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Immortal lure / by Cale Young Rice. Rice, Cale Young, 1872-1943. 400dpi TIFF G4 page images University of Kentucky, Electronic Information Access & Management Center Lexington, Kentucky 2002 b92-245-31687604 Electronic reproduction. 2002. (Beyond the shelf, serving historic Kentuckiana through virtual access (IMLS LG-03-02-0012-02) ; These pages may be freely searched and displayed. Permission must be received for subsequent distribution in print or electronically. Immortal lure / by Cale Young Rice. Rice, Cale Young, 1872-1943. Doubleday, Page, Garden City, N.Y. : 1911. 92 p. ; 20 cm. Coleman Giorgione -- Arduin -- O-umae's gods -- The immortal lure. Microfilm. Atlanta, Ga. : SOLINET, 1994. 1 microfilm reel ; 35 mm. (SOLINET/ASERL Cooperative Microfilming Project (NEH PS-20317) ; SOL MN05025.06 KUK) Printing Master B92-245. IMLS This electronic text file was created by Optical Character Recognition (OCR). No corrections have been made to the OCR-ed text and no editing has been done to the content of the original document. Encoding has been done through an automated process using the recommendations for Level 1 of the TEI in Libraries Guidelines. Digital page images are linked to the text file. THE IMMORTAL LURE This page in the original text is blank. THE IMMORTAL LURE BY CALE YOUNG RICE AUTHOR OF A NIGHT IN AVIGNON YOLANDA or CwnRUS, CHAELE. DI TOCCA, DAVID, MANY GODS NOiWANA DAYS, ETC. GARDEN CTyr NEW YORK DOUBLEDAY, PAGE & COMPANY MCMXI ALL RIGHTS RESERVED, INCUDflG THAT OF TRANSLATION INTO JOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN COPYRIGHT, 111, BY CALL YOUNG RICZ PUBLISHED, FELRUARY, 1911 THE COUNTRY LIFE PRESS, GARDEN CITY, NEW YORK -infinite passion and pain Of finite hearts that yearn This page in the original text is blank. CONTENTS PAGE GIORGIONE ....................................... I A R D U IN...........................................27 O-UME'S GODS.............. SI TEI IMMORTAL LUE .............................. 73 This page in the original text is blank. GIORGIONE CHARACTERS GIORGIONE . . . . A Young Painter Asrno . . . . A Dissolute Poce TITIAN . . . . . Another Painter BELLII . . . . . The Former Master of Giorgione and Titian GIGIA . . . . . An old woman serving Giorgione and ISOTTA GIORGIONE SCENE: A work-room of GIORGIONE on the edge of the Lagoon in which lie the Cmnpo Santo and Murano. It is littered with brushes, canvases, casts, etc., and its walls are frescoed indiscrimi- nately with saints and bacchantes, satyrs and Madonnas, on backgrounds religious or wood- land. A door is on the right back; and foliate Gothic windows, in the rear, reveal the magic water with its gliding gondolas. On a support toward the centre of the room is a picture - covered; and not far from it, a couch. Late Afternoon. GIORGIONE, who has been s'4ti;zg anguished on the couch, rises with determined bitterness. As he does so, BELLINI enters anxiously. 3 Bellini. Giorgione ! Giorgione (turning). It is you Bellini. Your word came to me, In San Lazzario where I labored late, And shakes my troubled heart. You will not do this! Giorgione. Yes! Bellini. H-ow my son! her picture! as a, wanton's: Giorgione. The it has been till now my adoration' The fairest of my dreams and the most holy! Yes, by the virtue of all honest women, If such there be in Venice, I swear it shall be borne by ribald hands Thro the very streets. Bellini. My son! Giorgione. A public thingl [Points to Fit for the most lascivious! who now Shall gaze on what I had beheld alone, On what was purer to me than the Virgin! The very pimps and panders of the Piazza picture. GIORGIONE 4 GIORGIONE Shall if they will whet appetite upon it, And smack their losel lips. Bellini. And to what end Giorgione. Her shame! Bellini. The deeds of wounded pride and love Work not so, but fall back upon the doer - Or on some other. Giorgione. I care not! Bellini. Nor have, Ever, to heed me! as Aretino, Who turns your praise to Titian, has told. For your wild will runs ever without curb, And I who reared you, as my very own, Must pay the fall. Giorgione. No! Bellini. And the piety I would have won you to in the past days Is wasted. The Madonnas I painted with a heart inspired of Heaven You paint with pride. 5 GIORGIONE Giorgionie. But with all gratitude! Ah yes, believe me, And with a rich remembrance! For scarce oblivion could wipe from me How as a wasted lad I came to Venice - A miserable, patched and pallid waif, With but an eye to see and hand to shape! You took me from the streets and taught me all The old can teach the young, until my name Is high in Venice - Linked with that of Beauty- "Giorgione! our Giorgione!" do they cry On the canals, the very gondoliers. And in a little while it should have glowed Immortal on the breast of Italy, As does Apelles on the page of Greece, For I was half-divine, until -- Bellini. Until A girl whom you had fixed your heart upon With boundless folly, you who should have lived 6 GIORGIONE With but one passion - that of brain and brush -- Until she -- Giorgione. Say it! Bellini. This Isotta -- Giorgione. Aif Whom I had chosen o'er a hundred others To soar with! To soar and then in wedded peace to prizel This false Isotta Whom in poverty I found, as you found me, and loved to madn4 This fair Isotta Whom I would have made All Venice to be a halo for - as were Cities of old for queens of sceptred love: Until she leaves, departs, forsakes me, goes Away, worthless away, from my true arms, With Luzzi, a lank boy. Bellini. So. And most strange. Giorgione. No, nothing a woman does is strange! Iess. ever 7 GIORGIONE Will they not cloak a lie in innocence, A treachery in veiling soft caresses- Tho to the Mass unceasingly they fare And say like her their aves night and noon Have they a want that wantons not with guile, A tear that is not turgid with deceit Are not their passions blown by every wind Have they not all the straying heart of Helen Then why must I, Who had in me a hope That rivalled Raphael's or Leonardo's, Keep, cozened so, that I contemn her shame Bellini. Because she is a woman -whom you tempted, Tho with all trust to wed her - and you know not Whether her going was of shamelessness. Giorgione (laughing bitterly). Or whether she may not yet return, today, And with a heart that is a nymph's, a soul That is a nun's, Beguile me back to doting 8 GIORGIONE Whether she may not - With that body God Might once, deceived, have moulded angels after-I Then flaunt her thralling of me to the world, Whose ready lips should laugh where'er we went And whisper, "Isotta, there! Giorgione's mis- tress! Who makes a mocking of him" Bellini. Never! never I Only your unrelenting brain would think it. For this I know of her, that tho she has Deserted you for what must seem to be Only a new-found passion- Yet is she womanly, and did you give her, As now you mean, to avid lusting eyes, Life would be smitten from her. Giorgione. As it should! Bellini. And then from you, repentant of her fate No, no, my son, I have not seen you rise, A planet from the sea, the world's first painter, 9 GIORGIONE To set in this: You owe my fathering more. And listen, I have brought to you a way Of laurels for forgetting. I have come With a commission from the Signoria, [Takes it from his breast. Which names you the chief glory of this city And votes you proud permission to adorn Sarn Marco's highest altar with perfection. Giorgione. And which I spurn, an insult in its pity! [Flings it from him. As they shall learn - these silk and velvet Signors, Whose condescending ducats buy the dreams Of the immortal! Or no! . . . I meant not that -to wound a kindness. Bellini. Your ways have ever been the ways of wounding. Giorgione. And to the end must be. (Brokenly) For now my hand IO GIORGIONE Is palsied! I can never paint again. Colour and shaping light turn in my soul To chaos and to blindness - to despair! The brush I lift, to sterile pain more loth! I yearn and impotence alone arises. That picture has dried beauty's vein within me And left me . . . Ah! . . . She shall atone it! (calls) Gigia! Shameless she is and shall be seen it! - Gigia! - [Bitterly. Aretino, who is the tongue of lewdness, And Titian, who trips to it, may gloat, [GIGIA bobbles in. But they Bellini. Giorgione! you have sent for them Giorgione (to GIGIA). Whoever seeks my door is bidden -all! Gigia. Yes, Messer Giorgio. Giorgione (as she delays). Go. Gigia. Before I speak Giorgione. Of what ItI GIORGIONE Gigia. How can I tell you, if I may Not speak And you should hear. . . (Cross- ing herself) It is the plague. A whisper is about That it has broken out at last in Venice. [GIORGIONE staring at her, trembles and seems slowly stricken - while his eyes fill as with some evil irrecoverable remembrance. Bellini (fearing for him). Giorgione! Giorgione. Oh! . . . and yet nothing . . . a dream That came to me last night - as if from death. Bellini. Then, 0 my son, it is a premonition, A pall against this purpose! that you may Not let these ribald two -- Aretino, this poet and depraver, And Titian snared within his pagan senses, Enter and gaze upon. . . . 