The Shy Courtier

El vergonzoso en palacio

Traducción de El vergonzoso en palacio

Tirso de Molina. The Shy Courtier [ El vergonzoso en palacio ]. Translated by Ben Sachs-Hamilton. 2008.

Joan Oleza Simó (Investigador principal) Sachs-Hamilton, Ben (Traductor) Huertas Martín, Víctor (Editor)

English · Verso · 1 versos

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) License

https://playcode.fly.dev/plays/EMOTHE0653_TheShyCourtier

Cast of Characters

The Duke of Avero An old man

Don Duarte The Count of Estremoz

Two Hunters

Figueredo The Duke’s Valet

Tarso A shepherd

Melisa A shepherd

Ruy_Lorenzo The Duke’s Secretary

Vasco Ruy Lorenzo’s Footman

Doristo The Village Mayor

Lariso A Shepherd

Denio A Shepherd

Doña Juana A Lady in Waiting

Don Antonio The Count of Penela

Doña Madalena The Duke’s Older Daughter

Doña Serafina The Duke’s Younger Daughter

A Painter

Lauro Mireno’s Father, an Old Man

Mireno A Shepherd

Serafina and Count

ACT I

Scene 1

(SETTING: A forest near Avero.)

(AT RISE: The COUNT anxiously paces the stage. The DUKE enters. Both are in hunting apparel.)

DUKE

I have left my huntsmen in pursuit of a wild boar, don Duarte, thus affording us the privacy you requested. I cannot fathom, however, for what perturbed and perplexed motive, when I have called this hunt specially to honor your arrival, you wish to leave the chase and speak to me alone.

COUNT

Enough dissembling. Unsheathe your steel, which, like Numa, that saintly king, you’ve forgotten at your side. The naked blade you see before you, Your Grace, will shortly give my reply. The sword, not the pen, must serve as tongue for the aggrieved gentleman, and mute, it broadcasts your shame.

((Brief sword fight; the DUKE knocks the COUNT’S sword away.))

DUKE

The sword is indeed a tongue, for it resembles one—and since yours has led you to babble baseless accusations, let us hold our tongues and allow our blades to speak for us. Unless you wish to explain yourself in the time I give you, which will be short, as you have been short with me. My honor owes you nothing.

COUNT

Splendid! You think you can conceal the crimes which heaven itself makes known?

DUKE

What crimes?

COUNT

Try as you may try to hide behind your age and dignity, sir, you cannot fool me. The proof is in this letter, signed and sealed by your own hand. (thrusting the letter at the DUKE) Take it—it’s yours. The servant you bribed to kill me is bronze-like in the strength of his loyalty, and your offer could not breach so thick a wall. And seeing as you put your order in writing, you should not wonder when I say you’d rather wield a pen than a sword.

DUKE

I, order you killed?

COUNT

This seal, is it not yours?

DUKE

It is.

COUNT

And can you deny this signature?

DUKE

Am I dreaming this or am I mad?

COUNT

Read the letter and you’ll see why I seek my revenge.

DUKE

(reading) “For the retribution of certain crimes, which may only be satisfied by the death of don Duarte, the Count of Estremoz, I place my trust in you, his personal valet. Prove my trust to be well founded, and act as the agent of my revenge. This accomplished, make haste to my castle, where I will safeguard and reward you for the danger in which you have placed yourself for my sake. Once you have read this letter, return it to the messenger, remembering always the importance of both haste and secrecy. THE DUKE.”

COUNT

I know not what injury the house of Estremoz, of which I am Count, has done you to so debase a noble breast that flows with the ancient blood of the Dukes of Avero.

DUKE

Some traitor has forged my signature and seal, a man who harbors a secret grievance, and who intends with your death to effect my perpetual disgrace. Heaven, which knows the author of this crime, knows too that never, in presence or in absence, in act, in speech, or in writing, have I ever sought your harm. I’ve a feeling it won’t take long to discover our cowardly author. In the meantime, however, while I confess the justice of your complaint, I beg that you suspend your righteous anger and calm your troubled breast.

COUNT

I am contented, Your Grace… for now.

((Two HUNTERS enter.))

HUNTER 1

What a boar!

HUNTER 2

We went after it, but it had these huge tusks, and even with the hounds on its scent it managed to get away, and—

DUKE

My friends! I’m sure you’ve left not a single deer or boar alive in this forest. How is the catch?

HUNTER 1

Let’s just say your mules won’t be going home with light loads.

((FIGUEREDO enters, running.))

FIGUEREDO

That dastardly secretary!

DUKE

Figueredo! Why are you in such a hurry?

FIGUEREDO

Thank God I’ve found you—treason, Your Grace! A plot hatched by your secretary, Ruy Lorenzo, to kill don Duarte! You owe me your life, sir.

COUNT

I can guess the reason for this secretary’s ill-plotted revenge. I seduced his sister, the beautiful Leonela, and once I’d had my way, I ditched her.

DUKE

Thank heaven, which justifies the innocent! How was this plot exposed?

FIGUEREDO

The traitor hired a young thug and, for good measure, told him that you, sir, gave the command. But this thug happened to be in love, and men in love, as you know, are as free with their tongues as with their money. They say the bed is a rack where women torture men, not with ropes but with kisses. He told the plan to his mistress and she swore secrecy. Still, whatever a man plants in a woman is bound to come out one way or another. If she conceived through the ear, she gave birth through the mouth, and by noontime everyone in Avero knew. They arrested the thug, but Ruy Lorenzo escaped with his footman.

DUKE

You see, don Duarte, how Providence has revealed the truth and proven my innocence.

COUNT

I know not what to say—only that your secretary’s deceitful plot was the root of my own too hasty action. Still, who may not be fooled by a false pen?

DUKE

Henceforth I’ll take more care in my choice of a secretary.

COUNT

Leonela’s revenge is behind all this. Her cause is a just one, so I’ll have to make certain the Duke doesn’t find out.

DUKE

For such a traitor, the greatest torture is but little. Whoever brings me the culprit, dead or alive, wins his forfeited estate.

HUNTER 2

Not a soul in the county will fail to take you up on that one, sir.

DUKE

His punishment will be an example to all the kingdom.

COUNT

I owe you my life, my friend.

((BLACKOUT))

Scene 2

(SETTING: Another part of the forest.)

(AT RISE: TARSO bursts onstage, pursued by MELISA.)

MELISA

You’d leave me just like that, you traitor?

TARSO

Melisa, go bark up someone else’s tree. Your love just doesn’t make me feel the way it used to. It’s been half a year since we were together, and I’ve gotten over whatever illness made me love you. I put my love on a diet, and little by little, I’ve recovered my health. I’m not mad anymore because I’m not a poet anymore. My God, the poems I used to make up for you left and right! I climbed up Mt. Parnassus to borrow words from the Muses themselves, but all I ended up with was blisters on my feet. I called you my “moon,” my “evening star”… There wasn’t a single thing about you whose praises I didn’t sing. I made up couplets about your laugh, your sweet smile, your white skin, your dark eyes, your haughty airs, your silence, your talking, your sighing, your walking, your crying, your sitting, your coughing, your spitting… I think one time I even composed a sonnet about that little drop that hangs off the end of your nose. Now I’ve escaped from the trap you caught me in, thank God, and I don’t give a damn about you or your love.

MELISA

Tarso, you’re such a… man! How could a little time apart make you lose all your regard for me?

TARSO

You deserve as much regard as Judas, and you’re about as faithful. Don’t think you can just pretty up your face and expect me to come running back to you.

MELISA

Fine! Then give me back all those love tokens I gave you, those pretty little ribbons and locks of my hair…

TARSO

You think I still keep those in a pouch around my neck like I used to? As if I’d rub salt in the wound. Those locks of hair you used to tie up my hopes, those cruel ribbons, roses, letters, cards… They had me bewitched, so I did what I had to to break the spell: I burned them. I even burned the pouch—it was contaminated.

MELISA

(crying) I can’t believe I have to put up with this!

TARSO

Cry me a river. I know you too well by now—you’re a tricky one. Well you’re not going to trick me, by God, so you can just cry until you piss yourself.

MELISA

Traitor!

TARSO

What a show! I get it. You can turn off the spigots now; you’re making a mess.

MELISA

I’ll get you for this.

TARSO

How?

MELISA

By… by getting married, you pig.

TARSO

You might as well beat yourself with your own shoe.

MELISA

Oh, go away.

TARSO

Fine by me.

((He begins to exit.))

MELISA

You’re going to leave just like that?

TARSO

Yes, just like this, see? Walking.

((He begins to exit again.))

MELISA

Wait! I bet I know why you’re doing this.

TARSO

I bet you don’t.

MELISA

You’re just jealous of Mireno.

TARSO

Me, jealous of Mireno? Oh, that’s a good one! I’m proud to serve him, and his father Lauro, and to eat at their table. He’s a good, upstanding man, and for my part you’re welcome to him. But he’s a free spirit, and I don’t think he’ll be falling in love with anyone any time soon. His father brought him here as a baby, and you know what people say, that even though he walks around just like us, if you take off his rough cloak, like the bark off a tree, you’ll find some kind of nobility hidden underneath. There’s not a single shepherd in all of El Miño who doesn’t look up to him, or a girl who doesn’t sigh when he walks by, but Fortune seems to have made him as deaf to their sighs as Narcissus was to Echo. And now, since he’s ignoring you, you come running back to me. Well there’s no entrance here; this door is locked.

MELISA

You really don’t love me, do you?

TARSO

No.

MELISA

(crossing herself) Well I swear by God, I’ll make you pay.

TARSO

You’ll make me pay?

MELISA

That’s right, you’ll see soon enough. There’s nothing like a little rejection to change a man’s mind.

TARSO

Well…

MELISA

Mark my words. There’s a certain shepherd I know of… When love goes astray, a shepherd will always bring it home again.

((MELISA exits.))

TARSO

I have to say, I’m a little nervous about what she might do. Anyone who isn’t afraid of her wouldn’t be afraid of the Devil himself!

((MIRENO enters.))

MIRENO

Tarso! I’ve been looking for you all day.

TARSO

Ah, Mireno! I’ve been having it out with Melisa for the last hour. The more she cried, the harder it was for me to keep from laughing. But what’s new?

MIRENO

Look, I know how much you care about me, which is why I’ve come to talk to you.

TARSO

Whatever it is, you can tell me. Your father brought us up together, and even though I’m old enough to have a household of my own, you know I’d rather stay and serve in yours.

MIRENO

You don’t have to prove it to me, Tarso. You may be humble, but you’re a smart one. I’m about to toss my hope, like a javelin, as far as I can, and I want you to come with me and see if we can catch it. I’ve been down lately, filled with all these high and lofty thoughts, though I don’t know where I get them. It seems unfair that Fate made me a shepherd, when it could just as easily have made me a nobleman. I feel stuck, unable to rise above my miserable birth. I’m ashamed to say it, but sometimes I’ve even wondered if I’m actually Lauro’s son, or if maybe he took me from some nobleman’s house as a baby. I must have asked him a thousand times, when we’re alone, whether by any chance he used to have some higher station in life that he was cast down from, as it happens to so many people. I know we’re not from around here, and even though he dresses like a shepherd, he talks more like someone from the court. Every time I ask, though, he dashes my hopes, telling me all sorts of long stories that all end up at the same point: I’m nothing but the son of peasants. I know this should satisfy me, but it just makes me more anxious to get away and follow my guiding star—somehow I know it has good things in store for me. Besides, even if I was born poor, think how much more pride I could take in pulling myself up by my bootstraps. If you want to join me, Tarso, for better or worse, it’s up to you. I’ve made up my mind; now you make up yours.

TARSO

It’s enough for me to see you this excited—you’ve studied with the priest enough to know what you’re doing. I’m in! I do worry about your father, though.

