PRICE TWENTY-FIVE CENTS

PRINCESS KIKU
A JAPANESE ROMANCE
FEMALE CHARACTERS ONLY

DICK & FITZGERALD
PUBLISHERS
18 Ann Street, New York

COMEDIES AND DRAMAS

15 CENTS EACH

DICK & FITZGERALD, Publishers, 18 Ann St., N. Y.

PRINCESS KIKU

A Japanese Romance. A Play for Girls

BY
M. F. HUTCHINSON

Copyright, 1903, by Dick & Fitzgerald

NEW YORK
DICK & FITZGERALD, Publishers
18 Ann Street

PRINCESS KIKU

A JAPANESE ROMANCE.

CHARACTERS

Location.—Tokio.

Time.—The present.

Time of Performance.—Two hours.

SYNOPSIS

[Scene I]. The Chrysanthemum Garden and Summer-House. Princess Kiku and her ladies-in-waiting. Intrusion of Lady Cecil. Story of the shipwrecked baby.

[Scene II]. Same as before. Sakara bribes little Ito to bring misfortune on the Princess by a play-act, which the Princess believes is reality. Mimosa’s description of the Emperor’s reception. The working of Sakara’s spell.

[Scene III]. Room in a Japanese hotel. Miss Prendergast’s solicitude for Arthur, Cecil’s brother. Mutual quizzing.

[Scene IV]. Room in the house of Sakara. Sakara gives Ito further instruction. Mimosa’s fruitless embassy. Sakara’s curse.

[Scene V]. Room in Japanese house. Kiku’s hallucination: “What I touch withers.” Cecil and companion’s interview with Kiku’s ladies. Miss Prendergast’s consternation.

[Scene VI]. The Chrysanthemum Garden. Ito repents. Kiku supposed she had struck Ito blind. He confesses it was play-acting. The story of the shipwreck. The heiress is found.

COSTUMES

The principal garment worn by Japanese ladies is the kimono. This outer garment or coat is made of silk, generally of a quiet color ornamented with Japanese designs; or, for general purposes, of figured calico, turkey red or orange cotton. The back has no seam and the front is open from top to bottom, sloping outward below the waist to show the underskirt; the neck is trimmed V shaped, or faced and turned over to form a collar, bringing to view a colored kerchief folded across the breast; the sleeves are loose and end in long, wide, rectangular-shaped bags, wide open from wrist down and lined. The underskirt, only visible in front, is of a different color and richly ornamented with gilt and bright Japanese designs.

To complete the costume, a long, wide sash is passed twice around the waist and gathered behind into an immense butterfly bow and ends.

The hair is arranged in pompadour style, and the back hair brought high up on the top of the head and ornamented with large, showy pins and little fans.

The eyebrows should be penciled black. Two fine black lines, one above the upper and one below the lower eyelash, continued outward, curved slightly upward and meeting just beyond the outer corner of each eye, give quite a Japanese style to the face.

The little “Moonbeam Fairies” should be costumed in similar style as to their garments, but of white or different light-colored material, the sleeves shorter and the sash smaller than in the ladies’ costumes, and white stockings drawn over their shoes.

Sakara’s costume should be of sombre hues, the face made up for a wrinkled old hag.

Lady Cecil is in well-fitting English travelling costume.

Miss Prendergast, the same, but in accordance with her sixty years. Hair, silver-white.

PROPERTIES

Scene I. Flat square cushions, on which the girls kneel, sitting back on their heels in Japanese fashion; loose chrysanthemums; stool in summer-house; girls carry fans in hands or girdles.

Scene II. Grass or straw rope; Eastern rugs; loose chrysanthemums; guitar or samisen; cushions.

Scene III. Sock, thimble, needle; dead flower.

Scene IV. Presents on tray; books; cushions.

Scene V. Japanese umbrellas, flowers, vases; square low table; cushions.

Scene VI. Flowers; tiny silk bag.

NOTES ON SCENERY

Scene I. Background and wings of dark curtains, with masses of real or imitation chrysanthemums. A summer-house raised on a small platform can be made with a Japanese umbrella and a screen, as in diagram.

Scene II. The same as Scene I.

Scene III. Perfectly plain screens stretched round the stage. One wooden table, rush-bottomed chair, portmanteau, coats, dressing-case, etc.

Scene IV. Japanese screens, idols or figures, small cabinet, etc. Sword suspended from screen.

Scene V. Screens, Japanese draperies, palms, etc., etc.

Scene VI. Scene I., as before.

Note.—The complete words and score of the musical comedy “San Toy,” to the airs of which the song in this entertainment adapt themselves, can be supplied by Dick & Fitzgerald, post-paid, on receipt of $2.00.

STAGE DIRECTIONS

R., right, as performer stands facing audience; L., left, as performer stands facing audience; C., centre; U. E., upper entrance, i.e., entrance nearest the back of stage; 1 E., first entrance, i.e., entrance nearest footlights; UP STAGE, away from footlights; DOWN STAGE, toward footlights.

FOREWORD

The Japanese are notably and effusively polite in their deportment. Japanese girls are especially kind-hearted and obliging. Their religion denies them immortality, and they believe that their paramount duty in life is to please.

