Thespis: Act I
DRAMATIS PERSONAE
GODS
Jupiter, Aged Diety
Apollo, Aged Diety
Mars, Aged Diety
Diana, Aged Diety
Mercury
THESPIANS
Thespis
Sillimon
Timidon
Tipseion
Preposteros
Stupidas
Sparkeion
Nicemis
Pretteia
Daphne
Cymon
ACT I - Ruined Temple on the Summit of Mount Olympus
[Scene—The ruins of the The Temple of the Gods, on summit of
Mount Olympus. Picturesque shattered columns, overgrown with
ivy, etc. R. and L. with entrances to temple (ruined) R. Fallen
columns on the stage. Three broken pillars 2 R.E. At the back of
stage is the approach from the summit of the mountain. This
should be "practicable" to enable large numbers of people to
ascend and descend. In the distance are the summits of adjacent
mountains. At first all this is concealed by a thick fog, which
clears presently. Enter (through fog) Chorus of Stars coming off
duty as fatigued with their night's work]
CHO. Through the night, the constellations,
Have given light from various stations.
When midnight gloom falls on all nations,
We will resume our occupations.
SOLO. Our light, it's true, is not worth mention;
What can we do to gain attention.
When night and noon with vulgar glaring
A great big moon is always flaring.
[During chorus, enter Diana, an elderly goddess. She is carefully
wrapped up in cloaks, shawls, etc. A hood is over her head, a
respirator in her mouth, and galoshes on her feet. During the
chorus, she takes these things off and discovers herself dressed
in the usual costume of the Lunar Diana, the goddess of the moon.
DIA. [shuddering] Ugh. How cold the nights are. I don't know how
it is, but I seem to feel the night air a good deal more than I
used to. But it is time for the sun to be rising. [Calls] Apollo.
AP. [within] Hollo.
DIA. I've come off duty—it's time for you to be getting up.
[Enter Apollo. He is an elderly "buck" with an air of assumed
juvenility and is dressed in dressing gown and smoking cap.
AP. [yawning] I shan't go out today. I was out yesterday and the
day before and I want a little rest. I don't know how it is,but I
seem to feel my work a great deal more than I used to.
DIA. I am sure these short days can't hurt you. Why you don't
rise til six and you're in bed again by five; you should have a
turn at my work and see how you like that—out all night.
AP. My dear sister, I don't envy you—though I remember when I
did—but that was when I was a younger sun. I don't think I'm
quite well. Perhaps a little change of air will do me good. I've
a mind to show myself in London this winter. They'll be very glad
to see me. No. I shan't go out today. I shall send them this
fine, thick wholesome fog and they won't miss me. It's the best
substitute for a blazing sun—and like most substitutes, nothing
at all like the real thing.
[Fog clears away and discovers the scene described. Hurried
music. Mercury shoots up from behind precipice at the back of
stage. He carries several parcels afterwards described. He sits
down, very much fatigued.]
MER. Home at last. A nice time I've had of it.
DIA. You young scamp you've been out all night again. This is the
third time you've been out this week.
MER. Well you're a nice one to blow me up for that.
DIA. I can't help being out all night.
MER. And I can't help being down all night. The nature of Mercury
requires that he should go down when the sun sets, and rise again
when the sun rises.
DIA. And what have you been doing?
MER. Stealing on commission. There's a set of false teeth and a
box of Life Pills for Jupiter—an invisible peruke and a bottle
of hair dye—that's for Apollo—a respirator and a pair of
galoshes—that's for Cupid—a full bottomed chignon, some
auricomous fluid, a box of pearl-powder, a pot of rouge, and a
hare's foot—that's for Venus.
DIA. Stealing. You ought to be ashamed of yourself.
MER. Oh, as the god of thieves I must do something to justify my
position.
DIA.and AP. [contemptuously] Your position.
MER. Oh, I know it's nothing to boast of even on earth. Up here,
it's simply contemptible. Now that you gods are too old for your
work, you've made me the miserable drudge of Olympus—groom,
valet, postman, butler, commissionaire, maid of all work, parish
beadle, and original dustman.