MIRENO

If I succeed, Tarso, I’ll make him forget all his troubles.

TARSO

When do you want to leave?

MIRENO

Now.

TARSO

Today?

MIRENO

This very minute!

TARSO

What about money?

MIRENO

I sold two oxen, and I’ve got the money right here. First thing, we’ll go straight to Avero, where we’ll find you a hat and a sword!

TARSO

I just hope we don’t wind up running home like dogs with our tails between our legs!

Scene 3

(SETTING: Another part of the forest.)

(AT RISE: RUY steps out into the open, while VASCO stays back.)

VASCO

Sir, get back into the trees! I swear we won’t be here an hour before the posse catches us. Every last peasant in the neighborhood is after us like hounds after a hare, and when they catch us, they’ll crucify us. And we won’t be remembered, like Christ—we’ll be dismembered!

RUY

I’m afraid we’re not long for this world, Vasco. Even if we found a way to escape, we wouldn’t last for long on our own in the forest.

VASCO

Steel is no match against the arms of hunger.

RUY

I forged the Duke’s signature on a letter in order to avenge my sister, who was dishonored by don Duarte, and when that plan failed, I sought out someone to kill him for me. Still, the plans of the ill-fated always come to naught, and since I am such a one, let my life end now. It’s wrong to die of hunger when there is a sword at hand.

VASCO

Is it really possible that someone who calls himself a man, like you, tried and true, would go to such great lengths to defend his sister’s honor? I mean, how do you know for sure she didn’t want the grapes picked from her vine?

RUY

Can you doubt it? Are there not thousands of cases in which—

((TARSO and MIRENO enter.))

TARSO

(ad lib.) …I’m telling you, Melisa swore it to me…

RUY

I hear people coming.

VASCO

We’re lost!

TARSO

…It’ll be a pretty sight when she finds out I’ve skipped out on her!

MIRENO

You haven’t repaid her love very well.

VASCO

Heavens, preserve us!

TARSO

Hand her over to Pontius Pilate. She’s more fickle than a band of gypsies, and her love comes with more frills and flourishes than a song played on the organ.

VASCO

Save us, Saint Anthony—blind them!

RUY

Calm down! It’s only two peasants, and they’re completely unarmed. They won’t do us any harm. Now, come on. (to MIRENO and TARSO) Where are you headed, my friends?

MIRENO

Good day, sirs! To town, to stock up on a few things. And you? This path leads away from the royal road to those huts at the foot of the mountain.

RUY

My good shepherd, your words declare your kindness, so I’ll be frank. To avenge my sister’s dishonor, I tried to kill a powerful man, and now that the Duke has discovered my honorable plot, he has ordered his people to search this wilderness until they have captured me. Seeing no way out, I’ve taken the high road. (offering MIRENO his sword) My life, though honorable, has come to an end; now please, make it quick.

MIRENO

What a sad tale! If the same miserable fate that made me a poor shepherd had given me more courage, I’d take up your cause myself. What we can do, if you’ll take my advice, is exchange clothes. Wearing these, you’ll be able to get away, and bide your time until your fortunes change, as I’m sure they will.

RUY

May heaven reward you for this favor, since I cannot.

MIRENO

Let’s go into those trees and change our.

((RUY and MIRENO exit.))

TARSO

Does this mean I have to wear that get-up of yours? It has more bits and pieces than the innards on a butcher’s table.

VASCO

I’m afraid so.

TARSO

Well, you’ll have to give me a lesson or two in how to put them on. They’ve got more entrances and exits than the city of Troy.

VASCO

Let’s go, you’ll figure it out soon enough.

((They exit. DORISTO, LARISO and DENIO cross the stage, searching. MIRENO, RUY and VASCO enter, having exchanged costumes.))

MIRENO

Where’s Tarso?

VASCO

Over there. He still can’t figure out how to untangle those breeches.

MIRENO

You should get going.

RUY

Time will not erase the memory of this favor.

VASCO

I’m a footman stuffed like a sausage into a shepherd’s casing.

((RUY and VASCO exit.))

MIRENO

The purebred horse, left to its own devices, is content with the grass of the field and the hard iron bit. But the moment its owner places a gold-enameled harness on its head, it starts puffing and snorting and tearing up the grass, harness jingling wildly. In the same way I have grown up among the oak trees, speaking a rough tongue and wearing a rougher cloak. Yet as with the horse, this courtly dress has awakened my nobler thoughts, my pride increased by proud attire.

((TARSO enters.))

TARSO

Would you look at these fabrications they’re making me wear? I can’t wrap my head around such highfalutin figaments . Look at all these crisscrossed streets and intersections. Have you ever seen so many slices, except on a melon? Is any astrologer’s chart this convoluted? It’s been an hour and I still can’t find a pocket.

MIRENO

That’s enough, Tarso.

TARSO

You shouldn’t be surprised: they’re clearly not the work of man.

MIRENO

Well, what else would they be?

TARSO

Magic! These are worthy of Merlin himself—even the wisest men couldn’t make heads or tails of them. But anyway, now that I’ve been footmanified , and you’re a courtier, what do we do?

MIRENO

We head for Avero. This outfit has lifted up my thoughts and I think we should aim even higher.

TARSO

You may want to fly right up to heaven, but we’ll probably end up back down in the mud. Still, since you’re a new man now, and you might want to pass as a gentleman, shouldn’t you consider changing your name? Mireno doesn’t sound very lordly to me.

MIRENO

You’re right. I’m not a shepherd anymore, and Mireno no longer suits me. Don Dionís is a renowned and respected name throughout Portugal. From this day forward, that’s who I’ll be.

TARSO

Not a bad choice. The kings we’ve had by that name have brought plenty of honor to it. Of course, you’ll need to give me a new name too, one that fits these new breeches of mine.

MIRENO

Choose one yourself.

TARSO

Let’s see… I choose, I mean, if it’s all right with you…

MIRENO

What?

TARSO

Brito Gómez. What do you think?

MIRENO

Perfect.

TARSO

That’s pretty good! We’re not even bishops, and we’ve given ourselves new confirmation names.

((DORISTO, LARISO and DENIO enter, with ropes.))

LARISO

Unless they can fly, they got to be somewhere in this forest.

DENIO

Let’s look for ’em in the bushes.

LARISO

Ain’t that them?

DORISTO

Shhh! Where?

LARISO

I swear, they look just like what we was told.

DORISTO

They ain’t got any weapons—tie ’em up.

DENIO

Surrender, sir!

LARISO

Yield to the King!

DORISTO

Yield to the Mayor!

((They catch MIRENO and TARSO from behind and tie them up.))

MIRENO

What’s going on?

TARSO

What… Why are you tying us up?

DORISTO

Oho! You know how to be all smart when you’re plotting to murder the Count, and then you ask us why we’re tying you up?

TARSO

What Count? What murder? Do I even know you?

DORISTO

You’ll get your answers from the hangman, when he’s stringing you up like a fish by the guts, and by the gullet too.

MIRENO

If I only had a sword, I’d make you regret this.

TARSO

It’s these clothes that have landed us in this mess. Is this the reward we get for our services, don Dionís ? What were you thinking?

DENIO

What are you yammering on about?

TARSO

I don’t want to be Brito anymore, I want to be Tarso. I want to be a shepherd, not a footman. Take away these breeches and give me back my cloak. If I’m going to starve like the Hebrews in the desert, then send me back to be a slave in Egypt.

DORISTO

Enough—let’s get going to Avero. We’ll get us a fine new gallows in the village for this!

MIRENO

Take heart, we’re going to Avero after all. When the Duke recognizes us for who we are, these goons will see how wrong they were.

((BLACKOUT))

Scene 4

(SETTING: A room in the DUKE’S palace.)

(AT RISE: JUANA is alone onstage. ANTONIO enters, in traveling clothes.)

JUANA

Antonio, cousin!

ANTONIO

Hush, don’t call me that! You must act as if you don’t know me, so the Duke won’t find out I’m in Avero. I’m on my way to Galicia on behalf of King Juan of Castile, but I simply had to make a detour here to see if rumor lies when it says that the Duke of Avero’s daughters are the most beautiful girls in all of Spain. As their lady in waiting, tell me, is it true?

JUANA

There are surely sights here to see and to admire, but you mustn’t be in such a hurry that you deny me entirely the pleasure of your company.

ANTONIO

My dear Juana, if the Duke recognizes me, he’ll oblige me to stay a while, and I’ll be in danger of falling out of favor with the King.

JUANA

Well in that case, I suppose I’ll have to let you go. Still, if the Duke finds out that Antonio de Barcelo, the Count of Penela, has been in his house in secret, when he could have served you properly, he will be quite put out. No gentleman has ever visited without a royal welcome.

ANTONIO

I know, I know—the Duke is of royal blood. But tell me, is his daughters’ beauty really what the world makes it out to be?

JUANA

Do you ask out of curiosity, or has blind Cupid by any chance struck you with one of his arrows?

ANTONIO

Cupid’s sparks can hardly make me love them when I haven’t yet had the pleasure of seeing them. Call it boyish curiosity that brings me to Avero.

JUANA

I’m sorry to hear that. Our great nation is supposed to outdo all others where love is concerned, and since everyone knows Castilians fall in love at first sight, we Portuguese really ought to fall in love at first hearing. As for the Duke’s daughters, they deserve all the praise that comes their way. The older one, Madalena, would make Clytia jealous all over again—you remember, she was that nymph who was so jealous when the sun left her, she sat and watched him till she turned into a sunflower. It looks like she’s going to marry the Count of Vasconcelos. And then there’s Serafina, whose beauty is truly divine.

ANTONIO

And which of the two do you think is the most beautiful?

JUANA

I’d have to lean toward the older one, though half the town would be quick to set me straight. There’s no point arguing over taste, and even less so over love; still, Avero is split into two camps, and both have a strong case.

ANTONIO

Well, I must see them this afternoon, and then be on my way.

JUANA

I can arrange things so their beauty might make a few stabs at your heart.

ANTONIO

Serafina or Madalena?

JUANA

Either—they’re both stunning. But look, here they come with the Duke. Let’s hide!

((They hide. The DUKE, COUNT, SERAFINA and MADALENA enter.))

DUKE

I tell you, don Duarte, everything will be done just so.

COUNT

Since the King has consented that your eldest daughter shall be the wife of the Count of Vasconcelos, Your Grace may now write to him that, with his approval, the beautiful doña Serafina will be mine.

DUKE

Very well.

COUNT

I believe that he will favor this match as well.

DUKE

Yes; however, let us not tell Serafina until we know for sure. She’s still just a girl and doesn’t yet know that her freedom will soon be captive to the yoke of matrimony.

JUANA

(to ANTONIO) See how soon your wish has come true? Now tell me, what do you think?

ANTONIO

I don’t know which one my soul is more drawn to. Doña Madalena is beautiful, but Serafina is the very sun of Portugal. Through my eyes, my soul drinks flames of love mixed with snow from the crystal glass of her pale divinity. Rumor has come up short in her praise.

DUKE

Come here, Madalena.

ANTONIO

She is a phoenix of beauty.

DUKE

(to MADALENA) This is very important.

COUNT

(to SERAFINA) Since the Duke gives me leave, my seraphic angel, I wish to speak to you, if there is courage enough in me that I may fly to a seraph’s height.

ANTONIO

My soul is helpless, watching love’s slow and steady assault. Yet even if it succumbs, I shall still feel myself victorious.

JUANA

Cousin, I know you came here with your wits intact, but I’m afraid you may be leaving them behind.

DUKE

My daughter, the King does you a great honor. Consider how fortunate you are.

MADALENA

My will is like wax. Your Grace may impress on it whatever seal most suits you, for my part must be only that of quiet obedience.

DUKE

A thousand times blessed is the father who hears such words.