Their education imbues them with an intense love of flowers, bright colors and all that is beautiful; it inculcates the extreme of social etiquette in every-day deportment; it adds words of compliment in the commonest phrases of conversation, and, moreover, teaches them to rely on signs, omens and tutelary gods, both good and evil.

In this “Romance” the quaint and sprightly style of Japanese expressions is carried out as faithfully as possible, and the performers must study carefully the endless obeisances and quaint dialogue which are indispensable to make it effective.

The scenery, where available, may be elaborate, as in Japanese operas, but excellent effect may be obtained with a few Japanese plain and ornamental screens, Japanese umbrellas, fans and plenty of chrysanthemums, real or artificial, and of various colors.

PRINCESS KIKU

A JAPANESE ROMANCE

SCENE I.—The Chrysanthemum Garden. Summer-house on raised platform, up stage L. Entrances R. U. E. and L. 1 E. Yuki discovered seated on the step of the summer-house. Totmai and Haru both on one knee down stage, R. and L., among the flowers. They commence singing a little before the curtain is raised.

SONG.

Air: Chorus to “The Moon,” “San Toy,” Act I.

In the land of Japan,
Dainty maids wave a fan;
This way twirl, that way twist,
With a grace none resist.

All the day bright and gay,
Dainty feet none may stay;
This way slide, that way glide,
Point and turn, spring aside.

Swift to rise with the dawn,
Flowers to bind all the morn;
This one pluck, that one leave,
Dainty care all receive.

In the land of Japan,
Dainty maids wave a fan;
With a grace none resist,
This way twirl, that way twist.

[After song Totmai and Haru rise and begin picking flowers.

Totmai. How sweet honorable blossoms with beautiful dew upon them. The Princess promises rare flowers for the exalted festival this evening.

Yuki. Which of us will accompany Her Gracious Highness?

Haru. It is said that soon at the august Court all will wear ugly, clumsy dress of barbarian foreigners.

Yuki and Totmai. You say so, O Haru?

Haru. O grief-making! I have honorable knowledge that this is so. What can be prettier than our dear kimonos and obi? Their strange dresses, thick, clumsy things on their feet?

Totmai. How laughter-making is the great Englishman!

Yuki. Laughter-making? He seems strangely solemn. I expect honorable barbarian does not like to be so big and clumsy, poor man! Ah (laughs), if your worthy eyes could have seen him at exalted tea-making! He (rises and comes down C., imitating gestures) took the cup in his big, big hand. Do you know, O Totmai and O Haru, I thought he would put it all in his mouth when he opened it, without uttering honorable courtesies, and drank it all down before His August Majesty had taken more than a sip! Then his face went just like this. (Grimaces.)

Totmai (moves to C. Yuki moves R.). That is the way barbarians laugh. What laughter he gave us in the garden here. You know, O Yuki, he has had leave from the all-powerful Son of Heaven to walk here. O Haru and I played ball, when we heard (imitates) stamp—stamp—stamp—and then we saw the barbarian Englishman come swinging along. Before we had time to move he nearly walked over us, going like this at a great, great pipe. (Walks L., imitating heavy tread of Englishman.) We laughed greatly. O Haru, did we not laugh?

Haru (coming C.). Then, O Yuki, he took strange covering from barbarian head, like this, and said, “O-I-say—I-beg-your pardon!” We laughed and laughed, running away; then stranger still was barbarian speech: “By-Jove—jolly-little things!” Great was our honorable laughter. The barbarian Englishman never smile except when they are killing people. (Walks up stage and looks off R.) Yonder I see O Mimosa San.

ENTER Mimosa R. U. E. All bow.

Mimosa. The august Princess gives honorable notice, O Yuki and humble Mimosa attend her to exalted festival. (Haru joins Totmai L.) O dear little ones (to Totmai and Haru), there will be other feasts. The Englishman, whom the all-powerful Son of Heaven condescends to love, lingers in beautiful Japan.

Totmai (laughing). “By Jove—jolly-little-things!” O laughter-making! Come, O Haru San, there are yet honorable chrysanthemums to gather.

[EXEUNT L. 1 E.

Mimosa (drawing Yuki to C.). O Yuki, the exalted Princess is not smiling. She has dreamed strangely, and of serpents. She cannot forget cruel words spoken by the all-wise Sakara. In vain I tell Her Highness the gods sit on the brow of just—and they, the most powerful ones, protect the innocent!

Yuki. Truth, indeed—honorable truth—he who curses must look out for two graves. Trouble not for the venerated Princess. O dear one, we are as grave as foxes; we shall have honorable laughter to-night!

Mimosa. O Yuki San, of honorable courtesy forgive, I cannot laugh. See, I have sewn yet other charms in my girdle. Last night I, too, was unfortunate and dreamed evil dreams. Great is my folly, I fear the curses of wise Sakara.

Yuki. O Mimosa, go not forth to meet trouble. Yonder I see swift-flying butterfly, chase it with honorable laughter (turns and runs up stage.) The Princess!

ENTER Totmai and Haru L. Princess ENTERS R. Girls bow to the ground.

Mimosa (R.). August lady, do you walk for benefit of exalted health?

