGER is a pleasant-looking man of middle height, the
FIDDLER a tall, silent girl. The TALKER himself is short and round,
with a twinkling eye. Each wears a cap with a red feather in it.]
TALKER. Madame, your humble and most devoted servants. I have the
honour to present to you her Royal Sweetness the Princess
Carissima, His Flutiness the Duke of Bogota, and myself a mere
DAUGHTER. Oh, Mother, they're wandering minstrels.
MOTHER. I bid you all welcome, sir.
TALKER. Permit me to expound further. The Princess--a courtesy
title bestowed by myself last Michaelmas Day--plays upon the fiddle
with an unerring beauty which makes strong men weep. You shall hear
her. I pray you have your handkerchers ready. His Flutiness the
Duke--the title was granted last Candlemas--has a voice of a rare
richness. He is cursed with a melancholy disposition most pleasing.
He suffers from a surfeit of rejected love. A most waggish
DAUGHTER. Oh, what a shame!
SINGER. You must not believe all that Johannes says, ladies.
MOTHER. I had already learnt that much, sir.
TALKER. For myself, I play upon the pipe. You shall hear. (He plays
"cuckoo" with an air.)
SINGER. The only notes he knows, ladies.
TALKER (indignantly). Oh, fie, Sir, fie! I protest, Madame, he
maligns me. Have I not a G of surpassing splendour, of a fruitiness
rarely encountered in this vale of tears? Madame, you must hear my
G. Now, where is it? (He arranges his fingers with great care on
the pipe.) I have it. (He blows a G, and bows deeply first to
MOTHER and then to DAUGHTER.)
MOTHER (to TALKER). I thank you, Sir.
DAUGHTER. Oh, Mother, isn't he splendid?
TALKER (to MOTHER). Would you like my G again, Madame?
MOTHER. Not just now, I thank you, sir. Doubtless we shall feel
more in need of it a little later on. But tell me, Sir, have you no
other talent to match the singing and playing of your friends?
FIDDLER. He talks.
MOTHER. I had noticed it.
TALKER. This gift of talking with which her Royal Sweetness is good
enough to credit me, irksome though it is to a man of silent habit
like myself, a creature, as you will have noticed, of taciturn
disposition; this--I--(Frankly) Madame, I have lost that sentence.
Have I your gracious permission to begin again?
MOTHER. I think it would be better, Sir.
TALKER. Then, to put it shortly, Madame--
MOTHER. If you could, sir.
TALKER. To be completely frank in this matter, Madame, I--er--go
round with the hat. It is a sordid but necessary business.
DAUGHTER (eagerly). Oh, I hope they give you plenty of money.
TALKER. Enough to support life, Mademoiselle. The hungry look which
you observe upon His Flutiness is, as I have explained, due to
DAUGHTER. You are going to perform, aren't you?
TALKER. Of a surety, Mademoiselle. Perhaps I should add that for
myself I am resting just now, and that my part of the performance
will be limited to nothing more than a note or two upon the pipe.
MOTHER (with a friendly smile). Sir, you are generous. We shall be
glad to hear your friends.
(The TALKER bows and turns to his company.)
TALKER. A song, good Master Duke, a song which her Royal Sweetness
will accompany upon the fiddle. Let it end, I pray you, with a G,
so that I may bring the thing to a climax upon the last note.
FIDDLER (to SINGER). Morland Hill.
SINGER. You like that? (She nods.) Very well. (He sings.)
Oh, when the wind is in the North,
I take my staff and sally forth;
And when it whistles from the East
I do not mind it in the least;
The warm wind murmurs through the trees
Its messages from Southern seas;
But after all perhaps the best
Is that which whispers from the West.
Oh let the wind, the wind be what it will,
So long as I may walk on Morland Hill!
The staff which helps to carry me,
I cut it from the Hazel-tree;
But once I had a cudgel torn
Most circumspectly from the Thorn;
I know a fellow, far from rash,
Who swears entirely by the Ash;
And all good travellers invoke
A blessing on the mighty Oak.