0 boy, you will not! Despoil the picture, Scatter it to the seas, 12 GIORGIONE And vow never again to paint another, Tho that would break my heart, but promise me-- [A knocking interrupts, and a voice without cad'ls lustily: Voice: The gods of paint and passion ever gird us! Where's Messer Giorgione Ho! Ho, ho! [GIGiA harries out. Giorgione (after a pause, calling). Aretino! A retino. Ai, light of ladies' eyes! And with him a better! Shall we sing for entrance (Begins) - A wench I had, But where is she - A-ho! Old Gigia, is it Then we come apace, [Enters leeringly with TITIAN. Like satyrs to the piping of Adonis! [With irony. A health to you, 0 heaven-born of Venice! [To BELLINI. '3 And to you, glorious dauber of Madonnasl But, bah! the smell of melancholy! Come, What is it The tale is out about the maid And therefore tears [Laughs. Well, by the lids of Venus, Giorgio, It serves you well - or Eve was not a woman! There were too many ripe for your assay. Why, I believe that every damsel's lips On the lagoons were pinched with longing for you! Titian. Or enough, at least, to send spleen, Giorgio, Into my eyes. Giorgione. They will no more, Titian. Arelino. In sooth! for since one wench in all the world Prefers another, he will play the monk! Since she, the amorous sun-kissed Isotta, Had charms too fair for one to satisfy! And yet - to choose this Luzzi, This swaddling acolyte of Innocence, GIORGIONE 14 GIORGIONE For her new light-o'-love! to choose him out, When, for a whiff, she might have had my arms [GIORGIONE quivers. 0, Titian, by the gods! Bellini. Aretino! Giorgione. Stay, let him speak, my master, as he wills. Aretino. I say then, Seraph, of your amorosa, That she deceived me - That I thought her dreams Were chaster than the moon, or by my beard, Which is not born, I should have tricked her senses Away from you . . . if lies and treachery And tempting honeyed verses could have done it! For an Elysium like her warm round body I never looked upon. Bellini. Aretino! Giorgione. Peace! he shall speak! for this is what should be. Arelino. Ai, Messer Bellini, and your age for- gets I5 i6 GIORGIONE That he is well consoled with the dear thought That her first joy was his. Bellini. Ah! Aretino. And that vision-! Why, I have peeped upon her face, no farther. But to have seen the beauty he has seen, The Aphrodite-dream of loveliness, I would have dared virginity's last door. Giorgione. Then you shall see it. Bellini. My son! Giorgione. Yes, tho I die! Aretino. How, what is this Giorgione (going to picture). Aretino, Titian - You are here, tho there is less than love between us: For, pardon, if I say that you sometimes Have loathed my triumphs. Titian. That is so, Giorgione. But with the brush I yet shall equal them. Giorgione. You shall surpass them. For my last is done. Titian. Come, do you jest GIORGIONE Giorgione. My last, and it is there! [Points to picture. There that you two whose tongues have been so busy About the streets with laughing and innuendo, From ear to ear with jest and utter joy - You, Titian, a sycophant of Fame, And you, Aretino, who incarnate lust, May know that Giorgione is above you. You coveted Isotta with your eyes, Now you shall have her as shall all the world! [Flings the curtain back from the picture itien sinks to the couch. As they gaze on the unclothed form, BELL [NI turns away, when he sees ISOTTA enter. She is pale and ill, but moves smilingly down toward GIORGIONE, till happening to see the picture, she gives a deep cry. GIORGIONE, springing to his feet, dazedly beholds her. Bellini (speechless till he sees ISOTTA'S pallor). 17 GIORGIONE Isotta! you are ill! . . . . 0 would my breath Had never lasted to this evil hour -! Shall I not bring the leech (when she does not answer; to GIORGIONE) This price has pride! [He goes: then ARETINO and TITIAN. The curtain falls back. Isotta (whose eyes have closed). The flesh of women is their fate forever! My poor, poor bodzy! all I had to give So desecrated. Giorgione (hoarsely). Why have you come here Isotta. To see Messer Giorgione - who is brave. [Smiles as one shattered. To hear Messer Giorgione - who is gentle And honourable to women who are weak. To - heal Messer Giorgione - then to die' Giorgione. Rather to kill! Isotta. Why, it may be. If love Still leads me, it were best that it be slain. Giorgione. The love of a wanton Isotta (slowly). Who beholds her body x8 GIORGIONE Given . . . to unabated eyes - yet lives I think it must be so. Giorgione. Alluring lies! Out of pale lips of treachery but lies! You have returned to me, whom you have cursed With craving for you, With an immortal love, Because this lisping Luzzi, With whom you fled, weary of falsity, Has cast you off. Isotta (gently). Kind Luzzi! Giorgione. Ah! and blind Not knowing that you now are here again, Where you disrobed to my adoring soul, But thinking that you wait him with fair eyes Of fond expectancy-as once for me! Believing that your breath is beating only With ecstasy for him! Isotta. He is-but Luzzi! Giorgione. And I but Giorgione, smiling quean! [She turns paler. 19 GIORGIONE But Giorgione, a vassal to your sway Back to your orgies' and may Venus, goddess Of black adulteries, but not of love, Be with them! May your blood, that I believed Vestal to all but me, run vile with passions As any nymph's of Bacchus! Mlay your body, That I have painted here, be to all time An image of soul-cheating chastity! [His words have struck her down - and over- whelm him. 0, I am lost, lost, lost forevermore. [Falls into a seat. Isotta (at length, from the couch, gathering strength). No, I have come for saving, Giorgione. Now I can speak - but there is little time, (Strangely) For Night is coming. Giorgione (startled to questioning). Isotta Isotta. The still Night, With Death's dark Gondola to waft me o'er. [Then as he realizes. 20 GIORGIONE Nay, stay, stay! leave me not. There is no help. For it must be. . . A voice Beyond has said it. And ere I drift out on the darkenino ebb Giorgione. Isotta! Isolta. Peace must be Giorgione's too. Giorgione. Speak - yet it cannot be - my heart is dead. Isotta. Then it shall rise again.- 0 Giorgione, My lover once and lord, could you believe, Even tho I went away from you and with Another, that unchastity could touch This body which had been holy to you Giorgione. Isotta! Isotta. It is true that I deceived you, [With mystic fervor. True that I went away from you and wed Another Giorgione. Ah! Isotta. And yet it was not Luzzi' [As he gazes. 2 1 GIORGIONE Do you not know you who so oft have told On saintly walls the Magdalen's sad tears Sin, sin had seized me! Sin with you to whom I gave my body and soul unboundedly. We revelled in unwedded ecstasy, Laughed in our love over the starred lagoons. Sang till the lute was like a thing that lived, Danced happy as the fauns and nereids That oft you told me of - And clasped and kissed, O kissed - until I knew that but one way Was left to save my soul, Giorgione, one - To wed me with the vows and veil to Christ. [Gazes at a crucifix Giorgione. Isotta! Isolta. I am His! I fled to Him! The Convent opened its grey arms to take me, Santa Cecilia of the Healing Heart, And Luzzi kindly led me to its door - That you might so be foiled of following. 22 GIORGIONE And with long vigils, fasts and penances And prayers I sought oblivion of your face. Until this illness strangely fell upon me. I could not die until you, shriven too . Giorgione. Isotta! My Isotta! [Falls penitent before her, weeping. Isotta (her heart eased). Peace, at last. Giorgione (rising). Ah yes! and I am viler than the vilest! For who remembers not that purity Is priceless, ends impoverished of honour. And yet . . . there is no wrong irreparable! And you must live tho all the angels die - Live and be loosed from vows too vainly breathed, That wedded we may win again delight! Still I am Giorgione, and the sin That we have sinned shall be painted away With holy pictures . . Isotta. Only the dead are holy, Or they who die, tho living, to the world. [Sees the picture. 