Princess (taking flowers from Yuki, who is up stage C., then coming half way down stage to L. C.). The honorable chrysanthemums are all gathered. The Englishman, in his cold land, will not have seen such beautiful blossoms. O fair and rare! I will rest here. (Totmai and Haru arrange cushions L. C.) Sit here, O maidens. I would tell fearful trouble-bringing dream. (Mimosa and Yuki sit R. of Princess, slightly up stage. Haru and Totmai L., down stage.) I dreamed I walked in this stately garden, among honorable blossoms dear to the heart of Kiku, their namesake. Sad tears fell down my cheeks. I wiped them away with the sleeves of honorable kimono. The dearly beloved flowers drooped at my coming, the most glorious exalted Moon hid her light, the birds and the dragonflies flew away, for evil Serpent followed me! I awoke with a cry. What can it mean, O wise Yuki?

Yuki (bowing). O dear lady, be comforted. In evil times the hero appears; a brave man would slay the serpent, as Yorissima slew the dragon.

Princess. What is honorable thought, O Totmai, of small feet?

Totmai. Deign to believe no one can injure exalted Highness. Who throws stones at the Sun?

Princess. I will forget, O kind ones, though I fear to find it as hard as trying to blow away fog with a fan. Dance for me. (Yuki and Totmai dance with fans, finishing dance R. C. Princess watches, clapping hands.) O Yuki, O Totmai, cleverest geisha could not rival your excellence.

Yuki (bowing). Exalted praise is too great for us. May we speak of august entertainment for powerful foreigner?

Princess (laughing). How strange he is and big, his words so different to honorable Japanese. Sometimes I think I have heard those sounds before. There are, in truth, more barbarian foreigners than in old venerated days. My uncle, all-powerful Son of Heaven, smiles at their coming. All love them not, Sakara—Truly, O dear little Mimosa (bends over Mimosa, who has touched her sleeve), I will forget cruel words. Was it, think you, O maidens, when my soul wandered in another body I heard the strange speech of the foreigner?

Mimosa. Truly, O most exalted, the world gathers at august Court. Condescend to remember this is honorable hour when the Son of Heaven impatiently awaits you. (EXEUNT all R., girls carrying flowers.)

ENTER Lady Cecil Cavendish and Miss Prendergast, L.

Lady C. This is too exciting for anything! (Walks about inquisitively.) I feel just like Alice in Wonderland. If anybody called out “Off with her head,” I shouldn’t be in the least astonished. Should you, G., dear?

Miss P. (who has stayed near L. 1 E. while Cecil has gone round stage and finished up and down C., nervously). I have had so many shocks since I left the blessed security of home that——

Cecil. Don’t talk of shocks. It makes me remember the earthquakes. I do hope they won’t have one for us. I should not like all the dear little houses to go rocking about. One comfort is, if you were buried under a Japanese house it wouldn’t hurt.

Miss P. Your levity, Cecil, is unbecoming. I certainly dread an earthquake, though it is not the worst evil I apprehend. I should hate to be tortured.

Cecil (going toward summer-house). You dear old goose, they don’t torture in Japan. You are thinking of China. I must just peep inside here.

Miss P. (crossing to up stage, C.). Do not, I beg of you, be so rash. (Sighs with relief as Cecil descends.) In the geography book from which it was my pleasure to instruct you when you were a child, China and Japan were treated under one chapter.

Cecil. As to geography, I have forgotten all I ever learned. Sit down there. See, is this (goes to summer-house) a table or a stool? I will make myself comfortable on the ground (sits on ground by summer-house, L. C.). Let us discuss the situation. (Miss P. hesitates.) Do, G. Nobody can object to our sitting down. You see, the voyage is safely over and you were not drowned.

Miss P. That is true, Cecil. (Sits gingerly on stool R. of Cecil.) I have not, as you say, been consigned to a watery grave. However, nothing will induce me to enter one of those terribly unsafe carriages again. Carriages, indeed! Undignified, overgrown perambulators!

Cecil. I enjoyed it. My little man ran and raced and laughed. It really was most exciting. I thought he would upset and half kill several of those dear little people. They only laugh.

Miss P. The vacant mind—the ready laugh. They are a small, insignificant race.

Cecil (laughing). Think of Arthur, his height! And those great beetle-crushers!

Miss P. (with horror). My dear!

Cecil. Would you have me say pedal extremities?

Miss P. I should prefer greater dignity of language.

Cecil (demurely). Consider, then, my dear brother’s consternation, his delighted surprise, when he returns to the hotel to find US.

Miss P. (sighing). You are singularly heedless, my dear Cecil. Your brother never took any notice of your letters or telegrams. From that I construe disapproval. You remember another familiar saying: Scratch a man and you find a Tartar. We have braved the dangers of the deep——

Cecil. G., dear, you know you enjoyed it. The flirtations you had with Professor Anstruther——

Miss P. Cecil, I am surprised, astounded! Professor Anstruther is a man with a peculiarly cultivated mind. I was gleaning all the information I could on the fascinating subject of antiquities. You remember I often had cause to beg you to show less levity in your intercourse with Captain Waring.

Cecil (rising). Dear G., I was accumulating information on military matters. (Miss P. rises.) There, forgive me I don’t wonder at any one admiring your sweet, white curls. (Caresses.) We must not spend the whole day in the Princess’s garden unasked, though I should love to poke about these dear little ponds.