Oh let the wood, the wood be what it will,
So long as I may walk on Morland Hill!
Some years ago I gave my heart
To Prue until we had to part;
Then, seeing Susan's pretty face,
I left it with her for a space;
And Susan had my heart until
I wanted it for Mistress Jill;
I think, although I am not clear,
That Chloe's had it this last year.
Oh let the wench, the wench be whom you will,
So long as I may walk on Morland Hill!
(The TALKER comes in proudly on the last note and takes most of the
DAUGHTER. I'm not sure that I like that last verse.
TALKER. Oh, you mustn't believe all he sings. A cursed melancholy
fellow by nature. But waggish--waggish withal.
SINGER (to DAUGHTER). We have to sing what the poets write for us,
Mademoiselle. Had I written a song myself, it had been about one
TALKER. And there would have been a hundred and twenty-five verses
MOTHER. Your song was well sung, sir; I thank you for it. (To the
FIDDLER) Will you not play us something now?
FIDDLER. If you wish it.
TALKER. You would wish me to accompany her, of course.
MOTHER (with a smile). It is kind of you, sir, but I think perhaps
DAUGHTER (eagerly). Yes, of course, I will if I can. (She goes to
FIDDLER (playing a few notes). Do you know this?
DAUGHTER. Yes, I think so. (She plays. At the end of it the TALKER
finds himself bowing to the applause.)
TALKER. And now, Madame, you have had a sample of all our poor
talents, save and except that paltry talent of mine which in other
company concludes such a performance. I pray you tell me what you
think of the entertainment.
MOTHER. I have enjoyed it immensely, good Master Johannes. And if
you did wish to exercise that talent of yours, of which so far we
have only heard--
TALKER. Nay, nay, Madame, I beg you.
MOTHER. Then, Sir, I offer you my grateful thanks for your
DAUGHTER. And I too.
TALKER. Ladies, you are too kind--er--(he hesitates)--er--
TALKER, The fact is, Madame, that now we approach or, so to speak,
draw nigh or adjacent--in other words, Madame, we are perilously
FIDDLER. Tell her straight out.
MOTHER. Tell her what?
FIDDLER. What we've come for.
SINGER. Master Johannes, Madam, is so accustomed when he goes round
with the hat to disguise under it flow of words the fact that money
is as necessary to an artist as applause, that he has lost the
habit of saying anything in less than ten sentences.
TALKER (mournfully). And yet I am a taciturn man.
MOWER. Well, will somebody tell me, for I confess I have been
wondering what is behind it all.
FIDDLER. Tell her, Johannes.
TALKER. If you will allow me, Madame. But tell me first, did you
notice anything lacking in our performance?
MOTHER (surprised). No; I don't think so.
TALKER (to DAUGHTER). Perhaps you, Mademoiselle?
DAUGHTER (shyly). It seemed to lack a woman's voice, sir.
TALKER (admiringly). What intelligence! What profundity! (To
MOTHER) Madam, I felicitate you again on your daughter. Unerringly
she has laid her finger on the weak joint in our armour. We have no
MOTHER. Well, Sir, I don't see how I can help you.
TALKER. Madame, you have a nightingale. It has lived in a cage all
its life. It looks through the bars sometimes, and sees the great
world outside, and sighs and turns back to its business of singing.
Madame, it would sing better outside in the open air, with the
MOTHER. I don't understand you, sir. Are you referring to my
TALKER (looking towards the window). There is a stream which runs
beyond the road, with a green bank to it. We were seated on that
bank, I and my two companions, eating our bread and cheese, and
washing it down with draughts from that good stream. We were tired,
for we had come from over the hills that morning, and it was good
to lie on our backs there and watch the little clouds taking shape
after shape in the blue, and so to dream our dreams. In a little
while the road would take us westward, here through a wood banked
with primroses, there across a common or between high spring hedges
with the little stream babbling ever at the side of us. And in the
evening we would come to an inn, where there would be good company,
and we would sing and play to them, and they would reward us. (With
a shrug) It is a pleasant life.
DAUGHTER (eagerly). Oh, go on!