23 GIORGIONE And eyes have looked upon me - Hot eyes that burn my body up with shame. Farewell, the tide will cool me, the lone wave That washes in from Lido to my grave. [Looks toward the Campo Santo. Giorgione. Isotta! Isolta (fainter). Night, the Night! Giorgione. 0 stay ! Isotta (in a fixed vision). It comes, The Gondola! (as if to an unseen Presenre) Row on, row on. [Sihe dies. lie sinks beside her stricken and still. GIGIA enters. Gigia. Messer Giorgione, one has come to say--- [Sees them, goes near and lifts ISOTTA'S hand. Then, dropping it with terror. The plague! the plague! Ah! Giorgione (rising). Woman, is it true [GIGIA flees. 24 GIORGIONE 25 (Mortally moved) Isotta, this kiss then of all the kisses That I have slain thee with will God who dwells In universal chastity forgive. [He kneels and presses his lips fervently to hers. CURTAIN This page in the original text is blank. ARDUIN CHARACTERS ARDUTN (of Provence) An Alchemnist ION . . . . . . His Nephew RHASIS . . . . . An Arab, his attendant and assistant MYRREA . . . . A Greek Girl ARDUIN TIME: The Fifteenth Century. PLACE: Eg)ypt. SCENE: The laboratory of ARDUIN in a house on Nile opposite Cairo. It is a large room on the walls of which mystic figures of the Jiermetic philosophy are drawn, together with the zodiac and otker astronomical signs; and many strange objects, animal and mineral, are to be seen placed about. In the rear centre is a large sarcophagus. On either side broad window openings reveal the Egy p- tian night, and one frames the moonlit Sphinx and Pyramids. Toward tee right front is a fiurna e with alembics, retorts, etc.; right and left a; e doors, and on the left and back another alco e before which hang curtains. Lamps burn. 29 ARDUIN RHASIS, Who is busy about the furnace, in a troubled manner, lifts a skull and is gazing at i/, wzhen IoN- enters suddenly and stops, pale with purpose. Ion. Rhasis -- Rhasis (starting and looking round). Young master Ion! what is this [Drops the skull. Why have you left the city and come here Are you aware what hour you have chosen Ion. That of his dreams. I learned today: yet came. Rhasis. And wherefore) Ion. To restrain calamity, Which must await his reasonless belief - And to regain his love that I have lost. Rhasis. And have not pondered what calamity Would fall on you Who would not learn his Art, But from its heritage to penury turned, If here and now he saw you ARDUIN At this hour When he believes that he shall raise the dead Ion. His curse; for he would think me come to thwart him, And that I had forgot whatever wrong, Unexpiated still, my father did him; [Looks at sarcophagus. And yet I will not go, for I have purposed - And you tonight shall help me - (pauses) Rhasis. Unto whall Ion. Forgiveness of my disobedience- That may be won from him with Myrrha's face, Rhasis. Myrrha's! Ion. W'hich can alone of earthly sights, If what you tell of his dead wife be true: And well you know it is! - He must behold her- And hear our pleading. Rhasis. At an hour like this! Ion. Let her be placed yonder within those curtains, 3I ARDUIN While he is mingling here his mysteries, And when he - Rhasis. By the Prophet who is Allah's, Myrrha! Within this chamber! and tonight! [Ion goes to the door and leads Myrrha in. Is there no heed in youth or hesitation, But only hurrying want! Do you not know He is without there, at this moment, saying Unto the seven planets in their spheres, The seven incantations against death And that he - Ion. I know only he must see her. Rhasis. And of all nights in the world, only tonight! Myrrha. No, Ion' let us go. I fear this place, Its strangeness and that still sarcophagus Appal me. Ion. And make you forget our love, And the long bridal-hope of it deferred Rhasis. Young master, she does not, in pen- ury too I 3 2 But pleas tonight would ope no nuptial way. Better than you I know it is not wise. For ten years is it I have dwelt with him While he has sought in vain this great Elixir. Ten passings of the pilgrims off to Mecca His wife has lain in that sarcophagus, Embalmed and waiting, as he thinks, to rise. And now, this hour, he hopes that it shall be. Ion. And should it, will he not the more forgive me Or should it not, then seeing Myrrha's face, Myrrha whom you have said is so much like her, XVill he not - Myrrha. Ion, no! but might - I fear! So fond his grief is and unfaceable! Let us return again unto the city And to my kindred who will hold us dear. [Starting. Listen, is it not he (Rhasis goes to window) Take me away! ARDUIN 33 Ion. And have him at the breaking of his dream With none near - and our love's desire be lost AMyrrha. It will not: let us wait another time! Ion. Than this when most your face would deeply move him I cannot, and 'twould shame me! for you know How dear to him is his dead wife who lies there, jT-kes her hand. And know our severed days! And shall we bend the knee to cowardice, Which ever has a premonition ready, When you who are so like her might tonight- [She starts back, for RHAsIS, exclaiming, leaves the window. RFasis. He comes. Ion. Now Rhasis. Go: or take this on yourselves. Ion. Upon me be it! For there is no rest Until his pardon weds us - and I pay him. 34 ARMINN ARDUIN Rhasis. Then but a word remains, young mas- ter, more: To tell you - that I fear - lest thro long toil, His mind. Myrrha. Oh! (recoils) Ion. It is not true! . . No Myrrha! no! [Takes her in his arms. And is ingratitude I scorn to heed. [Turns away. Come then and by your beauty's likeness win him. [He leads her behind the curtains then goes, door left. A moment, which leaves Rmksis distraught, and ARDUIN enters. He pauses, as if at some presence; then, gazing on the sarcophagus, shudders with hope and comes down. Arduin. The night at last when I again shall clasp her And banish death to biers beyond the stars! Rhasis (kneeling). Master! 3 5 ARDUIN A rduin. Rise up and never kneel again! For from henceforth I shall be lord of life, The secret of the phoenix in my hand. [Lifts an alembic. Gray have I grown in quest of it and old, Youthless and as a leper to delight, But it has come at last - at last has come! [Sets vessel down. Rhasis. And I rejoice, master, for I have toiled With you these many years - but is it sure Arduin. As the moon is in heaven! as the skies! [In an ecstasy. For last night I beheld In dreams deeper than day how it must be. I saw a tomb far-hidden in the earth And Life within it Mixing salt and sulphur- Twin elements Of the great trinity. 36 I saw her hands pour out quick mercury Upon a bat's wing wrought with hieroglyphics, And then I saw her cast in gold and silver That melted with strange voice and sudden flame, The while she gazed on me most meaningly. And then ... when all was done. ... [The vision consuming him. MIy wife, my Rhea, lit with loveliness And as a spirit clad with resurrection, Rose up within my dream . . . fair, young and glad! . . . Rhasis. But, master . . . are dreams true Arduin. Such drcams as these [Kindling. Rhasis. Pardon! I know not -only that you say Some come of Ophiuchus - The demon you have warned me of -who oft With thwarting laugh has struck the secret frcm you. Many before have followed the mirage ARDUIN 37 Of dreams -but to more thirst: trust not too much! A rduin. But fear fear you are falling from me too Like Ion the son of him who . . . you you too At the prime moment Rhasis. No, my master, no! But I would spare you pain unbearable. Arduin. Ha! and believe -you do -that all wise men Of all the world could so have been deceived Believe - do, do - that she cannot arise Did not great Hermes say of the Elixir It should be found- And did not Polydos, The Greek, chancing upon it, raise his friends In battle slain . . . Did not the Jew of Galilee, the Christ, Whom even you name Prophet, likewise win it [Peacelessly. ARDUIN 38 ARDUIN 39 Speak! Rhasis. Master, yes! . . . But O! trus: not too much. Wiser, I know, than all Arabia Are you - like to Mahornet - were it not That you have set within your heart a woman. But if, perchance, the Elixir does not prove -- Arduin. Availing Have not all things pointed to it The day she died Did I not hear a voice That breathed into my brain she should arise And as I waited did a book of wisdom Not chance into my hands to show the way Were the first words I read not, In ten years The miracle shall come - Revealed to you within the land of the Sphinx Rhasis. So read it, so! But Arduin. Is this not that land Are not those stones the pyramids that thro The ages have stood waiting for this hour- When I shall bring her beauty back, today Is not that face the Sphinx, Whose timeless and intemperable meaning No man has read in desert, star, or sea, But which must be the secret I unsphere Rhasis. 