Miss P. (emphatically). I only consented to leave the place they dignify with the name of house in order to purchase somewhere thick curtains. Do they imagine a cultivated Englishwoman will retire to rest surrounded by paper walls? I am ready, Cecil.

Cecil (taking Miss P.’s arm). Just a moment. It is so peaceful here. (They walk down R.) And you have really made me nervous about Arthur. Where do you think the mad boy can be? Why did that foolish old man leave him the money with the insane remark about a rightful heiress shipwrecked off the coast of Japan? Who could find a shipwrecked baby in Japan? And everything possible has been done. The Lady’s parents were drowned, and therefore, naturally, with so much water a baby couldn’t escape. I wonder if Arthur has advertised in the papers? Do they have newspapers in Japan? Oh, yes, I know; you begin at the wrong end. Or does he travel about the country cross-examining and fascinating the girls?

Miss P. (indignantly shaking off C.’s hand and walking away). Cecil!

Cecil (following). Well, you know it’s true. And you and I are equally foolish about him, and have travelled all this distance, encountering hideous dangers. (Miss P. sighs.) All for the love of his bonny face.

Miss P. (quickly). I came to chaperone you, my dear.

Cecil (faces Miss P., shaking finger). G., G., speak the truth! You have a vivid, affectionate memory of a fat little boy clad in a tight Holland overall, sitting on your knee eating buttered toast.

Miss P. (indignantly). Really, Cecil, I never permit myself to think of his lordship in such indecorous fashion. I would not take such a liberty.

Cecil (placing hands on Miss P.’s shoulders). Who keeps golden curls, even a tooth or two? Who gave him anything for a kiss—you’ll do the same again, you naughty old thing!

Miss P. (turning away R.). I am at a loss to understand. May I ask if you mean to suggest—that—that——

Cecil. Exactly, dear, that. He will give you, when he sees you, a good hug, and remark, “I say, you old dear, you grow younger every day.” Will you bet?

Miss P. (with horror). Bet? When I relinquished the reins of government such a word was utterly unknown to you. I am shocked, grieved.

Cecil (demurely). Only a pair of gloves, dear.

Miss P. This familiarity with odious habits offends me. I hope his lordship does not favor such vulgar practices.

Cecil. I don’t mind asserting one thing, and that is, he is bound to bet you something—and that you’ll take it, there! Well, we must not stay here forever. (Moving C. and leaving Miss P. R.) Come, G., dear, I pine for a run in a rickshaw. Mine shall race yours.

Miss P. I will not submit to be dragged in such unseemly fashion. (EXIT Cecil L.) I prefer to trust to my own—powers of—locomotion. Cecil! Cecil! (Quick curtain as Miss P. runs across the stage.)

CURTAIN.

SCENE II.—The Chrysanthemum Garden, as before.

ENTER Sakara L., with Ito.

Sakara. Hear, O little Ito, the wise woman sees excellencies! (Child bows.) At house of honorable mother, Sakara heard clever proverbs, saw play-acting. I love wise little boys, therefore would give happiness, O Ito! (Child bows.) This is the chrysanthemum garden of august Princess; here are beautiful blossoms for the flower-viewing. Say, little Ito, would you have worthy coins to spend? (Child bows three times.) Sit here, recite true proverbs. (Sits L. C., Ito C.)

Ito (quickly). Many words, little sense. For woman to rule is as for a hen to crow in the morning!

Sakara. Stay, Ito. Would you, O wise little man, have new playing cards? A toy that water will work? I saw excellent one of a man beating rice husks. Would have it for your own? (Ito shakes head, bowing.) Some shrill-voiced grasshoppers in bamboo cages?

Ito (bowing). August Lady is too kind to little Ito.

Sakara. What shall it be, then? Think in your mind. Act the doctor for me, O wise little Ito, then you shall say.

Ito (bowing). Allow most unworthy to feel honorable pulse of august patient. (Takes hand, bowing.) There is fever! Allow highly ignorant to gaze on venerated tongue. (Examines, kneeling.) Honorable medicine must be prepared, if august one will condescend to take.

Sakara. Truly, O wise little Ito, it is good play-acting. Would play new honorable game for me? Tell me what heart desires.

Ito. Thanks for honorable kindness. Books are my desire.

Sakara. Books? That is wise, O little Ito. Honorable books shall be procured. New play-acting done, money shall obtain them. Listen, O little Ito. There are thorns on every rose-tree. Even Sakara has heart-tormenting troubles; little wise Ito may help. Would have me for friend? (Ito bows.) In the morning I will wait for Ito at the gate yonder, but I shall not accompany wise, clever play-actor. A lady in scarlet kimono will walk here, and augustly speak, calling to Ito. So, after honorable courtesies, he will draw near, when she touches him, for this lady loves treasure-flowers. Ito will play-act thus: (Sakara stands C., clasps hands tragically.) O Amairu, mercy, mercy! I see not. I am blind—blind! (Staggers, clasps hands over eyes.) Is it difficult play-acting, O Ito? See, I touch now. When you have called play-acting words, run as if you followed swift-flying kite. Show me, O wise little Ito.