MOTHER. Yes, go on, Sir.
TALKER. We were lying on our backs thus, Madame, when we heard the
nightingale. "Duke," says I, "it is early yet for the nightingale."
His Flutiness removes his cap from his face, takes a squint at the
sun, and says "Monstrous early, good Master Johannes," and claps
his cap back again. "What says you, Fiddler," says I, "in this
matter of nightingales? Is it possible," says I; "the sun being
where it is, and nightingales being what they are--to wit,
nightingales?" "It's not a nightingale," says Fiddler dreamily,
"it's a girl." "Then," says I, jumping up, "it is a girl we want.
She must put the red feather in her cap, and come her ways with
us." (With a bow) Madame, your humble servant.
DAUGHTER. Oh, Mother, you will let me go, won't you? I must, I
must! He is quite right. I'm caged here. Oh, you will let me see
something of the world before I grow old!
FIDDLER (suddenly). Yes, let her come. If she feels like that, she
ought to come.
SINGER (with a very winning smile). We will take great care of her,
Madame, as if she were our own sister.
MOTHER (surprisingly to JOHANNES). What do you think of cider as
a drink, Master Johannes?
TALKER (who had not expected it, but is always ready). Cider--ah,
there's a drink! Oh, I can talk to you about cider, glum body as I
am by nature, having been as it were taciturn from birth. Yet of
cider I could talk you--
MOTHER. Ours is considered very good cider. (To her daughter) Take
them, child, and give them such refreshment as they want. They have
deserved it for their entertainment.
DAUGHTER. Why, of course, Mother. Come this way please.
[She leads the way, and the others follow, the TALKER coming last
and murmuring "Cider" to himself.]
MOTHER. Master Johannes. (He turns round.) A word with you, if
you please, sir.
TALKER. But certainly, Madame. The cider will be all the better for
MOTHER. Sit down, please. (He does so.) Master Johannes, who are
you, all of you?
TALKER. I thought I had explained, Madame. Her Royal Sweetness
Princess Carissima, His Flutiness the Duke of Bogota, and myself a
humble Marquis. We may be referred to collectively as the Red
Feathers. For myself I am sometimes called Silent John, being of a
MOTHER. Whatever you are called, you are, I think, a man of the
world, and you will understand that if I am to trust my daughter to
you, for however little a time, I must know something more about
TALKER. Madame, I will make a confession to you, a confession I
have never yet made to man, woman, or child. I am forty-six years
of age; it is, in fact, my birthday. Were I to begin to tell you
something about myself, starting from that day, forty-six years
ago, when I was born--were I to begin--well, Madame, I am only too
ready to begin. It is a subject I find vastly pleasant. But,
(looking at her comically) shall I begin?
MOTHER (with a smile). Would you make it so long a story, sir?
TALKER (with a sigh). The tongue is an unruly member, and to one
who has but three notes on the pipe, and yet desires to express
himself, talking is a great comfort.
MOTHER. I said you were a man of the world, sir. May I say now
that I think you must be a man of _our_ world?
TALKER. I am a man of many worlds. But if it would comfort your
mother's heart to know that your daughter will be in good company,
I think I can give you that comfort.
MOTHER. Is that all you can give me?
(The TALKER gets up and walks about, frowning to himself. Suddenly
he takes out his pipe, plays "cuckoo" to himself very solemnly, and
is immensely relieved thereby. He comes back to the MOTHER with a
TALKER. Madame, I will tell you a story. (Holding up his hand to
stop any expostulation) No, quite a short one. Once on a time there
was a certain noble gentleman, a baron of estates and family.
Conceiving himself to be in love, he dared to put it to the touch
to win or lose it all. I regret to say that he lost it all. In a
fit of melancholy he abjured society, cursed all women and took to
the road. A pleasant melancholy gentleman. I made him a duke.
MOTHER (eagerly, indicating the door out of which the duke has just
gone). You mean he really is--
TALKER. We will name no names, madame. I doubt not I have no right
to speak of him to another. It is just a story. (Putting his pipe
to his lips) Cuck-oo!