AP. Your Christmas boxes ought to be something considerable.
MER. They ought to be but they're not. I'm treated abominably.
I make everybody and I'm nobody. I go everywhere and I'm
nowhere. I do everything and I'm nothing. I've made thunder for
Jupiter, odes for Apollo, battles for Mars, and love for Venus.
I've married couples for Humen and six weeks afterwards, I've
divorced them for Cupid, and in return I get all the kicks while
they pocket the halfpence. And in compensation for robbing me of
the halfpence in question, what have they done for me.
AP. Why they've—ha.ha.ha. they've made you the god of thieves.
MER. Very self denying of them. There isn't one of them who
hasn't a better claim to the distinction than I have.
Oh, I'm the celestial drudge,
For morning to night I must stop at it.
On errands all day I must trudge,
And stick to my work til I drop at it.
In summer I get up at one.
(As a good-natured donkey I'm ranked for it.)
then I go and I light up the sun.
And Phoebus Apollo gets thanked for it.
Well, well, it's the way of the world.
And will be through all its futurity.
Though noodles are baroned and earled,
There's nothing for clever obscurity.
I'm the slave of the Gods, neck and heels,
And I'm bound to obey, though I rate at 'em.
And I not only order their meals,
But I cook 'em and serve'em and wait at 'em.
Then I make all their nectar, I do.
(What a terrible liquor to rack us is.)
And whenever I mix them a brew,
Why all the thanksgivings are Bacchus's.
Well, well, it's the way of the world, etc…..
The reading and writing I teach.
And spelling-books many I've edited.
And for bringing those arts within reach,
That donkey Minerva gets credited.
Then I scrape at the stars with a knife,
And plate-powder the moon (on the days for it).
And I hear all the world and his wife
Awarding Diana the praise for it.
Well, well, it's the way of the world, etc….
[After song—very loud and majestic music is heard]
DIA and MER [looking off] Why, who's this? Jupiter, by Jove.
[Enter Jupiter, an extremely old man, very decrepit, with very
thin straggling white beard, he wears a long braided dressing
gown, handsomely trimmed, and a silk night-cap on his head.
Mercury falls back respectfully as he enters.]
JUP. Good day, Diana. Ah, Apollo. Well, well, well, what's the
matter? What's the matter?
DIA. Why that young scamp Mercury says that we do nothing, and
leave all the duties of Olympus to him. Will you believe it, he
actually says that our influence on earth is dropping down to
nil.
JUP. Well, well. Don't be hard on the lad. To tell you the
truth, I'm not sure that he's far wrong. Don't let it go any
further, but, between ourselves, the sacrifices and votive
offerings have fallen off terribly of late. Why, I can remember
the time when people offered us human sacrifices, no mistake
about it, human sacrifices. Think of that.
DIA. Ah. Those good old days.
JUP. Then it fell off to oxen, pigs, and sheep.
AP. Well, there are worse things than oxen, pigs and sheep.
JUP. So I've found to my cost. My dear sir, between ourselves,
it's dropped off from one thing to another until it has
positively dwindled down to preserved Australian beef. What do
you think of that?
AP. I don't like it at all.
JUP. You won't mention it. It might go further.
DIA. It couldn't fare worse.
JUP. In short, matters have come to such a crisis that there's no
mistake about it—something must be done to restore our
influence, the only question is, what?
MER. [Coming forward in great alarm. Enter Mars]
Oh incident unprecedented.
I hardly can believe it's true.
MARS. Why, bless the boy, he's quite demented.
Why, what's the matter, sir, with you?
AP. Speak quickly, or you'll get a warming.
MER. Why, mortals up the mount are swarming
Our temple on Olympus storming,
In hundreds—aye in thousands, too.
ALL. Goodness gracious
How audacious
Earth is spacious
Why come here?
Our impeding
Their proceeding
Were good breeding
That is clear.
DIA. Jupiter, hear my plea.
Upon the mount if they light.