Ito (imitating carefully). O Amairu, mercy, mercy! I am blind—blind! (Moving R., then coming back.) Will honorable lady like new play-acting?

Sakara. Greatly, O clever little Ito. Books, honorable books, shall be many if quick-flying feet carry you away and you do not stay to hear honorable praise, but run quickly to me; if feet run after thee speed the quicker. Ito, the flying-footed, sounds well.

Ito (doubtfully). It is new play-acting.

Sakara. Truly, one cannot always play-act doctoring or funerals. Show me again, O little Ito.

Ito (imitating as before). O Amairu, mercy! I am blind—blind! (Runs L., then returns.)

Sakara (caressingly). Good, wise little Ito, ’tis excellent play-acting. Make it not common for all children; keep it for me and thee. I shall speak warm words to excellent father. A good son makes a happy father. All good is for those Sakara loves, O pleasure-giving little man! Honorable mother waits. Take honorable leave-taking. The sentries (child bows three times) will allow you to pass; you came with me, O wise little Ito. Sayonara! (Ito EXITS L.) The night is warm, the garden fair and peaceful. (Goes up stage C., and looks off R.) The entertainment for hated foreigner passes; here I tarry. The Princess may walk here, if honorable light-giving moon shines. I would alarm her again, or in deep darkness steal her charm-bag. What could then protect? (Ascends summer-house steps, peers in.) Sakara, the wise woman, wisest in all Japan, will fight for and protect ancient excellencies of the kingdom. I plan to make the most exalted Emperor, Son of Heaven, lose his love for Princess Kiku, child of honorable Prince Yamen.

Can she, foolish one, be truly of sacred royal blood? Could a Princess of Japan love hated foreigners? (Clenches hand.) Barbarian devils! It pleases her to have them at august Court, and old men growing too old obey the children. The ministers of State laugh at fears of Sakara (raises both arms), who fights for Japan.

What will the august Emperor say to hear that the touch of his favorite makes a child, a little boy, blind? (Crosses to L.) Truly they will send the police through the city, but the wise woman is cleverer than they. I hate her! My spells must work, shall work, if I steal her charm-bag. Here I wait and hide. (Looks round stage, mounts steps, descends, goes towards L.) They will walk under honorable gaze of the moon. (Starts, listening to song in the distance, “In the Land,” then prostrates herself, calling:) O Shinto, all-powerful! O Benten, all-merciful—Nichoren, Amairu, aid me! They come! (Hides among flowers L.)

ENTER Yuki and Mimosa R.

Yuki (coming down L. C.). O Mimosa San, the light of honorable moon falls upon the garden, sentries watch at the gates, and exalted Princess thinks if she rests here in summer-house honorable sleep will dwell upon her eyelids. She dreads the hour of the Ox, and fearful darkness in the Palace. Here among fragrant flowers will be venerated peace.

Mimosa (C.). The samisen must sing her to land of health-giving sleep. O Yuki, we can watch that no evil comes. O Totmai and O Haru can rest in the Palace. See, they come.

ENTER Totmai and Haru L., running. All bow.

Totmai. O Mimosa San, how pretty and sweet you look! Did you enjoy much honorable pleasure?

Haru. How slow to speak! (Moves up stage.)

Totmai. Was Morita there? Looked he for Totmai? What was honorable meal? Did any wear very rich kimonos?

Mimosa (laughing). Many are questions, O Totmai! (Yuki and Haru talk aside, up stage, L. C.) Honorable Morita was there. I had no excellent speech with him.

Totmai. O vexing little one, make us laugh quick, about the barbarian Englishman!

[All sit in centre of stage clustering round Mimosa, who is in C. with Haru on the R. and Yuki and Totmai on her L.

Haru. Tell us, O Mimosa San, and you, O Yuki, of the doings of this strange man.

Totmai. What were the garments of the foreigner, and, O Mimosa (laughing), what was his speech? Did he say jolly little things?

Haru (imitating as before). O—I—say——

Totmai. Did he like honorable food?

Yuki. When he was talking to the exalted Princess he looked much like a huge black crow speaking to a beautiful heron.

Mimosa (laughing). His coat was black.

Totmai and Haru. Black!

Mimosa. There was a white piece in front. Honorable tailor had had little stuff. It was strangely short in front and long behind. Over the white he wore one pretty thing, a band of blue ribbon with something jewelled and shining. Long stockings came up to his knees.

Totmai. Black for a festival!

Mimosa and Yuki. Black as a crow.

Mimosa. O Yuki, how hard to keep honorable laughter from our faces!

Yuki. Truly, O Mimosa, when we saw him with the excellent flower! (Laugh.)

Totmai. Tell us, O Yuki San. We would laugh, too.

Haru. With honorable kindness, tell us quick.

Yuki. The august Princess took excellent chrysanthemum standing alone in large vase——

Mimosa. O Yuki, speak first of the bow! (Laughs behind fan.)

Yuki. O Mimosa, how laughter-making! See, O Totmai and O Haru. (Imitates the bow of an Englishman.)

Totmai and Haru. To venerated Princess?

Yuki. Just like this. (Bows again, others copy.) Like a policeman when he has roped his prisoner and said, “After you.” Then the exalted lady gave him with gracious courtesy a great white chrysanthemum. What do honorable minds think he did with it?