MOTHER. Poor child, she is not happy here. We live so quietly; we
have no neighbours. I have wondered what to do--it seemed that I
could do so little. If only I could be sure--(Suddenly) Master
Johannes, do you like the look of this house with its little stream
opposite, and the green bank running down, on which one may lie
on one's back and look up at the sky?
TALKER. Did we not single it out above all others by having our
bread and cheese outside it?
MOTHER. Will you all stay with me for a little? I think I can find
room for you. Before I can lend my daughter to you, I feel that I
must know something of you. I think that is the best way, is it
not? (With a very friendly smile) The cider is good, you know.
TALKER (rising and boning). Madame, we need say no more.
[The other three come in. The DAUGHTER has found from somewhere a
cap with a red feather in it. They stand in a row opposite the
MOTHER, and to the FIDDLER'S accompaniment sing a merry song.]
TOGETHER. The cuckoo comes in April,
Sings his song in May,
Changes his tune in the middle of June,
And then he flies away.
HE. The cuckoo comes when April's here--
He is not very good, I fear.
He goes and takes another nest--
Perhaps he does it for the best.
Cuckoo! Cuckoo! ...
SHE. When April's over he begins
Repenting of his former sins;
From tree to tree he takes his way,
But this is all he finds to say:
Cuckoo! Cuckoo! ...
HE. By June he gets a trifle flat,
Which is not to be wondered at,
And critical observers note
A huskiness about the throat.
(Huskily) Cuckoo! Cuckoo! ...
SHE. Alas! he does not stay for long,
But other birds take up the song
Of summer gently following
The wild and happy days of Spring.
(The TALKER conducts with his pipe in his hand, and hums "La, la,
la!" to himself. He pipes the chorus with them. At the conclusion
they all bow or curtsey deeply to the MOTHER.)
MOTHER (half laughing, half crying). Oh!
TALKER (suddenly and dramatically, holding up his hand). Listen!
TALKER. Didn't I hear somebody say "cider"?
(It is eight days later when we see them again. The DAUGHTER is at
the spinet, playing an accompaniment to the song which she and
the SINGER are sharing for the moment.)
SHE. He does not know I love him,
He does not care;
The sky is blue above him,
The road is there
For those who dare--
Alas! why should he care?
HE. She does not know I love her,
She does not know;
The sky is blue above her,
The soft winds blow
Where violets grow--
Alas! how should she know?
TOGETHER. Yet those who sing
About the Spring
All say it should bring
Two lovers together!
Oh where, oh where
Will you find a pair
So matched as you and I, love?
Come rain or shine,
Come wet or fine,
If you are mine
What matter the weather?
Oh take my hand
And kiss me and
Confess that you are my love.
HE. She does not know I love her--
Ah yes, she knows;
The sky is blue above her,
The buds disclose
The first wild rose--
Ah yes, she knows, she knows!
SHE. He cares not that I love him--
Ah yes, he cares;
The sky is blue above him,
A thrush declares
The world is theirs--
Ah yes, how much he cares!
TOGETHER. For those who sing, etc.
DAUGHTER (looking up at him). It is a pretty song.
SINGER. The words, I thought, were good. I liked the words.
DAUGHTER. Who thinks of the words of a song if the tune be pretty?
SINGER. But if the heart of the singer be in the words?
DAUGHTER (suddenly, as, she gets up). Tell me about Chloe.
SINGER (surprised). Chloe?
DAUGHTER. Or whatever her name was.
SINGER (hurt). I am not sure that I understand this conversation.
DAUGHTER. I mean the first one.
SINGER. I am not sure that I like this conversation.
DAUGHTER. She was the first, wasn't she--the one who made you
renounce the world and take to the road?
SINGER (stiffly). Her name was not Chloe.
DAUGHTER (coaxingly). What was it?
SINGER (annoyed). Why rake up the dead ashes of the past? I was but
a boy. It was five months ago. Besides, her name was Penelope.
DAUGHTER. You still remember it, though it was so long ago?
SINGER. I could have pretended to have forgotten, if it would have
pleased you better.