There'll be an end of me.
I won't be seen by daylight.
AP. Tartarus is the place
These scoundrels you should send to—
Should they behold my face.
My influence there's an end to.
JUP. [looking over precipice]
What fools to give themselves
so much exertion
DIA. A government survey I'll make assertion.
AP. Perhaps the Alpine clubs their diversion.
MER. They seem to be more like a "Cook's" excursion.
ALL. Goodness gracious, etc.
AP. If, mighty Jove, you value your existence,
Send them a thunderbolt with your regards.
JUP. My thunderbolts, though valid at a distance,
Are not effective at a hundred yards.
MER. Let the moon's rays, Diana, strike 'em flighty,
Make 'em all lunatics in various styles.
DIA. My lunar rays unhappily are mighty
Only at many hundred thousand miles.
ALL. Goodness gracious, etc…
[Exeunt Jupiter, Apollo, Diana, and Mercury into ruined temple]
[Enter Sparkeion and Nicemis climbing mountain at back.]
SPAR. Here we are at last on the very summit, and we've left the
others ever so far behind. Why, what's this?
NICE. A ruined palace. A palace on the top of a mountain. I
wonder who lives here? Some mighty kind, I dare say, with wealth
beyond all counting who came to live up here—
SPAR. To avoid his creditors. It's a lovely situation for a
country house though it's very much out of repair.
NICE. Very inconvenient situation.
SPAR. Inconvenient.
NICE. Yes, how are you to get butter, milk, and eggs up here? No
pigs, no poultry, no postman. Why, I should go mad.
SPAR. What a dear little practical mind it is. What a wife you
will make.
NICE. Don't be too sure—we are only partly married—the marriage
ceremony lasts all day.
SPAR. I have no doubt at all about it. We shall be as happy as a
king and queen, though we are only a strolling actor and actress.
NICE. It's very nice of Thespis to celebrate our marriage day by
giving the company a picnic on this lovely mountain.
SPAR. And still more kind to allow us to get so much ahead of all
the others. Discreet Thespis. [kissing her]
NICE,. There now, get away, do. Remember the marriage ceremony
is not yet completed.
SPAR. But it would be ungrateful to Thespis's discretion not to
take advantage of it by improving the opportunity.
NICE. Certainly not; get away.
SPAR. On second thought the opportunity's so good it don't admit
of improvement. There. [kisses her]
NICE. How dare you kiss me before we are quite married?
SPAR. Attribute it to the intoxicating influence of the mountain
air.
NICE. Then we had better do down again. It is not right to
expose ourselves to influences over which we have no control.
SPAR. Here far away from all the world,
Dissension and derision,
With Nature's wonders all unfurled
To our delighted vision,
With no one here
(At least in sight)
To interfere
With our delight,
And two fond lovers sever,
Oh do not free,
Thine hand from mine,
I swear to thee
My love is ever thine
For ever and for ever.
NICE. On mountain top the air is keen,
And most exhilarating,
And we say things we do not mean
In moments less elating.
So please to wait
For thoughts that crop,
En tete-a-tete,
On mountain top,
May not exactly tally
With those that you
May entertain,
Returning to
The sober plain
Of yon relaxing valley
SPAR. Very well—if you won't have anything to say to me, I know
who will.
NICE. Who will?
SPAR. Daphne will.
NICE. Daphne would flirt with anybody.
SPAR. Anybody would flirt with Daphne. She is quite as pretty as
you and has twice as much back-hair.
NICE. She has twice as much money, which may account for it.
SPAR. At all events, she has appreciation. She likes good looks.
NICE. We all like what we haven;t got.
SPAR. She keeps her eyes open.
NICE. Yes—one of them.
SPAR. Which one.
NICE. The one she doesn't wink with.
SPAR. Well, I was engaged to her for six months and if she still
makes eyes at me, you must attribute it to force of habit.
Besides—remember—we are only half-married at present.