Totmai. Ate it!

Haru. Let excellent flower fall!

Yuki (shakes head, laughing). O Mimosa, how can they ever guess?

Mimosa. He took excellent blossom like this, pulled at his strange black coat (imitates); in it there must have been a hole, for after he had bowed again——

All (imitating). The bow of a barbarian Englishman——

Mimosa. He put it in his coat! (Laughs.)

Totmai. In his coat? Was it large honorable flower?

Yuki. Excellently large, just like this. (Touches flower.)

Totmai (eagerly). Oh, tell us more, tell us more!

Mimosa. We sat on foreign chairs. All honorable guests showed exalted courtesy. The Englishman looked O so big, and once or twice I know he wished he was eating their dreadful raw beef!

Totmai. Oh, that I had been there! O Yuki, did the geisha dance new dance?

Mimosa. The flower dance was pretty; she had no fan, just a spray of cherry blossoms. Show them, O Yuki, clever dancer.

Yuki. It is late. O Totmai and O Haru, know not august wish of beloved, venerated Princess to sleep in the summer-house?

Totmai and Haru. Sleep in the summer-house?

Mimosa. She dreads fearful dreams. O Yuki and I sleep at her feet. O Yuki will of honorable kindness show beautiful dance, then O Totmai of little quick feet will with excellent kindness run quickly to fetch bed-coverings with Haru. The Princess would not have foolish, eager talk at the Palace.

Totmai. O Haru and I fly like the birds! I should fear night-devils sleeping in the summer-house.

[Yuki dances C., Mimosa and Haru withdrawing R. and Totmai L. during dance. After dance Yuki bows, others applaud, saying: “Honorable thanks.”

Totmai. Great is excellent kindness.

Mimosa. Will you run swiftly, O little Totmai?

Totmai (taking Haru’s hand). We fly!

[EXEUNT R.

Mimosa. O Yuki, have you ever sought honorable sleep in a garden before? See, we will bind this rope of rice straw round the summer-house. (Goes up steps.) Then the all-powerful, gracious Shinto will keep away night-devils.

Yuki (R. C.). I feel no fear, O Mimosa.

Mimosa (descending steps). Honorable moon will condescend to shine. We shall dream excellent dreams.

ENTER Totmai and Haru R.

Totmai and Haru. We have been truly as swift as birds. Shall we spread the beds here in the summer-house? (Ascends steps.)

Mimosa. The Princess!

ENTER Princess R.

Princess. You have made all ready for me, O kind maidens? (All bow.) I dare not dream as I did last night. To dream of serpents—what misfortune—trouble-bringing!

Totmai (bowing). It is said, O august Lady, inquire seven times before you believe a report. Once to dream, deign to believe, is nothing.

Yuki. Shall I bid samisen speak, O Princess?

[Princess nods consent and sits on steps. Totmai and Haru up stage C., Mimosa L., Yuki R. C.

Yuki.

Air: “Chinee Soje Man,” last sixteen measures, “San Toy,” Act II.

Rising swiftly great god of Night
Called loudly to ling’ring Day,
My rule begins, I come, I come,
Tossing deep shadows grim and gray.

Calling loudly, great god of Night,
Bringeth strong winds from caverns deep,
Ruleth sternly all Sea and Sky,
Setteth bright stars their watch to keep.

Watching, watching, great god of Night
Leaveth his seal on ev’ry eye,
Closeth flowers with finger strong,
Lest they may see him passing by.

Hearken, hearken, great god of Night,
Calleth deep to the silver Moon,
Setteth her track in sombre sky,
Climbs she stately, nor shines too soon.

Princess. Honorable thanks. Sweet is the song. You shall sing it to the great Englishman, O tuneful Yuki; it will remind him of the birds in his own land. I like to hear him speak. I think excellent sleep comes to me now. See, I go to rest. (ENTERS summer-house. Totmai and Haru EXIT R.)

Mimosa. Rest, well beloved, exalted Lady! Excellent charms are safe?

Princess. In my girdle and my sleeve. Surely, the all-powerful ones will protect Kiku when she journeys into the land of Sleep?

Mimosa. Deign to fear nothing—no evil will come. O Yuki San and Mimosa sleep at worshipful feet when we have bound this rope of rice straw round the summer-house. Sleep, O dear lady.

[Soft music, stage darkens. Sakara creeps forward to C.

Sakara. They sleep—have I not heard enough? (Looks round at summer-house.) Have I not heard bitter truths? She thinks and speaks of the evil barbarian—it is she who persuades august Son of Heaven to set aside honorable customs of exalted land. They sit on foreign chairs. Oh, evil be to them! Can I steal her charms? A sudden call when soul journeys in land of Sleep, we know it means danger. Shall I call loudly here? O foolish Sakara, sentries have ears, though they cannot see in the dark! With clever craft I will steal her charm-bag. She is then at my mercy. (Laughs.) The mercy of Sakara! (Goes to summer-house and creeps back.) Dare I cut venerated rope of rice straw? Will all-powerful Shinto forgive? With excellent care I will creep under. (Creeps up steps.)