DAUGHTER (coldly). I? Oh, I am not interested.
SINGER. Well, _I_ didn't start the subject. Perhaps, as neither of
us is interested, I had better withdraw. Since we are to start this
afternoon, I have much to see about. (Bowing) With your permission.
DAUGHTER (stopping him). Don't go. I am sorry. I have been unkind.
SINGER (smiling). Shall we practise that other song? Our voices
agree, if our--our hearts do not.
DAUGHTER (distressed). Oh, don't say that. We must be friends.
SINGER. Only friends?
DAUGHTER (gently). Tell me about her.
SINGER. There is not much to tell, dear. I thought she loved me.
Perhaps that was why I thought I loved her. When I told her, she
pretended to be surprised. I don't think she was surprised. She
was very pretty. (He pauses.)
DAUGHTER. And hard?
SINGER. It is not for me to say anything against her. It is through
her that I came here.
DAUGHTER. When you came here the other day, had you forgotten her?
SINGER (singing). "Oh, let the wench, the wench be whom she will,
so long as I can walk on Morland Hill." Didn't I say so on that
DAUGHTER. Of course, I know very little of the world, but I do
wonder sometimes if people who sing about the joys of wandering are
really enjoying it all the time.
SINGER (looking round at the window). Is Johannes about?
DAUGHTER (surprised). No.
SINGER. Then I will be frank with you. Just lately _I_ have been
SINGER (rapidly). I have a house; you would like my house. I have
a park; you would like the park. Horses to ride and jewels to wear.
I go to London sometimes and see the King; you would like London.
DAUGHTER (tragically). I have never been to London.
SINGER (letting himself go suddenly). Sweetheart, all that I have--
(In an ordinary whisper) Be careful, Fiddler just went past the
window. (Keeping his arm round her, he breaks into the last line or
two of his song. She joins in, as if they were rehearsing.)
[Enter the FIDDLER.]
SINGER (to DAUGHTER). Yes, I think we have it pretty well now. 'Tis
a good song. (Turning round suddenly and seeing the FIDDLER). Ah,
Fiddler, are you there? What do you think of it?
FIDDLER. Isn't it time to start?
SINGER. To start? Ah yes, we start this afternoon. Well, we have
had a pleasant holiday and must get to work again.
DAUGHTER (eagerly). And I am coming with you.
FIDDLER. It is settled?
DAUGHTER. Oh yes, I think so.
FIDDLER. It is the best life. (TO DAUGHTER) Play something.
[As the DAUGHTER goes to the spinet, the SINGER goes out.]
(They play. When it is over, the DAUGHTER turns round and looks at
the FIDDLER, and sighs.)
DAUGHTER. That is all you want? Just you and your fiddle and the
FIDDLER. It is the best life.
[The TALKER appears at the window.]
TALKER. Aha! what did I hear? Did I hear our loquacious Fiddler
perorating upon Life? "Life," quoth she, with much argument and
circumstantial matter; "Life," she continued, making her points
singly and one by one, thus keeping the business in its true
perspective; "Life is--"(Lamely) Well, what is life?
FIDDLER. When do we start, Johannes?
[The DAUGHTER goes out.]
TALKER. Are you so eager to be gone?
FIDDLER. We have been here eight days.
TALKER. Eight days! And Troy was besieged for eleven years! Eight
days! Why, I could talk for eight days without taking breath, and I
am by nature a glum, silent man. Nay, nay, say not to me "Eight
days." Eight days will not make a man grow old or a woman lose her
beauty. (The MOTHER comes into the room.) Or a woman lose her
beauty--Madame, I kiss your hands. Were I of less girth I would
flit through the window and fall upon my knees at your feet. (The
FIDDLER with a shrug goes out.) As it is, I shall enter by the door
in the usual way. I have your permission?
MOTHER (smiling). You asked my permission a week ago. You do not
need to ask it now.
TALKER (still at the window). It has been a happy week. The week
has liked me well.
MOTHER. You take the road again this afternoon. Your plan still
TALKER (with a sigh). They say so, lady.
