Félix Lope de Vega y Carpio

The Widow of Valencia

La viuda valenciana

Traducción

Vega y Carpio, Félix Lope de. The Widow of Valencia . [ La viuda valenciana ]. Translated by Diversifying the Classics. https://diversifyingtheclassics.humanities.ucla.edu/our-translations/the-widow-of-valencia/

Joan Oleza Simó (Investigador principal) Diversifying the Classics (Traductor) Tronch Pérez, Jesús (Editor digital)

English · Verso · 3094 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/EMOTHE0760_TheWidowOfValencia

Note on this digital edition

This publication is part of the research project «EMOTHE: Second Phase of Early Modern Spanish and European Theatre: heritage and databases (ASODAT Third Phase)», reference PID2022-136431NB-C65, funded by MICIN/AEI/10.13039/501100011033 and by the European Regional Development Fund (ERDF) The EMOTHE Project thanks Barbara Fuchs and the Diversifying the Classics team (University of California Los Angeles) for their willingness to share their translation.

Dedicated to the Lady Marcia Leonarda

Characters

LUCENCIO old man

LEONARDA young widow

JULIA her servant

URBÁN young squire

CAMILO suitor

FLORO his servant

CELIA lady

OTÓN suitor

VALERIO suitor

LISANDRO suitor

ROSANO courtier

A SCRIBE

A SHERIFF

SERVANTS

ACT I

SCENE ONE

([A room in LEONARDA’s house])

(Enter the widow LEONARDA, with a book, and her servant JULIA)

LEONARDA

Celia! Julia! Can you not hear me? 1

JULIA

My lady ... 2

LEONARDA

You fool—what are you up to? 3

JULIA

I am at your service. 4

LEONARDA

Save me from that Friar Luis. 5

JULIA

When I see the state you’re in, 6

I can tell you’ve never even come close 7

to becoming a nun. 8

When you spoke of that Friar Luis 9

as I came in, 10

I wondered where you’d put him. 11

LEONARDA

You fool, these matters are not 12

for your silly head. 13

JULIA

How poorly have I covered 14

the faults that nature gave me! 15

Ugly as I am, 16

and with no wit to boot! 17

LEONARDA

All women need is good sense, 18

and an honest demeanor, Julia, 19

for those who think they’re sharp, 20

routinely miss the mark and risk falling, too. 21

As for me, ever since I lost my Camilo, 22

whom God now holds in his bosom, 23

and whom He now supplants in my soul, 24

I have decided not to remarry. 25

I read for entertainment, 26

not to be a learned woman 27

or to get my degree in wit. 28

For one whose good reputation 29

encloses her in such silence as this 30

can find no harm in books. 31

Any wise book offers pleasant conversation: 32

when it becomes tiresome, 33

it conveniently falls quiet. 34

It’s a friend who secretly 35

advises and reproaches. 36

And when I read one 37

and consider proper piety 38

I discipline my wild imaginings. 39

JULIA

And what were you reading? 40

LEONARDA

Books of devotion. 41

JULIA

Who would not delight in a lady 42

so lovely and so pious? 43

See how the whole city 44

speaks of your seclusion, 45

your good sense and intelligence, 46

your fame, honor, and honesty. 47

They say you’ve ushered in a Golden Age, 48

made Valencia into a new Rome, 49

and the past into the present. 50

You embody all the goodness on this earth! 51

You’re an angel from heaven 52

in your beauty and behavior. 53

The young men are in such a state 54

they dare not even look upon you. 55

since you so elevate their thoughts. 56

LEONARDA

Let God be served in all things, dear Julia. 57

Reputation is the spark, 58

and the tinder catches so readily— 59

I’d rather die than burn. 60

I don’t want to be renowned, 61

nor, like Artemisia, 62

to feed on the cold ashes 63

that death leaves underfoot, 64

nor, like that Roman matron, 65

to die because I renounce 66

my desire to look upon 67

a monster in the street, 68

nor to paint a silhouette 69

of the dearly departed, 70

and love it as though it were a man. 71

I just want to be a woman 72

who deserves the name of widow, 73

for I need no one at all. 74

JULIA

So you will not wed again? 75

LEONARDA

Jesus! Julia, don’t say that word. 76

Men disgust me. 77

Don’t ever mention them to me. 78

Bring me the image 79

I bought for you from that painter. 80

JULIA

For your devotions? 81

See, you are tempted already. 82

LEONARDA

Hush, you fool. 83

I just want to see it. 84

JULIA

Then why did you pay 85

so much for it? 86

LEONARDA

For its marvelous strokes. 87

The seller assured me 88

it was painted at court, 89

by a famous Catalan. 90

JULIA

I’m off, then. 91

(JULIA exits)

LEONARDA

There’s nothing to discuss, 92

except how best to serve God. 93

That is a good purpose in life, 94

once you realize how short it is. 95

It seems outrageous, in this day and age, 96

for one so pursued to keep faith with a dead man, 97

to hold love so true, 98

that I should live that truth 99

and a life of chastity. 100

But glory lies in what is hard to do, 101

and victory in resisting one’s desires. 102

Leave me now, my thoughts. 103

That’s quite enough. I shall not wed again. 104

SCENE TWO

(Enter JULIA)

JULIA

I couldn’t find it. 105

LEONARDA

Resist, oh my chaste convictions. 106

JULIA

Ah, here it is. 107

LEONARDA

May the vanities I renounce 108

be swiftly forgotten. 109

((Julia hands her a mirror))

(Aloud) What is this, you fool? 110

A mirror, instead of the painting? 111

Take it away. 112

JULIA

Just look at yourself. 113

Use it or lose it, they say. 114

You’ll weep for it some day 115

if you let it go to waste. 116

LEONARDA

Just put it over there. 117

SCENE THREE

(Enter LUCENCIO, LEONARDA’s uncle)

LUCENCIO

Don’t put it away! 118

Thank God I got here in time 119

to find you looking at yourself, 120

you, who see no one. 121

What miracle is it, niece, 122

to find you like this? 123

LEONARDA

I will get you for this ... 124

JULIA

Did I see him come in? 125

LEONARDA

Get out. 126

LUCENCIO

Surely you’ll defer 127

to the grey hairs of an old man. 128

LEONARDA

You will think I’m flighty, 129

gazing here at a mirror, 130

one of those women 131

who runs here and there 132

to gaze upon herself 133

after she is already dressed— 134

an even greater sin 135

in the state I’m in. 136

LUCENCIO

The fuss you make over nothing at all! 137

Is it wrong for a woman, 138

in putting herself together, 139

to check whether mantle or pins 140

are where they should be? 141

Who better to tell her 142

if it looks good or not 143

than this bit of glass? 144

LEONARDA

How you excuse my faults! 145

LUCENCIO

I might, if you were one of those 146

who hang a mirror by their window 147

and when it seems they address 148

their poor gallant below, 149

it’s all just for show: 150

they’re really just looking 151

at themselves in the glass— 152

how they speak, how they move. 153

The poor fool below 154

thinks it’s all about him, 155

yet it’s all for the mirror, 156

and the image therein. 157

You’re not one of those 158

full of present devotion, 159

who brings a mirror to mass 160

for a quick glimpse in the glass, 161

every time that she stands. 162

Nor do you drink 163

with your lips in a bow, 164

so the color will stay 165

where you placed it just so. 166

I can’t tell you how wrong 167

it seems to an old man, 168

yet it’s practiced by all, 169

the dainty and the ugly both. 170

Look at yourself, and God keep you. 171

And since I am here to see you, 172

consider what you have seen there, 173

and let me speak to you alone. 174

LEONARDA

Uncle, if this is about marriage, 175

do not speak of it or even mention it. 176

LUCENCIO

How can you be at once 177

so clever and so stubborn? 178

Do I not deserve your attention? 179

Who has ever heard of an old man, 180

and an honorable one at that, 181

who is not heeded by all? 182

LEONARDA

This is where I lose my resolve. 183

(Aloud) When I know how much you love me, 184

how can I let you go on in vain? 185

LUCENCIO

Will you carry on 186

like all those other women? 187

Why so obstinate? 188

Do you think that with this 189

you’ll secure your good repute? 190

You’ll destroy it instead. 191

Since you’re so very set, 192

do tell how you plan to keep yourself 193

in this fine state you’re in, 194

if you are not to wed? 195

It’s true you’ve three thousand a year, 196

but I don’t just mean 197

having enough to live well— 198

if you were lacking there, 199

thank God I have more than enough— 200

but to see you embark on a plan 201

that could never end well! 202

Where will you hide from envy 203

and the common tongues, 204

even if you never see the light of day? 205

Though you open your door to sunrise, 206

and close it by morning mass, 207

though you never let the lynxes 208

spy through an open window, 209

though you let not an atom, 210

nay, not the sun itself, 211

enter a house so rare, 212

both heaven and yawning hell, 213

discreet on its own, yet renowned for you, 214

though dragons and Argos himself 215

guard your precious spoils— 216

what difference will it make? 217

With a long tongue and eyes to match, 218

envy is a sly one, just you watch. 219

They will say you carry on 220

with a common slave, 221

whom you keep in your house, 222

just like Princess Angelica, 223

at once proud and low. 224

And once your reputation’s on the line, 225

those who pursue you will waste no time 226

imagining you with Jupiter as a swan, 227

or even a shower of gold. 228

Wouldn’t it be better, all told, 229

for you to wed and avoid it all? 230

LEONARDA

You can accuse me of nothing, 231

and unless you’ve something to add, 232

I’ve already heard you out. 233

Tell me, Lucencio, 234

should I risk sinfulness 235

for your sake? 236

Would you want that for me, 237

when all the authorities agree 238

in condemning remarriage? 239

Isn’t prudent and chaste widowhood 240

universally praised? 241

Even jealous slander 242

cannot last for long. 243

The truth soon comes out, 244

and a good name rises, 245

like a phoenix from the flames, 246

to welcome a new day. 247

Who, I ask you, would want 248

one of those candy-coated dandies, 249

in a rakish hat, 250

short feathers, new sashes, 251

shirt open just so, and Italian linen— 252

nice and clean on the outside, 253

old and grimy on the inside. 254

Boots so tight they won’t come off, 255

not for months at a time, 256

baggy stockings down below, 257

and a mustache out to here, 258

with toupees and pomade, 259

fake necklaces to impress with, 260

soft scented gloves— 261

a great one for sonnets and love letters. 262

With those immaculate hands 263

he’ll snatch at three thousand a year, 264

ready to take his ease 265

between sheets of the finest silk. 266

Before a week’s out, 267

he’ll be off to find other women, 268

or return to old loves, 269

and so forsake mine. 270

He will come home late, 271

I will be jealous. 272

He’ll throw my money around, 273

and then we will argue 274

about what he has and has not done. 275

I’ll hide it and he’ll give it away, 276

taking on debts in my name. 277

The police will come knocking, 278

there will be yelling and screaming. 279

Day and night, he’ll stir up the house. 280

“Give me that dowry letter!” 281

“Release those funds—they’re mine!” 282

“Sign this deed!” “I won’t!” 283

“Is that so? You won’t? 284

I’ll make you, you scoundrel, 285

if you keep this up!” 286

And the more I give in, 287

the more he’ll grant me s 288

uch fine and noble titles 289

as Countess Kicked-and-Slappedintheface. 290

I have said quite enough. 291

LUCENCIO

Ipse dixit! She has spoken. 292

LEONARDA

The end may have been Latin, 293

but the rest was in our common tongue. 294

This is what I resolved the day he died, 295

and were I manly enough, 296

I would eat hot coals 297

to consume my cold soul. 298

LUCENCIO

Niece, that’s it, then. 299

From this day forth 300

I’ll scatter to the winds 301

all those marriages I’d sought, 302

or were proposed to me, 303

including three I’d brought today, 304

for you to think upon. 305

I’ll only ask, then, that we refrain 306

from feeding all that gossip so vain 307

about your tender age or mine. 308

Watch yourself, since you remain all too free, 309

and so very young. 310

It’s a stretch to say you’ll live secure 311

with so many years ahead of you. 312

When in that mirror there you spy 313

both your beauty and your youth, 314

never forget that they lie— 315

their advice is far from the truth. 316

May God keep you at long last 317

in your penance and your fast. 318

LEONARDA

What an importunate old fool! 319

LUCENCIO

What an arrogant woman! 320

(Exeunt)

SCENE FOUR

([On the street])

(Enter LISANDRO, suitor)

LISANDRO

The river breaks the hardest rock at last, 321

tumbling it down in a current full strong. 322

Both haughty pine and wrinkled olive long 323

to yield humbly before the peasant’s axe. 324

The lofty palm to the African throng 325

grants the orient fruit that they would win. 326

The ox to the yoke, the snake to the song 327

of the enchanter must at last give in. 328

The sculptor soon makes a figure appear 329

from hardest marble or frozen stone, 330

thus giving shape to what before had none. 331

Yet the harder that I try to come near 332

that woman, delicate and appealing, 333

the fiercer and harsher is her dealing. 334

SCENE FIVE

([On the street, where LISANDRO was])

(Enter VALERIO, suitor)

VALERIO

Down the mountain swift water comes tumbling, 335

splashing from rock to rock with curious mirth, 336

its crystal laugh turned now to dark mumbling, 337

as it sinks by and by into the earth. 338

My pain grows all the more at any boon, 339

consuming whatever had once been good, 340

while hope entertains hope, as well hope should, 341

foolishly glad to think that it might bloom. 342

Love sees me die and is full satisfied. 343

Time and works prove unequal to the task: 344

like waves that break and rise again, they mask 345

the ill until at last all good has died. 346

It’s over just as soon as it is born: 347

hope fades not long after the breaking morn. 348

SCENE SIX

([On the street, where LISANDRO and VALERIO were])

(Enter OTÓN, suitor)