COUNT

(to SERAFINA) You’ve raised my happiness to such heights, I’m afraid I may fall.

SERAFINA

I neither understand these philosophies, sir, nor are they to my taste.

COUNT

A seraph can easily grasp the heart and soul of such a matter. Do not say that you don’t understand, my seraph, what you know perfectly well.

SERAFINA

My Lord, how you talk!

COUNT

I’m a man, what do you expect? God means us men to convey our intents with words, for if we were seraphs like you, we would speak with our thoughts alone.

SERAFINA

Is love always so verbose?

COUNT

Should it not be?

SERAFINA

I don’t trust boys or babblers, and Cupid would seem to be both.

COUNT

Heaven, with a free hand, has made you perfect in every way.

ANTONIO

How pale! How discreet! Did you hear how shrewdly she answered don Duarte? Now he gets on my nerves. The heavens have enameled the gold of my love with jealousy.

JUANA

You don’t have much hope against a rival like him.

DUKE

I’m still in need of a new secretary. Many have applied, but none seem capable of the position. It will cost me a great deal to be without one at a time like this.

((DORISTO, LARISO and DENIO enter, with MIRENO and TARSO in tow.))

DORISTO

Make him go faster!

LARISO

Look, there’s the Duke.

TARSO

Herod give me patience.

DENIO

(to DORISTO) You’re the mayor; go talk to ‘em.

DORISTO

Afternoon, old man. I’m the mayor, and, umm, you’re the Duke.

LARISO

Closer!

DORISTO

Well, you see, we knew, me and the blacksmith, and his wife, as how you wanted these scoundrels arrested, so we went: me, and Bras Llorente, and Gil Bragado… And then we talked with the constable, Pero Mínguez, and… (to LARISO) Don’t stand there like some dumb animal, come here and say the rest.

LARISO

I don’t want to. You say it.

DORISTO

I didn’t plan past this part. Well, in collusion, them two here is your thiefs, which me and Gil Mingollo caught, just so’s to serve you. And now, you should do what the village asks you to, Your Dukeness, and don’t forget what I said about that gallows.

DUKE

What simplicity! I don’t know what they’re getting at, nor for what crime they have taken these poor men prisoner. Release them, and tell me yourselves what offense you have committed that they have brought you here like this.

((TARSO and MIRENO are freed.))

MIRENO

(kneeling) If it is an offense to have aided an unfortunate man chased and hunted by your people, and if you consider it brash to have swapped clothes with him in order to save his life, then I am guilty.

DUKE

You helped my secretary to escape? Yes, I see that you’re wearing his clothes. Tell me, traitor, why did you assist him?

MIRENO

Do not insult me, Your Grace, or call me by that name. I am not used to being treated with such contempt.

DUKE

Who are you?

MIRENO

I am not yet—but I will be. In attempting to be more than I was born with, I have disdained that which I was and now look toward that which I am yet to be.

DUKE

I have no idea what that means.

MADALENA

What incredible boldness! He must have some strong stuff in him to be so fearless. I hate to see him in such straits.

DUKE

Did you know the traitor whom you helped? You must have, to have put yourself at such great risk for his sake.

MIRENO

I knew that he wanted to kill a man who had dishonored his sister, and that you, who should have recognized his honorable intent, instead ordered his arrest. I helped him escape, appalled that you would pursue him while favoring the man who compromised his honor.

COUNT

What’s this? Has the secret of what I did to Leonela already been spilled?

DUKE

Do you know who has disgraced this woman?

MIRENO

If only I did, Your Grace. If I knew…

DUKE

This was surely some trick of his to deceive you. You know where he is, and if you wish to go free, you will tell me.

MIRENO

Heaven forbid, even if I did know where he was, that a man like me should be frightened into committing such depravity!

DUKE

Is it depravity, then, to reveal a traitor? Lock him up. Unless he has lost his senses and his will to live, he’ll tell us where the man is hiding.

MADALENA

I wish I could free him; a man of his demeanor doesn’t deserve such treatment.

DUKE

(to the COUNT) I fully intend to avenge you, sir.

COUNT

Oh, he’ll talk.

TARSO

I’d better get a healthy reward for all this!

DUKE

Let’s be on our way—I wish to reply to the King.

TARSO

A lot of good all these new clothes and names have done!

((LARISO and DENIO bustle TARSO and MIRENO offstage.))

DUKE

(to DORISTO) Submit a request to my council for whatever you desire as a reward, and they shall pay you for your services.

DORISTO

Sir, in return for all what we’ve done, we want you to build us a nice new gallows, so’s we can hang the very finest men.

((The DUKE, COUNT and DORISTO exit.))

MADALENA

Serafina, I hate to see that man taken off like a common criminal.

SERAFINA

Indeed, he has such a fine bearing, I’m tempted to intercede on his behalf.

MADALENA

You think he has a “fine bearing,” do you? That’s too bad; you wouldn’t be able to free him even if you tried.

SERAFINA

So you think.

((MADALENA and SERAFINA exit.))

JUANA

Now, must you really go this afternoon?

ANTONIO

Cousin! How could I, when I’m lost and blinded; when love, brave and cowardly love, has plundered my soul and will? If only to see her beauty one more time, I’ll stay the night.

JUANA

Would you look at that! You truly are in love, aren’t you?

ANTONIO

I fear, my dear, that Serafina’s spell will spell the end of all my life’s content.

((BLACKOUT))

((END OF ACT I))

ACT II

Scene 1

(SETTING: MADALENA’S chamber.)

(AT RISE: MADALENA is alone.)

MADALENA

Oh proud conceit, what foundationless towers have you erected in the air? Crazed imaginings, how dare you wander so free? Do you wish to expose my few failings to the judgment of gossips and wags? Yesterday the heavens could calm the rough sea of your hopes with ease, but now that very tranquility is disturbed by sleepless. nights. I said yes to the Count of Vasconcelos, or rather to my father in his name, but now a man has entered my heart through my eyes, and my honor, stunned, stood by and let him in. This would be a grievous fault, did I not know that love is a blind and senseless boy. Oh my heart, must you give yourself, in spite of me, to one both strange and a prisoner? Is it not just to love the Count? Ah, but love rides roughshod over the laws of reason. However, since, thanks to my insistence, my father has now set him free, I may begin to recover. He is a stranger, and once he goes, time and absence, those expert doctors of love, will quickly heal my disconcerted mind. But why do I propose so severe a remedy? If the wound may be healed, it is cruelty to remove the arm. Let us give love some room, then, since I do enjoy his presence. No one would deny a sick man a sip of water, even if his is a mere passing fever. I’ll call for him. (calling out) Doña Juana! Now restrain yourselves, you unbridled yearnings, lest you overwhelm me entirely. Do you wish to broadcast your affront? Shame conquers my mad desire, for, if it is madness to admit it in my soul, to speak it aloud is just as mad, and shameful too.

((JUANA enters.))

JUANA

Don Dionís, that handsome young prisoner who has now, thanks to your help, been set free, wishes to speak to you.

MADALENA

How quickly love takes the opportunity to bring itself into effect! I suppose that’s only prudent, since love itself is made of opportunities.

JUANA

He wishes to thank you for the favor you have done him.

MADALENA

I sense asps hiding in the roses he sells.

JUANA

Should I let him in?

MADALENA

As a captive he captivated me; mistreated, he mistreated me; with his hands bound, he bound the hands of my affection. If he could kill while absent and a prisoner, what will he do free and in my presence?

JUANA

Very well.

MADALENA

Listen, tell him to wait. But no, he should go, it’s getting late.

JUANA

Should he come back?

MADALENA

Didn’t I say he should? Now go.

JUANA

As you wish.

MADALENA

Wait—I don’t want him to complain.

JUANA

Well, what should I say?

MADALENA

…and to take me with him.

JUANA

I suppose I’ll go.

((JUANA exits.))

MADALENA

Let him come to me; my Portuguese courage will carry the day. The wish to see with one’s own eyes is as natural a desire in an honorable woman as in a dishonorable one—the difference is that the first one keeps quiet about it. I’ll keep quiet then, and try to hide my disquiet, if a fire can be smothered without smoke. I’ll just take up the time with idle words. Oh, but if I close the door on the flames of love, they’ll just escape through the windows; if I close them up in my mouth, they’ll pour out my eyes. Still, no one will recognize them if I hold my tongue. As long as it is only my eyes talking, I will not invite any forwardness.

((MIRENO enters, dressed as a courtier, and kneels.))

MIRENO

Although I have been forward in entering your presence, my lady, my wish is to thank you for the favor you have granted me, since the greatest sin is that of ingratitude. I was imprisoned for helping an unlucky man gain his freedom, but heaven has repaid me in the same coin, for thanks to your help, I am now free as well. But did I say free? I misspoke, for once a nobleman has received a favor, he is obliged, that is to say enslaved, to his benefactor. If only by becoming your slave I could repay my debt to you. Yet my humility is nothing compared to so many who come to offer you their necks, so let me do the same. So great is my debt, that only my life is great enough forfeit to make recompense.

MADALENA

Please, get up from the floor.

MIRENO

I would rather remain here, my lady.

MADALENA

Do as I say. (MIRENO rises.) Are you Portuguese?

MIRENO

I imagine so.

MADALENA

You imagine? Do you mean that you do not know who you are?

MIRENO

I believe I am Portuguese, though my father brought me to the village where he now lives when I was very young. He owns a small piece of land there, but his manner does him more credit than his station.

MADALENA

Are you of noble blood?

MIRENO

I believe so, judging by my natural demeanor, which is not that of the life to which I was born.

MADALENA

And would your actions, were it necessary, prove your nobility?

MIRENO

I believe so. I have never shied from a noble act.

MADALENA

You answer “I believe so” to everything I ask. Do you think perchance I am interrogating you on articles of faith?

MIRENO

You may be, my lady, for my life’s faith is that of gratitude to your mercy. My faith is your desire.

MADALENA

Your gratitude is overwhelming.

MIRENO

I owe you my life.

MADALENA

Well then, now that you are free, what will you do?

MIRENO

I intend to go where I can achieve renown that exceeds my highest hopes.

MADALENA

And where do you think you will be able to find such fortune?

MIRENO

In war, where by force of arms I may attain the stature to which I aspire.

MADALENA

Would it not be safer to attain it in peace?

MIRENO

How so?

MADALENA

You could do so easily if you managed to have my father name you as his new secretary. As you know, the position remains vacant.

MIRENO

My inclination was not born to serve, but aims rather higher.

MADALENA

Well if you wish to fly, feathers would certainly help.

MIRENO

How am I supposed to fly with just the one feather of my pen?

MADALENA

On the wings of favor. With the Duke’s confidence, you may achieve a thousand impossibilities.

MIRENO

But confidence requires secrecy, and secrecy, they say, leads to fear.

MADALENA

Don Dionís, this is my will.

MIRENO

It is your will that I serve the Duke? Well then, enough said. Let it be done as you wish, for with just one flight I have already risen to the highest heaven. If I may please you in this, I need not rise any higher. If the Duke will receive me, I will gladly be his secretary, since you, my lady, command it.

MADALENA

You see that I wish you to advance. Since I gave you your liberty, I would hate to see you lose it in war. I will make sure you are given the post, so that you will be able to stay here with us in this land.

MIRENO

Heaven is sure to remember your greatness.

MADALENA

Honor, flee. My cowardly love is about to burst its bonds.

((MADALENA exits.))