MOTHER. Who say so? Is not Master Johannes the master of his
company? Who say so?
TALKER. The birds. I held converse with a cuckoo-bird this morning.
"Cuckoo," he said--in this manner (he imitates it on his pipe)--
meaning, as I gathered, "O fool!" I bowed low to him, and "Pardon,
bird," said I,--"but I would have you tell me why I am a fool." He
answered thus in parables--"Cuckoo."
MOTHER. And what did _that_ mean?
TALKER (sighing). It meant, "There's no fool like an old fool."
(She looks away. He waits a little, then sighs again and leaves the
window, entering a moment later by the door.)
MOTHER (looking up). Well, Sir?
TALKER. Madame, I am a man of good family, although--although I
quarrelled with my good family. I left them many years ago and took
to the road. I have seen something of the world since then, but I
think I must always have had at the back of my mind some dim
picture of what a home was--some ancient memory, perhaps. That
memory has been very strong within me these last days.
MOTHER. You have liked my home, Master Johannes?
TALKER. I have liked it well. (He takes out his pipe and plays a
melancholy "Cuckoo.") Well, well--we start this afternoon.
MOTHER. You want my daughter?
TALKER (sadly). Not your daughter, Madame.
MOTHER. What is it you want? Are you so backward in asking? It is
not like the Master Johannes who came to my house eight days ago.
TALKER (taking his courage in his hands). Madame, though I have
wandered about the world, I have saved some pennies in my time.
A few trifling coins--enough for middle-age. Since I have had the
great honour of knowing you--(He breaks of as the voice of the
SINGER to full song is heard approaching.) Oh, God bless that poor
young fool! Madame, I entreat you--
MOTHER (rising and moving hastily away). Another time, dear
Johannes--(she smiles very fondly at him as she goes out)--another
time you must tell me--all.
(The TALKER stares after her, hardly believing. Then, with an air
of solemn happiness, he takes out his pipe and dances carefully but
cheerfully round the room, piping to himself. The SINGER comes in
singing merrily, He joins the TALKER at the end of the room, turns
round with hint and trips up and down the room with him, one
singing and the other piping.)
TALKER. Friend, we are gay.
SINGER. Very, very gay, Master Johannes. (They turn round and go up
and down the room as before.)
TALKER. Something is stirring our middle-aged blood. I feel years
SINGER. I have only just been born.
TALKER (with a wave of the hand): Shall we take another turn?
SINGER. At your pleasure. (They go up and down as before.)
TALKER (looking at the other anxiously out of the corners of his
eyes). What do you think has happened to us?
SINGER (with a similar look). I--I wonder.
TALKER (nervously). I suppose the fact that we are going off this
afternoon--the joy of returning to our old gay life is--is
SINGER. I--I suppose so. (Without enthusiasm) Yes, that must be it.
TALKER. This cauliflower existence, this settled life which even
the least enterprising cabbage would find monotonous, we have had
more than enough of it, my friend.
SINGER. Yes. (He sighs deeply.) I sigh to think how we have wasted
these eight days.
TALKER. Ah! (He sighs still more deeply.) However, Heaven be
praised, we are for the road this afternoon.
SINGER (gloomily). Heaven be praised! It is a grand life.
TALKER (carelessly). Of course, if you came to me and said,
"Johannes," you said, "I left my home in a fit of melancholy five
months agone; the melancholy is cured, I will return home again"--
why, I would say, "God bless you, Master Duke; go your way." Well,
I can understand such a thing happening to a man of your age, not
born to the wandering as I am.
SINGER. Bless you, Johannes, you are a true gentleman.
TALKER (airily). Say no more, say no more.
SINGER. But I cannot accept this sacrifice. I pledged myself to
serve you for a year, and I'll keep my pledge.
TALKER (considerably upset by this). Wait a moment, Master Duke;
I have myself thought of retiring these many months past. Indeed,
it was only for your sake--
SINGER. No, no, I cannot allow it. It is only for my sake that you
are saying this. We will take the road this afternoon. (Heroically)
Indeed, I would infinitely prefer it. I am enamoured of the
TALKER. It is a great life. It means everything to me.