OTÓN

With tears and pleas the pilgrim secures 349

the right to pass among barbarians rude— 350

a guide through mountains, fire to keep him warm, i 351

n Libya’s harsh deserts water most pure. 352

Savages offer him safe passage then: 353

Arabia yields him bread, and Persia wine, 354

peace among Arabs in Africa he finds. 355

Tears and joy often vie with each other: 356

in his Moorish captor the captive at times f 357

inds pity among harsh chains and bars. 358

Yet this asp, born of the hardest stones, 359

will never once heed the echo, no, 360

of these my exhausted tears and moans. 361

VALERIO

Lisandro! 362

LISANDRO

Valerio! 363

VALERIO

Otón! 364

OTÓN

Gentlemen! 365

VALERIO

Love has conspired 366

to bring us all here. 367

LISANDRO

It takes one to know one. 368

Put your hats back on! 369

You can speak of love 370

with your heads covered— 371

it’s not like being in Mass. 372

OTÓN

I must warn you, 373

this is the only fashion 374

in which to hear this out. 375

For love’s whims are such 376

that when you begin 377

to deal with its vexations 378

you need a clear head, 379

sharp eyes, your wits about you. 380

Not because love seeks the truth— 381

it’d much rather avoid it— 382

but because you need 383

eyes wide open to take in 384

such an agreeable lie. 385

LISANDRO

I give you Otón, 386

clearly falling apart 387

with thoughts of that lovely widow. 388

OTÓN

And you? Who could deny 389

she burns you up, and wears you thin? 390

Why, otherwise, would you rend 391

the gauzy veils of heaven, 392

in which astrologers shroud it, 393

to see what the stars portend? 394

VALERIO

This is jealousy, let it be noted. 395

It is for me to intervene 396

and put an end to this unpleasantness, 397

cutting it short. 398

LISANDRO

You’re the one who will be cut short 399

if you seek remedy 400

in that flame that lies therein. 401

For oh, in Otón and me, 402

the soul in love 403

is a fluttering moth 404

that will surely die within. 405

VALERIO

I, for Leonarda? 406

LISANDRO

You, indeed. 407

Do you think something so obvious 408

could possibly be kept secret? 409

OTÓN

In short, all three of us love 410

the very same lady. 411

VALERIO

Given who she is, 412

I see no harm in confessing, 413

for it’s true I have indeed 414

given some thought to this marriage. 415

LISANDRO

What a woman! 416

OTÓN

She has no equal. 417

LISANDRO

My suit is Valerio’s. 418

OTÓN

And I seek the same. 419

VALERIO

If you attempt what I attempt, 420

either I must offend you in taking it from you, 421

or I must be offended if you take it from me. 422

What shall we do? 423

OTÓN

Rivalry and good intentions 424

seldom dine together. 425

Yet it shall be so 426

for that best serves everyone— 427

unless someone here 428

has been shown greater favor? 429

VALERIO

I will not say that it was me, 430

although I’m not afraid to tell 431

what favor she has shown me, 432

as long as you give me your word 433

you will also tell your part. 434

LISANDRO

I agree. 435

OTÓN

So do I. 436

VALERIO

Listen, 437

and you can deduce how my love is rewarded 438

from the favor shown. 439

OTÓN

. Tell us, Valerio. What favor was that? 440

VALERIO

Here goes. 441

LISANDRO

Go on. 442

VALERIO

Listen: 443

I saw this fine widow 444

with her tigress soul 445

looking like an angel 446

in her coach one afternoon. 447

As the sun was setting, 448

her new sun was rising 449

although the curtain insisted 450

on making an eclipse. 451

I bowed and she, 452

though she wouldn’t look at me, 453

leaned out the side 454

with her swan-like breasts. 455

Thinking I could seize this favor, 456

I spent the night under her window, 457

playing my guitar, 458

until dawn surprised me there. 459

I was moved to poetry, 460

though I would come to regret it. 461

I started singing more gently 462

than Pyramus sang to Thisbe: 463

“Give water to this my flame” 464

was the first thing I said ... 465

and also the last. 466

Be careful what you wish for. 467

Whether the water was clean or murky— 468

only Dioscorides would know. 469

Let’s just say I spent all night 470

laughing and cleaning myself up. 471

LISANDRO

Here is mine, better than Valerio’s, 472

since it was actually a favor, 473

while his was a fiasco. 474

OTÓN

Go ahead then, tell us your story. 475

LISANDRO

I will begin, in the name of love: 476

on this happy street 477

where unhappy lovers roam 478

on their long wake for a dead man’s spoils, 479

on a dark night, a couple of thieves, 480

were spiriting away 481

some fine wine in its skin. 482

As those low-lives passed by 483

the widow’s marble doors 484

—softer than the widow herself— 485

they used them as a hiding place. 486

The authorities, tipsy with excitement, 487

couldn’t see where they had gone. 488

Since I was watching from afar, 489

hidden in a corner, 490

I quickly moved closer, 491

swift as the wind. 492

Once I reached that beloved door, 493

I glimpsed a dark shape, 494

with its cape and its sword, 495

addressing someone inside. 496

I moved in, 497

pulled my hat down over my face, 498

and said: “You, gentleman!”, 499

throwing my cape over my shoulder. 500

Since he won’t answer 501

I quickly pull out my dagger, 502

and stab him to the hilt. 503

Blood spurts all over me, 504

so I race home, 505

and hold my sleeve up to the light, 506

but it smells to high heaven. 507

So I take the lantern, 508

and return to the scene, 509

only to find spilled wine, 510

and the wine-skin sprawled out on the ground. 511

OTÓN

If those are your favors, 512

then I renounce all faith in love. 513

VALERIO

Come on, Otón. Tell us of yours. 514

OTÓN

Ah Cicero, where are you 515

when I require your eloquence? 516

As the roosters here first crowed, 517

with their coarse calls at dawn, 518

soon to be answered by their country brethren, 519

I paced up and down our widow’s street, 520

monitoring her window, 521

and measuring my steps like clockwork. 522

The sky was darker 523

than a Portuguese in a cloak, 524

so I mistook her window 525

by a good two floors— 526

a shoemaker lived in the one I chose. I 527

carefully peered up to the house 528

where, I thought, all my cares lay. 529

I saw a white figure on the balcony, 530

and believing it to be the widow, 531

wooed her with these words: 532

“Oh my Angel: your every garment 533

is sacred to me, a slave to your love.” 534

Gentlemen, no sooner had I spoken, 535

when the good shoemaker, 536

who was sitting outside in his shirt, 537

grabbed a brick and said: 538

“Are you flirting with my wife? 539

You rascal! 540

Come back by day, if you dare!” 541

If I hadn’t ducked, 542

he would have splattered my brains 543

across the brick like porridge. 544

VALERIO

Truly, equal favors for all! 545

But in the end, to speak seriously, 546

and setting all jokes aside, 547

don’t you see that our fantasies 548

can lead to no good? 549

OTÓN

If I may give you some advice ... 550

LISANDRO

Yes? 551

OTÓN

We must deal with this quarrel 552

by not dealing with each other. 553

VALERIO

Should we stop speaking to one another? 554

OTÓN

I will not speak to either of you, 555

wherever I might see you. 556

LISANDRO

I’m off, then. 557

OTÓN

Oh Leonarda, lovely and silent! 558

LISANDRO

Oh, most beautiful widow! 559

VALERIO

Oh, most fierce and lovely creature! 560

(Exeunt)

SCENE SEVEN

([On the street, near a church])

(Enter LEONARDA and JULIA)

JULIA

The heavens 561

have punished your foolishness. 562

LEONARDA

If only they had killed me! 563

More’s the pity. 564

And though I feel this way, 565

believe me when I say, 566

that clever old man 567

must have cast a spell 568

to melt my icy resolve. 569

It makes no sense otherwise, 570

that I would be here now, 571

seeking my own disgrace. 572

JULIA

God forbid I should think that of him! 573

He is as unaware 574

of what has happened to you 575

as that cruel basilisk you looked upon. 576

Curse those eyes, 577

which blinded you at first sight! 578

LEONARDA

Let them look, Julia. 579

No one such punish such eyes 580

for looking at me. 581

JULIA

Oh, for goodness’ sake! 582

You’ve certainly got the itch now. 583

Curse him! 584

LEONARDA

Don’t say such things. 585

May God keep him! What is it to you? 586

JULIA

Ah, my lady! 587

Where have your judgment 588

and good sense gotten to now? 589

What happened to that dignity, 590

which you defended to the heavens, 591

a mirror of chastity 592

for your old uncle’s sake? 593

What of your coy refusal 594

to even look at yourself in the glass? 595

LEONARDA

You’re quite the preacher. 596

JULIA

Hush now, don’t get upset. 597

Will this be a passing fever, 598

or a permanent condition? 599

LEONARDA

My understanding 600

is no match for my will. 601

JULIA

You’re forgetting memory. 602

Purge him out, and good riddance. 603

LEONARDA

See what you do to me, Love! 604

JULIA

Who in Valencia do you love so? 605

What happened to that cold, 606

cloistered, saintly woman? 607

LEONARDA

Don’t ever speak to me again, 608

you fool. Say no more! 609

None of this will matter 610

if I’m fated to fall. 611

JULIA

And what shall I do 612

with your books and your chapel. 613

What would Friar Luis say? 614

What of those lofty ideals? 615

LEONARDA

Oh women, how weak you are when tested! 616

My icy resolve was unmatched, 617

fair youth, before I set eyes on you! 618

Yet I am not scared of death. 619

I will not marry, 620

no matter what the world thinks. 621

JULIA

I have a solution for you, my lady. 622

LEONARDA

Have I not told you to keep quiet? 623

Had I not raised you, 624

I would slap you silly. 625

You see me burning, you beast, 626

and yet you mock my pain! 627

I will find satisfaction 628

without losing my honor and good name, 629

and so put out this cruel flame. 630

JULIA

Anything’s possible. 631

SCENE EIGHT

([On the street])

(Enter URBÁN, young squire)

URBÁN

Oh, thank God I found you! 632

How much longer were you going to pray? 633

Were you planning to stay 634

for Midnight Mass? 635

I would not want to serve you 636

during the holidays. 637

LEONARDA

Must we leave so quickly 638

on such a sunny day? 639

URBÁN

You don’t usually say that— 640

you hate the heat. 641

LEONARDA

Now I want some sun. 642

URBÁN

So go get it, then. 643

JULIA

Leave her, she is not herself. 644

URBÁN

Why? Oh God! 645

LEONARDA

Go see if the coach is ready. 646

URBÁN

Yes, my lady, I’ll see to it. 647

LEONARDA

Come back, you fool. Where are you going? 648

URBÁN

I was going to find the chariot of the sun, 649

so we can get you some. 650

SCENE NINE

([On the street])

(Enter CAMILO, a gentleman, and FLORO, his servant)

CAMILO

A fine message, indeed! 651

Tell her not to write me again. 652

FLORO

Don’t tear it up, 653

for old time’s sake. 654

CAMILO

It’s done now. 655

FLORO

It meant nothing to you? 656

CAMILO

It was a mere whim. 657

LEONARDA

Urbán, do you see that young man? 658

URBÁN

Yes, I do. 659

LEONARDA

Come closer. 660

(She whispers in his ear)

URBÁN

His name and address? Got it. 661

FLORO

Your disdain 662

is not news to me. 663

You’ve always been harsh 664

to this woman. 665

LEONARDA

Let’s go, Julia. 666

JULIA

Come on, then. 667

LEONARDA

I’m dying! 668

Will I ever see you again? 669

(Exeunt LEONARDA and JULIA)

SCENE TEN

([On the street])

URBÁN

By my faith, 670

to charge me with finding out 671

this gentleman’s name and address! 672

CAMILO I want neither love nor cares. 673

Let Celia stay in her house, 674

and favor whomever she wants. 675

Let her keep company, if she pleases, 676

with any who come and go. 677

Let her find a green young man 678

to drive mad with jealousy, 679

for I’m beyond all that, 680

and feel only pity for him. 681

URBÁN

I didn’t even bring 682

my inkwell and my quills. 683

(Aloud) Excuse me, gentleman! I’d like ... 684

CAMILO

Speak up, what do you want? 685

URBÁN

To see if you’ll be joining 686

the procession for the Jubilee. 687

CAMILO

I’d like to, good man. 688

What contribution do you expect? 689

URBÁN

It’s just one real . 690

CAMILO

Here you are. 691

Two reales for the two of us. 692

URBÁN

May God thank you for it. 693

Your name and address? 694

CAMILO

Camilo, and I live near San Juan parish. 695

URBÁN

Are you a nobleman? 696

CAMILO

Noble enough. 697

URBÁN

I need to write that down here. 698

And your good name, sir? 699

FLORO

Me? Floro. 700

URBÁN

That’ll do. I’ll get back to the church. 701

CAMILO

May God be with you. 702

(URBÁN exits)

CAMILO

Now we are both in the procession. 703

FLORO

Will you pray? 704

CAMILO

I will start today. 705

Wait! Oh God, I gave the man a doblón 706

instead of two reales ! 707

FLORO

Now you notice? 708

There’s no redeeming it now. 709

CAMILO

Get in there. 710

There must be something we can do. 711

FLORO

That’s why he said 712

you were a nobleman. 713

CAMILO

Damn it! 714

This procession doesn’t come cheap! 715

(Exeunt)

SCENE ELEVEN

([LEONARDA’s house])

(Enter LEONARDA, JULIA, and URBÁN)

LEONARDA

Well done, Urbán! 716

URBÁN

What can I say? 717

I am one in a million. 718

LEONARDA

How clever to get 719

their names and addresses on paper! 720

So his name is Camilo? 721

In that, too, he is like the deceased? 722

URBÁN

There’s no doubt he’s noble, 723

though we’ve never heard of him. 724

After all, didn’t he give me a doblón 725

when a real would have done? 726

JULIA

He must be generous. 727

It was a noble gesture, indeed. 728

LEONARDA

Tell me, Julia, 729

what could one lack, 730

whom nature grants such gifts? 731

URBÁN

About those gifts ... 732

I swear I’ve never seen 733

a finer looking man 734

since the day I was born. 735

What a face, what elegance! 736

What a neatly kept beard! 737

Such generous hands! 738

They looked like pure snow. 739

What a figure, what a well-turned leg! 740

What charm, what cleverness! 741

What an elegant way with a doblón ! 742

And how I swooned 743

when I saw it gleaming! 744

LEONARDA

I can no longer bear 745

this unbearable flame— 746

it is killing me. 747

My dear friends, 748

this may seem 749

like a great weakness on my part, 750

but my heart trusts 751

in your love and loyalty. 752

You have served this house 753

since my parents’ time. 754

I know how much you love me. 755

Since I don’t intend to marry, 756

nor to become engaged, 757

today you must find my remedy, 758

today I entrust you with my life. 759

My reputation is in your hands. 760

URBÁN

Is it your fear or your love 761

that makes you doubt us now? 762

By God, they’d never get a word out of me: 763

not if they put me on the rack, 764

not if they tried 765

to buy me off with gold! 766

Trust Julia and me, 767

and tell us what to do. 768

LEONARDA

You, Urbán, must be my remedy. 769

Listen carefully. 770

URBÁN

I’m listening. 771

LEONARDA

You see how Valencia is all a riot at Carnival, 772

with masks and costumes everywhere. 773

URBÁN

That’s right. 774

LEONARDA

Well, if anything goes, 775

then put on a costume and a mask, 776

go find this gentleman 777

and let on, Urbán, 778

that a certain lady favors him, 779

that she loves him dearly, 780

and that he could have her 781

if he waits for you tonight 782

on this side of the Palace Bridge. 783

If he agrees, 784

you will fetch him there tonight. 785

URBÁN

Shall he see me 786

and where you live? 787

LEONARDA

No. You will wear a mask, 788

you’ll place a hood over his head, 789

and bring him thus to the house. 790

We’ll keep him in the dark, 791

and when it’s time for him to go, 792

he must wear the hood again. 793

Whom could he know that way? 794

URBÁN

A well thought out plan, indeed! 795

He’ll yield like a tame falcon. 796

What am I waiting for? 797

I’m off. 798

(URBÁN exits)

LEONARDA

Don’t be long. 799

URBÁN

I won’t. 800

JULIA

Whose idea was this? 801

LEONARDA

It was Love, 802

who has the wise at its feet. 803

JULIA

I think someone is at the door. 804

LEONARDA

Go and see who it is. 805

(JULIA exits)