NICE. I suppose you mean that you are going to treat me as
shamefully as you treated her. Very well, break it off if you
like. I shall not offer any objection. Thespis used to be very
attentive to me. I'd just as soon be a manager's wife as a fifth-
rate actor's.
[Chorus heard, at first below, then enter Daphne, Pretteia,
Preposteros, Stupidas, Tipseion, Cymon, and other members of
Thespis's company climbing over rocks at back. All carry small
baskets.]
CHO. [with dance] Climbing over rocky mountain
Skipping rivulet and fountain,
Passing where the willows quiver
By the ever rolling river,
Swollen with the summer rain.
Threading long and leafy mazes,
Dotted with unnumbered daisies,
Scaling rough and rugged passes,
Climb the hearty lads and lasses,
Til the mountain-top they gain.
FIRST VOICE. Fill the cup and tread the measure
Make the most of fleeting leisure.
Hail it as a true ally
Though it perish bye and bye.
SECOND VOICE. Every moment brings a treasure
Of its own especial pleasure,
Though the moments quickly die,
Greet them gaily as they fly.
THIRD VOICE. Far away from grief and care,
High up in the mountain air,
Let us live and reign alone,
In a world that's all our own.
FOURTH VOICE. Here enthroned in the sky,
Far away from mortal eye,
We'll be gods and make decrees,
Those may honor them who please.
CHO. Fill the cup and tread the measure…etc.
[After Chorus and Couples enter, Thespis climbing over rocks]
THES. Bless you, my people, bless you. Let the revels commence.
After all, for thorough, unconstrained unconventional enjoyment
give me a picnic.
PREP. [very gloomily] Give him a picnic, somebody.
THES. Be quiet, Preposteros. Don't interrupt.
PREP. Ha. Ha. Shut up again. But no matter.
[Stupidas endeavors, in pantomime, to reconcile him. Throughout
the scene Prep shows symptoms of breaking out into a furious
passion, and Stupidas does all he can to pacify and restrain
him.]
THES. The best of a picnic is that everybody contributes what he
pleases, and nobody knows what anybody else has brought til the
last moment. Now, unpack everybody and let's see what there is
for everybody.
NICE. I have brought you—a bottle of soda water—for the claret-
cup.
DAPH. I have brought you—lettuce for the lobster salad.
SPAR. A piece of ice—for the claret-cup.
PRETT. A bottle of vinegar—for the lobster salad.
CYMON. A bunch of burrage for the claret-cup.
TIPS. A hard boiled egg—for the lobster salad.
STUP. One lump of sugar for the claret-cup.
PREP. He has brought one lump of sugar for the claret-cup? Ha.
Ha. Ha. [laughing melodramatically]
STUP. Well, Preposteros, what have you brought?
PREP. I have brought two lumps of the very best salt for the
lobster salad.
THES. Oh—is that all?
PREP. All. Ha. Ha. He asks if it is all. {Stup. consoles him]
THES. But, I say—this is capital so far as it goes. Nothing
could be better, but it doesn't go far enough. The claret, for
instance. I don't insist on claret—or a lobster—I don't insist
on lobster, but a lobster salad without a lobster, why it isn't
lobster salad. Here, Tipseion.
TIP. [a very drunken, bloated fellow, dressed, however, with
scrupulous accuracy and wearing a large medal around his neck] My
master. [Falls on his knees to Thes. and kisses his robe.]
THES. Get up—don't be a fool. Where's the claret? We arranged
last week that you were to see to that.
TIPS. True, dear master. But then I was a drunkard.
THES. You were.
TIPS. You engaged me to play convivial parts on the strength of
my personal appearance.
THES. I did.
TIPS. Then you found that my habits interfered with my duties as
low comedian.
THES. True.
TIPS. You said yesterday that unless I took the pledge you would
dismiss me from your company.
THES. Quite so.
TIPS. Good. I have taken it. It is all I have taken since
yesterday. My preserver. [embraces him]
THES. Yes, but where's the wine?
TIPS. I left it behind that I might not be tempted to violate my
pledge.