0 master! Arduin. Fail, fail, fail now to restore her Who died as you shall know, here ere she rises, Because my brother - aieh! the father of Ion - Who bore as well that name - Desiring her, vilely accused her Mlyrrha (involuntarily, behind cuertains). Oh! Arduin (bewildered). Who spoke It was her voice [Runs to sarcophagus. Rhasis. No, master, no ! Arduin (slowly returning). Fail, fail to bring her fairness from the tomb! Her face which can alone sow finitude's Fell desolation with enverdured dreams And fill the ways of the world again with hope ARDUTTN 40 ARDUIN I tell you she eternal must arise - Tho God die for it! [Begins to gird himself. Mustl . . . and the hour is now!- Venus is in the house of ready Taurus, The moon is full, and as I toiled today, [Goes to furnace. From the alembic a strange cloud arose, And once again her face! . . Prepare! pre- pare! Rhasis. I will do all you say. But, master, if -- Arduin (immitigably). No death-word more of doubt. It is the power Which holds us futile from omnipotence. Mete out the sulphur Into the alembic Of Cleopatra's crystal.-I must see her! [Riasis hastens. See her again, my Rhea, as she was, When plucking first the poppies of Provence! And hear flow from her 41 ARDUIN Words sweeter than Memnon's in the wind of dawn! Here's gold and silver (hands them). She shall rise and say: "Years pale you, pale your brow, my Arduin, And touch to gray the treasure of your hair, But not Antinous could be so fair To me - or wonderful: For you have brought me from the cold tomb to life! . The bat's wing then! And to the sarcophagus To lift its lid! for I will wait no longer-- [Takes alembic, as Rhasis obeys, and continues invokingly: But now, vial of immortality! By the presaging of the seven planets, And by the searchless sources of the Nile, And by the prayers of Christian and of Heathen, And by the elements earth, air and fire, That hold within their intermingled veins The secret of illimitable life - By fate and time and God - I here conjure you 42 Bring forth the Elixir which shall make her rise! [He pours the ingredients, and quickly fumes arise. They clear and a liquid is seen i:n the bottom of the glass. With a cry he starts toward the sarcophagus, when Myrrha's face - which, excited, has parted the curtains - stops kim enspelled. Rhasis, unnerved, quits the room - leaving them agaze. A rduin (at length, as if to a spirit). I do not dream . . you have arisen Rhea ! [Starting toward her. Arisen ere I touched you - 0 fear not! For I am Arduin! do you not know me [She trembles speechless. o wonderful awaking! 0 . . . at last! Tho yet the memory of the tomb is on you! . This land is Egypt, whither in my grief I brought you, my dead bride! Look on me! see! [Stops quickly. ARDUIN, 43 But no, not yet! until my youth comes back, As now it will, Over the sea from France' Already passion lifts away the years That weight its wings and I am as I was. -Now gaze upon me, now:' Is it not I Afyrrha. Sir-! Arduin. Sir! 0 quickly see. For to my breast Again has striving brought you, to my bosom! 'the bitter nights are ended - the blind pits Sleepless and infinite. Awake! stare not So strangely! press your lips in praise to mine, Your breast upon my breast! . . . Delay you still M vrrha. 0 sir - Arduin. See, see! the years have been too long. [Clasps her, dropping alembic. My arms have waited an infinitude. [She struggles. Do you uot now remember with my lips ARDUIN 44 To yours, the brimming beauty of our youth, Aflyrrha. Release me! Arduin. Awake and know me! It is P Your lover Arduin whom once you wooed: Whose every word was to you as a wind Of God! whose every kiss. . . Do you not see M1yrrha. No, no! I'm not your love- Arduin. Not - You uprisen Has the tomb treachery to change the soul Ye skies, must I go mad now at this moment When I have brought her back from destiny Not mine . . . Awake! Oblivion enthralls you. [Suddenly starting fromn her. Or is it that there in the grave, another- Myrrha. No, no! but - Arduin. Ha, then! if not - if it be not - Is it that here returned you wish another You who so gaze upon my goaded brow ARDU'I.N 45 And face grown old with toil to conquer death o youth ruthless to ageI e'en tho its furrows Were got for your delight! - Ingratitude'- Have I so hungered thro long years to pluck A flower of Hell back to the light! . . . No, No! It cannot be! . . You shall be mine! AMyrrha (in terror). Sir, sir! Arduin. Mad will I be, as they have thought me, mad In holding that which I have given life. Myrrha. But you mistake! . . . I am not what you think. Hear me, for I love one who-- Arduin. Is not - I [A s to invisible judges. You hear her say it Myrrha. 0, I love but Ion, Your- Arduin. Ion, my brother! Then, God! it was true, ARDUUN 46 ARDUIN And being true thy Heaven is but a brothel! She was unfaithful to me, as he said! And in the other world has met and clasped him! AMyrrha. No, let me speak! Arduin. And spurn me more with it Shall I abide mockery like a mummy! Ha-ha! (A laugh that racks him.) Years but to hear her say that she loves him! To see her come back from the grave, where she Has still embraced him, still -and to my face, On which the rage of sleepless toil is wrought, Tell me. She shall die for it! God, whose stars Are vermin, she shall die! Myrrha. 0! A rduin (frenziedly). Die, die, die! As trustless women should: until no womb Of lies is left in the world! Die, and be shut Again into the curst sarcophagus From whence I brought her . . . Myrrha (in his grasp). Sir! - help! - sir! do not! 47 ARDUIN 0, I will love you! Arduin. Liar! Whom you betrayed False love to me do it! and turn from him me for-and swear again Then . . . in the tomb [Begins to choke her. M yrrha. 0! A rduin. not help you 31yrrha. Ion! Aieh! cry out to him! will he Arduin. That word withering in your throat Shall stale you past all hope of resurrection. [Strangles her -and then looks around. So, it is d9ne. ... And now, back to your tomb, Which I will bury in the desert sands So deep that not eternity can find it. [Begins to draw her toward sarcophagus. And yet (stopping stricken) all is not well I now could weep. [With lone anguish. 48 I know not wherefore - only that my heart Is wounded and seems bleeding o'er the hours That I must live! . . . 0 Rhea! . . . 0, my love! [Strangely kissing her. Do vou not hear the nightingale that sang The song of our betrothal in Provence It sits upon. ... [Changing again. Accursed face! accurst! forevermore! Within the tomb lit (dragging her) blind, deaf, motionless, Until - [Looking into the coffin becomes transfixed, while MYRRHA'S limp body slips slowly from his arms. He gazes at her, at his wife, and tries to understand. But can- not, and so, standing long troubled, moans: I am not well; perchance Rhasis will come And tell me what it is that I desired. ARDUIN 49 so ARDUIN Men should not toil o'ermuch; there's madness in it. [Then seeing MVRRHA'S face and starting from it wildly: Rhasis! Rhasis! Rhasis! . . Oh-oh-oh-oh! [Runs madly off right, as ION and RHASIS enter left. They look around, see MYRRHA and rush to her - with a cry. CURTAIN O-UMR'S GODS CHARACTERS O-U'Mi ... A Samurai Girl AMA .Her Servant, an old womnaa SANKO . . . . . A Young Samurai and A YOLUNG JESUIT PRIEST O-UME'S GODS TiME: The Sixteenth Century. PLACE: Japan. SCENE: A room in the house of 0- Um in a province near the sea. Its shoji, or sliding paper doors, open in the rear upon a wistaria arbor over- hanging a river, upon which lighted lanterns, sent forth on the night of the Feast of the Dead, are dimly floating; while the moon above gleams upon the pale distant snow-cone of Fujiyama. The room with its deep straw mats and walls delicately portrayed with pine and bamboo has a paper-paned door on the right leading to a garden, and is lighted by andon - one beneath a shrine to Buddha on the left wall, and one to the left centre where O-Umt and AMA are sitting 53 O-UME 'S GODS on their heels, constrained, foreboding and verg- ing toward inevitable words. Ama (at length). Down to Oh the dead! Do they not seem On the night air to hover There by the lights Are not their spirits present The lights lit for them the sea! the sea! [O-Umi is silent. All our ancestors are they! Fathers and mothers Of many lives back! They hear us speaking, They hear from the Buddha-shrine There on the wall. They see us thinking. [Meaningly. They see in our hearts! O-Umh (who trembles). Be silent! silent! 