LEONARDA

What won’t a determined woman do 806

for the sake of her pleasure? 807

What torment could change her resolution? 808

What flame, what noose, what sharp sword? 809

What more daring giant reaches for the heavens? 810

What more daring Hercules attempts the descent to hell? 811

That powerful boy 812

has melted my frozen heart with his love 813

and vanquished my devotion to my first husband. 814

I’ve been like a dammed up river 815

that only now runs wild. 816

I have been, in short, a woman. 817

SCENE TWELVE

(Enter JULIA)

JULIA

There is someone here 818

selling books and etchings. 819

LEONARDA

What does he want, 820

if he’s in costume? 821

JULIA

He doesn’t have a mask. 822

LEONARDA

We must keep up appearances. 823

I am still pious. Let him in, 824

and let’s see what he wants, 825

or if there is something we can buy. 826

SCENE THIRTEEN

([At LEONARDA’s front door])

(Enter OTON, in foreign or French clothes with four books in a basket)

OTÓN

May God keep you, 827

and give you a fine husband. 828

LEONARDA

He’s been very merciful 829

in not wishing one on me. 830

OTÓN

Why, when you are so beautiful? 831

LEONARDA

Show me what books you are selling. 832

OTÓN

I have one here that you can have 833

for a reasonable price. 834

But it’s all my story, 835

and might be too much for you. 836

LEONARDA

How irresistible! 837

I told you so, Julia. 838

(Aloud, pointing at a page) Who is this? 839

OTÓN

That is the romance of The Shepherd of Filida . 840

LEONARDA

I know. 841

OTÓN

Gálvez Montalvo was its great author. 842

He died at sea 843

as a Knight of San Juan, 844

while I drown in a deeper 845

and much rougher sea. 846

LEONARDA

Are you a bookseller or a suitor? 847

OTÓN

I couldn’t say. 848

Here’s another romance, of cruel Galatea . 849

If you want a fine book, 850

then look no further. 851

It’s by Miguel de Cervantes, 852

who lost a hand fighting at sea, 853

while I lose ... 854

LEONARDA

Hush, Julia, calm down. 855

(Aloud) What have you got to lose? 856

OTÓN

... my soul and my life, 857

for another Galatea, 858

one more cruel than Medea, 859

and less obliging. 860

LEONARDA

Who is this? 861

OTÓN

Espinel, a brave poet. 862

LEONARDA

What is it about? 863

OTÓN

It’s just sonnets, 864

but it has some nice lines, 865

and some serious poetry, too. 866

He loved until death, 867

though he did not die of it, unlike me. 868

LEONARDA

So are you a suitor or a bookseller? 869

OTÓN

I couldn't say. 870

Here you have a songbook, 871

full of nonsense. 872

LEONARDA

Don’t deal in bad imprints. 873

OTÓN

It’s better imprinted in me ... 874

LEONARDA

What? 875

OTÓN

Eternal servitude, 876

and love, and suffering! 877

LEONARDA

Is this wooing or selling? 878

OTÓN

I couldn't say. 879

SCENE FOURTEEN

(Enter VALERIO, dressed as merchant, with prints)

JULIA

Now the printseller is in the house. 880

VALERIO

Prints, prints, get your fine prints! 881

LEONARDA

Either I am missing something, 882

or this peddling is a set-up, 883

for both these suitors, 884

who came up with this ploy, 885

took off their Carnival masks 886

as they came into the house. 887

Julia, is this appropriate, 888

in my seclusion? 889

JULIA

I think there’s something fishy here. 890

LEONARDA

I can see that. 891

So many men in my house! 892

VALERIO

Otón got here first? 893

OTÓN

Valerio is here, too? 894

LEONARDA

What is it that you’re selling, exactly? 895

VALERIO

Can’t you see? 896

I offer you my heart. 897

LEONARDA

Let me see, what is this print? 898

VALERIO

The beautiful Adonis , 899

painted by Titian 900

with divine strokes. 901

Oh to be loved as he was! 902

I die in despair, 903

while he died in his lover’s arms. 904

This one, on my word, 905

so fine and delicate, 906

is the work of Raphael, 907

and superbly engraved. 908

And this one is Flemish, 909

and that one Italian. 910

LEONARDA

These are hardly suitable for me. 911

Do you have any religious images? 912

VALERIO

Yes, here. Look at this, 913

an exquisite print on marriage. 914

LEONARDA

Which I hope never to see. 915

VALERIO

You are not impressed, 916

yet, why not? 917

Thousands await your “I do,” 918

and there might even be 919

a certain gentleman nearby 920

who is in love with you. 921

I am Valerio, 922

although I am in disguise now. 923

OTÓN

Since we are naming names, 924

you have Otón at your service. 925

I am rich and of noble birth, 926

and madly in love with you. 927

LEONARDA

Is there no one here 928

who can buy you off? 929

You there! 930

SCENE FIFTEEN

(Enter two servants)

SERVANT 1.º

My lady ... 931

LEONARDA

Show the bookseller 932

and the printseller out ... 933

OTÓN

My lady, is it wrong to ask 934

for what you owe us? 935

LEONARDA

Servants, what are you waiting for? 936

VALERIO

Hold on, there is no need to get upset. 937

LEONARDA

You take liberties, 938

and then want to charge me? 939

Fine books indeed! 940

Come now, throw them out! 941

VALERIO

That won’t be necessary, 942

we will find our way out. 943

OTÓN

We won’t stand for this. 944

SERVANT 2.º

The nerve of those foreigners! 945

SERVANT 1.º

There is another one at the door 946

with creams and perfumes. 947

Well then! Down you go. 948

VALERIO

You’re back to your cruel ways! 949

LEONARDA

Close the door, 950

that will keep this insolence out. 951

VALERIO

Julia, are we still friends? 952

JULIA

Hush, my lady will hear us. 953

(Exeunt)

SCENE SIXTEEN

([On the street])

(Enter CAMILO and URBÁN, disguised with a mask)

CAMILO

By God, masked man, 954

this is quite a risk I am taking, 955

when I don’t even know who you are. 956

URBÁN

Camilo, this will be 957

our little secret. 958

CAMILO

Shouldn’t that lady trust me 959

with her reputation, 960

when she offers me her soul? 961

Could I not serve her, talk to her, 962

see her, hear her, and know her name? 963

URBÁN

Let’s not talk about it. 964

If you try to find out too much, 965

all will be lost. 966

CAMILO

I swear by my faith as a gentleman, 967

you’ll make me lose my mind. 968

As God is my witness, 969

had I enemies out there, 970

I would suspect a trap, 971

but no man is more beloved, 972

nor has more friends in this town. 973

I am glad you said 974

at least I could come armed 975

and carry my pistol, 976

to this secluded love nest. 977

URBÁN

Bring one, bring a hundred. 978

If you don’t let curiosity 979

get in the way of your skill, 980

your valor, your good taste, 981

and your will, 982

you’ll enjoy the finest 983

this city has to offer. 984

CAMILO

What does it matter how beautiful she is, 985

if I must enjoy her in the dark? 986

I assume she is ugly. 987

URBÁN

When you speak to her and touch her, 988

a light will shine upon you. 989

If she does not please or bores you, 990

you need not come back. 991

CAMILO

My only complaint 992

is having to cover up like this. 993

URBÁN

Those are the rules. 994

Need I say more? 995

CAMILO

Must my head be covered? 996

URBÁN

Yes, Camilo, 997

from the moment you enter and until you come out. 998

CAMILO

What a ruse, brilliant! 999

URBÁN

You must accept these conditions. 1000

CAMILO

And where should I wait for you? 1001

URBÁN

Be at the bridge 1002

by the royal palace at three, 1003

and know that if you bring anyone else, 1004

I will not speak to you. 1005

CAMILO

Do men not give up 1006

their country and their house 1007

to go see Italy and France? 1008

To reach the Portuguese Indies, 1009

do they not face the raging seas? 1010

Do they not leave their land 1011

to see foreign wars? 1012

Are there not thousands who, 1013

for the sake of a party, 1014

mingle with those they hate 1015

amid insufferable heat? 1016

Does the hunter not endure 1017

sun and ice to see 1018

a shy little rabbit 1019

emerge from its den? 1020

Or the fisherman for the sake 1021

of a fish on his hook? 1022

And I, young and proud, 1023

why am I so afraid of this charm? 1024

(Aloud) Go on then, I will be there. 1025

URBÁN

You’ll be happy if you go. 1026

CAMILO

You will find me on the bridge 1027

at the agreed upon hour. 1028

URBÁN

And what a night you’ll have with that angel! 1029

CAMILO

Enchanted, to say the least. 1030

URBÁN

She’ll be expecting you. Goodbye. 1031

CAMILO

I am eager 1032

for your return. 1033

URBÁN

It will not be long. 1034

CAMILO

I shall find out what this is, 1035

if it costs me my life. 1036

ACT II

SCENE ONE

([On the bridge])

(Enter CAMILO)

CAMILO

Be brave, my thoughts, 1037

in your reckless endeavour! 1038

We’ve come to that pass 1039

where your boldness would have me 1040

conquer though I’m conquered. 1041

Torn between fear and desire, 1042

I set off in fits and starts, 1043

and no longer know 1044

if I’m coming or going. 1045

Could it be that someone, 1046

envious of my nobility, 1047

has double-crossed me? 1048

Will this come 1049

to clubs or swords? 1050

Shall I bravely bend my neck, 1051

like a little lamb who can’t tell 1052

it’s already been sold, 1053

and is headed straight for the slaughter? 1054

I never meant to offend anyone. 1055

I must be mistaken. 1056

He who has not offended 1057

need not watch his back. 1058

And the one who told me of this affair 1059

said I was welcome to come armed ... 1060

but that was to make me afraid, 1061

for fear is always on guard. 1062

Even if I go as I am, 1063

what danger could I avoid 1064

when he will cover my eyes? 1065

Blind, I will be easy to catch. 1066

Who ever heard of such a thing, 1067

that a beautiful woman, 1068

wanting a man so badly, 1069

should not let him see her? 1070

How cautious she is with her reputation! 1071

What if I think I am embracing 1072

a beautiful angel, 1073

while I’m actually taking 1074

a demon in my arms, 1075

one who flies around at night, 1076

too ugly to show its face? 1077

What if she is an old woman, 1078

without eyelashes or eyebrows, 1079

and a mouth full of fake teeth, 1080

whose spells render me 1081

as meek as a sheep? 1082

Or what if she is a wretch, 1083

all pocked with the French pox, 1084

who would give me years of suffering 1085

for the sake of one hour’s pleasure? 1086

But there are people coming. 1087

SCENE TWO

(Enter URBAN, wearing a mask and carrying a hood)

URBÁN

There is a man standing by himself. Who goes there? 1088

CAMILO

Are you by chance that friend of mine? 1089

URBÁN

At your service. 1090

CAMILO

How could any sane man be doing this? 1091

URBÁN

Can anyone see us? 1092

CAMILO

The moon and the stars. 1093

URBÁN

Let them not shine upon us. 1094

Oh, what a lovely angel awaits you! 1095

You are a lucky man. 1096

CAMILO

No doubt, 1097

but whether she be ugly or beautiful, 1098

loathsome or lovely, 1099

what difference does it make, 1100

if I am to enjoy her in the dark? 1101

URBÁN

What difference? What do you mean? 1102

Is it not better to feel a plump and perfect body, 1103

than to caress a skeleton, 1104

the very image of death? 1105

Beauty is like a fine scent, 1106

a natural quality 1107

that you know, see, and smell 1108

for the soft breath it exhales. 1109

CAMILO

Am I a doctor or a healer? 1110

Why should I care about scents? 1111

Pleasure comes through the eyes, 1112

the very act of seeing, 1113

knowing, and conversing with a lady, 1114

is what makes love desirable. 1115

A blind man, on the contrary, 1116

such as I will be with this lady, 1117

takes his pleasure like a beast. 1118

URBÁN

I don’t agree, 1119

for the blind man can only 1120

imagine a face, 1121

but if you’re awake 1122

and look carefully, 1123

you’ll see the real thing. 1124

Certain eyes shine like fire at such a moment. 1125

Won’t four of them together 1126

see heaven and earth? 1127

CAMILO

While others may 1128

just as well be dead. I 1129

s she young? 1130

URBÁN

You won’t see her. 1131

CAMILO

Is she married, or a dubious maid? 1132

Or perhaps a widow instead? 1133

URBÁN

It depends. 1134

Sometimes she is married, 1135

sometimes a maid, 1136

and other times a widow. 1137

She is neither married nor a maid, 1138

nor a widow, nor dishonored and abandoned. 1139

CAMILO

Has she been wrapped 1140

in tissue paper? 1141

Some lady you have, 1142

if I follow you! 1143

There must be a trick. 1144

What if it’s a man, 1145

and not a woman? 1146

Am I so pretty, then? 1147

Oh, how I’d like 1148

to pull off his mask, 1149

though it might cost me the lady 1150

who has cost me so little! 1151

But I am all ablaze now 1152

with desire. 1153

(Aloud) My friend,

let’s go see this obscure lady. 1154

I’ve never seen the like of her. 1155

URBÁN

Put on your hood. 1156

CAMILO

Everyone will think 1157

I’m crazy. 1158

URBÁN

Not at all. 1159

CAMILO

Sack cloth? 1160

Could you not at least have made it silk? 1161

((URBÁN puts the hood on CAMILO))

Is it a long walk? 1162

URBÁN

Very long, yes. 1163

CAMILO

Now you’ll take me to the river, 1164

and throw me in to put out my fire. 1165

URBÁN

You must trust me. 1166

There is no need to be angry, my lord. 1167

SCENE THREE

([On the street, on their way to LEONARDA’s house])

(Enter OTÓN and CAMILO holding onto URBÁN’s belt)

OTÓN

Oh starry night, 1168

you who guide my steps and my life, 1169

on my way to the grave, 1170

turn black and dark 1171

so I might ask a favor of you. 1172

For though I’ve come out to these fields, 1173

whose calm should temper 1174

my blind ardor, 1175

it blazes all the more 1176

in the face of her disdain today. 1177

URBÁN

There is a man over there. 1178

Stay close. 1179

OTÓN

Halt! Who is that? Who goes there? 1180

CAMILO

Here I am, fully armed, 1181

and playing blind man’s bluff. 1182

OTÓN

No answer? 1183

CAMILO

This is good. 1184

What if he shoots now? 1185

URBÁN

I am in disguise. 1186

OTÓN

A fine fool! 1187

URBÁN

We had a little to drink, 1188

and we were walking it off. 1189

Come this way, sir. 1190

CAMILO

Oh, may the saints help me! 1191

(Exeunt URBÁN and CAMILO)