MIRENO

What am I to think of this? Oh thoughts of mine, that float among the clouds, what do you make of all you’ve seen here? Declare yourselves, and tell me whether so much favor can arise simply from a noble inclination, or whether love may be at hand. Oh, what madness! It is foolish to even think such things, much less say them aloud. My humble state chastens my high-flying desire… but is it foolish to imagine that she who advances me harbors some secret love? Was I not set free by her hand? Did I not see her will through the windows of her eyes? Love’s got me now. Be still, mad tongue: it’s wrong to imagine that her favor comes from anything more than her natural nobility. But asking about my state and station, isn’t that love? Why would she care about such things—a woman’s curiosity? Yes, but would she say, “Don Dionís, this is my will,” like that, if she wasn’t in love? I know a peasant like me can hardly aspire to such heavenly beauty, but since when have I ever backed down from a challenge? I’ll wait and see, since time makes doubtful things certain.

((TARSO enters.))

TARSO

They’ve let us out of jail, like Daniel out of the lion’s den, and none too soon—I don’t have his patience. Still, I have a feeling that the worst is yet to come, just like the prophet Habakkuk said, so let’s get out of here! Or has Avero been so good to you, that you still dream about being a gentleman? Well, by God, we came pretty close to getting ourselves dubbed, but with a whip instead of a sword.

MIRENO

Brito, my friend!

TARSO

I’m not Brito. I’m Tarso.

MIRENO

Listen, you idiot. I am now nothing less than secretary to the Duke of Avero.

TARSO

How?

MIRENO

The lady who gave us our freedom continues to shower us with favors.

TARSO

Well that’s different; now you’re really somebody.

MIRENO

Just wait till I tell you the details.

TARSO

Congratulations! And now that you’re the great man, you can grant your faithful servant the small favor of getting me out of these breeches.

((BLACKOUT))

Scene 2

(SETTING: Another room in the palace.)

(AT RISE: ANTONIO and JUANA enter together.)

ANTONIO

Cousin, my love obliges me to stay, the King of Castile be damned. At this point I serve only one king, my desire. I’m a bird: blind to the snare, I alight on the branch of beauty and am caught. When I try to escape, I only get more tangled up. Don Duarte both serves and deserves doña Serafina, and I know that the Duke has promised to make her his wife, but I also know that if I leave now, I’ll be tortured by jealousy and doubt. If only my beloved seraph knew who I was, and showed me some sign of her favor, I could go with a light heart. Yet she knows nothing of me or of my great torment, and so my only relief is to stay. Whether I go now or later to the King doesn’t matter. My cousin, my lady, unless you wish me to waste away in exile from my beloved, do not ask me to leave Avero.

JUANA

Antonio, as my cousin you know that I care about you. If I reproach you for staying, it’s only because in a town this size you’re sure to be noticed.

ANTONIO

Never fear, I’ve found a way to do so safely and incognito. The Duke has never met me, and I happen to know that he is looking for an expert secretary.

JUANA

I’ve a feeling I know where this is going.

ANTONIO

Don’t you see that by entering the palace in that guise I can advance my hopes— given time, chance, and most importantly, your help?

JUANA

It’s an audacious plot, but rather beneath your position.

ANTONIO

Any position is noble when it comes to love.

JUANA

Well then, find a way.

ANTONIO

I’ve already sent a note to the Duke asking him to give me the post.

JUANA

This is all very clever, but I do wish you had told me.

ANTONIO

Prudence rewards. I’ve entrusted my note to Duke’s valet, who they say is one of his favorites.

JUANA

The Duke trusts him with everything.

ANTONIO

Then I have much to hope for, as long as the valet remembers his promise.

JUANA

Look, here comes the Duke.

((The DUKE and FIGUEREDO enter.))

DUKE

As I said, the position calls for one who conjoins nobility, discretion, and grace, not to mention a fine hand.

FIGUEREDO

I don’t know about his nobility, but I can assure Your Grace that in all other respects, no man in Portugal is better qualified to occupy the post than this one.

DUKE

Enough. Since you praise him so, let me meet him.

FIGUEREDO

I’ll call for him at once—but here he is now, right before us. (to ANTONIO) Come forward, sir! My lord the Duke would like to meet you.

ANTONIO

I place myself at Your Grace’s feet.

DUKE

Rise. Where are you from?

ANTONIO

I was born in Lisbon, sir.

DUKE

And whom have you served?

ANTONIO

I was raised with don Antonio de Barcelo, the Count of Penela, and I bring with me letters of his, in which he favors my aspirations.

DUKE

I care deeply for don Antonio, though we have never met. Why did you not give me these letters before?

ANTONIO

I am not accustomed to obtaining through favors what I may obtain in my own right, and so I wanted meet you first, Your Grace.

DUKE

(to FIGUEREDO) I am impressed by his good form and style. (to ANTONIO) Very well, you are now my secretary. May your work prove your worth.

ANTONIO

I submit myself, sir, to the proof of experience.

DUKE

Doña Juana, what are Serafina and Madalena doing now?

JUANA

They were just in the garden together, though I understand that my lady doña Madalena is somewhat out of sorts.

DUKE

What’s the matter?

JUANA

She’s been rather melancholy the last two days, but no one knows why.

DUKE

I know what the problem is. She’s learned that I intend to give her a new state in life, and such changes are always the occasion for sorrow in a noble and honorable woman. It does not surprise me that she should fear a life of captivity. Now, look after this man. He comes from Lisbon and knows the Count of Penela, your cousin, so I’m sure you will have much to talk about.

JUANA

Yes, my lord.

ANTONIO

I am Your Grace’s most humble servant.

((The DUKE exits.))

ANTONIO

A propitious start, I’d say.

JUANA

If that’s what you call toadying to your equal, then yes it was.

ANTONIO

At least I’ll be here, and there’s a chance I can quell my jealousy of don Duarte.

JUANA

Oh, your beloved takes little notice of him. At the moment she’s spending all her time with her ladies in waiting, rehearsing for a play that she’s planning to perform for her sister to celebrate Carnival tomorrow.

ANTONIO

Is she inclined to poetry, then?

JUANA

She simply loses her head over it. This afternoon she’s set on rehearsing the part with me alone in the garden, dressed as a man.

ANTONIO

And you tell me this just like that?

JUANA

Why, how would you want me to tell you?

ANTONIO

How? By asking for my life, my mind, my very soul, in return for allowing me the wondrous chance to gaze on her in this manner. May you live more years than there are stars in the sky. May cruel time never consume the beauty you enjoy. May all your dreams come true, and the King of Portugal, madly in love with you, give you his hand, his scepter, and his life—

JUANA

Enough, before you lose your head and try to marry me off to the Pope! I’m happy to do this for you. Let’s go: I’ll hide you among the jasmines and myrtles that hedge the flowerbeds, and there, as long as you keep quiet, you can gaze to your heart’s content.

ANTONIO

Say, is there a painter in Avero?

JUANA

The Duke employs some quite famous ones. Why do you ask?

ANTONIO

I’d like to bring one to paint a portrait of my ravishing seraph. It would be easy enough for him to make a sketch while she’s dressing.

JUANA

And if doña Serafina notices, or the painter gives you away?

ANTONIO

Money talks and money silences. Now, either stop holding me up or just kill me.

JUANA

You neither give me time to speak nor yourself time to listen, you rush me so. But very well, you’ll see how much I care for you. Now go find yourself a painter without a tongue, and be careful, or you may have to abort your plan. You lovers have such odd cravings, I’d swear you were pregnant.

((BLACKOUT))

Scene 3

(SETTING: The palace garden.)

(AT RISE: The DUKE and MADALENA enter together.)

DUKE

If you wish to please me, my dear, you’re not doing very well; I’d rather die than see you upset. Fate has given you a husband to make you happy. Now go and reply to the letter his father the Duke of Braganza sent you, and don’t let me see any grief on your face, unless you wish to send me to an early grave.

MADALENA

I’ll try not to be sad, sir, for your sake.

DUKE

What you need is to find some distraction.

MADALENA

I’ll try. And now, I would ask that you add one small favor to the many you have granted me.

DUKE

Go ahead, on the condition that you forget all this sadness.

MADALENA

The prisoner I asked you to free has now come to me for assistance, and I feel obliged to help him rise in your favor. He is a fine young man, and he has an excellent pen.

DUKE

Tell me what he wants.

MADALENA

He would like to take up the position of secretary.

DUKE

A short time ago I could have given it to him, but as of not a quarter of an hour ago the position has been filled.

MADALENA

If it please Your Grace, I gave him my word, and now he expects some favor from me. Since you wish me to write to my fiancé and his father, and my hand at present is so poor, perhaps we could keep him here to teach me. It’s a great fault in a lady not to be able to respond when she receives a letter, or to respond in such a scrawling hand that it can’t be read. With lessons from him, I’d surely improve.

DUKE

Well then, let him teach you to polish your drafts. Working will distract you from your sadness, which is born from the vice of idleness. He shall be your secretary.

MADALENA

Let me kiss your hands.

((The COUNT enters.))

COUNT

Sir, I come before you a very happy man.

DUKE

Why is that?

COUNT

The King sends word that he approves my marriage to doña Serafina.

DUKE

That’s splendid news, my son. Still, you’d do well to give her some time to get used to the prospect. You know how heavily the idea of marriage weighs on her at present.

COUNT

My soul will endure these sufferings as proof of its devotion.

DUKE

I’ll plead your case with her; you needn’t worry. The Count of Vasconcelos will be here shortly, and we’ll celebrate both weddings in good time. Cheer up, Madalena.

MADALENA

I’ll be happy if it pleases you, sir. (The DUKE and COUNT exit.) They’re right in calling love both a sickness and a madness, since like a sick man, the lover always wants what’s worst for him. Honor, you’ve let into your house an adversary who will battle you for my very soul, and now I doubt his victory will be long in coming. Whoever seeks out danger shouldn’t be surprised when he stumbles over it. If Brutus’ wife Portia died from swallowing hot coals, what will become of me, if I must swallow the fire of my passions in silence? I’ll tell him, not with words, but with visible signs, the invisible torments that I suffer by not speaking.

((BLACKOUT))

Scene 4

(SETTING: The same.)

(AT RISE: JUANA, ANTONIO, and a PAINTER enter together.)

JUANA

This green myrtle here could be Cupid’s own hiding place; the jasmines and other shrubs will screen you like lattices.

ANTONIO

My seraph is an angel in this Paradise, but if she notices us, I’ll be Adam cast out of it.

JUANA

I’ll make sure she rehearses the part right here, so that she’s in front of the painter and he can draw her more easily. She’s dressing herself as a man right now—an idea she’s quite taken with. I’ll go and tell her the garden is locked and empty.

((JUANA exits.))

ANTONIO

We’re both painters, you and I, but I already possess the portrait that enthralls and consumes me.

PAINTER

I don’t understand.

ANTONIO

The mind is a canvas, or a tabula rasa as Aristotle calls it, on which may be painted a thousand different images.

PAINTER

Well put.

ANTONIO

Colors and shades are aspects of the object, which the eyes convey to the Common Sense. Here Estimation may admire them, but they appear only as rough sketches until Awareness illuminates and paints them with its own light. Once painted, Awareness puts them on sale, and presents them to the Will, that queen of infinitely good taste. She always loves what is fine, but her judgment is subject to what is presented to her. What she doesn’t know, she can never love.

PAINTER

That is what the Philosopher says.

ANTONIO

She unrolls all the paintings and buys the one she likes, choosing better in some cases than in others. She puts this one in the frame of love and, charmed by the sight, hangs it in Memory, her most intimate chamber. In this same way, when I saw the uncommon beauty of my doña Serafina, I took up the paintbrush and began to paint. My Awareness completed the painting, and my Will bought it and placed it in my Memory. Finally, seeing how well it came out, the painter signed at the bottom, “ Amor me fecit ” – “Love made me.” Now do you see how the lover paints?

PAINTER

So, if you already have the portrait, what do you need me to paint her for?

ANTONIO

What I have is called a spiritual portrait. Sight is corporeal; thus, if I wish to gaze on her beauty in my solitude, I need you to paint me a corporeal portrait.