54 0-UME:'S GODS Ama (bowing but continuing). They know if we care for them - Know as the wind That visits all shoji, Know as the night That searches all places. Alas for the son Who does not honor them! And for the daughter Who does not cherish them! They shall-- O-Um. Be silent! [A pause. Ama. Alas for the daughter! O-Ume (who rises disturbedly). The lips of the old Are like leaves dying - Leaves of Autumn That ever flutter! [Walks about. Ama. And a girl's mind 55 O-UIME'S GODS Is like the dawn mist - Knowing not whither To rest or wander- Until, perchance, It clings to Fuji, To Fuji mountain, Lord of the air' The mind of a girl And what is O-Uml m's O-Urnz. It is O-Umes' A ma. Not Sanko's . But were I she, O-Umr the fair, O-l'm. the mist Of happy karmas, Sanko should be My Fuji mountain. Him would I cling to, Nor would I hunger To stray far from him straying! . . whose Ai! O-UNIt'S GODS With a white priest! To stray far from him To foreign gods That hang on a cross. [Again bowing. Is he not strong O-Umi. Be silent! [To herself, troubled. The lips of the old! The lips of the old! Ama. Is he not brave O- Une. A samurai is he - One whose sword is his soul. Ama. And should his tongue be Like that of the other, The priest of the pain-god I care not. Is he not kind 0-Ume. He is kind. [Immovablyy. 57 O-UIME'S GODS Ama. Kind' as O-Cms is cruel! O-Umj. No, but as men are, Wanting women: Yet not once so was he! For as children We caught together The June-night fire-flies Out by the shrine of Jiso. Anza. And then he loved you, And ever has loved you, And faithful is he: O-Ume. Ai, and terrible! Ama. Terrible only Because O-Um6 Turns from her fathers And from the gods. She sees their soul-ships Sail to the sea - The lights lit for them, [Mloiions without. And yet she offers O-UME'S GODS No cakes of welcome - None of farewell! No prayer to Buddha, Lotus-loving, And none to Kwannon Who is all mercy. But inward, inward She turns her eyes To see this stranger, Priest of the Christ-god. Outward, outward, Ever she gazes And ever listens, Ever, for him! Oh false, false one! False to the dead - False to Sanko! . . . O-UmF (more distressedly). The words of the old Are like the leaves, [Her voice breaks. Like Autumn leaves 59 60-UNME-'s CODs That ever flutter. Ama. And thoSe of the young O-Ume (becoming distraiugzht). Oh reill she hush not! Will this servant, Whom my mother Dying left me, Waste my heart so [Weeps in her sleeve. Sanko I fear, And fears of many Werlds crowd round me- Many karmas Of pain and passion, Births and rebirths. Ama. And 'tis because This evil priest Stands in the door of your heart. O-Ume. Will you revile him Ama. Cursed be he! O-Uml. Ama! 60 O-UME'S GODS XAma. I pray it! [Rises slowly. And curst he shall be. [O- Ume stares trembling. For, 0 blind one, By him blinded, Do you not know The people have heard How he has bid you Cast away from you The gods of your house The blessed Buddha And all the tablets Kept, ancestral Ai, they have heard And tonight have risen! This night of the dead They have gone forth, With Sanko to lead them - Gone to tear down The house of the priest! 6I -UME'S GODS Gone to destroy The image he worships! Gone to O- Uma (stricken). Ama! [Shrinks from her and then speaks wanly. Never is there Trust in any Only faith that fades This was known - But kept from me, Kept in silence, Kept for Sanko O lord Buddha, Thou, or Christ, Is there peril-- [Turns on her. You have done ill! Ama. I have done well. O-Um8. Ill! and ill shall come to youl For do you think So to prevent me 62 O-UME'S GODS From my fate-way No, I will find it! The Buddha and all The tablets ancestral Will I take down from the wall, And from me cast them Into the river. . . They shall float down to the sea. [Turns and goes to shrine. Ama. O-Umrn! O-Um6! [Catching at her kimono. The gods forsaken Will pardon never! The gods - and the people! You will become Eta, an outcast, From them driven away. O-Umz! [The girl takes the shrine. Remember your father Dead, and your mother. 6i3 64 0-UME'S GODS They are hovering Round your fingers, Faint, offended! Will you pause not [When 0- Ume continues. Ah for Sanko! for Sanko! [Runs calling to door. Sanko Sanko ! [O-Ume stops motionless. Sanko! O-Ume (after a pause). He waits then there A Voice (without). Ama! (nearer) Ama! . . . [SANKO enters from the garden, dishevelled and breathless, but controlled. As he does so O-Um1i drops the shrine and the image falls out. Sanko. O-Um6! O-Um6! [Ama goes quickly out. O-Ume (again motionless). Honourable friend! [WT'it/ polished anger. You dwell in my garden O-UME'S GODS And is my house Even as your house Sanko. Be pleased to pardon! O-Ume. And you conspire here With Ama against me Sanko. O-Umr knows The samurai's honour. O-Uml. O-UJme thought so, But does no longer! Sanko. Ah the plum-blossom! Then it too Has thorns and poison O-Umj. Yes, for the hand of Sanko! Knowing the deed From whence he comes. Knowing that . . . [Breaks of, tensely. Where is the priest's house Sanko (angrily). Cast in the river! O-Um2. Ai, for I see The blood on your hand O-UNIE'S GODS From the torn rafters! Red, red blood Of a deed of fury. So I tell you, Samurai rude, Not for one life, Even for one, Will I be yours. Please . . . to leave me. [He looks at his hand and is going. And yet . . . (as he stops) . not thus! [She struggles. The priest would bid me Bind up your wound. And you were once Sanko my friend! - Put forth your hand! [He does so. The blood Sanko (with sudden fierceness). The blood is his! [As she falls back with a cry. 66 0-UME'S GODS 67 His! I have slain him! [Mockingly. And did his ghost Not come here flitting Coldly flitting Here with moaning Does it not hang Upon the roof-tree Hungering for you He lay in the dark - One lay with him - One who escaped to the river. But him I slew That you might never Turn from the Buddha And from your fathers; Turn dishonoured Of all who greet you. O-Ume (speech coming at last). Ah! A-hi! Slain! . . It cannot be! 0-UNIME'S GODS Sanko (drawing a bloody sword). And is this wet with dew O-Ume. 0 let it pierce Your own heart, samurai! For you shall never Again know peace. I will pray to The lord of Nippon, To the Shogun - Who gave entrance Here to the Christ-priest. Nay, I will die Myself that ever You may be hated By your own heart. [Starts toward river. I will cast Myself to the soul-world And bid the dead To bring you evil! Then the priest shall. 6g 0-UME'S GODS [Breaks of -for standing in the arbour is the priest, pale and spectral. He has come up to the steps from the river. At the sight SANKO plucks her back, as if from a ghost. A pause, then the priest speaks sacro- sanctly. The Priest. The Christ looks on you, [Lifts a crucifix. You, a murderer - Tho it is not I you have murdered. [SANXO gazes. One slept with me, A gentle servant, Slept in my cloak . . . you have slain him. [Steps forward. The Christ looks on you. He will forgive you. [A pause. Sanko (recovering). Priest! 69 70 O-UMNILS GODS The Priest. Forgive you. [Holds crucifix to..wsard him. Sanko. By the eight million Gods, he mocks me! [Dashes it to floor. And shall perish Or go from this village! The Priest. Aye . . . but only When goes this maiden Whom you would hold Still to her idols. She must follow The Cross of Heaven. Sanko. She shall follow o priest, but me. The Priest. Murderer, pause! There is a Hell Where the lost burn Even as say your sutras. [Sanko lifts his sword. Pause' and strike not! 0-UME'S GODS The smitten Christ No longer holds My hands from strife. [Towers over him. O-Ume, I bid you Now cast away The gilded gods you have worshipped. Sanka. And I forbid O-Ume to move. O-UmA (eedless of either). And I, O-Ume, O'er whom you quarrel, And whom you tear Twixt Christ and Buddha, I, O-Ume, will end it. [Lifts the BUDDHA from the floor, and the crucifix, over her head. Be all the gods forsaken - Even as these! [Goes to river and casts them in. Then meets their horror with ever increasing passion. Be all! 71 O-U.ME'S GODS And be you gone Forevermore For if again I see your faces, If again They grieve my hours, If again While Fuji stands there - The river shall gulf me, too. I swear it by the dead. [They look at her awed, then go slowly, silently out. She sinks on her heels, hands folded, and stares before her. The lights on tMe river drift on. CURTAIN 72 THE IMMORTAL LURE CHARACTERS VISHWAMYA . RISHYAS. SUNANDI . . KOIL. A Renowned Ascetic His Son, a Young Saint An Old Woman of the Court of the Rajah of Anga A Young Girl of the Court THE IMMORTAL LURE TiME: The antiquity of