OTÓN

How wine changes men! 1192

And love, too, 1193

for this ungrateful widow. 1194

Can it be that she is 1195

so chaste and honest, 1196

an Artemisia of fidelity, 1197

and gives so many gentlemen 1198

that same “no” as an answer? 1199

It cannot be—there’s something amiss. 1200

I suspect the saintliness 1201

of her life is feigned, 1202

for saintliness usually 1203

looks pale and wan. 1204

But for a coddled widow 1205

who easily eats up 1206

three or four thousand in rent 1207

to spend the cold nights 1208

alone like a girl! 1209

What does it matter 1210

if she is locked up in her room, 1211

and they all think she is praying, 1212

when her steward gets her what she needs? 1213

Now, I won’t sleep, 1214

not in a hundred nights, 1215

I’ll spend them all 1216

on her street and at her door, 1217

and if someone wakes her, 1218

by God, he must die! 1219

Neither snow nor rain— 1220

though it rarely snows here— 1221

or lack of sleep shall stop me. 1222

I will be a stone at her doorstep, 1223

and freeze anyone who faces me, 1224

just like Medusa. 1225

(OTÓN exits)

SCENE FOUR

([In LEONARDA’s house])

(Enter LEONARDA in elegant clothing, and JULIA)

LEONARDA

Are the hangings and velvets 1226

all in their proper places? 1227

JULIA

They are perfect, my lady. 1228

Turn around and look at them. 1229

LEONARDA

Is that tapestry 1230

right for that sitting room? 1231

JULIA

It is fit for a viceroy, 1232

and even for the king. 1233

LEONARDA

And what a suitable story! 1234

It tells the loves of Jacob. 1235

JULIA

Unlike your own swift glory, 1236

so quick to come. 1237

Jacob waited fourteen years 1238

for what you will have in an hour’s time. 1239

LEONARDA

Pray to God that my good fortune 1240

not leave me now! 1241

What is taking Urbán so long? 1242

What should we do? 1243

JULIA

You can play a little. 1244

LEONARDA

He must not have liked the idea! 1245

I’m so wretched! 1246

JULIA

Don’t make a scene. 1247

That would make no sense 1248

for such a strapping young man. 1249

LEONARDA

Maybe there is something womanish 1250

about his beauty! 1251

And what Roland, what knight, 1252

would agree to have his head covered 1253

to come here in the dark? 1254

JULIA

He is a noble gentleman, 1255

a manly, handsome youth, 1256

not like those namby-pambies. 1257

Next to him, Achilles himself 1258

would seem a low coward! 1259

Didn’t Leander swim the gulf 1260

a thousand times for the sake of love? 1261

LEONARDA

Don’t you know that’s just a story? 1262

And that was after they had seen each other, and spoken! 1263

And up in that tower, away from the wind, 1264

a single light was always lit, 1265

while here he won’t have one, 1266

even inside the bedroom. 1267

Say instead he is like that Roman, 1268

who leapt into the pit, 1269

or the one who charged a bridge, 1270

or the one who burnt his hand, 1271

those I might believe. 1272

JULIA

I deserve a reward. 1273

LEONARDA

I don’t think so. 1274

JULIA

I’m waiting! 1275

LEONARDA

You may have the long cloak, Julia, 1276

the one I was wearing yesterday. 1277

JULIA

The purple and gold one? 1278

LEONARDA

Hurry, give me my mask, 1279

and take yours. 1280

SCENE FIVE

([In LEONARDA’s house])

(Enter URBÁN, and CAMILO)

URBÁN

We are here, Camilo. 1281

CAMILO

Since I came up the stairs, 1282

I must be in the bedroom. 1283

LEONARDA

Have him sit down. 1284

URBÁN

Sit. 1285

CAMILO

Where? 1286

URBÁN

Here. 1287

CAMILO

Who was that who spoke? 1288

URBÁN

My lady. 1289

LEONARDA

And your slave. 1290

CAMILO

Is she the one who just spoke? 1291

Damn it! 1292

I’m taking my hood off. 1293

((He takes it off))

By God, I’m in the dark! 1294

LEONARDA

The only reason I allowed it, 1295

and forgive your trespass. 1296

Give me a seat next to him. 1297

CAMILO

What a charming spell. 1298

LEONARDA

I will sit at your side, my lord. 1299

CAMILO

My God, how difficult to bear! 1300

This love in the dark sets my heart on fire, 1301

for I cannot see— 1302

like flint against steel, 1303

it has lit my desire. 1304

Like a man in the shadows 1305

who strikes light, 1306

your voice has ignited my soul. 1307

My ready heart 1308

was the kindling, 1309

and your lips the flint 1310

that struck the flame. 1311

My soul is newly lit, 1312

though not to see you in the dark 1313

is like a cold wind that blows on it. 1314

Let me see you, 1315

and not only in my mind’s eye! 1316

Who has ever heard 1317

of so much fire with no light! 1318

If you don’t trust me, 1319

let this go no further— 1320

for if this limbo leads not to bliss, 1321

then let it not lead to torment. 1322

So that I might see you, 1323

do as great painters do, 1324

who, having painted the night, 1325

put in enough light to see it by. 1326

I’m a gentleman, 1327

and if I can talk to you face to face, 1328

I am sure that my honorable ways 1329

will delight you twice over. 1330

This much you must grant me. 1331

Give me your hand! 1332

LEONARDA

My hand? Here. 1333

CAMILO

At last! 1334

JULIA

I’ll say, this man’s no fool. 1335

URBÁN

He’s got a way with words. 1336

JULIA

Such pretty talk. 1337

LEONARDA

Well, on Camilo’s life ... 1338

CAMILO

That’s my name, my lady. 1339

LEONARDA

... to give you my hand so soon 1340

was no small mercy. 1341

CAMILO

I swear it is a supreme gift. 1342

I swear I am going mad. 1343

LEONARDA

Tell me, do you like it? 1344

Don’t squeeze it. Goodness! 1345

CAMILO

The hand might well be Esau’s, 1346

and the voice, I know not whose. 1347

LEONARDA

Bring just enough light. 1348

(JULIA exits)

URBÁN

We’ll shine some light on this now. 1349

CAMILO

This is to request light while sitting next to the sun. 1350

Alas, Apollo is eclipsed. 1351

(JULIA enters)

JULIA

Here’s the lamp. 1352

CAMILO

What is going on? 1353

You are all wearing masks? 1354

LEONARDA

Keep your hands to yourself, sir. 1355

This is how it must be. 1356

If you try to see me, 1357

they’ll tear you to pieces. 1358

CAMILO

They cannot touch me 1359

in the sanctuary of your arms. 1360

I fear them not, by God! 1361

I’m here, after all. 1362

I rein in my desires, 1363

because you order me to do so. 1364

Your body is so beautiful! 1365

And what fine garments! 1366

No wonder I have not 1367

been worthy of your trust. 1368

Stunning tapestries and brocades! 1369

Stunning paintings and art! 1370

Yet they hardly shine 1371

when your eyes are covered. 1372

Will no one here vouch for me 1373

Will you love me, 1374

yet not take me at my word? 1375

LEONARDA

I entrust my soul to you. 1376

with your grace’s pardon. 1377

Once your loyalty 1378

has been attested, 1379

we will allow you to visit 1380

this house in the light. 1381

Sit down, and don’t get too excited. 1382

CAMILO

If I am not to see my prey, 1383

then tie on my hood and leash again, 1384

my friend. 1385

If I am to keep still, 1386

it would be better to have no eyes nor ears, 1387

for my senses fly 1388

after that which I can see. 1389

If you uncover the falcon 1390

and let him see his prey, 1391

the end is certain, 1392

and that heart will be his. 1393

But here, 1394

no sooner has he spotted her, 1395

he is stripped of the freedom to fly. 1396

And not only that, 1397

but in this house of veils, 1398

the partridge is hooded 1399

while the falcon can see. 1400

By God, my lady! 1401

Can it be that you’ll allow 1402

me to hear you, 1403

but not see you? 1404

LEONARDA

Now, now. 1405

Fetch him some food 1406

to temper his heart. 1407

(JULIA exits to bring refreshments)

CAMILO

Food, by God? 1408

How can I eat 1409

when that same heart is on fire? 1410

I’ve had enough of this house! 1411

Am I not to see a single face? 1412

How am I to trust 1413

that the food you bring 1414

is not poisoned? 1415

LEONARDA

Trust the heart in my breast, 1416

which has fallen for you. 1417

CAMILO

That will not do. 1418

If you wore that hood to the shops, 1419

no one would give you credit, 1420

no matter how much bosom you showed. 1421

I am the shopkeeper here, 1422

and you, that woman in a veil. 1423

Why should I grant you life, 1424

when I’m not allowed to see you? 1425

LEONARDA

Camilo, don’t be so put out 1426

that I should veil myself this way, 1427

for there are things about me, sir, 1428

of which you are unaware. 1429

I saw you, 1430

and fell for you, 1431

so that I couldn’t resist this satisfaction. 1432

This is the remedy I sought, 1433

so that you could be here with me 1434

without being able to tell anyone 1435

who I am or where you’ve been. 1436

If you think this means 1437

that I do not trust you, 1438

let there be no doubt 1439

about my intentions. 1440

I shall give you jewels 1441

worth two thousand ducats. 1442

CAMILO

Fine jewels? 1443

LEONARDA

You there! Bring me those chains 1444

and that charm, the Cupid one. 1445

Bring them here ... 1446

CAMILO

No. Don’t do that. 1447

It will only upset me further. 1448

For I desire your eyes 1449

more than any jewels you could offer. 1450

If you gave me those sapphires, 1451

or the rubies and pearls 1452

of your mouth, 1453

I could give you so much more, 1454

if only I could see them. 1455

Know that I, too, have gold in my house. 1456

Thank God, I’m not a poor man. 1457

LEONARDA

I wish you more than 1458

what the Orient sends to Spain. 1459

But take this ring as a token of my love. 1460

Your hand will set it off. 1461

CAMILO

And yours is perfect for this one. 1462

Please allow that white hand 1463

to wear it in my name. 1464

(JULIA enters, with refreshments)

JULIA

Here are the refreshments. 1465

CAMILO

There’s no point. 1466

By my faith, 1467

I will not eat a thing. 1468

LEONARDA

You can’t refuse, 1469

just one bite. 1470

I am an honest woman. 1471

CAMILO

Do you mean because of the poison? 1472

LEONARDA

Yes. 1473

I swear on my life, you must try it! 1474

CAMILO

If you swear, 1475

then let a thousand deaths befall us. 1476

I will consume the poison 1477

as Alexander took his doctor’s. 1478

Where trust abounds, 1479

no harm can be done. 1480

URBÁN

He certainly knows his history! 1481

JULIA

He is very well read. 1482

URBÁN

Don’t think he’s such a gem, 1483

he is just pretentious. 1484

(Aloud) I will fetch the drinks. 1485

(URBÁN exits)

CAMILO

She’s witty, that’s for sure. 1486

(Aloud) Let’s make a deal. 1487

LEONARDA

He is as smart as he is wily. 1488

CAMILO

If this is how you carry on, 1489

you and your servants, 1490

how can you call to them 1491

without using their names? 1492

Let me give you false ones, 1493

so I can make sense of things. 1494

(URBÁN enters with drinks)

URBÁN

Drink. 1495

CAMILO

I shall drink later. 1496

URBÁN

Have something to drink. 1497

JULIA

They’re amused. 1498

URBÁN

These sugar-coated youths, 1499

all syrupy sweet, drive me mad. 1500

Not even a nymph is so very particular. 1501

(Aloud) Drink. 1502

CAMILO

Give here, I will drink. 1503

URBÁN

What a tiny, cautious sip! 1504

(Aloud) Tell me, did that do you any harm? 1505

CAMILO

How can I hesitate with all this fine silver? 1506

I have had enough, my lady. 1507

URBÁN

So coy now, 1508

and later he’ll polish off a whole wine-skin. 1509

(Aloud) Here’s to my lady, 1510

and here’s to you, Camilo. 1511

And finally, Julia, here’s to us both, 1512

for he who drinks well, loves well. 1513

JULIA

Listen up or get out of here. 1514

He wants to give us names, 1515

so he can call for us. 1516

URBÁN

I am listening. Here’s to me. 1517

LEONARDA

What will you call me? 1518

CAMILO

You, I will call Diana, 1519

for obvious reasons. 1520

LEONARDA

And what are those? 1521

CAMILO

Isn’t she the moon? Does her light not shine? 1522

LEONARDA

Yes. 1523

CAMILO

Does she not darken and fade? 1524

URBÁN

Oh, that is good! 1525

JULIA

Take note. 1526

URBÁN

I am. Here’s to me. 1527

CAMILO

I shall call you Iris, 1528

Diana’s messenger, 1529

and you, Mercury. 1530

LEONARDA

Could anyone 1531

find us better names? 1532

URBÁN

Me Mercury? Oh well. 1533

Wouldn’t Bacchus be better? 1534

JULIA

That’s enough out of you! 1535

URBÁN

I am listening. And here’s to me. 1536

LEONARDA

It’s late. You should be going. 1537

All this talk… 1538

The night has flown, hasn’t it? 1539

CAMILO

So you won’t take off your mask? 1540

LEONARDA

This won’t be our last night together, Camilo. 1541

This is enough for now. 1542

You must leave the way you came in. 1543

(To URBÁN) Escort him to where you found him. 1544

URBÁN

All right, let’s get that hood on. 1545

CAMILO

May I not embrace you before I go? 1546

LEONARDA

Why, yes. 1547

CAMILO

A fleeting pleasure. 1548

((URBÁN tries to put the hood over CAMILO’s head))

(To URBÁN) Careful! 1549

URBÁN

Your neck is really long. 1550

LEONARDA

You fool, you’re going to hurt him! 1551

URBÁN

They’ll never get a decent chord out of you. 1552

God bless a good bass, 1553

that lasts and lasts! 1554

Grab on tight to my waist. 1555

CAMILO

Farewell, lady Diana. 1556

LEONARDA

Oh, how I long for tomorrow! 1557

Off with this mask! 1558

JULIA

Yes, me too. 1559

It’s time to retire for the night. 1560

(Exeunt LEONARDA and JULIA)

CAMILO What a state I’m in! Oh, blind love! 1561

URBÁN Am I any better off? 1562

This is the sick leading the blind. 1563

SCENE SIX

([On the street, next to LEONARDA’s door])

(They exit and VALERIO enters, dressed in evening attire)

VALERIO

Oh, suspicion! 1564

You, who have driven even the sanest mad, 1565

and drawn up in the finest minds 1566

scenes more unlikely than those ever painted 1567

on a new-fangled stage, 1568

or drafted by an inspired bard. 1569

Where are you taking me and my mad imagination, 1570

as I roam the streets while everyone sleeps? 1571

Even Ursa Major and its starry wagon 1572

have retired for the night, 1573

the six Pleiades have started their descent, 1574

as has their seventh sister, who rarely shows her face. 1575

And I, suspicion, hounded by you, 1576

burn not as stars do, no, 1577

but with the fire of the eternal abyss, 1578

through whose gaping mouth 1579

it blazes incessantly. 1580

I hate to say it, but I can’t shake the thought 1581

that this Leonarda, 1582

with all her pictures and books, 1583

has one in particular that she adores. 1584

Night, if some man be in there, 1585

let dawn break to drive him out. 1586

Yet how will I spot him, 1587

when this house is like Thebes, 1588

with its hundred looming gates? 1589

People are coming! 1590

I’ll take this side of the portico, 1591

and see where they are headed. 1592

SCENE SEVEN

([On the street, next to LEONARDA’s door and window])