PAINTER

There’s no philosophy like a lover’s.

ANTONIO

I am a connoisseur in the ways of love. But listen, here comes my joy.

((They hide. SERAFINA enters, dressed in a man’s black tunic, accompanied by JUANA.))

JUANA

You’re really going ahead with this? Aren’t you ashamed to see yourself like that?

SERAFINA

Everyone dresses up for Carnival, so why can’t I? And you shouldn’t be surprised that I’m drawn to men’s garb, since I can’t be one.

JUANA

You look enough like one that I could fall in love with you. It’s going to be tonight, then?

SERAFINA

Yes.

JUANA

I still wish you’d find some other way to entertain yourself, instead of acting.

SERAFINA

You cannot find another kind of entertainment that embraces so many diverse pleasures as the theater.

JUANA

Oh, spare me.

SERAFINA

What celebration or pastime is there that calls not for poetry? In the theater, may the eyes not delight in a thousand sights that banish their cares? Does music not beguile the ear and the mind delight in the conceit’s twists and turns? For the happy is there not laughter? For the sad, tears? For the sharp, wit? The fool and the simpleton, may they not learn? Is there not war for the brave, councils for the wise, and authority for the grave? There are Moors if you want Moors. If you prefer tournaments, you can have tournaments; if bulls, they’ll run bulls. Would you like to hear the epithets I’ve collected to describe the theater? It is a translation of life, sustenance for the discreet, a lady of understanding, a banquet for the senses, a bouquet of pleasures, a sphere of thought, an escape from the affronts of life, and a delicacy to match every purse, which starves fools but satisfies sages. Now which side would you rather be on?

JUANA

I suppose I’ll side with the sages. I admit, I’m looking forward to this little farce.

ANTONIO

I’m bewitched by the grace with which she speaks. Start drawing her at once. Oh, if only a mortal hand could capture from life the singular beauty of a seraph.

PAINTER

She’s human—I can do it.

SERAFINA

Doña Juana, bring me the mirror.

JUANA

If you look into it, my lady, beware you don’t fall in love with yourself.

SERAFINA

Am I such a handsome man, then?

JUANA

I’m afraid you’ll be another Narcissus.

SERAFINA

Well! In that case, I’ll gather up my hair, so I won’t look like a woman even when I take my hat off. Why are you holding the mirror way over there?

JUANA

So that I can block the view of a painter who’s hidden in the garden.

SERAFINA

What are you talking about?

PAINTER

By God, that woman’s giving us away! If the Duke finds out, we’re in for it.

SERAFINA

There’s a painter in the garden?

JUANA

Yes, now let him do his work.

ANTONIO

Good heavens! Has she gone mad?

SERAFINA

Who would dare?

JUANA

Cupid would, my dear, who—smitten with you—has hidden in the bushes to paint your portrait.

ANTONIO

That’s too true.

SERAFINA

Let’s go over the part, now that I’m dressed for it.

JUANA

What’s this comedy called?

SERAFINA

The Cruel Lady of Portugal .

JUANA

The poet must have had you in mind when he gave it that title.

SERAFINA

What cruelty have you ever seen in me?

JUANA

To love no one.

SERAFINA

(putting on a cape and hat) Would it be fair that, to be kind to others, I should be cruel to myself?

ANTONIO

Oh, take pity on the wretch condemned to hear such a thing!

PAINTER

Patience.

SERAFINA

Enough, let me practice. It’s a superb role: a prince who challenges a count to a duel over a lady they both love. I don’t actually know what it means to be jealous, but watch and I’ll make believe I do.

((acting))

Oh Count, thy impudence is in th’extreme,

And of my patience passes o’er the bound.

I am surprised at thee, and Celia too:

At thee, that thou wouldst dare to speak to her;

At her, that she would hearken to thy words.

Moreover, since thou know’st th’advantages

That from my higher station couldst expect,

‘Twas pure contempt in thee, her to have loved,

And in her, to have lent thy love mad ear.

Hark now, and do not try to satisfy

My rage. All thy intents will be in vain

If, lacking arms with which to fight, seekest

To conquer me with words. Summon thy strength,

That my suspicions may be laid to rest.

For ‘tis not proper to be jealous of

So cowardly a man. Summon thy might,

Thou worm, thou vile enemy – now die!

JUANA

Careful! Your quarrel isn’t with me, my lady.

SERAFINA

What do you think?

JUANA

You scared me. If you can act like that, what would you do if you really were jealous?

ANTONIO

Have you ever seen such graceful jealousy?

SERAFINA

Now watch. This time, reassured of my lady and her love, I will tenderly ask her forgiveness for frightening her.

JUANA

Oh, that’ll be good. Go on.

SERAFINA

(acting) As heaven is my witness, reachèd not 411

My ire into my soul. Now, treasure dear,

Let us be friends, and quarrel not, for I

Myself do castigate. And let those eyes,

Those lovely maids, return to sport with me.

Remove that frown, my dears, for I would fain

Take you for peasants, hooded so. Wherefore

This cold disdain, my light, my star, my prize,

My solace, dearest treasure, and my peace?

Wilt not look on me? Art not satisfied?

Why, take this dagger, then, and kill me. Yet

Thou wilt not kill me, though thou may’st be wroth,

For ‘tis in me that all thy pleasure rests.

Now let this be the end, Celia my dear,

And do not make me cross.

((She embraces JUANA.))

I dare to hold

Thee so, for ‘tis but thee that I adore.

Now do not turn away from my embrace,

Nor hide from me the beauties of thy face.

JUANA

You’ve turned from ice to candle-wax. Now that’s the mark of a real Portuguese lover. Say, my lady, is it possible that someone who plays a lover so well can feel no love?

SERAFINA

Fortunately, I’ve avoided that fate until now. It has so few advantages and causes so much pain. Now, listen to this part. You’ll see how well I can feign madness!

((acting))

Celia hath me forgot, and weds the Count?

Heavens! Woman and fickleness have got

The self-same root. What of the favors that,

Like flow’rs, the promise held of future fruit?

They were but almond blossoms, blasted now

By the north wind. Now I am mad, so may

Life end. Let life be lost, now sense is gone.

But let us to the wedding. Since we’ve paid

The cost, dear thoughts, let us be merry at

Our own expense. They’ll marry in the town

As peasants do, for love hath brought her low.

Then let us thither fly, oh jealousy,

Since thou hast wings of fire. We’ll soon arrive;

E’en here can we them spy. Here come the guests;

The drum keeps time for them to dance, and should

We not as well? Now: One two three, one two three …

((She dances a few steps.))

Oh my desires, if Celia changed and did

Not keep in place, should you not dance as well?

Play on, old Pero Sastre, for the town

Will pay thee well enough. They’ve gone inside

To feast. And with this cloak of suff’ring now

I’ll cover myself o’er, and sit unseen

In this dull corner, as is my desert.

And now they pass out hazelnuts to all,

And toasted chickpeas. Ho, there! Here, you fools!

I’ll take a handful.

—Me, a fool? Thou liest!

I lie? Take that!

—Wouldst slap me? Die, thou knave!

((She thrusts with her sword.))

Take that! What’s this?

— ‘Twas nothing.

—Let’s be friends.

I’d like to be.

—Now here comes old sir priest:

May many a good year this house rejoice

With weddings.

—Father, here’s a seat for you.

Oh, no.

—Here, take this chair.

—No, I could not.

But I insist.

—This bench is fine, still, I

Won’t make thee beg.

—The old man’s at his ease.

Hernán Alonso, give the priest some wine;

Now let him drink.

—But oh, it tastes of brine.

So beauteous Celia tastes of jealousy.

And now at last the time for vows is come:

The guests are on their feet, the pair in front,

The priest there in the middle.

—Fabio, dost

Thou take the beauteous Celia as thy wife?

I do.

—And Celia, dost thou Fabio take?

As husband and as master.

—Oh, you dogs!

And in my presence! Hold, I am the prince.

Death to the bride and groom, the priest, the guests

And the whole town.

—Oh, he is killing us!

Burn them, oh jealousy, with your wild flames.

Samson am I; among the Philistines

Come I to die. These flames none may withstand,

Kindled by love and by suspicion fanned.

JUANA

Good heavens, get a hold of yourself! I’m not Celia, or Celio.

SERAFINA

I forgot myself. Now, let’s go. I’ll put my dress on over this until it’s time.

JUANA

That was wonderful. Your gloomy sister is sure to enjoy herself tonight.

((SERAFINA and JUANA exit.))

PAINTER

They’ve gone.

ANTONIO

Leaving me blinded and sad.

PAINTER

Now, you really want me to paint her as a man?

ANTONIO

Yes, it will be a memento of what we’ve just seen. But change the suit.

PAINTER

You don’t want it to be black?

ANTONIO

It would dress my hope in mourning. Better that it have the color of fresh pastures, flecked with gold. Gold for my love, and green for my envy.

PAINTER

As you wish.

ANTONIO

Money is no object. It’s not out of stinginess that Cupid goes naked.

((BLACKOUT))

Scene 5

(SETTING: MADALENA’S chamber.)

(AT RISE: MADALENA and MIRENO enter together.)

MADALENA

Starting today, you will be my writing tutor.

MIRENO

What have you seen in me, my lady, that you would ennoble me this way? Surely the student will teach the master.

MADALENA

Don Dionís, since my love is so great… for the Count of Vasconcelos, I would like, before he arrives, not only to have good handwriting, but to be able to write to him with words that express the deepest stirrings of my heart. I am inexperienced in the art of love, and so you must instruct me how to declare what I feel in my soul, as love commands. My love is boundless, but my words fall short. You seem to be a man of many skills, and so you must teach me both to write, and to declare my love to the Count.

MIRENO

So it wasn’t for my sake, but to serve as a go-between for her and the Count? You see, foolish love, how groundless were the fantastical towers you built, and how they’ve come crashing down? I’m like the mule who bore the holy image on its back for the festival. When the people bowed, the reckless beast thought it was to him. Impatiently, he tried to throw the image off his back, until they flogged him back into place, and he realized his foolish mistake. So, this is how she favors my recklessness? Enough. It’s clear that I’m the ass; the holy image is the Count.

MADALENA

I had to shock him that way. It would have been too much to speak openly.

MIRENO

At your service.

MADALENA

You’re unhappy.

MIRENO

Me?

MADALENA

What is it?

MIRENO

Nothing.

((MADALENA trips; MIRENO gives her his hand.))

MADALENA

Oh, dear! I stumbled… My shoe turned.

MIRENO

My lady, are you hurt?

MADALENA

I don’t believe so.

MIRENO

Was it forward of me to take your hand?

MADALENA

You should know, for the courtier, a proffered hand is a step toward many things.

((MADALENA exits.))

MIRENO

(reading) “A proffered hand is a step toward many things!” What could that mean? Tell me, vain thoughts, am I losing or winning? What confusion, what suspicion is this? Tell me, for heaven’s sake, is this not love? Or am I just the ass bearing the image of the Count of Vasconcelos. What are these better things toward which, with her hand, I might step? If she only loves the Count, what can I possibly hope for? What do I know? Tell me, hand or foot, why must you keep me up at night? Confusion, love, suspicion: am I loved? Or am I just the ass bearing the image of the Count? Her proffered hand can only mean that I must lend a hand to the passion the Count and her love inspire in her. Oh shame, suffer in silence. No more bold flights—it was folly that lifted my soaring ambition to the stars. I’m just the ass bearing the image of the Count.

((BLACKOUT))

(END OF ACT II)

ACT III

Scene 1

(SETTING: Lauro’s house, a shepherd’s hut.)

(AT RISE: LAURO enters, leaning on RUY, who is dressed as a shepherd.)