India. SCENE: Before the hermitage of VISIIWAMYA and RISHYAS, in a forest near the Ganges. It is an open space spread with kusa-grass and over- hung with trees - the hermitage itself being a cell constructed of earth and of hanging roots of the banyan, and having by it an altar before which lies a deer-skin. Glimmering lights and running water penetrate the shades, whose sacredness is soon disturbed by the appearance of SUNANDI, wantonly compelling KOIL, with alternate harshness and wheedling, to enter with her. 75 THE IMMORTAL LURE Sunandi (peering about). The place, my jewel- bird! the place for it! Under these boughs of peepul and asoka The young saint dwells With his restraining sire, Singing the Vedas morning, eve and noon, And they are gone somewhither now in the wood To gather fruit for sacrifice, and flowers. itWith a leer. But he, the boy, will soon return, my pretty. Kozi (whom she has released). And you have drawn me from the city here To break into his holy breast with passion To dance and sing and seize him I you have taught the wiles of winning men, As the cobra-charmer teaches, Must lure him from his saintly innocence, And with the beauty I was born unto Must tangle him . . . You, 0 Sunandi, are an evil woman, To lead me to it' 76 THE IMMORTAL LURE Sunandi. And you talk as flies talk! Who know not that the gods sow food or famine. [Harshly. I tell you that great Indra of the skies Is wroth with us And will not send us rain, So wisest Brahmins vow - Until this boy, This saintly one, is brought unto the Raja! Are we to die because not otherwise Than with alluring now we can appease them [Lecring again. And why are women fair, my CUn:In, Koil, But totempt men then,whentheyseck to take us-- Koil. Sunandi ! Sunandi. It is so, unwitted girl! Be silent then And do what I command. (Wheedling again. 77 78 THE IMMORTAL LURE But it will be sweet doing, beamy Koil, For the young saint Is fairer than the god-born, His body like warm gold and lotos-lithe - Made for the wants that tremble in your heart. And when your eyes rest on him they will kindle Like passion-stars. Koil. And burn away his peace- Which is the pearl Of sainthood thro all worlds' Unless his father, strange and terrible, And mighty thro austerities -one whose Curse were as heavy as an hundred births-' O let us trust it not! So young a saint Should be the holy mate of solitude. I would not have him gaze upon me so, For he is innocent of love, nor ever As yet has looked upon a woman's face. Sunandi. Then may he loathe you if he does not! for C-Zy in woman's faces is there beauty THE IMMORTAL LURE And who beholds not beauty is as dead. [Starts. But ha 'tis he No, only parakeets, Chattering as you chatter, idle girl! Who ever were resistant to my teachings! I tell you chirp no more these chastitics! If you come back to the Raja And without him, Know you what then will happen Kofl. I know not. [Hears a voice. Nor care not. I will return. Sunandi. Stop, girl. Koil. I will not. All others will I tempt, but Sunandi (holding her). Him will love! [RISHYAS slowly approaches, chanting,. And you were suckled at the breast of fortune To be the first so fair a saint shall look on. 79 80 THE IMMORTAL LURE Use well your charms-and chain him with en- chantment. [Sees the girl is enthralled by the voice and goes into wood. RISIiYAS soon enters opposite, laden and singing: Spirit of the risen sun. Now returns the offering-hour. Fruit I bring to you and flower, Here receive them, 0 great - [Breaks off, at sight of her, and the offerings fall slowly from his arms. Kozl (as they gaze long and tremblingly). 0 saint, is it peace with you, and is all well And have you roots and fruit enough for food; And have you joy in singing holy Vedas Here in this leafy-hearted hermitage Rishyas. 0 radiant one, yes - all is godly well. But whence are you And whither do you go I have dwelt only here, and not before Have I beheld so fair a vision fall - THE IMMORTAL LURE Even from skies where wing the Apsaras. Koil. I am not fair, 0 son of Vishwamya, [Timidly. But I have come from very far away. Rishyas (quickly). And I have offered you no laving-water For hands and feet, Nor any fruit and herbs! Will you not sit upon this mat of kusa, Or on this skin of the wild antelope, And let me loose your sandals- 0 sweet saint, For saint so bright an one must be! - it will Be dear to touch and tend you! For in this place I have beheld no other - Only my father, Who is old and mighty In meditations he would have me mind. But you are fair as well. Will you not sit Koil. No, pious one, it is not meet for me To touch the holy water - yet I thank you. Rishyas. Not meet for you 0, unto one who is 81 THE IMMORTAL LURE So beautiful, are not all things most meet Better are you, I know, than all the devas. And tho for but a moment I have seen you, I fain would follow The holy vows you follow. For you I would do all things. When I gaze Upon you all my body is as fire Upon the altar when I sacrifice. Will you not eat or drink Koil. Not at your hands. But see, 0 holy one, here are rare cakes, Brought with me from afar, and here is soma, Sparkling and ready with divinity To lift whoever drinks of it to joy. Drink you with me! Rishyas. 0 gladly will I; give it. [Takes the flask; drinks deeply. A wine of wonder is it and of wisdom, For now it makes you seem even more fair Than first you were. 0 let me tend about you, 82 THE IMMORTAL LURE And let me wreathe your brow and limbs with flowers. [Takes some and entwines them over her. Kod (trembling). And you are beautiful. So I will weave Flowers upon you too. And see, and see, 0, Rishyas, see, For I will dance to you- The dance of all the dreamers in the worldI [Unbinds her body-cloth and begins to dance - slowly at first then more alluringly, as he follows her, marvelling. Then at length she stops close up to him and murmurs: Does it not fill your heart, 0 Rishyas, With longing Rishyas. Yes, yes, yes. And with desire, I know not why, to lay my lips to yours! Then life, it seems, would burst all ill that binds it. [Instinctively; clasping her. Oh this is sweeter than all other joys 83 THE INIMMORTAL LURE Of holiness Your voice That play KoVl. Rishyas. one that I have ever known. is like to piping of the koils in spring. And Koil am I named. And what is this I feel for you, 0 wise In skies from whence you come, what is its name So pure are you that surely you can tell me Kol. 0 holy one, the people call it love. Rishyas. Then is love better than all other bliss My father's meditations ever bring. And I will seek thro all the lapse of lives To hold you thus, And have your arms about me, As vines about the asoka clingingly. Happy am I that you have found me out, And never shall you leave me. Kod. No-for ever! [MIore passionately. But unto the city you shall go with me And there with Brahmin rites be made my husband. 84 THE IMNIORTAL LURE Rishyas. Which is - I know not what - yet will I be Husbapd and more to you. For now it seems That not the tiger in his jungle-might, Nor any incarnation terrible, Could tear you from me. Kodl. Then come quickly, now, And I will be for you a champa-flower, Swung sweetly and forever to your breast. And often will I dance for you and sing And love you, Rishyas, as a deva-queen! Come quickly, one is waiting in the wood To guide us. Rishyas. Yes, 0 yes! (remembering) But stay! my father! First I will tell him I have won this wisdom. Koil. No, no! Rishyas. Yes! (calls) Father! father! Koi (in terror). Rishyas, no ! But come, come with me quickly. Rishyas (astonished). Do you fear 85 THE IMMORTAL LURE Koil. He is so old! . . . You guess not what you do. Haste, or he will forbid. Rishyas. You know him not. For I will tell him you are a holier saint To guide my steps, Then will he bid me go. Ho' father! ho: Vishwamya (heard oJT). My son, you call I come. Koi;l. 0, I must flee- Rishyas (dazed). I do not understand. Kod. Sunandi! Speak, Sunandi!-Ah, he comes. [VISHWAMYA enters and seeing her stops amazed. SUNANDI enters behind unseen. Deep suspense. Rishyas (uncomprehendingly). Do you see, father, I have found one here Holy, and fairer than the Apsaras. And I shall follow her, she is some goddess. For I desire only to be with her, 86 THE IMMORTAL LURE And she has taught me this desire is love. o and I love her, And tho yet I know Not well what miracle love is in me, Yet it is better than this hermitage. For it has made me seem. . . . But wha t burns in you Vishwamya. My son, you are beguiled. Let go her hand That leads you on to ruin. Do you not Behold what manner of creature you so clasp Rishyas. Yes, yes-a deva! Vishwamva. Deva! This is a woman, And women like the wind are full of wiles, And tempt saints to abandon Swerga's rest. He who would rule his mind has naught with them. Let go her hand and send her away. Rishyas (amazed). Away! N ever shall she go from me and without me. If women are evil, as you say, she is not, Therefore she is no woman. 