(OTÓN enters, dressed in evening attire, and VALERIO hides to one side)

OTÓN

A private matter—friends and family— 1593

kept me from arriving sooner. 1594

Forgive me, street, 1595

and you, too, oh fortunate window, 1596

if I am late to greet you. 1597

What sighs of love 1598

fly into you, window! 1599

More than April has flowers, 1600

more than morning pearls of dew! 1601

If only I knew what sighs fly out! 1602

How many suitors, like Iphis before them, 1603

hang from these gates, 1604

by a single one of her hairs, 1605

begging the heavens to turn 1606

that hard-hearted woman to stone? 1607

And you, door ... But what’s this? 1608

Can this be? 1609

What shade is this, or what new column? 1610

My heart did not mislead me, 1611

when it brought me here tonight. 1612

Could this be that fortunate man, 1613

who enjoys the widow now? 1614

What am I to say or do to him? 1615

Oh heavens! I’ll balance out the façade, 1616

and flank the door on the other side. 1617

SCENE EIGHT

([On the street, next to LEONARDA’s house])

(Enter LISANDRO, dressed in evening attire, and OTÓN hides on the opposite side)

LISANDRO

Widow, may God ever keep you thus! 1618

While you stand fetchingly at that window, 1619

from now until the dawn! 1620

I’d like a word with you. 1621

That “I do” that you deny 1622

to your suitors one and all, 1623

what would it take to hear you call? 1624

Young yet pure, happy and sad— 1625

I hate to see you a maiden once more. 1626

You are so cutting and sharp, 1627

even fools now think 1628

you must have a secret lover. 1629

You lock yourself in your house, 1630

in order to deny it, 1631

yet what difference does it make, 1632

when you come and go to the village 1633

as easy as you please? 1634

These empty fields, 1635

these orchards and gardens, 1636

may not open for Matins, 1637

but they are open for love. 1638

No one believes, good widow, 1639

that your heart has gone unclaimed. 1640

You look so sad, 1641

when you’re not half bad-looking. 1642

I cannot believe that a woman, 1643

when she is young and rich, 1644

or, indeed, any woman 1645

who, like you, is free, 1646

would not give herself over 1647

entirely to pleasure. 1648

Although you may say 1649

you run from a second marriage 1650

like Angelica from the knights, 1651

I vow, I’ll join a convent 1652

if you aren’t actually in love! 1653

Oh! I’ve spoken too soon, 1654

without realizing I’d be heard 1655

by these living shadows! 1656

Alas, dear wall, of course you have ears. 1657

Oh, such a mighty house! 1658

Giants prop up your doors, 1659

your columns are girded. 1660

You have guards here for the night. 1661

And where there are so many guards, 1662

there must be a treasure to be had. 1663

If they are your support, 1664

let us all buttress you up. 1665

Leaving is out of the question: 1666

make room, I’ll get in the middle. 1667

SCENE NINE

([On the street, in front of LEONARDA’s house])

(LISANDRO stands between VALERIO and OTÓN, and a SHERIFF enters with a lantern, and servants, and a scribe)

SHERIFF

Quite a take in that card game! 1668

SCRIBE

And a nice pot, to boot! 1669

SHERIFF

This house has many secrets. 1670

They always hand out food, 1671

and there are women going in and out. 1672

I’ll charge them with something to flush them out. 1673

There are people by that door. Who goes there? 1674

Stop in the name of the King! 1675

OTÓN

We’re not moving! 1676

Get that lantern out of our faces. 1677

SHERIFF

Come closer, hoods off, 1678

so I can take a good look at you. 1679

VALERIO

Look here, we are gentlemen. 1680

SHERIFF

I believe you, 1681

but I need to see you with my own eyes. 1682

People like to play tricks on us. 1683

So come over here ... 1684

LISANDRO

Please, can we do this somewhere else? 1685

SHERIFF

No, we will do it right here. 1686

By God, show yourselves! 1687

My lord Otón, Lisandro, and you, Valerio! 1688

Could you not just have told me your names? 1689

OTÓN

I would rather not have. 1690

LISANDRO

Nor I. 1691

But I am glad to have the truth out. 1692

VALERIO

As am I. 1693

I now confirm my worst suspicions. 1694

SHERIFF

So, I can rest assured, 1695

I haven’t inconvenienced you? 1696

LISANDRO

Not in the least. 1697

We’re much obliged. 1698

SHERIFF

It is my pleasure. 1699

Gentlemen, shall I escort you anywhere? 1700

OTÓN

We’ll stay here. 1701

SHERIFF

All right, then. Goodbye. Let’s go. 1702

(The SHERIFF exits)

SCENE TEN

([On the street, in front of LEONARDA’s house])

LISANDRO

We’re always running into each other! 1703

VALERIO

Otón is quite the architect. 1704

OTÓN

What about Valerio? 1705

LISANDRO

With such a huge gate, 1706

the three of us did all we could. 1707

But I had the upper hand. 1708

VALERIO

Of course: you were in the middle. 1709

OTÓN

If the sheriff hadn’t shown up, 1710

we would have sliced each other up. 1711

LISANDRO

I feel better knowing that we all 1712

acted a bit foolishly. 1713

OTÓN

That’s not the right word 1714

for this lunacy. 1715

But aside from that, 1716

you were the biggest fool of all, 1717

to get between two men. 1718

LISANDRO

I’d get among a hundred, 1719

though they were all Rodamonts. 1720

OTÓN

Look out for the lion! 1721

LISANDRO

I’m not kidding. 1722

I can crush trees and mountains 1723

just as Roland did. 1724

But the height of idiocy 1725

was that stunt you pulled 1726

when you went in there to sell books, 1727

and Valerio to sell prints. 1728

OTÓN

So what? Didn’t our disguises 1729

get us in the door? 1730

VALERIO

Hold on. 1731

I wasn’t the only one 1732

who made a fool of myself. 1733

He dressed up as a peddler 1734

with a thousand rosaries, 1735

and couldn’t get them to open the door. 1736

OTÓN

Is that right? 1737

Well, let me congratulate him then. 1738

LISANDRO

If all is revealed now, 1739

then our game is up. 1740

Let us change our tune, 1741

and figure out who’s the lucky one. 1742

That will give us something to talk about. 1743

OTÓN

If that’s the case, 1744

then I shall say why I, Otón, 1745

came here tonight. 1746

VALERIO

Was it to find out 1747

for whom this door would open? 1748

OTÓN

That’s exactly why I came. 1749

LISANDRO

I am quite certain, 1750

since that’s why I came, too. 1751

VALERIO

As for me, what could it be, 1752

but to answer that same question, 1753

and cast myself in this jealous abyss? 1754

OTÓN

Now that we’ve each spoken 1755

let us affirm our friendship 1756

against the fierce cruelty 1757

of that cold ungrateful heart. 1758

We must see to her dishonor, 1759

and the loss of her reputation. 1760

LISANDRO

Well said, Oton! 1761

How shall we take revenge? 1762

Do you know what has occured to me, 1763

and yet I dare not say? 1764

VALERIO

What? 1765

LISANDRO

I think this widow has 1766

a lover hidden in her house. 1767

Why else would she refuse 1768

to look outside, 1769

if she didn’t already have 1770

what she needs on the inside? 1771

A woman alone, free and rich, 1772

who has denied so many, 1773

must have some manservant 1774

she keeps by her side at night. 1775

Among her servants, Urbán, 1776

who is a quick-witted scoundrel, 1777

is the one I suspect 1778

of serving her best: 1779

he never leaves her side, 1780

goes around well-dressed, 1781

always a little too cheeky, 1782

and whispering to her. 1783

OTÓN

By God! Now I see 1784

her wicked game so clearly! 1785

I’ll slash his face 1786

or I’m no gentleman. 1787

Who could doubt it’s all exactly as you say! 1788

VALERIO

I agree completely, 1789

for I have seen him do some things 1790

which have made me suspect as much. 1791

I swear on my honor, 1792

I’ll leave my mark on him. 1793

LISANDRO

Leave something, if you please, 1794

for the one who revealed the secret. 1795

For I too shall give him 1796

a slash between your two. 1797

OTÓN

Dawn has come. 1798

By God, how sweet it is to take her down! 1799

Let’s go, and we can speak of this later. 1800

VALERIO

I swear I will kill him. 1801

LISANDRO

I will cut off his nose! 1802

OTÓN

What a slashing I’ll give him! 1803

(Exeunt)

SCENE ELEVEN

([On the street])

(Enter LUCENCIO, with a letter, and ROSANO, a foreigner)

LUCENCIO

This letter explains everything. 1804

Ercino sends me a son-in-law, 1805

and a husband for Leonarda, 1806

praising his nobility. 1807

ROSANO

No one can match his ancient blood. 1808

No young man is better favored: 1809

not Adonis, or Pyramus, or Narcissus. 1810

No one is wiser or more clever. 1811

He writes like the finest Galician poet, 1812

plays and dances like master Julio, 1813

paints portraits like a Guzmán, 1814

and fences like the famous Carranza. 1815

At court, he’s secretary 1816

to a most important prince, 1817

and he is famed there 1818

for his dashing ways. 1819

LUCENCIO

Just as the letter says. 1820

When did you leave Madrid? 1821

ROSANO

It can’t have been 1822

more than four days. 1823

LUCENCIO

Any news from the Court? 1824

ROSANO

Nothing much. 1825

But let’s not get distracted. 1826

Be honest with me, 1827

if you can trust me, 1828

and show me this widow, 1829

so that I might describe her. 1830

They insisted that I see her, 1831

for her beauty is famous in Madrid. 1832

LUCENCIO

That will be up to her. 1833

She is more private than she is famous. 1834

Although you may be sorry to hear it, 1835

you should know she is as tough and stubborn 1836

as any wild creature, 1837

despite her wit and beauty. 1838

It’s been a month since I visited 1839

to encourage her to wed, 1840

and with this I’ve spared us 1841

hurt feelings and harsher words. 1842

If I were to bring this gentleman’s case, 1843

I suspect it would all be in vain, 1844

for if she will not marry here in Valencia, 1845

much less will she leave for Madrid. 1846

That being said, we will do our best. 1847

ROSANO

I am much disheartened by your news, sir, 1848

but we must certainly try it, 1849

so I can at least say I made the attempt. 1850

LUCENCIO

I will make arrangements 1851

for us to speak with her today, 1852

for I have always been beholden to Ercino... 1853

ROSANO

Go on, I beg you! 1854

LUCENCIO

People are coming. They mustn’t hear of this. 1855

(Exeunt)

SCENE TWELVE

([On the street])

(Enter CAMILO and FLORO)

CAMILO

As I was saying, Floro, 1856

after that first night 1857

when I was hooded like a hawk, 1858

and had to follow blindly, 1859

came another six or seven nights 1860

in the same manner, 1861

until finally I enjoyed her, 1862

only by the light of our eyes. 1863

I envy those birds 1864

that fly by night, 1865

and might see in the dark 1866

what I adore by touch alone. 1867

I have become fond of her 1868

without seeing more than I can sense 1869

by touch, as blind men do. 1870

It’s a strange business. 1871

I have done things to see her 1872

—don’t think I have not tried!— 1873

that would have softened 1874

any savage barbarian, any monster: 1875

now pretending mortal pains 1876

with moans and sighs, 1877

now swearing never to see her again 1878

with vows and promises. 1879

But neither sweet words, 1880

nor fury, nor anger 1881

would persuade her to show herself. 1882

And so, I am left enchanted and obsessed. 1883

FLORO

Of course you are! What a story! 1884

Why not take your own light? 1885

CAMILO

To dare such a thing, Floro, 1886

could cost me my life. 1887

When Psyche looked upon Cupid 1888

while taking pleasure in the dark, 1889

she lost that glorious love, 1890

and caused her own sorrow. 1891

FLORO

What will you do, 1892

under the spell of such blind love? 1893

CAMILO

I’ll imitate Cupid, 1894

who loves without seeing. 1895

FLORO

Can’t you take some chalk with you, 1896

to mark the door? 1897

CAMILO

Her man has such tricks 1898

that I lose my bearings. 1899

I could be outside the gate 1900

and he’ll tell me I’m inside. 1901

FLORO

Here comes a lady’s coach. 1902

(Enter LEONARDA and JULIA, with capes)

CAMILO

And from it descends, 1903

a beautiful widow. 1904

FLORO

The maid’s not bad either. 1905

LEONARDA

What a wonderful orchard. 1906

JULIA

It’s lovely in all seasons. 1907

LEONARDA

Julia, that’s Camilo! 1908

JULIA

I saw him, too, my lady! 1909

CAMILO

I am at your service, ladies. 1910

LEONARDA

Should I speak to him? 1911

JULIA

Do it. 1912

The fields are deserted. 1913

LEONARDA

(To CAMILO) You’re too kind. 1914

CAMILO

You deserve nothing less. 1915

You are like Apollo’s own light. 1916

I invoke light, you see, 1917

for that is what I most desire, 1918

of all the things I see, 1919

though I do not see my love so clearly. 1920

In any case, light is the only thing 1921

the heavens have given earth 1922

that might match your beauty. 1923

LEONARDA

You’re very fond of light 1924

for a man who is not blind. 1925

CAMILO

It comes from a certain lack, 1926

but I mustn’t go on. 1927

LEONARDA

I understand: you mean love. 1928

CAMILO

And would you believe 1929

that my lady herself 1930

is like a radiant sun? 1931

LEONARDA

Surely you exaggerate. 1932

CAMILO

No, for she is Diana, 1933

so powerful and divine, 1934

that I see her not, but feel her everywhere. 1935

LEONARDA

Diana? Like the moon? 1936

CAMILO

The very same. 1937

LEONARDA

That’s a shame. 1938

For a thousand look upon her, 1939

yet none can touch her. 1940

CAMILO

Yet I touch her without seeing her! 1941

LEONARDA

No doubt you must be mad. 1942

CAMILO

Truly, for I have touched her in the dark, 1943

and I have fallen in love. 1944

LEONARDA

And this moon, does she see you? 1945

CAMILO

She claims she does, 1946

and swears she sees me every day. 1947

Yet I never see her, by God! 1948

LEONARDA

If she sees you, there can be no doubt: 1949

she must be in love. 1950

CAMILO

I think she likes me. 1951

LEONARDA

That is plain to see. 1952

Would you leave her 1953

for any other woman? 1954

CAMILO

I am insulted 1955

that your lips could 1956

so doubt my devotion. 1957

I would not leave her 1958

for an angel of beauty 1959

or a worthy Roman maiden. 1960

LEONARDA

If you saw her, 1961

disillusion might change your mind. 1962

CAMILO

I need not worry about that, 1963

for I have felt her with these hands: 1964

her brow is high, 1965

and her nose, 1966

the foundation of a beautiful face, 1967

is flawless. 1968

Her eyes are ... pronounced, 1969

a sign of their loveliness. 1970

Her neck, her breast, 1971

everything else is pure perfection. 1972

Her wit and intelligence 1973

need no explanation: 1974

to witness both is enough 1975

to make you lose your mind. 1976

A very Iris is her handmaiden, 1977

and Mercury her ambassador! 1978

The world melts away 1979

when she sends them down for me. 1980

LEONARDA

You are quite the odd suitor. 1981

I’ve never heard the like. 1982

CAMILO

Nor have I ever seen anyone endure 1983

the darkness they inflict upon me. 1984

And though my happiness 1985

is somewhat clouded by this cruelty, 1986

I love those shadows of mine more 1987

than others value the light. 1988

LEONARDA

And what is your name? 1989

CAMILO

Camilo. 1990

LEONARDA

It’s good to know the name 1991

of such an Amadís in love. 1992

May you enjoy your Diana 1993

for many years. 1994

CAMILO

Do not doubt it, 1995

if her tricks do not kill me first. 1996

LEONARDA

God be with you, dark suitor. 1997

CAMILO

May he give you a wealthy husband. 1998

FLORO

Tell me: may I speak to you 1999

tonight in the courtyard? 2000

JULIA

I live all the way over by Zaidía. 2001

You wouldn’t want a lady so far away. 2002

(Exeunt LEONARDA and JULIA)