LAURO

It’s no use. Children inherit the misfortunes of their fathers, and in this case it’s the only inheritance he’s got. He was the only support of my old age.

RUY

Come now, your age must have taught you more prudence than that. If anyone has a right to lament his fate, it’s me. Heaven has taken away my honor, my country, my land and my name. You’ve lost a single son, and you still have good reason to hope that he’ll return.

LAURO

You wouldn’t say that if you knew the sorrows I’ve lived with all these years. I’m not from this rough country, Ruy, and these rough clothes you see me in are not my true inheritance. My name isn’t Lauro, and these mountains are not my home. In fact, my noble blood has never known how to cultivate the earth. They call me don Pedro of Portugal, and I descend in a direct line from the Portuguese kings. King Duarte was my brother, and the man who reigns now is my nephew.

RUY

By God, you’re the Duke of Coimbra! Let me kiss your feet.

LAURO

Never mind that. My brother, the King, died in his youth, leaving behind a six year-old son and naming the Queen and myself as regents. In time the Queen died, the prince came of age, and a thousand flatterers soon surrounded the throne, slamming the palace doors in the face of truth. They persuaded the young King that I had poisoned his mother, and showed him forged letters claiming that now I was plotting to overthrow him. He believed them, and ordered that I be stripped of my estate, and all the wealth I’d earned as regent. I was taken to a fortress where, in spite of all the tears and supplications of Isabel, the daughter I had foolishly given him as his wife, he ordered them to cut off my head. That very night, I made a rope of my bed-sheets and escaped over the wall, sending word for my wife to follow. We took cover in these mountains, where she soon died in childbirth. She left me a handsome son, though, who has grown up wearing those rustic rags, dealing in sheep and pastures, turned from a duke into a shepherd. Twenty springtimes have passed, bringing flowers in May and new flourishing to the grass and to my heartache, and still I remain as you see me here. All that would be nothing, though, had I not lost the son who could make me forget all my troubles. Now tell me that I don’t have good reason to miss the sight of him in my miserable old age.

RUY

Yours is yet another of the many tragedies from the capricious pen of Time that are played out on the world’s stage. Your Grace’s troubles have made me forget my own. But I saw clear signs of hope in your son’s presence: like coals over a banked fire, his cloak concealed the flame of his nobility. May both he and your good fortune soon return to you.

((BLACKOUT))

Scene 2

(SETTING: A room in the palace.)

(AT RISE: MIRENO and TARSO enter together.)

TARSO

You want more proof than what she said: “for the courtier, a proffered hand is a step toward many things”? Could a noble lady like her spell it out any more plainly? You’re the most timid, clammed up lover I ever saw. What are you waiting for—for her to play the man’s part? In what species of animal is the female not celebrated, wooed, and pursued with all sorts of loving signs? You have to start the courtship; anything else would break the natural order of things. Talk to her. Don’t lose a woman of her quality to shyness.

MIRENO

Tarso, all my doubts and fears are like a twisting labyrinth. Could the heavens possibly prefer me to the Count of Vasconcelos? When I compare myself to him, I see that he is a man of rank, a cultivated gentleman, and heir to the Duke of Braganza. I, on the other hand, am a humble shepherd, the lowly branch of a poor trunk. A noble woman like her couldn’t possibly prefer copper to gold. And yet look at all the ways she’s favored me: engaging me in friendly conversation, pausing and gazing, the riddles and roundabout ways she reveals her desires, pretending to stumble (if she was pretending), giving me her hand… All these things only encourage me. I’m on fire, Brito, caught between hope and fear, so that when I’m about to speak my mind, I can’t bring myself to do it. Fear holds me back, love pushes me on, and when I finally work up the courage to say something, shame creeps up and gags me.

TARSO

Shame? And you call yourself a man? Look at this baby, this damsel in distress. There’s no room in the palace for a shy courtier. If Cupid had any shame, they wouldn’t paint him naked. Don’t be afraid that you’ll offend her. Love may be blindfolded, but his mouth is perfectly free. Speak up, or I’ll do it for you. If you don’t, your step toward many things you may turn out to be a step to nowhere.

MIRENO

Brito, I know that a mute love makes no sense, but in speaking I risk losing what I possess in silence. Now at least I can imagine she loves me, and my vague, crazy hopes live on. If by declaring my love I face disappointment and reproach, isn’t it wiser to hold my tongue and enjoy a doubtful love rather than a certain disdain?

TARSO

A wise man once said there are three places shame and fear never belong: in the pulpit, in the palace, and in love. You’re here at court and Fortune has cut a wide path for you. Don’t turn back now.

MIRENO

But she tells me she loves the Count of Vasconcelos.

TARSO

A roundabout way of testing your love. Try talking to her. Because, by God, if you lose her, we might as well pick up our pitchforks and head home.

((JUANA enters.))

JUANA

Don Dionís, my lady calls for you.

MIRENO

Coming.

TARSO

Now’s your chance: open your heart, sir… and remember to speak slowly.

((BLACKOUT))

Scene 3

(SETTING: MADALENA’S chamber.)

(AT RISE: MADALENA is alone.)

MADALENA

Cupid, little boy, why so fearful and shy? When did you grow up and come to know shame? Is it possible that you live in don Dionís, and that he calls you his god? If so, if he loves me, why won’t he say so? Silence is a great fault in a man; he really ought to unburden himself. Just once, let his tongue tell me what his eyes express all too well. If his humble station holds him back, my bold liberties should have allayed any doubts. My eyes declare in vain that I adore him. By giving him my hand, at the expense of all propriety, I paved the way as far as my honor would allow. Blind boy, in giving me a lover, did you have to make him mute? But I shouldn’t wonder at it, for love has humbled me as well. I could spell it out plainly, and he still might not believe.

((JUANA enters.))

JUANA

Don Dionís is here for your lesson, my lady.

((JUANA exits.))

MADALENA

A lesson in silence, since it would seem he has no words. I can’t bear this silence any longer. I’ll declare my love openly, against all common sense and practice, but I’ll do it so that, in telling him everything, I leave him even more confused.

((She sits in a chair and pretends to be asleep. MIRENO enters.))

MIRENO

My heart is thumping. She’s quiet; she must not have seen me. She’s just sitting there, with her hand on her cheek. Why doesn’t she answer? Oh, she’s asleep. Take heart: now’s the time to go look at the beauty that clouds my mind. Her eyes are closed; I can approach without fear, since she can’t wound me with her arrows of love. Did the Author of nature ever make a more perfect beauty? If I could only kiss her hand. Should I? Yes. But no, it’s a divine relic, and my humble mouth is unworthy to touch it. I may be a man, but I’m shaking! What is this? Courage. She is sleeping, isn’t she?

MADALENA

(as if dreaming) Don Dionís…

MIRENO

Did she call my name? Yes, she must be waking up. Imagine if I’d gone through with my plan! But is she awake? No, I think she may be dreaming. And dreaming about me, no less. If she calls my name while she’s asleep, surely she can’t despise me when she’s awake. Oh God, if only I knew what she were dreaming!

MADALENA

Don’t go away, don Dionís. Come here.

MIRENO

Her dream calls me to come. What luck! It’s only right for me to obey, since, even asleep, she is my master-mistress. Speak up, love, and don’t be shy.

MADALENA

Don Dionís, now that you’ve come to teach me both to write to and to love the Count of Vasconcelos…

MIRENO

What?

MADALENA

…let us find out whether you know what love is, and what is jealousy. It would be a grave misfortune if I remained in the dark, and you can’t very well teach what you don’t know. Tell me, are you in love? Why are you blushing? What are you ashamed of? Answer me; don’t be afraid. Love is a natural tribute and a debt in all living things, from the angel to the brute. Since that is so, why are you so shy?

((She questions and answers, still as if asleep.))

Now, are you in love? – Yes, my lady. – Thank God I can get at least one word out of you!

MIRENO

Could there be a lovelier dream? I must be the luckiest man in the world! Though I’m more inclined to believe I’m the dreamer here, since I’m surely not awake.

MADALENA

Have you told your lady of your love? – I have not dared to. – So, she knows nothing? – She must have seen the flames of love in my infatuated eyes, which cry out in silence. – The mouth should perform that task; the eyes speak an unknown tongue. Has she not given you occasion to declare yourself? – So much so, that my shyness amazes me. – Speak, then. Delay can only hurt your love. – I’m afraid to lose by speaking what I enjoy by keeping quiet. – That’s just foolish. A wise man once compared a mute lover to a Flemish painting that’s always kept rolled up: the painter won’t get very far if he never shows his paintings to the public he wishes to buy them. The court is no place for reticence. Unroll your painting so that it may be sold. The ill that’s kept hidden is the most difficult to cure. – Yes, my lady. But the inequality between us holds me back. – Is love not a god? – Yes, my lady. – Well then, speak, for his laws are absolute, toppling the mightiest monarchs and leveling crowns and clogs. Tell me who you love, and I’ll intercede for you. – I don’t dare. – Why not? Am I not fit to be your messenger? – No, but I’m afraid. Oh… – What if I say her name? Would you tell me if she is, by any chance, me? – My lady, yes. – Let me finish! And you are jealous of the Count of Vasconcelos, right? – It’s hopeless. He is your equal, and the heir of Braganza. –Equality and likeness don’t come down to whether a lover is noble, humble or poor, but to an affinity of soul and will. Make yourself clear from now on, don Dionís, I urge you. When it comes to games of love, it is better to overshoot than to fall short of the mark. For some time now I’ve preferred you to the Count of Vasconcelos.

MIRENO

(crying out) Oh merciful heavens, what am I hearing?

MADALENA

(as if waking) Good Lord, who’s here? Who let you in, don Dionís?

MIRENO

My lady…

MADALENA

What are you doing here?

MIRENO

I came to give you your lesson, my lady, but I found you asleep, so I waited here until you woke up.

MADALENA

(rising) I must have drifted off.

MIRENO

If you always dream like you did just now, my lady, I am a fortunate man.

MADALENA

Thank God the man finally said something!

MIRENO

It wasn’t hard to figure out.

MADALENA

Are you another Joseph, then?

MIRENO

No, I’m no interpreter. I can only summarize.

MADALENA

Then tell me how you know what I dreamed.

MIRENO

You spoke aloud in your sleep, my lady.

MADALENA

God help me! I don’t remember anything. Tell me what you heard.

MIRENO

I don’t dare.

MADALENA

It must have been very bad, if you can’t bring yourself to tell me.

MIRENO

Nothing worse than being in my favor.

MADALENA

But I must know. On my life, just tell me.

MIRENO

That’s quite an oath. It encourages me to be bold. My lady, while you slept… I can’t.

MADALENA

Enough, don Dionís; this is becoming tedious.

MIRENO

You showed openly that you favor me.

MADALENA

I did? How?

MIRENO

You recognized my jealousy, and in dreams you promised me…

MADALENA

Yes?

MIRENO

…that you prefer me to the Count of Vasconcelos. You see, I realize the import of this—

MADALENA

You should not believe in dreams, don Dionís, for dreams are dreams, and nothing more.

((MADALENA exits.))

MIRENO

Now where did that come from? Just when my I get my hopes up, she piles disdain on the other side of the scale, and the needle is stuck at zero. I should just give up speaking once and for all. Just my luck, that she who loves me in her dreams should hate me when she wakes. Let my soul now temper its passion, serve better masters, and never trust dreams again, for dreams are dreams, and nothing more.

((TARSO enters.))

TARSO

Well, how did it go?

MIRENO

How do I know? It’s as if she loves me and hates me in equal measure. I’m better off going back to my old shame and modesty.

TARSO

So, in other words, you did about as well as the three guys with only one shoe…

MIRENO

Tell me about it some other time. Oh Brito, I miss how simple life was back in the village. Here everything is full of confusion and deceit. I think it’s time to write to my father and tell him how things are going, if I can find a way to do it in secret.