PREP. Minion. [Attempts to get at him, is restrained by Stupidas]
THES. Now, Preposteros, what is the matter with you?
PREP. It is enough that I am down-trodden in my profession. I
will not submit to imposition out of it. It is enough that as
your heavy villain I get the worst of it every night in a combat
of six. I will not submit to insult in the day time. I have come
out. Ha. Ha. to enjoy myself.
THES. But look here, you know—virtue only triumphs at night from
seven to ten—vice gets the best of it during the other twenty
one hours. Won't that satisfy you? [Stupidas endeavours to
pacify him.]
PREP. [Irritated to Stupidas] Ye are odious to my sight. Get out
of it.
STUP. [In great terror] What have I done?
THES. Now what is it. Preposteros, what is it?
PREP. I a — hate him and would have his life.
THES. [to Stup.] That's it—he hates you and would have your
life. Now go and be merry.
STUP. Yes, but why does he hate me?
THES. Oh—exactly. [to Prep.] Why do you hate him?
PREP. Because he is a minion.
THES. He hates you because you are a minion. It explains itself.
Now go and enjoy yourselves. Ha. Ha. It is well for those who can
laugh—let them do so—there is no extra charge. The light-
hearted cup and the convivial jest for them—but for me—what is
there for me?
SILLI. There is some claret-cup and lobster salad [handing some]
THES. [taking it] Thank you. [Resuming] What is there for me but
anxiety—ceaseless gnawing anxiety that tears at my very vitals
and rends my peace of mind asunder? There is nothing whatever
for me but anxiety of the nature I have just described. The
charge of these thoughtless revellers is my unhappy lot. It is
not a small charge, and it is rightly termed a lot because there
are many. Oh why did the gods make me a manager?
SILL. [as guessing a riddle] Why did the gods make him a manager?
SPAR. Why did the gods make him a manager.
DAPH. Why did the gods make him a manager?
PRETT. Why did the gods make him a manager?
THES. No—no—what are you talking about? What do you mean?
DAPH. I've got it—no don't tell us.
ALL. No—no—because—because
THES. [annoyed] It isn't a conundrum. It's misanthropical
question.
DAPH. [Who is sitting with Spar. to the annoyance of Nice. who is
crying alone] I'm sure I don't know. We do not want you. Don't
distress yourself on our account—we are getting on very
comfortably—aren't we Sparkeion.
SPAR. We are so happy that we don't miss the lobster or the
claret. What are lobster and claret compared with the society of
those we love? [embracing Daphne.]
DAPH. Why, Nicemis, love, you are eating nothing. Aren't you
happy dear?
NICE. [spitefully] You are quite welcome to my share of
everything. I intend to console myself with the society of my
manager. [takes Thespis' arm affectionately].
THES. Here I say—this won't do, you know—I can't allow it—at
least before my company—besides, you are half-married to
Sparkeion. Sparkeion, here's your half-wife impairing my
influence before my company. Don't you know the story of the
gentleman who undermined his influence by associating with his
inferiors?
ALL. Yes, yes—we know it.
PREP. [formally] I do not know it. It's ever thus. Doomed to
disappointment from my earliest years. [Stup. endeavours to
console him]
THES. There—that's enough. Preposteros—you shall hear it.
I once knew a chap who discharged a function
On the North South East West Diddlesex Junction.
He was conspicuous exceeding,
For his affable ways, and his easy breeding.
Although a chairman of directions,
He was hand in glove with the ticket inspectors.
He tipped the guards with brand new fivers,
And sang little songs to the engine drivers.
'Twas told to me with great compunction,
By one who had discharged with unction
A chairman of directors function
On the North South East West Diddlesex Junction.
Fol diddle, lol diddle, lol lol lay.
Each Christmas day he gave each stoker
A silver shovel and a golden poker.
He'd button holw flowers for the ticket sorters
And rich Bath-buns for the outside porters.
He'd moun the clerks on his first-class hunters,
And he build little villas for the road-side shunters,
And if any were fond of pigeon shooting,
He'd ask them down to his place at Tooting.