87 THE IMMORTAL LURE Vishwarnva. 0 vain boy! In passion's jungle! Break from her at once! Rishyas. I will not. Her I worship, holily. And she has given me a drink of heaven That has diffused deity in my limbs. Vishwamya. And death, and an eternity of births' - These flowers (off his neck) and her feigning have bewitched you! [Scizes them. I tear them off and trample them to carth. Kod. Rishyas! Rishyas! Rishyas. Be not afraid, my Koil; He is my father And he knows you not, For did he, he would clasp you, as I clasp. Or it may be that he is little pleased Because I find you holier than he. O father, peace. Control your mind. Farewell. I go with her. Viskwamya. Beguiled boy! you shall not. 88 THE ININIORTAL LURE Thro all these years I have not, from its lair, Unloosed black anger. But this evil one And your desire to follow ways of flesh Compel me. Come, come from her! Rishyas. I will nevc r. Vishwamya. Then must I drag you - and drive her away. [Strikes KOYL. Away, lust-thing! away! Rishyas. Oh, oh! Oh, oh! [In horror. A demon enters into you and dupes you To strike her thus, a holy one. Restrain! Vishwamya. No, tho I slay her! Rishyas. Slay 0 wickedness! [Seizes up wood of sacrifice. Must I beat off your hands - Touch her no more. Vishwamya. Wild-vaunting boy! the drink and this vile girl Have maddened you. (To Koil) Away! I09 THE IMMORTAL LURE Rishyas. Call her not vile! Vishwanzya. Viler is she than sin' [A gain strikes her. Risklvas (uncontrollably). You do a death-deed. [Falls on him with the weapon and fells him quickly to the ground - then recoils with a cry. The old man strives vainly to rise. Koil. Oh, oh! - what have you done! Vishwan: ya (imortally hurt). Slain . . . slain his father-! And lost enlightenment and peace forever! [After a struggle, terribly. But not to gorge upon the fruit of sin! [Turning on KOYL. The curse of bitter karmas be upon you! Mray you be born a worm and crawl in slime, A serpent thro ten score of lives, and slough Your skin in hideousness and hate and horror! Koo. Oh, oh ! Vishwamya. At every death may you despair go THE IMMORTAL LURE Of ever acquiring merit! Rishlyas (terrified). Father! Vishwamya (to him). Aye! [His strength failing. For love, blood guilty boy, the love which she Has slipped into your heart, is the curse of the world, The immortal lure of all the generations! Your arms have ached with it about her body, But know that in the city whence she came All evil men feel in their hearts this ache. And that you may escape from it, know this: Not your arms, yours alone, have been entwined About this poison-flower - but, perchance, [Sinking bcc,.. The arms of many. Rishyas (starting paincdly). What is it he mean; [With emiotions he does not understand. Koil, what has he said Ko;z. 0 let me go! go 9 THE IMMORTAL LURE Rishyas. The arms of many that can not be true [ Tortured by half-born thoughts. 0, have I fallen into demon-snares Is beauty not the bloom of piety Speak. Kod. I would go ! Rishyas. Pain only darker pain! Kod (at length ox erwhelmed). I am not holy - nor am I pollution But only one sent hither - 0, the gods Bid us to sin, then fell us with calamity! fHurries weeping of with SUNANDI, who has stood in terror. RIS1YAs stands dazed, then comprehension dawns upon him and he falls by his fat/cr's body in a storm of anguish. THE END 92 MANY GODS By CALE YOUNG RICE HESE poems are Dashingly, glowingly full of the East. . . . What I am sure of in Mr. Rice is that here we have an American poet whom we may claim as ours." The North American Review (William Dean Howells). "Mr. Rice has the gift of leadership. and he is a force with whom we must reckon." The Boston Transcript. "We find here a poet who strives to reach the goal which marks the best that can be done in poetry." The Book News Monthly (A. S. Henry). "When ycu hear the pessimists bewailing the good old time when real poets were abroad in the land . . . do not fail to quote them almost anything by Cale Young Rice, a real poet writing to-day. . . . He has done so much splendid work one can scarcely praise him too highly." The San Francisco Call. "'In Many Gods' the scenes are those of the East, and while it is not the East of Loti, Arnold or Hearn, it is still a place of I - - I i brooding, majesty, mystery and subtle fasci- nation. Theie is a temptation to quote such verses for their melody, dignity of form, beauty of imagery and height of inspiration." Yhe Chicago Journal. "'Love's Cynic' (a long poem in the vol- ume) might be by Browning at his best." Pittsburg Gazette-Times. "This is a serious, and from any standpoint, a successful piece of work . . . in it are poems that will become classic." Passaic (New Jersey) News. "Mr. Rice must be hailed as one among living masters of his art, one to whom we may look for yet greater things." Presbyterian Advance. "This book is in many respects a remark- able work. The poems are indeed poems." The Nashville Banner. "Mr. Rice's poetical plays reach a high level of achievement. . . . But these poems show a higher vision and surer mastery of expression than ever before." The London Bookman. Net, 8I.25 (postage 12C.) I I I I I I I i I I i I A NIGHT IN AVIGNON By CALE YOUNG RICE Successfully produced by Donald Robertson IT IS as vivid as a page from Browning. Mr. Rice has the dramatic pulse." James Huneker. "It embraces in small compass all the essentials of the drama. New York Saturday Times Review (Jessie B. Rittenhouse). "It presents one of the most striking situations in dramatic literature and its climax could not be improved." The San Francisco Call. "It has undeniable power, and is a very decided poetic achievement." The Boston Transcript. "It leaves an enduring impression of a soul tragedy." The Churchman. "Since the publication of his 'Charles di Tocca' and other dramas, Cale Young Rice has justly been regarded as a leading Ameri- can master of that difficult form, and many critics have ranked him above Stephen Phillips, at least on the dramatic side of his art. And this judgment is further confirmed by 'A Night in Avignon.' It is almost in- credible that in less than 500 lines Mr. Rice should have been able to create so perfect a I play with so powerful a dramatic effect." The Chicago Record-Herald (Edwin S. Shuman) "There is poetic richness in this brilliant composition; a beauty of sentiment and grace in every line. It is impressive, metri- cally pleasing and dramatically powerful." The Philadelphia Record. "It offers one of the most striking situa- tions in dramatic literature." The Louisville Courier-Journal. "The publication of a poetic drama of the quality of Mr. Rice's is an important event in the present tendency of Amnerican litera- ture. He is a leader in this most significant movement, and 'A Night in Avignon' is marked, like his other plays, by dramatic directness, high poetic fervor, clarity of poetic diction, and felicity of phrasing." The Chicago Journal. "It is a dramatically told episode, and the metre is most effectively handled, making a welcome change for blank verse, and greatly enhancing the interest." Sydney Lee. "Many critics, on hearing Mr. Bryce's prediction that America will one day have a poet, would be tempted to remind him of Mr. Rice." The Hartford (Conn.) Courant. Net 5oc. (postage 5c.) I i I I I YOLANDA OF CYPRUS A Poetic Drama by CALE YOUNG RICE M /[INNIE MADDERN FISK says: "No one can doubt that it is superior poetically and dramatically to Ste- phen Phillips' work," and that Mr. Rice ranks with Mr. Phillips at his best has often been reaffirmed. "It is encouraging to the hope of a native drama to know that an American has written a play which is at the same time of decided poetic merit and of decided dramatic power." The New York Times (Charles AL. Hathaway, Jr.). "The most remarkable quality of the play is its sustained dramatic strength. Poetically it is frequently of great beauty. It is also lofty in conception, lucid and felicitous in style, and the dramatic pulse throbs in every line." The Chicago Record-Herald. The Springfield Republican says: "The characters are drawn with force and the play is dignified and powerful," and adds that if it does not succeed on the stage it will be " be- cause of its