TARSO

Why?

MIRENO

I don’t want them to know who I really am here till I see where this whole intrigue ends.

((BLACKOUT))

Scene 4

(SETTING: SERAFINA’S chamber.)

(AT RISE: SERAFINA and ANTONIO enter together.)

SERAFINA

Don Antonio, if that is who you really are, your presumption is shocking. To enter my father’s service under false pretenses, to deceive me and insult him, does not befit a gentleman. Did you somehow imagine you had only to disclose your identity and I would simply give in to your pleasure?

ANTONIO

I stopped here to see my cousin and Cupid did the rest.

SERAFINA

My father has given his word to don Duarte that I am to be his wife, but even if he hadn’t, or if I weren’t inclined to obey, I'd marry him to punish your madness. Leave Avero this instant, or I’ll call for my fiancé to deal with you.

ANTONIO

Am I worthy of such contempt?

SERAFINA

Leave, sir, or I shall scream.

ANTONIO

Let me explain.

SERAFINA

By God, if you haven’t left town within the hour, I’ll marry don Duarte this very night out of spite. The sight of you is an affliction. Now, sir, leave.

ANTONIO

You viper, you hide your venom in the roses of your beauty. Can you really disdain my amorous sighs? This is torture! Very well: since you exile me from the paradise of your presence, may love make you another Narcissus, to cry, like me, without consolation. If I’m to be banished from the sight of your beauty, my only recourse is to banish this image from my breast. (He takes out the portrait.) Erase, my soul, the portrait love painted for you, as I cast down this spiteful one here. (He throws it on the floor.) Farewell, cruel portrait of a stone. Time, that wise doctor, will heal me of my ills. Meanwhile, it is fitting that you lie on this floor, stone-cold and hard as you are. Stay, fire, and burn here in the snow.

((ANTONIO exits.))

SERAFINA

What madness love causes! Good thing I’ve never put myself under the yoke of that harsh tyrant. What’s that he threw on the floor, calling it spiteful and every other sort of name? (She picks it up.) A portrait! It’s of a man, but to me he looks… like I look. Indeed, like me exactly. It’s like glimpsing my own reflection. Who could this be? It doesn’t look at all like don Antonio. And why did he throw it at my feet? Could there be a man who looks so much like me? No; and even if there were, what could he possibly have done to make don Antonio hate him so much? There’s a riddle wrapped in an enigma here. Here comes doña Juana. She’s his cousin, she must know. (JUANA enters.) Doña Juana, would you look at this portrait? Have you ever seen such a resemblance in your life?

JUANA

This must be the portrait that painter made. Heaven help me if she finds out I let them into the garden.

SERAFINA

Isn’t it remarkable?

JUANA

Oh yes, indeed, remarkable.

SERAFINA

Your cousin, in a fit of pique because I don’t love him, threw it on the floor and then stormed out like a madman. I looked to see what it was, and found the resemblance unsettling. You have the keys to his heart; how do you explain this?

JUANA

My lady, I’m as ignorant as I am astonished by it.

SERAFINA

All the worse for me. I’d give anything to know who it is.

JUANA

Well, in that case…

SERAFINA

What?

JUANA

If I go tell Antonio you’ve decided to grant him some favor, he’ll come running back in an instant.

SERAFINA

Clever! But he’s probably already gone.

JUANA

I doubt it. I’ll find him.

SERAFINA

Hurry!

JUANA

It’s a cosmic punishment for the woman who thought she was above love to fall for her own portrait!

((JUANA exits.))

SERAFINA

It wasn’t in vain that don Antonio cast you down here; you’ve managed to win my heart where many living men have failed. Indeed, if the original is as handsome as you make him out to be, I certainly wouldn’t push him away. Don’t be flattered; it’s no surprise I’ve had such a sudden change of heart. As they say, birds of a feather…

((JUANA and ANTONIO enter.))

JUANA

(to ANTONIO) Careful how you answer.

ANTONIO

(to JUANA) A little white lie will do the trick.

SERAFINA

Don Antonio.

ANTONIO

My lady.

SERAFINA

You’re a short-tempered man.

ANTONIO

It comes of being Portuguese. But how could I have retained my composure, when you ordered me to leave within the hour?

SERAFINA

You misunderstand the ways of women. A woman’s anger, sir, is like a French horse: wild at first, but quick to spend itself. Time heals all wounds. Now, since you’ve calmed down as well, would you tell me why you threw this at my feet? Whose portrait is it?

ANTONIO

(to JUANA) Don’t believe a word of this. (to SERAFINA) I wish I could tell you the truth, my lady, but I do not dare.

SERAFINA

Why not?

ANTONIO

I fear a terrible punishment.

SERAFINA

You have nothing to fear, I assure you.

ANTONIO

Your presence gives me the courage to speak. To die for the sake of a friend would be a small sacrifice.

SERAFINA

Go on.

ANTONIO

I’m sure, my lady, that you know the long, sad story of the Duke of Coimbra, who governed this kingdom so well in both war and peace. He was from the same royal lineage as your father, so I’m sure you’ve both wept over his misfortunes.

SERAFINA

I overheard my father tell my sister one day, and it has troubled me ever since. They say it’s been twenty years since envy banished him from Portugal, along with his wife and their tender young son. I’d love to know if he’s still alive, and where he’s living.

ANTONIO

I’m afraid the Duchess has died, but her memory lives on in her husband and unhappy son. My father was their kinsman and friend, and when they escape from prison, he risked life and limb to offer them help. He has kept them hidden on one of his farms, where, wearing rough cloaks, the two have tilled the land, watering it with their tears and harvesting only thorns in return. The son, to whom heaven granted a generous share of discretion, courage and charm, was my childhood companion. He’s like the other half of my soul; the knot of friendship has made our lives one. As it happens, about six months ago he passed through Avero, and on seeing you his heart was stolen right through his eyes. Since then, the whole valley has been echoing with the declaration that Serafina is the culprit. A thousand times he’s been determined to tell you of his misfortunes, but fear has held him back, knowing that the King has proclaimed his family to be traitors. I feel the unending tears he cries as my own, and so I promised him to tell you of his love, and to bring his portrait for you to see. When I arrived and heard how disdainful you were, and how little inclined to the bridle of love, I didn’t dare say anything about him until I could speak to you privately. That’s why I persuaded my cousin to find me a position with the Duke. I soon learned that he wanted to marry you to don Duarte, and so, to head that off, I showed you the flames of my feigned love. When you rejected me with such fury, I left behind the portrait, knowing that its beauty would soothe your heart and temper your arrogant vanity. In short, beautiful Serafina, the owner of this portrait is don Dionís of Coimbra.

SERAFINA

Don Antonio, is this true?

ANTONIO

So true that, if he were here and knew that you loved him, I believe he would lay his soul at your feet, even at risk to his life.

SERAFINA

If that’s really so, I’m not sure there’s room in my heart for don Duarte. By God, this is the son of that poor duke, don Pedro! Could I see him?

ANTONIO

This very night. If you agree to bring his woes to an end and speak to him in the garden, he’ll be waiting.

SERAFINA

It would be rank ingratitude to fail to love so noble a man, equal to my rank, who returns my love. You have been discreet in all of this. I trust you to keep my secret, and arrange it so that we may speak. Now farewell.

ANTONIO

You’re going?

SERAFINA

I’ve already said too much.

((SERAFINA exits.))

JUANA

Is it true that don Pedro and his son are still alive?

ANTONIO

Hush; I only said that to buy some time. I don’t know anything about the Duke, or where he took his wife and his son. I’ll be don Dionís by night, and Antonio by day, and that way, with a little help from Cupid, my hard work will pay off.

JUANA

Just be careful.

ANTONIO

Love has ordained my happiness under another name; my own is worth nothing to me now.

((BLACKOUT))

Scene 5

(SETTING: MADALENA’S chamber.)

(AT RISE: The DUKE and MADALENA enter together.)

DUKE

I’d like to see you at your lesson. I saw the address on the envelope of the letter you wrote to the Count of Vasconcelos yesterday, and I was impressed. You’re writing very clearly now.

MADALENA

Apparently it’s still not clear enough for my teacher don Dionís to understand.

((MIRENO enters.))

MIRENO

Did you call, my lady?

MADALENA

Yes. My lord the Duke would like to see how I’m improving. You’ve seen how much better I write, right?

MIRENO

Yes, my lady.

MADALENA

Why, not a quarter of an hour ago, I wrote out a letter half asleep that was so clear, even someone who couldn’t read would understand it. Do I make myself understood, don Dionís?

MIRENO

Quite.

MADALENA

Perhaps you could come up with some words to say in its favor.

MIRENO

My silence is praise itself; the only fault I find is in the last line. There may have been something amiss with the pen, but it’s very hard to read.

MADALENA

You mean the blot at the end.

MIRENO

Well… yes.

MADALENA

I made it on purpose.

MIRENO

I’m afraid it obscured everything around it.

MADALENA

A little blot is hardly a big problem. Surely you could have corrected it?

MIRENO

How so?

MADALENA

Carve me a quill.

MIRENO

I’ll do so in short order, my lady.

MADALENA

Get on with it. For all your words, when it comes to action you always seem to come up short.

DUKE

Really, I’m quite satisfied with your writing.

MADALENA

It’s pointless; he’s deaf to all the pointers I give him. Oh, hand it over.

DUKE

Madalena, contain yourself.

MIRENO

Would you like the point carved short?

MADALENA

Don’t be short with me. I want it long. Now carve it that way, or don’t bother.

MIRENO

It will be ready shortly, my lady.

DUKE

You’re being awfully rude!

MADALENA

Shy men are nothing short of infuriating.

MIRENO

Here, in short, is your pen.

MADALENA

Let’s see. Good God, it’s awful!

((She throws the quill on the floor.))

DUKE

What did you do that for?

MADALENA

You’re always giving them to me with hair on the point. Use that knife properly for once, and clean it off. I’m not sure what to make of you, always leaving hair on the quill so I can’t write clearly even if I try.

((The COUNT enters.))

COUNT

Your Grace, I bring word from the Count of Vasconcelos. He is only a day’s journey away.

MADALENA

Oh!

COUNT

His leave from the King is so brief, however, he’ll have to be married and return immediately. If Your Grace will make the necessary preparations, I’ll go now to meet him.

DUKE

Did he not write me?

COUNT

He sent this note.

DUKE

My daughter, the moment we’ve been awaiting has arrived. Set this aside and make ready: you’ll be married tomorrow.

((The DUKE and COUNT exit; Madalena starts to write.))

MADALENA

Don Dionís, read this note once I have finished it, and follow my instructions.

MIRENO

If I’ve lost my chance, what’s the point?

MADALENA

Love is nothing but chance.

((MADALENA exits.))

MIRENO

(reading) “Time is short. This night in the garden will see an end to the fears of the shy courtier.” Tonight? What luck! Am I dreaming? Am I mad? It can’t be. “…in the garden…” My God, it’s written right here! I have to find Brito. Could there be a happier ending? The Count of Vasconcelos will be the jealous one tonight.

((BLACKOUT))

Scene 6

(SETTING: LAURO’S house.)

(AT RISE: LAURO, RUY, MELISA and VASCO enter together, the men reading a letter.)

LAURO

This is wonderful news! Can it be true? My son is a courtier in Avero? How times change. But what am I waiting for? Let’s go see them—

RUY

And what if they recognize me?

LAURO

Blacken your face like a coalminer. I’ll have a good day tomorrow in Avero, even in my old age. I feel alive again. (to MELISA and VASCO) You stay here and look after the house.

((LAURO and RUY exit.))

MELISA

Vasco, what about Tarso? Doesn’t he ask about me?

VASCO

It seems to me he doesn’t give a damn about you. And he’s not Tarso anymore, either.