SCENE THIRTEEN

FLORO

You carried on like old folks: 2003

“Nice weather we’re having! What a fine day!” 2004

Why did you not court her? 2005

She is a beautiful widow— 2006

a thousand men die for her love. 2007

CAMILO

You read my mind! 2008

But my love is steadfast. 2009

I would not fall in love with her, 2010

or even one more beautiful, 2011

although she might fall for me. 2012

She is not worth two cents, 2013

nor anyone else you might name, 2014

for that would be to compare 2015

a queen with a slave. 2016

I tell you, mine is an angel, 2017

there can be no doubt. 2018

FLORO

You thought the widow was that bad? 2019

CAMILO

So-so. She would do. 2020

FLORO

Well, she seemed fine to me. 2021

CAMILO

Oh, Floro, if you could see my lady, 2022

you would sing her praises instead! 2023

FLORO

I would take the widow. 2024

SCENE FOURTEEN

([On the street])

(Enter URBÁN, with his sword out, backing away from OTÓN, LISANDRO, and VALERIO)

URBÁN

Three men against one! 2025

OTÓN

Let the dog die! 2026

URBÁN

Will you not tell me how I have offended you? 2027

VALERIO

Die! 2028

CAMILO

Stop, gentlemen, hold off! That’s enough! 2029

Surely my presence here should make you observe 2030

the rules of courtesy. 2031

I am Camilo, a friend to all. 2032

FLORO

Get behind us. 2033

URBÁN

If they came at me one by one ... 2034

OTÓN

He found a good second in you, Camilo, 2035

though he’s a vile and shameless lackey. 2036

CAMILO

No more of this, on my life. 2037

If you’re lucky, he won’t have recognized you. 2038

VALERIO

As you wish. 2039

LISANDRO

We are at your service. 2040

CAMILO

I am much obliged. 2041

OTÓN

Let’s go. 2042

(Exeunt OTON, LISANDRO, and VALERIO)

SCENE FIFTEEN

CAMILO

Tell me, you devil, what did you do 2043

to those gentlemen? 2044

URBÁN

Good Camilo, 2045

I throw myself at your feet. 2046

I swear that neither in deed, word, nor thought 2047

did I ever offend them. 2048

CAMILO

Gentlemen would never gang up 2049

on a lone man with no provocation. 2050

That’s impossible 2051

URBÁN

That’s true. 2052

They may have been confused, 2053

and took me for another man. 2054

CAMILO

That must be it. 2055

FLORO

They picked a nice deserted spot to let you have it. 2056

CAMILO

Let’s see him to his house, Floro. 2057

URBÁN

The city gate is far enough. 2058

FLORO

You really owe my master, now. 2059

URBÁN

If I owe him, I have paid him well. 2060

ACT III

SCENE ONE

([On the street])

(Enter CAMILO and CELIA, lady, wearing a cape)

CAMILO

Shut up, and leave me alone. 2061

CELIA

What do you mean, shut up? 2062

CAMILO

I’ll come later. 2063

CELIA

There is no later. 2064

CAMILO

Have you lost your mind, Celia? 2065

Don’t you realize that you’re in the street? 2066

CELIA

In the street or wherever I may be, 2067

it is only fitting 2068

that all should know of your betrayal. 2069

CAMILO

Calm down and be patient. 2070

Let’s talk here, quietly, 2071

so no one will hear us. 2072

And let go of me. 2073

CELIA

What tokens of love 2074

have I received from you? 2075

Bad nights, bad days, 2076

words, rages, and jealousies. 2077

What worries me most 2078

is that you’re no longer hurting me. 2079

How could I love you, wicked as you are! 2080

Look at me now, you traitor! 2081

CAMILO

Let’s go over there. 2082

Celia, go home and wait. 2083

There is much we need to discuss. 2084

You shouldn’t be out here in the street. 2085

Besides, people are looking at me, 2086

and I have business to attend to. 2087

CELIA

You, at my house? 2088

You haven’t been there in two months! 2089

And yet somehow you think I’m so crazy 2090

I would believe the words 2091

of a heart so false! 2092

No, my friend, once that heart gets away, 2093

I will be left to chase the wind. 2094

CAMILO

By God, be careful with your hands! 2095

You’ve torn my cloak. 2096

CELIA

I was after your heart, 2097

where such cruelty lies. 2098

CAMILO

It was soft for you once, 2099

and like wax to your will, 2100

but some men would rather not 2101

share the goods, you know. 2102

Look out, they can see us! 2103

CELIA

He’s afraid of being seen! 2104

Hush now, don’t make a fuss. 2105

Just let a new lady fall for him, 2106

if she hasn’t already, 2107

the new apple of his eye— 2108

the first time they fight 2109

over petty jealousies, 2110

then she’ll see what he’s about. 2111

CAMILO

You want to drive me crazy. 2112

CELIA

No doubt he will tell her too: 2113

“This woman is chasing me, 2114

but I cannot stand the sight of her, 2115

on your life and mine, 2116

there is no reason for you to worry, 2117

I will kiss your foot 2118

in front of her.” 2119

CAMILO

Would you stop this and leave me alone? 2120

Were we not over? 2121

SCENE TWO

([On the street. The stage is divided in two, on one side LEONARDA and JULIA, and on the other CAMILO and CELIA])

(Enter LEONARDA and JULIA, with capes)

JULIA

It’s very late for you to be out on your own. 2122

LEONARDA

As late as it is, 2123

Urbán still has not come. 2124

JULIA

He has taken a long time. 2125

But why did you not bring 2126

Clara’s squire along? 2127

LEONARDA

So I wouldn’t have to see 2128

that long sad face of his. 2129

((LEONARDA sees CAMILO and CELIA))

Oh, Julia, but my fate is even sadder! 2130

JULIA

My lady! What is the matter? 2131

LEONARDA

Oh, Julia! 2132

JULIA

You look like death warmed over! 2133

LEONARDA

How could I not, when I’m at death’s door? 2134

JULIA

Be careful, it’s not yet very dark. 2135

Hush, or cover up your face. 2136

We could have avoided all this, 2137

if you had come by coach. 2138

((JULIA also sees CAMILO and CELIA))

Oh, you poor woman, 2139

now I see which way the wind blows! 2140

LEONARDA

This is what I deserve 2141

for my mad desire. 2142

I wish I didn’t know you, 2143

just as you don’t know me. 2144

Then I could enjoy you without seeing you, 2145

just as you don’t see me. 2146

This is what you get when you trust in oaths, 2147

in words, and vows! 2148

They are but scraps of paper 2149

in the wind. 2150

To think he claimed to love 2151

no other woman in the world! 2152

JULIA

And it is true, 2153

for he said that by night, 2154

and he loves her by day. 2155

Look, my lady, you won’t keep the one you love, 2156

if you won’t let him look at you ... 2157

Love is born of sight, 2158

and touch alone won’t do. 2159

LEONARDA

What about hearing? 2160

JULIA

That may do 2161

for the lover who is all talk. 2162

Some men will follow a voice 2163

hidden inside a cloak, 2164

and when they find an ugly woman, 2165

they say, “To the devil with her.” 2166

CAMILO

Tell me, what is it I owe you? 2167

I will do right by you. 2168

CELIA

First, the great faith I put in you, 2169

which is a novel thing with us. 2170

Second, my loyalty in not 2171

seeking pleasure elsewhere, 2172

and always matching my desires to yours. 2173

A thousand icy nights, 2174

spent waiting for you by my window, 2175

while an old woman scolded me— 2176

and—oh, my poor arms, my poor hair!— 2177

and, in sum, never to have denied you 2178

anything you wanted. 2179

CAMILO

I’ve made up for all that and more 2180

by keeping you in fine style. 2181

You cost me a pretty penny, 2182

not to speak of the clothes. 2183

CELIA

That’s a nice speech 2184

coming from a gentleman! 2185

I want nothing of yours. 2186

Let Floro come, 2187

and I’ll give him back in gold 2188

anything I’ve had from you. 2189

Fine clothes those were! 2190

A sad little skirt 2191

with two miserable sashes, 2192

a wretched little petticoat ... 2193

What strings of pearls you’ve decked me with! 2194

What chains you’ve hung about my neck! 2195

What rich tapestries, 2196

the best in Flanders! 2197

What a house you have built me, 2198

with its garden, its gate, its balcony! 2199

Even those who are but the dirt beneath my feet 2200

have more than I do. 2201

Given how you ignore me, 2202

I should have spent time with another— 2203

I might have had fewer complaints, 2204

at least, if not anything to gain. 2205

Was I so very poor, 2206

so wretched, so despised, 2207

when I let you in my house? 2208

LEONARDA

Do you see how riled up she is? 2209

If only I could hear what they are saying! 2210

JULIA

Would it not have been better to go home 2211

than to hope that no one will recognize you 2212

as they pass you on the street? 2213

Besides, it’s getting dark. 2214

LEONARDA

That and my mantle 2215

means no one will see me. 2216

JULIA

I do believe you’re jealous. 2217

I never would have imagined 2218

that a lady who enjoys 2219

such affairs in the dark 2220

would light up with jealousy. 2221

CELIA

What, me? 2222

CAMILO

Yes, you, Celia. 2223

Now you know where I stand. 2224

Leave me. 2225

CELIA

Consider yourself left. 2226

Jesus, such treachery! Jesus! 2227

CAMILO

You can cross yourself a thousand times over ... 2228

CELIA

You leave me with these protestations? 2229

Goodbye. No more accusations. 2230

(CELIA exits)

CAMILO

The facts are clear ... 2231

SCENE THREE

([On the street, LEONARDA and CAMILO meet and talk])

CAMILO

Where has she gone? 2232

LEONARDA

What do I say? 2233

CAMILO

Are these veiled ladies speaking to me? 2234

LEONARDA

We’re not quite as shameless 2235

as that fool over there. 2236

Is she that Diana 2237

you mentioned in the orchard? 2238

CAMILO

This little widow is dying 2239

to play loose with me. 2240

(Aloud) Uncover yourselves, 2241

so you won’t resemble her, either. 2242

LEONARDA

I’m glad to see that you hate 2243

what you loved so recently. 2244

CAMILO

Those goddesses 2245

are just fantasies now. 2246

They are like nights without days, 2247

and lies made of truth. 2248

They are dubious pleasures, 2249

and bland delicacies, 2250

a confusing masquerade, 2251

and waking dreams. 2252

They make one sneak 2253

through gardens at night, 2254

pretending to see 2255

what remains unseen, 2256

counting and taking 2257

money in the dark. 2258

If you will love me, 2259

we’ll just let Diana sleep, 2260

for she is a night with no dawn, 2261

and much too fond of herself. 2262

She wants to be loved on faith alone, 2263

as if she were heaven itself. 2264

Yet she is nothing but a sound, 2265

heard but not seen. 2266

LEONARDA

You must have seen her 2267

and lost your illusions. 2268

CAMILO

It’s because I haven’t seen her 2269

that I want no more of this arrangement. 2270

If I could see her as I see you, 2271

and if she were as beautiful, 2272

no doubt I would love her. 2273

LEONARDA

Truly? 2274

CAMILO

By God, yes! 2275

Because you’re a pearl, 2276

and soon enough I’ll tire 2277

of being a slave to a lady, 2278

who will not let me see her. 2279

Why should I waste my youth 2280

taxed with the burden 2281

of safeguarding her modesty, 2282

just because she feels like it? 2283

If she is afraid of being exposed 2284

and defamed by the common people 2285

as other women are, 2286

if she values her reputation so dearly, 2287

let her post a giant by her door. 2288

LEONARDA

That’s very well said. 2289

But you must be off now, sir— 2290

people are coming. 2291

CAMILO

So scornful so quickly? 2292

You dismiss me because 2293

you think I’m fickle. 2294

LEONARDA

Did you not hear me? Go. 2295

CAMILO

I’m leaving, you intractable little widow. 2296

(CAMILO exits)

SCENE FOUR

LEONARDA

Ah, traitor! 2297

As if insulting me were not enough, 2298

he also wanted to woo me? 2299

JULIA

Now you know. 2300

The sermon was not bad 2301

if you know how to take it. 2302

LEONARDA

He couldn’t have said it better 2303

if he’d known the truth. 2304

He left me speechless! 2305

I did not know what to say! 2306

JULIA

It was a lofty sermon. 2307

LEONARDA

A shock like that 2308

overcomes all the senses. 2309

Tonight and no more! 2310

You’ll see how I dismiss him 2311

for his good sense. 2312

JULIA

And what will you say to him about this? 2313

LEONARDA

Why would I bring it up? 2314

What fine nonsense! 2315

(Enter URBÁN)

URBÁN

There is not a place in the city 2316

I have not looked. 2317

I have been home twice, 2318

hoping to find you there. 2319

LEONARDA

You were nowhere to be found 2320

on the one day I went out on foot. 2321

Tonight you must summon 2322

that suitor from the bridge. 2323

URBÁN

I will, right away. 2324

LEONARDA

Julia, 2325

you will see to the side door. 2326

URBÁN

Your uncle awaits you at home. 2327

LEONARDA

Wonderful! 2328

That’s the icing on the cake! 2329

URBÁN

A stranger from Madrid 2330

is with him. 2331

LEONARDA

What brings him here? 2332

URBÁN

I don’t know. 2333

LEONARDA

Lord, let me just make it 2334

through tonight. 2335

(Exeunt)

SCENE FIVE

([On the street, next to LEONARDA’s house])

(Enter LISANDRO and OTÓN, by night)

LISANDRO

Now that the night 2336

will finally allow us to act, Otón, 2337

why are you so sad? 2338

OTÓN

My sorrow speaks for itself. 2339

That’s explanation enough. 2340

What pain compares to mine, 2341

when my fury has brought me 2342

to this pass? 2343

LISANDRO

What do you mean? 2344

OTÓN

She favors my rival. 2345

LISANDRO

My patience is wearing thin 2346

with this talk of jealousy and insults. 2347

We agreed on a truce. 2348

A wise man must persevere calmly. 2349

OTÓN

That’s not what bothers me. 2350

But why should Urbán deny 2351

such dashing young men as ourselves 2352

a reward well deserved? 2353

I am a brave man, 2354

and even if a hundred Camilos 2355

were to come to his defense, 2356

he would be bloodied 2357

once the knives were out. 2358

And Camilo, 2359

who is he to be running the show? 2360

It’s good to show a man respect, 2361

but I swear I regretted it afterward. 2362

LISANDRO

Don’t let it weigh on you. 2363

No matter how dark the night, 2364

this door will never see a man 2365

pass through without getting 2366

his face slashed open. 2367

Here comes someone who looks like Valerio. 2368

OTÓN

It’s about time 2369

for him to get his sword. 2370

(Enter VALERIO)