(They stand side by side looking gloomily in front of them.
Gradually they begin to glance towards each other; they catch each
other's eyes--and understand each other thoroughly.)
TALKER (clapping the SINGER heartily on the back). I knew it, I
knew it! You and the wandering life!
SINGER (delightedly). You, too, Johannes! You've had enough of it!
(They suddenly turn round and go up and down the room together,
piping and singing. A genteel cough is heard outside the window,
and the MOTHER is seen for a moment. The TALKER turns round with
his pipe to his lips. They go up the room together again, and at
the top the TALKER, with a wave of the hand, leaves his companion
and goes out. He is seen passing the window.)
[The DAUGHTER comes in.]
DAUGHTER (going to him). Is it all right?
SINGER. Everything is all right, beloved.
DAUGHTER. You have told him?
SINGER (nodding). It couldn't have fallen out better. He, too, was
tired of wandering and wanted to settle down.
DAUGHTER. I told mother. She seemed glad. You know, I think she
seems younger about something.
FIDDLER. Are we starting this afternoon?
DAUGHTER. Oh, Fiddler dear, do you mind very much? (She holds out
her hand, and the SINGER takes it.) We aren't coming at all. We--we--
SINGER. We are getting married.
FIDDLER (nodding to herself). I thought so.
DAUGHTER. But you will come and stay with us sometimes. Oh, say you
SINGER (smiling at FIDDLER with great friendliness). Of course she
(The TALKER and the MOTHER are seen coming least the windows.)
FIDDLER. There's Johannes. I expect we shall be starting this
[The TALKER and the MOTHER come in arm-in-arm. He bows to her and
takes the floor.]
TALKER. Ladies and gentlemen, companions-in-arms, knights and
ladies of the road, comrades all,--I have the honour to make an
announcement to you. The wandering company of the Red Feathers is
determined from this date, likewise disbanded, or, as others would
say, dissolved. "What means this, Master Johannes?" I hear you say.
"Who has done this thing?" Ladies and gentles all, I answer you
that young Cupid has done this thing. With unerring aim he has
loosed his arrows. With the same happy arrow (taking the MOTHER'S
hand) he has pierced the hearts of this gracious lady and myself,
while yonder gallant gentleman I name no names, but the
perspicacious will perceive whom I mean--is about to link his life
with the charming maiden who stands so modestly by his side. There
is one other noble lady present to whom I have not yet referred--
FIDDLER (holding out her hand to the MOTHER). I think I must go.
Good-bye, and thank you.
MOTHER (taking her hand and patting it). Wait a moment, dear.
TALKER (continuing his speech)--noble lady to whom I have not yet
referred. I will not hide from you the fact that she plays upon the
fiddle with an elegance rarely to be heard. It is the earnest wish
of (swelling his chest) my future wife and myself that she should
take up her abode with us.
FIDDLER. It's very kind of you, but I don't think--
DAUGHTER (coming across). Mother, she's going to stay with us; she
MOTHER. It's sweet of you to ask her, dear, but I think it would be
much more suitable that she should live with _us_.
SINGER. We should love to have her, and she could come and see
you whenever she liked.
MOTHER. I was going to suggest that she should live with us and
come and see _you_ sometimes.
TALKER (who has been thinking deeply). I have it! What say you to
this? For six months, making in all twenty-six weeks of the year,
she shall live, reside, dwell, or, as one might say, take up her
habitation with us; whereas for the other six months--(They have
been so busy discussing the future of the FIDDLER that they have
not noticed that she is no longer there. Suddenly the sound of the
fiddle is heard.) What's that?
[The FIDDLER comes in, wearing her cap now with the red feather in
it. She is playing a wild song, a song of the road. She is content
again. She goes up the room, and as she passes them she gives them
a little bend of the head and the beginnings of a grave smile. She
goes out of the door, still playing; she is still playing as she
goes past the windows. They follow her with their eyes. When she
is gone they still listen until the music dies in the distance.]