MELISA

Who is he?

VASCO

Brito.

MELISA

Cruel Tarso, my enemy, my tyrant. Devil take the house; I’ve got to go and put some sense into you.

((BLACKOUT))

Scene 7

(SETTING: The palace garden at night.)

(AT RISE: SERAFINA and JUANA are at the window.)

SERAFINA

Doña Juana, my honor is on the line. But if I delay, the Duke will marry me off tomorrow.

JUANA

Don’t be afraid, my lady. My cousin’s gone for him, and they’ll be here any minute.

((ANTONIO enters, cloaked.))

ANTONIO

Cupid, tonight your mystical powers have made me both a false don Dionís and a real don Antonio. I’ll have to speak for both of them. I see people in the window.

((TARSO enters, cloaked.))

SERAFINA

I hear something—my hope wasn’t in vain. Hello there, is that don Antonio?

ANTONIO

Yes, my lady.

SERAFINA

Is don Dionís with you?

TARSO

Don Dionís? That’s a good one. But wait, is that doña Madalena? Mireno told me to watch out for people here, but it looks like someone’s already come to take his place. Unless it really is don Dionís?

ANTONIO

I bring with me a don Dionís whose soul you already own, but who comes to lay the rest of himself at your feet. Now speak, my friend. What are you waiting for? (changing his voice to become don Dionís) Can’t you see I’m speechless, contemplating such glories? To pay the great debt I owe you, my lady, with words would be a disgrace, and so I do not dare to try, but rather rein in my tongue. Love is a god, and will surely pay my debt for me.

JUANA

That’s quite a voice he’s got.

SERAFINA

Can you not pay me on credit, sir?

ANTONIO

(as don Dionís) I can certainly offer you a good backer. Don Antonio will give me credit, won’t you? (as himself) Most assuredly.

TARSO

By the devil, it’s only one man, but he sounds like two.

ANTONIO

(as don Dionís) I am in great danger speaking to you here. I beg you, make my happiness certain and bring my pains to an end.

SERAFINA

What would you have me do?

JUANA

Remember, my lady, that if you wait till daybreak you’ll have no choice but to marry don Duarte. You can’t afford to wait.

SERAFINA

Oh dear!

JUANA

A fine time for cold feet. Do we let him in?

SERAFINA

Do as you wish.

ANTONIO

(alternating voices) Don Dionís, love has brought you the greatest of good fortune. Use it well. – I’m your friend for life! – And I your slave. Now go on; I’ll wait for you here. –Farewell, don Antonio.

((ANTONIO goes in.))

SERAFINA

Has he come in?

JUANA

Yes.

SERAFINA

So this is how love brings us down! Well, at least it’s not the love of don Duarte; that’s something. If only my father can forgive me.

JUANA

It’s time, dear.

((SERAFINA and JUANA exit.))

TARSO

There’s something fishy going on here. A don Antonio who talks to himself, says he’s going to stay put, and then walks right in. I’ll bet that was the devil himself!

((MIRENO enters, cloaked, searching.))

MIRENO

He must have fallen asleep, as usual.

TARSO

Mireno, someone’s been here and taken your place!

MIRENO

You idiot, what are you talking about? I sent you to see if there were people, and you’ve just been dawdling here!

TARSO

There were people.

MIRENO

Who?

TARSO

One don Antonio, and one don Dionís—two people who were really one.

MIRENO

Are you out of your mind?

TARSO

I’m telling you, by God, some trilingual scholar just waltzed in to meet your doña Madalena, and either he can be in two places at once, or he’s your ghost. I swear, he was craftier than twenty Ulysses. Unless I dreamed this whole thing, you’re not the first don Dionís trying to get in there tonight.

MIRENO

You must have dreamed it.

TARSO

If you say so. (MADALENA comes to the window.) There’s someone in the window.

MADALENA

Oh dear, I hear people! Hello there, is that don Dionís?

MIRENO

To my great fortune, my lady.

MADALENA

Come in, my shy one.

((MADALENA exits.))

MIRENO

Now do you believe that you dreamed it?

TARSO

Oh, I don’t know.

MIRENO

If my shyness was a shame, then farewell to shame.

((MIRENO goes in.))

TARSO

I can’t figure it out; I definitely saw two don Dionises go into that house. This whole place must be bewitched!

((BLACKOUT))

Scene 8

(SETTING: The palace garden, the next morning.)

(AT RISE: LAURO and RUY enter together.)

LAURO

Well, Ruy, here we are in Avero.

RUY

I was a great man here not long ago, and now I return as a poor shepherd.

LAURO

How times change! And what a splendid palace the Duke has now. When I—

((Drum-roll. MELISA and VASCO enter.))

RUY

A drum-roll this early in the morning?

LAURO

What could that be about?

MELISA

Vasco, watch out! Our masters are right over there; we can’t let them see us.

((The DUKE, COUNT and FIGUEREDO enter.))

RUY

Look, the Duke! Something big must be happening.

LAURO

It looks like he’s going to issue a proclamation.

DUKE

Don Duarte, no other news could make me happier. My cousin don Pedro’s troubles are through, provided he’s alive.

LAURO

Good heavens, what am I hearing? Am I the cousin he means? It can’t be.

DUKE

Before you go to meet your brother-to-be, I want you to hear what the King has decreed. (to FIGUEREDO) Read the proclamation.

FIGUEREDO

(reading) “Our lord King Alfonso the Fifth commands that the inI’d like to congratulate you, sir, through my tears.nocence of don Pedro of Coimbra, and the treason of his accuser, Gabriel Fernández, be solemnly proclaimed throughout his royal domains. The King reinvests his noble vassal don Pedro with all his estates. Wherever he resides, if he be alive, he is to be treated with the respect due to the King himself. Furthermore, the King names don Pedro’s sons as heirs to the ducal estate, and declares Gabriel Fernández and his sons traitors in perpetuity, commanding that salt be scattered in their homes, as has been the custom in this kingdom since the time of the Visigoths. Let this be proclaimed, that all may know of it.”

VASCO

Some speech—he’s got a fine set of pipes on him.

LAURO

praying Thanks be to Your mercy, wise and righteous Judge, who has brought justice for me.

RUY

I’d like to congratulate you, sir, through my tears.

DUKE

Who are those peasants making such a commotion over there?

COUNT

Good people! The Duke is calling you.

LAURO

Troubles, if you’ve kept me silent till now, the time has come to speak. What am I waiting for? Give me those noble arms of yours, Your Grace, my dear cousin. I am don Pedro.

DUKE

Good heavens!

COUNT

Noble Duke! In such clothes?

LAURO

In these clothes I have preserved my life and my honor until now.

MELISA

Did my master just say he’s a duke?

DUKE

This is the Count of Estremoz, to whom I’ve promised my younger daughter. Just now we’re waiting for the Count of Vasconcelos to come and marry my eldest.

LAURO

You’re a wise man, to choose such fine sons-in-law.

DUKE

And even more fortunate that you’re here to be their sponsor. Now where are my daughters? They should know about all this, since it concerns them, too.

((MADALENA, SERAFINA and JUANA enter.))

MADALENA

Your Grace, what’s going on?

DUKE

Come, daughter, and kiss the hands of the great Duke of Coimbra.

MADALENA

What a surprise!

LAURO

I can hardly believe it.

SERAFINA

What luck! Now I’m sure to enjoy my don Dionís, since fate has restored his birthright.

LAURO

May you enjoy a long, happy life with the husbands who await you.

MADALENA

And may the fates allow you to defeat all your enemies, and see your grandsons on royal thrones. But if you value my life at all, I beg you to prevent my marriage.

DUKE

What?

MADALENA

Although the modesty of womanly decorum should seal my lips, I must tell you: I’m already married.

DUKE

Brazen girl, have you lost your mind?

MADALENA

Heaven and my love have given me a husband who, while he is humble and poor, is also brave, discreet, and a gentleman.

DUKE

What are you saying? Do you realize your life is at stake?

MADALENA

The secretary you gave me as a teacher is now my husband.

DUKE

Enough! You would scorn the Count of Vasconcelos for a lowborn drudge?

MADALENA

Love, which humbles the mighty and exalts the low, has made him my equal.

DUKE

You’ll die before I see you married to him.

LAURO

Wait! Your son-in-law is my son.

DUKE

What do you mean?

LAURO

Your daughter’s secretary is my son Mireno, whom I now christen don Dionís, my heir.

DUKE

Well… that’s a different story. What was an affront is now a blessing.

MADALENA

He’s your son? Dear God, I should be kissing Your Grace’s feet!

SERAFINA

Not so fast—there’s some trick here. Don Dionís, son of the Duke of Coimbra, has given me his hand and his word as my husband.

DUKE

What did I do to deserve this?

SERAFINA

Doña Juana is my witness.

MADALENA

But don Dionís is in my chamber right now.

SERAFINA

That’s impossible! I left him in my chamber.

LAURO

I only have one son.

DUKE

What is this? Bring them here immediately.

((FIGUEREDO exits.))

MELISA

What’s going on, Vasco?

VASCO

Your guess is as good as mine. I can’t even tell if I’m dreaming or awake.

MELISA

Tarso had better not be mixed up in all this.

((MIRENO enters.))

MIRENO

Father, I kneel before you. But I’m confused—what’s going on?

LAURO

My son, give me your arms, and give new life to these old gray hairs of mine. This is don Dionís.

SERAFINA

Cruel fate, what trickery is this?

DUKE

Embrace me, too. I have found in you the noblest heir in all of Portugal.

LAURO

Why do you look so confused, my son? The crude name of Mireno is yours no longer, and neither am I Lauro. I am once again the Duke of Coimbra, now that the King has recognized my innocence.

MIRENO

How can this be? Thank God! What luck!

((ANTONIO and FIGUEREDO enter.))

ANTONIO

I kneel before you, Your Grace.

DUKE

What are you doing here, secretary?

SERAFINA

Don Antonio, where is my husband, don Dionís?

ANTONIO

I have deceived you, my lady. Last night in his name I enjoyed the greatest beauty and the greatest gift that love has to offer.

DUKE

Villain!

SERAFINA and COUNT

Kill him!

JUANA

Wait! This is my cousin, the Count of Penela.

ANTONIO

Your Grace, my lord, I humbly beg your pardon.

COUNT

This is heaven’s doing, for Leonela's sake. I gave her my hand as her husband, but I abandoned her once I’d had my pleasure. I give you my word now to fulfill my obligation to her as soon as I get home.

LAURO

And here is her brother, who tried to avenge her, albeit unjustly, and has been punished with the lowly life of a shepherd. If I may intercede for him, Your Grace, I beg you to be merciful.

DUKE

Enough—the Duke commands it. Don Antonio, give Serafina your hand.

SERAFINA

Oh! The portrait was of me, wasn’t it?

DUKE

(to MIRENO) And you, you’ve taught my daughter well. Were you the quiet, shy one? Well, the Count of Vasconcelos has lost his chance now, and I am under no obligation to him.

((TARSO enters.))

TARSO

Duke Mireno? What am I hearing? Don Dionís, let me kiss your feet. And in celebration of your wife, and your dukedom, I beg that you free me from these breeches.

MELISA

Traitor! Fickle! Spiteful! Now at last I’ll get the love, the pains and the tears you owe me. Sir Duke, I’m begging you on my knees to marry us.

TARSO

Is he a priest, too?

MELISA

Order him to love me.

MIRENO

I order it. And I’ll throw in three thousand cruzados for him, too.

TARSO

Is that a reward or a payoff?

MIRENO

And I’ll make him my valet, so I can keep him by my side.

DUKE

Now it’s time to receive the Count of Vasconcelos. He’ll be disappointed in love, but perhaps we’ll be able to lighten his heart with this strange story of The Shy Courtier .

THE END