Twas told to me….etc.
In course of time there spread a rumour
That he did all this from a sense of humour.
So instead of signalling and stoking,
They gave themselves up to a course of joking.
Whenever they knew that he was riding,
They shunted his train on a lonely siding,
Or stopped all night in the middle of a tunnel,
On the plea that the boiler was a-coming through the funnel.
Twas told to me…etc.
It he wished to go to Perth or Stirling,
His train through several counties whirling,
Would set him down in a fit of larking,
At four a.m. in the wilds of Barking.
This pleased his whim and seemed to strike it,
But the general public did not like it.
The receipts fell, after a few repeatings,
And he got it hot at the annual meetings.
Twas told to me…etc.
He followed out his whim with vigour,
The shares went down to a nominal figure.
These are the sad results proceeding
From his affable ways and his easy breeding.
The line, with its rais and guards and peelers,
Was sold for a song to marine store dealers
The shareholders are all in the work'us,
And he sells pipe-lights in the Regent Circus.
Twas told to me…etc.
It's very hard. As a man I am naturally of an easy disposition.
As a manager, I am compelled to hold myself aloof, that my
influence may not be deteriorated. As a man I am inclined to
fraternize with the pauper—as a manager I am compelled to walk
around like this: Don't know yah. Don't know yah. Don't know yah.
[Strides haughtily about the stage. Jupiter, Mars, and Apollo, in
full Olympian costume appear on the three broken columns.
Thespians scream.]
JUP, MARS, AP. Presumptuous mortal.
THES. Don't know ya. Don't know yah.
JUP, MARS, AP. [seated on broken pillars] Presumptuous mortal.
THES. I do not know you. I do not know you.
JUP, MARS, AP. Presumptuous mortal.
THES. Remove this person.
[Stup and Prep seize Ap and Mars]
JUP. Stop, you evidently don't know me. Allow me to offer you my
card. [Throws flash paper]
THES. Ah yes, it's very pretty, but we don't want any at present.
When we do our Christmas piece, I'll let you know. [Changing his
manner] Look here, you know this is a private party and we
haven't the pleasure of your acquaintance. There are a good many
other mountains about, if you must have a mountain all to
yourself. Don't make me let myself down before my company.
[Resuming] Don't know yah, Don't know yah.
JUP. I am Jupiter, the king of the gods. This is Apollo. This is
Mars. [All kneel to them except Thespis]
THES. Oh. Then as I'm a respectable man, and rather particular
about the company I keep, I think I'll go.
JUP. No—no—stop a bit. We want to consult you on a matter of
great importance. There. Now we are alone. Who are you?
THES. I am Thespis of the Thessalian Theatres.
JUP. The very man we want. Now as a judge of what the public
likes are you impressed with my appearance as father of the gods?
THES. Well to be candid with you, I am not. In fact I'm
disappointed.
JUP. Disappointed?
THES. Yes, you see you're so much out of repair. No, you don't
come up to my idea of the part. Bless you, I've played you often.
JUP. You have.
THES. To be sure I have.
JUP. And how have you dressed the part.
THES. Fine commanding party in the prime of life. Thunderbolt—
full beard—dignified manner—a good eal of this sort of thin
"Don't know ya. Don't know yah. Don't know yah.
JUP. [much affected] I—I'm very much obliged to you. It's very
good of you. I—I—I used to be like that. I can't tell you how
much I feel it. And do you find I'm an impressive character to
play?
THES. Well no, I can't say you are. In fact we don't you you
much out of burlesque.
JUP. Burlesque!
THES. Yes, it's a painful subject, drop it, drop it. The fact
is, you are not the gods you were—you're behind your age.
JUP. Well, but what are we to do? We feel that we ought to do
something, but we don't know what.
THES. Why don't you all go down to earth, incog, mingle with the
world, hear and see what people think of you, and judge for
yourselves as to the best means to take to restore your
influence?
JUP. Ah, but what's to become of Olympus in the meantime?