VALERIO

Just let him try to enter this street! 2371

OTÓN

A fitting response. 2372

No Gradasso, no Roland, 2373

would guard the entrance as you two do. 2374

LISANDRO

Sit. 2375

OTÓN

Where? 2376

LISANDRO

Just on the ground, 2377

sit on your cape with 2378

your shield to the side. 2379

VALERIO

There is not much light 2380

From the moon tonight. 2381

OTÓN

It’s veiled like the widow, 2382

surrounded by clouds. 2383

The storm is about to break. 2384

LISANDRO

If only we had 2385

a bearded witch in this city! 2386

VALERIO

What for? 2387

LISANDRO

So that she could make the widow 2388

pine for thirty men. 2389

OTÓN

As long as she forgets 2390

that one traitor 2391

whose face awaits 2392

its just reward. 2393

VALERIO

Let’s write a little song about it. 2394

OTÓN

By God, what splendid villainy! 2395

Rest assured, we will shame her. 2396

LISANDRO

Shouldn’t we be ashamed, 2397

noblemen that we are? 2398

OTÓN

I always say, 2399

“If you can’t say anything nice ...” 2400

Such pointed satire 2401

would be a low blow, 2402

and unworthy of us. 2403

VALERIO

You’re right, brother, 2404

and yet it’s so good to criticize 2405

that all rules go out the window. 2406

It’s like a good fire in winter, 2407

or a cool room in summer. 2408

We’d better sing their praises instead, 2409

or improvise a song for the lovers. 2410

LISANDRO

Do you have any rhymes for me? 2411

OTÓN

Let’s work the refrain. 2412

VALERIO

Oh, aren’t you a song-book! 2413

LISANDRO

Let’s hear it. 2414

OTÓN

How about this: 2415

“the widow and her squire.” 2416

VALERIO

Oh, that’s good! 2417

LISANDRO

I will start: 2418

Gentlemen, in these loves, 2419

and our fierce rivalry, 2420

Angelica and her suitors 2421

inhabit our fair city. 2422

Roland are you, 2423

you, the brave Sacripante. 2424

I, Ferragut, the Moor. 2425

But Angelica and Medore ... 2426

ah, the widow and her squire! 2427

VALERIO

Most honorable squire 2428

Spain ever could yield, 2429

you have taken as yours 2430

a most burnished shield, 2431

adorned with your arms. 2432

I’d like to enhance it, 2433

so it comes to no harm 2434

with the finest medallion, 2435

in gold as bright as fire, 2436

ah, the widow and her squire! 2437

OTÓN

There sits shining Gemini 2438

in the heights of heaven. 2439

Two figures form this sign: 2440

a man and a woman, 2441

their flesh intertwined. 2442

The stars I can’t decipher, 2443

but, by God, in my mind, 2444

every night they conspire 2445

just like in that sign: 2446

ah, the widow and her squire! 2447

VALERIO

Look! They’ve opened the door, 2448

and Urbán is coming out, with his hood up. 2449

OTÓN

Who? 2450

VALERIO

Urbán. 2451

OTÓN

Are you sure? 2452

VALERIO

Yes. 2453

LISANDRO

I can’t believe it! 2454

VALERIO

Go and give it to him. 2455

(ROSANO appears, and LISANDRO stabs him)

LISANDRO

Enough of this! 2456

ROSANO

Oh! I’ve been stabbed! 2457

OTÓN

Around that corner! 2458

LISANDRO

Well done. 2459

(Exeunt LISANDRO, VALERIO, and OTÓN)

SCENE SIX

([On the street, outside of LEONARDA’s house])

ROSANO

Open this door. Oh, this is the end of me! 2460

It’s a big house, and they can’t hear my call. 2461

Was this what you brought me to, you false old man? 2462

They must have been other suitors. 2463

Be strong, courage is no match for betrayal. 2464

A fine blow they’ve given me. 2465

This is how they send me back to Madrid! 2466

(ROSANO exits)

SCENE SEVEN

([In LEONARDA’s house])

(Enter LEONARDA, JULIA, and LUCENCIO)

LEONARDA

Have a servant light the way for my uncle. 2467

JULIA

Rodulfo is bringing one now. 2468

LUCENCIO

Is that necessary? 2469

LEONARDA

Of course, my lord. 2470

And I’ll have another servant 2471

escort you as well, with a sword. 2472

LUCENCIO

Who would want to hurt me? 2473

LEONARDA

I know you’re loved by all. 2474

LUCENCIO

I’m pleased about that fellow, 2475

and he leaves well served. 2476

LEONARDA

I admit, uncle, 2477

I’m happy to make this marriage. 2478

I’ve been unkind to so many of our own, 2479

I hope I’ll find forgiveness 2480

in loving a man from elsewhere. 2481

LUCENCIO

He’s been fortunate. 2482

He’ll be richly rewarded 2483

when he gets to Madrid. 2484

LEONARDA

Tell them to begin the preparations. 2485

JULIA

They have waited so long. 2486

LUCENCIO

God keep you. 2487

LEONARDA

May He go with you. 2488

(LUCENCIO exits)

JULIA

I was getting worried. 2489

There was someone at the side door. 2490

Who it was, I do not know. 2491

SCENE EIGHT

(Enter URBÁN)

LEONARDA

Urbán, my friend, 2492

why are you alone 2493

with your mask in your hand? 2494

URBÁN

Everything has gone wrong. 2495

LEONARDA

What, my brother? 2496

Tell me what happened? 2497

URBÁN

I got to the bridge at ten. 2498

Camilo graciously awaited me, 2499

listening to the water’s murmur. 2500

I approached him at once, 2501

and he turned from the rail. 2502

Once I covered his eyes, 2503

I was the lad, and he the blind man. 2504

We walked through the city 2505

contemplating and praising, 2506

me, your beauty and fame, 2507

he, his love and desires. 2508

I asked him if there was 2509

another in Valencia 2510

who pleased him by day 2511

more than your dark chambers. 2512

And he is telling me a story 2513

about a jealous woman 2514

who chased and hounded him 2515

in streets, plazas, and churches, 2516

when a sheriff arrives 2517

and wants to know who we are. 2518

Camilo takes off Love’s blindfold at once. 2519

He approaches, and says who he is, 2520

leaving the sheriff satisfied, 2521

but he never asked 2522

that I be allowed to keep on my mask. 2523

So they take off my mask. 2524

Camilo and the rest see me, 2525

and though they let me go free, 2526

I might as well be their prisoner. 2527

Camilo, upon seeing my face, 2528

smiles and says: “Friend, 2529

let’s forget these games 2530

and continue on, unmasked.” 2531

Then like the hounded deer 2532

running through the hills, 2533

swift as the wind, 2534

I leave Camilo behind 2535

and, by empty streets, 2536

return exposed and ashamed, 2537

to tell you of this sad turn. 2538

LEONARDA

No! Behind one misfortune, 2539

a greater one follows! What will I do? 2540

JULIA

This is not the time 2541

to forget who you are. 2542

Now is when courage counts. 2543

LEONARDA

There is no courage amid such grief, 2544

for heaven’s wrath 2545

cuts through steel and diamonds. 2546

Any weakness will be noted 2547

in someone like me. 2548

But I think I can muster 2549

a clever way out. 2550

Urbán, for a few days, 2551

you’ll serve my cousin, 2552

and make your way through Valencia, 2553

never coming near me. 2554

That way, when Camilo follows you, 2555

he’ll believe it’s for her sake 2556

that he comes and goes. 2557

JULIA

This is no small thing, what honor requires of you. 2558

URBÁN

So let’s see: you’ll dishonor your cousin? 2559

Is that not a mad idea? 2560

LEONARDA

Urbán, for the sake of my honor, 2561

all must be forgiven. 2562

Let this stain fall on my cousin, 2563

as long as my reputation shines. 2564

URBÁN

Don’t you see this is an outrage? 2565

LEONARDA

That’s reputation for you. 2566

You push another man forward 2567

when you’re threatened with a knife, 2568

and let him take the blow 2569

that was meant for you. 2570

Just as your hand flies up 2571

to defend your face, 2572

which is the nobler part, 2573

surely there is nothing inhuman in this. 2574

Go rest, and tomorrow, 2575

you’ll go with her to mass 2576

at the Church of the Miracle. 2577

URBÁN

You’ll make your own miracle 2578

with this Grecian plot. 2579

But tell me, who will go, 2580

tomorrow, to fetch your beau? 2581

LEONARDA

Julia, in disguise, Urbán. 2582

She will dress as a man. 2583

JULIA

And if I run into trouble? 2584

LEONARDA

Your blind man will defend you. 2585

JULIA

He’s the one I’m afraid of. 2586

LEONARDA

What? 2587

JULIA

He’s all fired up— 2588

he’ll know tinder when he sees it. 2589

(Exeunt)

SCENE NINE

([The next morning, in front of LISANDRO’s house])

(Enter OTÓN and VALERIO)

VALERIO

They say he’s getting up now. 2590

OTÓN

He sleeps like a log, 2591

and the time it takes him to dress, Valerio, 2592

is something to behold. 2593

VALERIO

He must have gone to bed early. 2594

He didn’t make many rounds last night. 2595

(Enter LISANDRO)

LISANDRO

On the contrary, I was up all night 2596

with the squire and the surgeon. 2597

OTÓN

You’re still buttoning up? 2598

VALERIO

The surgeon kept you up? 2599

Great joke! But I’ll believe it. 2600

OTÓN

Enough. Was there anyone, you think, 2601

who might have recognized us? 2602

LISANDRO

The street was deserted. 2603

VALERIO

You gave it to him good! 2604

OTÓN

It was unbelievable! 2605

Did you get him in the head or the face? 2606

LISANDRO

I think I got it all, 2607

because the slashes I give 2608

run all the way to the neck. 2609

OTÓN

Good God! 2610

VALERIO

Amen. 2611

OTÓN

That’s what they say about Roland. 2612

Look out! Here comes Urbán. 2613

VALERIO

Who? 2614

OTÓN

Urbán. 2615

LISANDRO

What? Who did you say? 2616

OTÓN

Indeed! It’s Urbán, and he’s the picture of health. 2617

LISANDRO

Take a good look at him. 2618

OTÓN

What is there to see? 2619

You must have had a 2620

soft touch last night. 2621

VALERIO

“The slashes I give 2622

run all the way to the neck.” 2623

OTÓN

Head and face both— 2624

he’s split from head to toe! 2625

SCENE TEN

(URBÁN has entered)

LISANDRO

I’m ready to give it to him now. 2626

OTÓN

Stop. 2627

VALERIO

Urbán, where are you going? 2628

URBÁN

I’m in a hurry and full of worry. 2629

My lady is off to mass. 2630

OTÓN

Who? Leonarda? 2631

URBÁN

I’ve been at her cousin’s house 2632

for a long time now, 2633

and I come and go with her. 2634

VALERIO

Not likely to get him, then! 2635

LISANDRO

There must be 2636

some wounded foreigner or servant around. 2637

OTÓN

Then, please, 2638

be on your way. 2639

LISANDRO

But wait. 2640

URBÁN

Anything else? I’m in a hurry. 2641

OTÓN

Tell us something about your lady. 2642

URBÁN

She is a Portia by reputation. 2643

LISANDRO

Come here. 2644

URBÁN

The bells are ringing for Mass. 2645

(URBÁN exits)

VALERIO

He’s gone, the scoundrel. 2646

OTÓN

If he’s not there, 2647

then Leonarda must be alone. 2648

LISANDRO

Oh, such empty gossip! 2649

If he were her gallant, 2650

she would not spare him for an hour. 2651

VALERIO

That’s how love is. 2652

LISANDRO

So whom did we honor 2653

with our affection last night? 2654

And not with the flat of the knife, 2655

but with the blade! 2656

VALERIO

The Roman Fabricious 2657

could not have done it better. 2658

It’s no use asking who he was, 2659

for he is no longer. 2660

(He draws his sword)

LISANDRO

I need to know. 2661

OTÓN

Blood will out. 2662

LISANDRO

There’s blood all over. Is that not enough? 2663

VALERIO

I believe it, Lisandro. 2664

OTÓN

Where shall we go now? 2665

VALERIO

To the cathedral. 2666

LISANDRO

No, we should go to San Juan, instead. 2667

(Exeunt)

SCENE ELEVEN

([On the street])

(Enter CAMILO and FLORO)

FLORO

Why are you crossing yourself so much? 2668

CAMILO

What do you expect, 2669

now that the truth 2670

has undone the spell? 2671

FLORO

Could you make that man out last night? 2672

CAMILO

I saw him, Floro, as clear as I see you now. 2673

And I stared at him without blinking, 2674

memorizing his visage. 2675

I laid awake, 2676

contemplating his features, 2677

etched in stone in my memory 2678

till sleep got hold of me at dawn. 2679

I could paint his portrait on this table, 2680

as they say Apelles did. 2681

FLORO

And you say you saw him with his mistress today? 2682

CAMILO

That’s the end of my illusions, Floro. 2683

I saw his face last night, 2684

today I saw him with this good matron, 2685

and now I’m miserable. 2686

FLORO

Tell me the whole thing, 2687

so I may get the picture. 2688

CAMILO

Then listen: 2689

I was leaving the Church of the Miracle, 2690

mulling over last night— 2691

for that was truly something— 2692

when, going down the steps, 2693

all at once, I see the squire, 2694

his pace calm and slow, 2695

his face modest, his stance upright. 2696

He led by the hand a fair maid 2697

—as they say in old books— 2698

sixty if she was a day. 2699

I wouldn’t want more points 2700

in a game of cards than this goddess 2701

had wrinkles on her face. 2702

For if she was ancient as a goddess, 2703

she was uglier than the devil, 2704

her color somewhere 2705

between pale and dun. 2706

A low and hairy brow, 2707

a few white hairs, 2708

eyebrows smudged with soot 2709

to make up for the hair she lacked. 2710

Eyes that shone in the dark 2711

like those of a dead nag, 2712

a nose like a lump of chalk, 2713

and a beard to boot. 2714

Her head was on crooked, Floro, 2715

she had no neck to speak of, 2716

waddling like a goose, 2717

bow-legged and sluggish. 2718

I felt like pushing her, 2719

and throwing her to the ground, 2720

but I came to my senses, 2721

and retreated in my shame. 2722

FLORO

These were the dangers you faced, sir? 2723

For this you risked eternal shame? 2724

If only you had followed my advice 2725

to tear a peephole in your hood, 2726

or made good use of your sword! 2727

No one would have killed or offended you. 2728

You fell for a rough bed 2729

covered with damask and fine linen, 2730

velvets and brocade! 2731

But what are you going to do now? 2732

CAMILO

I’ll get ink and paper at the nearest tavern, 2733

and I’ll tell her what’s what, 2734

and what I think of her. 2735

I’ll give her a good tongue lashing. 2736

Tongues can be harsh, you know, 2737

all the more when she realizes 2738

she has been found out, 2739

and has lost the tender lad she tricked. 2740

FLORO

Didn’t you tell me that you touched her, 2741

that she was young and spirited and fit, 2742

that she spoke with elegance and wit? 2743

CAMILO

Don’t shame me, or blame me: I couldn’t see. 2744

Urbán is with her now, at Mass. 2745

Give him this message I’m writing now, 2746

so he can give it to her. 2747

FLORO

A fine lady you’ve enjoyed! 2748

CAMILO

This is no time for jokes, Floro. 2749

FLORO

Oh, what a beautiful girl! 2750

CAMILO

Like a gem. 2751

(Exeunt)