Princess. O fear-bringing—I dream—I dream! The terrible creeping Serpent.

[Sakara drops down.

Mimosa. It is nothing, O dear Princess. Seek honorable sleep again. The gods protect!

[Sakara creeps back L.

Sakara. Shall I hide among beautiful blossoms and wait for fear-giving hour of the Ox? Nay, honorable Moon rises yonder—away, Sakara, wait for the morning—no eyes must see thee now or then.

[EXIT L.

[Moonlight, Moonbeam Fairies appear. They sing and dance between each verse.

Air: “Samee Gamee,” “San Toy,” Act I.

Glimm’ring moonbeams through azure sky,
Drifting earthwards from worlds on high;
Bringing sweet dreams to tired eyes,
Changing to smiles all weary sighs!

Glimm’ring moonbeams from azure sky,
Drifting earthwards where mortals lie;
Swaying bright wands of silver hue,
Strength’ning sad hearts to efforts new.

Glimm’ring moonbeams in early dawn,
Fading swiftly with light of morn;
Leaving earth’s sons till night again
Hushes to rest all toil and pain!

[Fairies disappear, daylight deepens.

Note.—Here may be introduced the “March of the Chinese Lanterns,” a very effective series of evolutions. Illustrated description of the march can be furnished by the Publishers, Dick & Fitzgerald, 18 Ann Street, New York, on receipt of 15 cents.

ENTER Totmai and Haru R. ENTER Ito L. and stays among flowers.

Totmai (ascending steps). Have the gods sent excellent sleep, O most gracious lady?

Princess (slowly descends). In truth, at first it seemed to me the fearful serpent came near, and then I was in fairy land. Such sweet, excellent dream! My heart is bright and gay this morning. I see yonder a little child. Whose can he be that sentries permit to pass? Do you know, O Mimosa San?

Mimosa. He smells at beautiful flowers.

Princess (coming down C., the others behind her). Little treasure-flower! I will give blossom or two—bring him hither, O Totmai. O Haru, he will like gay colors. Here, O little man, shall I give excellent flowers? (Ito bows three times.) Come, take them, giving worthy name. (Ito advances, bowing; as the Princess touches him he starts and cries: “O Amairu, mercy! mercy! I am blind! blind!” Repeats twice, then rushes L. All remain motionless with fear.)

Princess (flinging up arms and turning and staggering up stage). The curse—the awful curse has fallen! My touch brings evil—oh, horrible evil to a little child! Nay, none shall come near me, I command. Let me die alone.

[EXIT R.

Yuki. O Totmai and O Haru, run speedily to the Palace; bid them question the sentries, we will then to the shrines to pray. O Mimosa, weep not so bitterly.

[EXEUNT Totmai and Haru R.

Mimosa. Trouble has crossed the threshold—the gods permit the evil spells of Sakara. She, the wise woman, is jealous; she belongs to the Imperial house, and thinks exalted thoughts of the noble Society for the Preservation of Ancient Excellencies. There was anger in her heart when she heard of the festival for the Englishman. Listen, O Yuki! Let us take presents in our hands and with humble courtesies visit Sakara.

Yuki. Visit her! As well walk into the fire with a bundle of bamboos. All will soon be well. The Englishman will sail away, and we——

Mimosa. O Yuki, we shall see the Princess lying dead, with her kimono’s sleeve flung across her face, like the helpless broken wing of a fallen bird.

Yuki. Nay, O Mimosa, if you visit Sakara she will say, before argument, proof; but if she hates the august Princess you may as well try to bale the ocean with your hand as change her. Leave all honorably alone, lest worse come. Poke a canebrake and a snake will slip forth. Come, come to the Palace.

[EXIT R.

Mimosa. Yuki thinks the exalted Princess will happily forget. I know that her heart is breaking; when our hearts break we laughter-loving die. I remember well the fear-bringing words of Sakara. Those who speak and laugh with barbarian devils bring curses on themselves and those they love. Have a care, O Kiku, lest you droop like one of the noble chrysanthemums they named you from. To her honorable dwelling I will go with pleasant, courteous words, and presents in my hand. There is no standing without stooping. She will hear if I speak humbly. To the shrines of the great all-powerful ones I will creep, and they, the merciful, the strong, will hear the humble prayers of Mimosa. (Starts to go off L. as curtain falls.)

CURTAIN.

SCENE III.—Interior of a room in a Japanese hotel. Table C., with faded white chrysanthemum on it. Chair up stage, C. Open portmanteau, L. Coats, etc., R. 1 E.

ENTER Miss Prendergast.

Miss P. I am afraid all these expeditions will be too much for the young people. I intend looking over my dear boy’s wardrobe—I mean his lordship’s wardrobe. (Crosses L.) Maitland is an excellent servant, but I feel anxious about socks. Dear, dear! how untidy this portmanteau looks! (Kneels down by one.) Ah, this is a sock; there is a hole. (Produces thimble, etc., draws chair to L. of table.) No wonder he has a cold. Dear me! I would not allow any one to know it for the world, but the memory of a dear little boy is kept warm in my heart. (Hands rest in lap.) What dear, coaxing ways he had—how I loved the touch of his arms! Well, they say the heart of a woman at sixty-nine is the same as that of a young girl. Not (works briskly) that I am sixty. Far, far from it! I feel quite positive that Cecil believes I made this journey, consented to it, merely for her sake, and I am glad she should believe I faced deadly perils in order to chaperone her.