THES. Lor' bless you, don't distress yourself about that. I've a
very good company, used to take long parts on the shortest
notice. Invest us with your powers and we'll fill your places
till you return.
JUP. [aside] The offer is tempting. But suppose you fail?
THES. Fail. Oh, we never fail in our profession. We've nothing
but great successes.
JUP. Then it's a bargain.
THES. It's a bargain. [they shake hands on it]
JUP. And that you may not be entirely without assistance, we will
leave you Mercury and whenever you find yourself in a difficulty
you can consult him. [enter Mercury]
JUP. So that's arranged—you take my place, my boy,
While we make trial of a new existence.
At length I will be able to enjoy
The pleasures I have envied from a distance.
MER. Compelled upon Olympus here to stop,
While the other gods go down to play the hero.
Don't be surprised if on this mountain top
You find your Mercury is down at zero.
AP. To earth away to join in mortal acts.
And gather fresh materials to write on.
Investigate more closely, several facts,
That I for centuries have thrown some light on.
DIA. I, as the modest moon with crescent bow.
Have always shown a light to nightly scandal,
I must say I'd like to go below,
And find out if the game is worth the candle.
[enter all thespians, summoned by Mercury]
MER. Here come your people.
THES. People better now.
THES. While mighty Jove goes down below
With all the other deities.
I fill his place and wear his "clo,"
The very part for me it is.
To mother earth to make a track,
They are all spurred and booted, too.
And you will fill, till they come back,
The parts you best are suited to.
CHO. Here's a pretty tale for future Iliads and Odysseys
Mortals are about to personate the gods and goddesses.
Now to set the world in order, we will work in unity.
Jupiter's perplexity is Thespis's opportunity.
SPAR. Phoebus am I, with golden ray,
The god of day, the god of day.
When shadowy night has held her sway,
I make the goddesses fly.
Tis mine the task to wake the world,
In slumber curled, in slumber curled.
By me her charms are all unfurled
The god of day am I.
CHO. The god of day, the god of day,
The park shall our Sparkeion play,
Ha Ha, etc.
The rarest fun and rarest fare
That ever fell to mortal share
Ha ha etc.
NICE. I am the moon, the lamp of night.
I show a light — I show a light.
With radiant sheen I put to flight
The shadows of the sky.
By my fair rays, as you're aware,
Gay lovers swear—gay lovers swear,
While greybeards sleep away their care,
The lamp of night am I.
CHO. The lamp of night-the lamp of night.
Nicemis plays, to her delight.
Ha Ha Ha Ha.
The rarest fun and rarest fare,
That ever fell to mortal share,
Ha Ha Ha Ha
TIM. Mighty old Mars, the god of war,
I'm destined for—I'm destined for.
A terribly famous conqueror,
With sword upon his thigh.
When armies meet with eager shout
And warlike rout, and warlike rout,
You'll find me there without a doubt.
The God of War am I.
CHO. The god of war, the god of war
Great Timidon is destined for.
Ha Ha Ha Ha
The rest fun and rarest fare
That ever fell to mortal share
Ha Ha Ha Ha
DAPH. When, as the fruit of warlike deeds,
The soldier bleed, the soldier bleeds,
Calliope crowns heroic deeds,
With immortality.
From mere oblivion I reclaim
The soldier's name, the soldier's name
And write it on the roll of fame,
The muse of fame am I.
CHO. The muse of fame, the muse of fame.
Callipe is Daphne's name.
Ha Ha Ha Ha
The rarest fun and rarest fare,
That ever fell to mortal share.
Ha Ha Ha Ha.
TUTTI. Here's a pretty tale.
[Enter procession of old Gods, they come down very much
astonished at all they see, then passing by, ascent the platform
that leads to the descent at the back.]
GODS. We will go,
Down below,
Revels rare,
We will share.
Ha Ha Ha
With a gay
Holiday
All unknown,
And alone
Ha Ha Ha.
TUTTI. Here's a pretty tale.
[The gods, including those who have lately entered in procession
group themselves on rising ground at back. The Thespians kneeling
bid them farewell.]