SCENE TWELVE

([In LEONARDA’s house])

(Enter LEONARDA and JULIA)

JULIA

So you’ve made up your mind 2752

to love a foreigner at last? 2753

LEONARDA

Jealousy, Julia, has brought me to this pass, 2754

that traitor for whom I die, 2755

and my honor, which I cherish. 2756

JULIA

And will you leave Valencia? 2757

LEONARDA

I’d better leave Camilo 2758

before anyone gets wind 2759

of my secret ways. 2760

Absence will work best, Julia. 2761

He is so deeply imprinted 2762

in the soul he took from me. 2763

I would go mad, I confess, 2764

were I to stay without him. 2765

JULIA

It was a fine way 2766

to take your pleasure, 2767

and leave your honor unstained. 2768

LEONARDA

A woman in love 2769

unmakes any law. 2770

JULIA

Yet if the secretary lives up 2771

to what those letters promise, 2772

he’ll easily rival Camilo. 2773

LEONARDA

I’m sure he’ll be his equal, 2774

but the bird in hand was good. 2775

JULIA

What an uproar there’ll be 2776

throughout the city, 2777

when they see you’ve married 2778

in another kingdom! 2779

LEONARDA

It won’t matter. I’ll be gone. 2780

(Enter URBÁN)

URBÁN

(To LEONARDA) Me, doing your bidding? 2781

Priceless. 2782

LEONARDA

Why the rush, Urbán? 2783

URBÁN

Now that gentleman 2784

has seen me walk your cousin to Mass. 2785

LEONARDA

And? How did he react? 2786

URBÁN

With a candle in each hand, 2787

he rushed up to see us, 2788

then crossed himself a thousand times, 2789

which proves that your plan worked. 2790

When we left, 2791

his servant gave me this sealed letter 2792

to hand to your cousin, 2793

as if she had anything at all 2794

to do with this. 2795

LEONARDA

We’ve played him well. 2796

Show me, let’s see what it says. 2797

URBÁN

No doubt he’ll tell her 2798

to stay away from him. 2799

LEONARDA

He’ll say he’s angry, 2800

and complain he has been tricked. 2801

((She reads))

“You old bag from hell, 2802

in love at seventy, 2803

and enjoying lusty lads, 2804

whom you entice with spells, 2805

by pretending to be 2806

a tender young girl. 2807

Today I saw your ancient face, 2808

your sooty brows, your grey hairs, 2809

your crooked nose, your dentures too, 2810

your hands like mortars through and through. 2811

Then I came to my senses and said, full of shame: 2812

“Farewell, oh Circe.” 2813

If you were to play instead Lancelot’s aged maid, 2814

you might look young, in truth. 2815

Just fool another as you fooled me, 2816

and make him wear that hood, 2817

you’ll be crowned as a witch soon enough.” 2818

URBÁN

He breathes fire, 2819

but it’s all smoke. 2820

LEONARDA

I’ve brought this upon myself. 2821

His every word burns me, 2822

because I take it to heart. 2823

URBÁN

No woman 2824

can stand being called ugly. 2825

Are you ashamed? 2826

LEONARDA

Not for a moment. 2827

JULIA

Can there be any worse insult? 2828

URBÁN

What insult? 2829

He thinks your old cousin 2830

is the one who tricked him! 2831

LEONARDA

Fortunately love inspires me 2832

to come to my own defense. 2833

Camilo is being a fool. 2834

He felt how tender I was, 2835

and now calls me a tough old bird. 2836

URBÁN

We should right this wrong at once, 2837

but talking won’t do the trick. 2838

What do you propose? 2839

LEONARDA

You’ll go to his inn tonight, 2840

for I have a better trick 2841

to show him what’s what. 2842

URBÁN

You’ll be the one tricked instead. 2843

(Exeunt)

SCENE THIRTEEN

([In CAMILO’s house])

(Enter CAMILO and FLORO)

CAMILO

Really, Floro? 2844

FLORO

I knew you would not like it, my lord, 2845

and God knows how painful 2846

it is to let my mouth 2847

speak such shameful words. 2848

Ever since this morning, 2849

when you gave me the message 2850

to hand to the squire, 2851

I’ve been trying to tell you, 2852

though I could not find the words. 2853

I know I was wrong, sir, 2854

but someone so reasonable, 2855

and who has read so much, 2856

should know that the effects of love 2857

must always be excused. 2858

CAMILO

I know, Floro. 2859

I do not blame you for that. 2860

FLORO

When I saw you had rejected Celia, my lord, 2861

and that she was so helpless, 2862

I went to visit and comfort her. 2863

Love descended upon me then, 2864

and I promised to marry her, 2865

as long as you agreed and gave permission. 2866

She, with no hope of seeing you again, 2867

and flattered by the talk of marriage, 2868

gave me her word and her oath. 2869

I pray you tell her that you agree 2870

to repay my services with such a favor. 2871

My parents raised you, you know, 2872

and I’ve been your slave since the start. 2873

CAMILO

Floro, I would never resent your marrying Celia 2874

because she was mine, 2875

or because I’m jealous, 2876

or I wished things had ended otherwise. 2877

No, it was only my love for you 2878

that made me want to find you a better match. 2879

If this is your wish, I will not contradict you. 2880

If this is God’s will, man should not interfere. 2881

Fetch Celia at her house, and I will talk to her. 2882

FLORO

She’s closer than that, sir. 2883

CAMILO

What? 2884

FLORO

She’s here. 2885

In my room. 2886

CAMILO

Go fetch her. 2887

(FLORO goes to fetch her)

CAMILO

What strange things blind love does! 2888

It drives me crazy for an old woman, 2889

while Floro marries my old flame. 2890

But that’s just fine, you see: 2891

at least she won’t chase after me. 2892

(FLORO enters again, and CELIA)

FLORO

Here is Celia, 2893

(pointing to himself) and your slave. 2894

CELIA

Heaven knows, sir, 2895

that I am mortified to come to you. 2896

But I hope for your blessing 2897

for such a fitting end. 2898

CAMILO

Celia, heaven has smiled on you 2899

by giving you such a gift as Floro, 2900

who is not my servant, but my friend. 2901

I will be like a father to you, 2902

and on the day you marry, Celia, 2903

beyond dresses and jewels, 2904

I’ll give you a thousand ducats. 2905

Take her back to your room, Floro. 2906

CELIA

May God give you a long life. 2907

FLORO

Let me kiss your feet, sir. 2908

CAMILO

Get up. 2909

CELIA

There’s no prince like him. 2910

FLORO

No one can compare. 2911

(Exeunt FLORO and CELIA)

CAMILO Happy Floro, who saw clearly what he wanted, 2912

not like the great fool, 2913

who took his pleasure in the dark. 2914

SCENE FOURTEEN

(Enter FLORO)

FLORO

It’s not even dark yet, 2915

and that masked man of yours is at the door. 2916

He gave me this message for you to read. 2917

CAMILO

Will these masks never leave me alone? 2918

Is that old woman still after me? 2919

FLORO

Read it. Let’s see what she says. 2920

CAMILO

(He reads) “It’s madness to believe so readily, 2921

and leads to your own harm. 2922

This is no trick, be not alarmed, 2923

for no deceit can last so steadily. 2924

Come, Camilo, witness my faith so true. 2925

You’ll find the truth this very night. 2926

At least, before you propose to fight, 2927

take the full measure of what you do. 2928

I’m not who you think I am, and so, 2929

though I must protect my reputation, 2930

I propose to you a revelation: 2931

in truth, your choice was not so bad, no. 2932

Your beloved was no magic Circe, 2933

but rather like you, if a bit more gutsy.” 2934

Have you ever heard anything like it? 2935

Either I’ve lost my mind, or she’s a witch. 2936

Is she at it again? 2937

Does she want to bewitch me anew? 2938

In for a penny, in for a pound. 2939

Get me a horse. 2940

FLORO

I’m going. 2941

CAMILO

Hurry. 2942

She wants to protect her reputation? 2943

Tonight I’ll carry a light even if they kill me. 2944

Put a candle in a lantern for me. 2945

FLORO

Unlit? 2946

CAMILO

Lit, you idiot, but covered. 2947

With luck they won’t see me carrying it. 2948

That hag still wants to pretend she’s a beauty! 2949

(Exeunt)

SCENE FIFTEEN

([At LEONARDA’s house])

(Enter LUCENCIO, LEONARDA, and JULIA)

LUCENCIO

I hadn’t learned of this 2950

until today, niece, 2951

and now I’m beside myself. 2952

LEONARDA

How badly have they injured him? 2953

LUCENCIO

What do you mean, injured? 2954

Had he not been in Valencia, he would not have survived. 2955

We have the best doctors here, 2956

so he should be fine. 2957

A fine reward he got that night 2958

when he left us 2959

with the letters we wrote! 2960

LEONARDA

He must have done something to deserve it. 2961

LUCENCIO

He swears he spoke to no one, 2962

nor does he know why they attacked him. 2963

LEONARDA

And he does not know who they were? 2964

LUCENCIO

I would give half my wealth to know. 2965

LEONARDA

Are you taking care of him? 2966

LUCENCIO

I shall take him home, 2967

and make sure no one finds out, 2968

as your honor demands. 2969

Is there ink and paper here? 2970

I must let his noble master know. 2971

LEONARDA

You there! 2972

Light some candles in my room. 2973

LUCENCIO

Right away. 2974

(Exeunt JULIA and LUCENCIO)

LEONARDA

I cannot get rid of this old man tonight! 2975

I am to see Camilo, 2976

yet my uncle hangs around like a shadow. 2977

They should not run into each other, though. 2978

I’ll find a way to hide him. 2979

SCENE SIXTEEN

(Enter JULIA)

JULIA

The old man is writing away. 2980

LEONARDA

Urbán must be back by now. 2981

(Enter URBÁN and CAMILO)

URBÁN

You cannot say 2982

I didn’t bring you your blind man. 2983

LEONARDA

Just seeing him offends me. 2984

CAMILO

Can I take this off now? 2985

LEONARDA

Take these lights away. 2986

CAMILO

Still with this dark lady business? 2987

I will not put up with it. 2988

Here, I am taking this off. 2989

Why should I remain blind, 2990

if everything shall be revealed? 2991

LEONARDA

Then I will hide from you, 2992

as I am who I am. 2993

But you shall not leave here tonight 2994

without knowing the truth. 2995

You have greatly offended me 2996

for thinking such things. 2997

You were mad not to notice 2998

that the lady you enjoyed 2999

was not so very tough and awful. 3000

A man is not so blind 3001

as to let his hands deceive him, 3002

and then to vainly suppose 3003

he has happpened on the truth. 3004

But you are inexperienced, it seems, 3005

and quite sure of yourself. 3006

And so you have proved yourself unwise 3007

in word and in deed. 3008

Yet I want to forgive you, 3009

if only because I love you. 3010

CAMILO

If I was wrong, 3011

I hope to excuse myself 3012

but if there is no light, 3013

how can we see the truth? 3014

She who put on that show 3015

will try many others. 3016

LEONARDA

Light is out of the question. 3017

CAMILO

That’s that, then? 3018

LEONARDA

Though I may lose you, 3019

you will not enjoy me in the light. 3020

CAMILO

Well, neither is it just, my lady, 3021

to deceive a gentleman. 3022

I have unfortunate news for you: 3023

I have a light, and I will see you. 3024

((He uncovers the light))

Jesus! Are you not the widow 3025

I have seen so many times? 3026

LEONARDA

Oh no! 3027

CAMILO

At last my luck has changed. 3028

LEONARDA

Is this how a gentleman behaves? 3029

CAMILO

Move your hand away from your face. 3030

LEONARDA

How could you be so cuel? 3031

SCENE SEVENTEEN

(Enter LUCENCIO)

LUCENCIO

Leonarda, I came as soon as I heard your voice. 3032

What’s this? A man here, 3033

a man with a naked sword! 3034

CAMILO

It was covered until now. 3035

It is only naked because of you. 3036

LUCENCIO

Get a light, call the others. 3037

(JULIA gets a torch)

LEONARDA

Sir, this is done now. 3038

Discretion is the better part of valor. 3039

This gentleman is Camilo, 3040

whom you know so well. 3041

He cares for me, 3042

and I for him. 3043

And if he is willing, 3044

I want to be his wife. 3045

LUCENCIO

If you both agree, 3046

I’ll be glad to make it so. 3047

Go easy, fearsome warrior, 3048

I knew you when you were this tall. 3049

CAMILO

You are my father and my master. 3050

Please, do as requested of you. 3051

LUCENCIO

Go, Urbán, and call some witnesses. 3052

URBÁN

I will go as fast as I can. 3053

(Exeunt CAMILO and URBÁN)

LUCENCIO

What is this? 3054

While I am home, my dear niece, 3055

you bring enemies into the house? 3056

Why did you have me write a letter, 3057

if this is what you were up to? 3058

SCENE EIGHTEEN

(Enter URBÁN, OTÓN, LISANDRO, VALERIO and FLORO)

LEONARDA

You might as well 3059

have brought the whole city! 3060

URBÁN

They were almost at the door. 3061

LUCENCIO

A good choice! 3062

These are honorable gentleman. 3063

Now you can witness the betrothal 3064

of Camilo and Leonarda, 3065

who swear to marry each other. 3066

VALERIO

As well they should, 3067

noble as he is, and beautiful as she is. 3068

May God in heaven 3069

give you many good years, 3070

and shower you with treasure. 3071

FLORO

You and I are both married, my lord, 3072

on the very same day. 3073

LISANDRO

Such an honorable marriage 3074

makes me forget my own love. 3075

Instead of leaving for distant lands, 3076

you can stay here, 3077

to relish what you have, 3078

and so enjoy one another 3079

for many years to come. 3080

URBÁN

Won’t you give Julia to me? 3081

LEONARDA

From now on she will be your wife. 3082

OTÓN

I’ve ended up a witness, 3083

although I was a suitor. 3084

I confess he is my better— 3085

you have chosen well. 3086

And so enjoy one another 3087

for many years to come. 3088

LISANDRO

When is the wedding? 3089

LUCENCIO

Tomorrow. 3090

VALERIO

So soon? 3091

LUCENCIO

It is best that way. 3092

CAMILO

And with that, I say, 3093

ends The Widow of Valencia. 3094