Dear me (hands drop, spectacles fall), it is just two years ago since that terrible time in London when I found that all my money was gone—lost in the failure of that wicked gold-mining company. I think with shudders of my vulgar landlady and the day when I had barely a shilling left. My mid-day repast was a morsel of bread, a little tea. I was wondering hopelessly—God forgive me!—what to do, where to go. Then, the sudden clamor in the house, the loud voices (rises), Arthur, his lordship, burst into my room. He was excited. He caught hold of me and hugged me tight, and said, “You wicked old woman, G—” (they have always called me G—since the time Cecil was so naughty over that letter in the pictorial alphabet. G. stands for Grannie, and also for goose.) He said, “Go upstairs and put on your cap or your hat and come away with me. Maitland can pack your fal-lals. Cecil is waiting, so you must hurry.” I am afraid—well, yes, I certainly cried a little. (Wipes eyes with socks). Then he pushed me out of the room, and I heard him talking to the landlady in a very loud voice; she was trembling afterward. I was so upset that, after all, I carried my bonnet downstairs and he put it on with his own dear hands, and hugged me again. We drove off at once to their London house, and what a happy home they have made it!

They will not hear of my leaving them, though things are not so bad as I feared. Some of my money was saved, so that I am not entirely dependent on my dear boy’s bounty. Then I knit all his socks, the best silk, and he assures me that I save him pounds; he had always paid 18s. a pair in Regent Street. Iniquitous robbery!

I do not think I should really mind if I had not a farthing, for the little one I loved has grown into such a real nobleman. (Wipes eyes with socks.)

ENTER Cecil R.

Cecil. Sentimentalizing over Arthur’s socks?

Miss P. (starting and jumping up). I deplore these abrupt entrances—a—(agitatedly.) Is Arthur, is his lordship there?

Cecil. His lordship is tearing along in a rickshaw, but her ladyship (curtsies), finding the heat oppressive, has returned to the hotel and the society of her beloved G.

Miss P. (sinking back). Really, Cecil——

Cecil (coming behind chair). My language was sufficiently correct to please even you. What are you doing in this untidy boy’s room? I suppose, like me, he has nowhere to keep his things, only a chair and a table obligingly supplied by the Police Station. (Coming R. of table.) Now, what is he doing with a dead chrysanthemum? Look at the stalk of it. Did you give it to him, G., dear? (Miss P. examines through glasses.) If you are engaged in a general tidying-up, I think this might be thrown away. (Drops flower in front of table. Miss P. picks it up.)

Miss P. I was merely doing some—Why, dear me, I have no silk in my needle! (Holds up sock.)

Cecil (coming in front of table and laughingly snatching sock). Just as I said, sentimentalizing over Arthur’s socks, the dear boy! (Miss P. recovers sock, continues working.) You see, he did not receive us with vials of wrath. I like the Princess Kiku, don’t you?

Miss P. She has pretty, caressing manners, but their incessant bows and elaborate politeness try me.

Cecil. I should have thought you would have revelled in it. However, here we are, but Arthur is no nearer finding the shipwrecked baby. Why can’t the foolish boy enjoy the money? He now intends to lay the whole thing before the Emperor, and he’ll send a—what do you call it—an edict or something through the land, and all the lost infants will assemble here. Won’t it be fun? Why, though, G. dear, how stupid of me! She won’t be a baby now. She will be as old as I am, twenty-three.

Miss P. (precisely). An exact definition of age is unnecessary in a woman; it is sufficient for you to assert that you are of age, or that you have reached years of discretion—a little more reserve is advisable.

Cecil. With you, G.? Why, you came to us when Arthur was only four, and he is five years older than I am, that——

Miss P. (hastily). Cecil, my dear, I have dropped my needle.

Cecil. It is sticking aggressively in that sock. I am jealous. Arthur has his man, and I have no maid; you don’t trouble about my wardrobe.

Miss P. A woman should be at home with her needle. Ar—his lordship cannot darn socks, and though Maitland is as handy as all old soldiers, I could not trust him with silk ones.

Cecil. Nobody knits me anything, I—am only a girl. (Turns L.) G., dear, I smell (Miss P. starts)—I smell a whiff of real English tobacco; his lordship, having wearied of running coolies off their legs, has returned. You will be caught—G., dear, you will be caught—you will be caught! (Miss P. hurries across stage, dropping sock, etc.)

[EXIT L. Cecil laughs, and turns to follow as curtain falls.

CURTAIN.

SCENE IV.—A room in the house of Sakara, who is seated C. by a table, which is covered with Japanese books, etc., a box in front of her, two or three small tables (really low, square stools), some rugs on the floor, sword hanging from roof C., R. 1 E. and L. 1 E. The room is made with plain screens. Ito stands R., down stage.

Sakara. See, little Ito, there are books for excellent play-acting. (Ito bows.) Are they not joy to eager eyes? See, here are coins, honorable coins. Place safely in girdle, O little Ito! (Child bows again before taking money.) No words, O grave and wise?