excellence." " Mr. Rice is one of the few present-day poets who have the steadiness and weight for - ! I a well-sustained drama." The Louisville Post (Margaret Anderson). "It has equal command of imagination, dramatic utterance, picturesque effectiveness and metrical harmony." The London (Eng- land) Bookman. T. P.'s Weekly says: "It might well stand the difficult test of production and will be welcomed by all who care for serious verse. The Glasgow (Scotland) Herald says: "Yo- landa of Cyprus is finely constructed; the irregular blank verse admirably adapted for the exigencies of intense emotion; the char- acters firmly drawn; and the climax serves the purpose of good stagecraft and poetic justice." "It is well constructed and instinct with dramatic power." Sydney Lee. "It is as readable as a novel." The Pitts- burg Post. "Here and there an almost Shakespearean note is struck. In makeup, arrangement, and poetic intensity it ranks with Stephen Phillips' work." The Book News Monthly. Net, 1.25 (postage zoc.) I i I I 1i a CHARLES DI TOCCA By CALE YOUNG RICE I TAKE off my hat to Mr. Rice. His play is full of poetry, and the pitch and dignity of the whole are remarkable." James Lane Allen. "fIt is a dramatic poem one reads with a heightened sense of its fine quality through- out. It is sincere, strong, finished and noble, and sustains its distinction of manner to the end. . . . The character of Helena is not unworthy of any of the great masters of dramatic utterance." The Chicago Tribune. "The drama is one of the best of the kind ever written by an American author. Its whole tone is masterful, and it must be classed as one of the really literary works of the season." (1903). The Mlilwaukee Sentinel. "It shows a remarkable sense of dramatic construction as well as poetic power and strong characterization." James AlacArthur, in Harper's Weekly. " This play has many elements of perfection. Its plot is developed with ease and with a large dramatic force; its characters are drawn with sympathy and decision; and its thoughts i I i I I rise to a very real beauty. By reason of it the writer has gained an assured place among playwrights who seek to give literary as well as dramatic worth to their plays." The Richmond (Va.) News-Leader. "The action of the play is admirably com- pact and coherent, and it contains tragic situations which will afford pleasure not only to the student, but to the technical reader." The Nation. "It is the most powerful, vital, and truly tragical drama written by an American for some years. There is genuine pathos, mighty yet never repellent passion, great sincerity and penetration, and great elevation and beauty of language." The Chicago Post. "Mr. Rice ranks among America's choicest poets on account of his power to turn music into words, his virility, and of the fact that he has something of his own to say." The Boston Globe. "The whole play breathes forth the inde- finable spirit of the Italian renaissance. In poetic style and dramatic treatment it is a work of art." The Baltimore Sun. PNet, I.25 (postage, 9c.) I I I i Paper boards. NIRVANA DAYS Poems by CALE YOUNG RICE R. RICE has the technical cunning M V that makes up almost the entire equipment of many poets nowadays, but human nature is more to him always and he has the feeling and imagina- tive sympathy without which all poetry is but an empty and vain thing." The London Bookman. "Mr. Rice's note is a clarion call, and of his two poems, 'The Strong Man to His Sires' and 'The Young to the Old,' the former will send a thrill to the heart of every man who has the instinct of race in his blood, while the latter should be printed above the desk of every minor poet and pessimist. . . . The son- nets of the sequence, 'Quest and Requital,' have the elements of great poetry in them." The Glasgow (Scotland) Herald. "Mr. Rice's poems are singularly free from affectation, and he seems to have written be- cause of the sincere need of expressing some- thing that had to take art form." The Sun (New York). "The ability to write verse that scans is quite common. . . . But the inspired thought behind the lines is a different - I I i i i i i thing; and it is this thought untrammeled -the clear vision searching into the deeps of human emotion -which gives the verse of Mr. Rice weight and potency. . . . In the range of his metrical skill he easily stands with the best of living craftsmen . . . and we have in him . . . a poet whose dramas and lyrics will endure." The Book News Monthly (A. S. Henry). "These poems are marked by a breadth of outlook, individuality and beauty of thought. The author reveals deep, sincere feeling on topics which do not readily lend themselves to artistic expression and which he makes eminently worth while." The Buffalo (N. Y.) Courier. " We get throughout the idea of a vast universe and of the soul merging itself in the infinite. . . . The great poem of the volume, however, is 'The Strong Man to His Sires."' The Louisville Post (Margaret S. Anderson). "(The poems possess much music . . and even in the height of intensified feeling the clearness of Mr. Rice's ideas is not dimmed by the obscure haze that too often goes with the divine fire." The Boston Globe. Paper boards. Net, I.25 (postage 12C.) I I I DAVID A Poetic Drama by CALE YOUNG RICE T WAS greatly impressed with it and de- rived a sense of personal encouragement from the evidence of so fine and lofty a product for the stage." Richard Mansfield. "It is a powerful piece of dramatic por- traiture in which Cale Young Rice has again demonstrated his insight and power. What he did before in 'Charles di Tocca' he has repeated and improved upon. . . . Not a few instances of his strength might be cited as of almost Shakespearean force. Indeed the strictly literary merit of the tragedy is altogether extraordinary. It is a con- tribution to the drama full of charm and power." The Chicago Tribune. "From the standpoint of poetry, dignity of conception, spiritual elevation and finish and beauty of line, Mr. Rice's 'David' is, perhaps, superior to his 'Yolanda of Cyprus,' but the two can scarcely be compared." The New York Times (Jessie B. Rittenhouse). "Never before has the theme received treat- ment in a manner so worthy of it." The St. Louis Globe-Democrat. I "It needs but a word, for it has been passed upon and approved by critics all over the country." Book News Monthly. And again: "But few recent writers seem to have found the secret of dramatic blank verse; and of that small number, Mr. Rice is, if not first, at least without superior." "With instinctive dramatic and poetic power, Mr. Rice combines a knowledge of the exigencies of the stage." Harper's Weekly. "It is safe to say that were Mr. Rice an Englishman or a Frenchman, his reputation as his country's most distinguished poetic dramatist would have been assured by a more universal sign of recognition. The Baltimore News (writing of all Mr. Rice's plays). Net, t1.25 (postage r2C.) I I I a SONG-SURF (Being the Lyrics of Plays and Lyrics) by CALE YOUNG PRICE M /[R. RICE'S work betrays wide sym- pathies with nature and life, and a welcome originality of sentiment and metrical harmony." Sydney Lee. "In his lyrics Mr. Rice's imagination works most successfully. He is an optimist - and in these days an optimist is irresistible - and he can touch delicately things too holy for a rough or violent pathos." The London Star (James Douglas). " Mr. Rice's highest gift is essentially lyrical. His lyrics have a charm and grace of melody distinctively their own." The London Bookman. "Mr. Rice is keenly responsive to the loveliness of the outside world, and he re- veals this beauty in words that sing them- selves." The Boston Transcript. "Mr. Rice's work is everywhere marked by true imaginative power and elevation of feeling." The Scotsman. "Mr. Rice's work would seem to rank with the best of our American poets of to-day." The Atlanta Constitution. I I i I I I I i I i I i Ii i i I I I i i " Mr. Rice's poems are touched with the magic of the muse. They have inspiration, grace and true lyric quality." The Book News Monthly. "Mr. Rice's poetry as a whole is both strongly and delicately spiritual. Many of these lyrics have the true romantic mystery and charm. . . . To write thus is no indifferent matter. It indicates not only long work but long brooding on the beauty and mystery of life." The Louisville Post. " Mr. Rice is indisputably one of the greatest poets who have lived in America. .. And some of these (earlier) poems are truly beautiful. The Times-Union (Albany, N. Y.) Net, Sr.25 (postage r2C.) I I