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Title: Princess Kiku: A Japanese Romance. A Play for Girls

Author: M. F. Hutchinson

Release date: February 21, 2019 [eBook #58928]

Language: English

Credits: Produced by Mary Glenn Krause, Ian Crann and the Online

Distributed Proofreading Team at http://www.pgdp.net (This

file was produced from images generously made available

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*** START OF THE PROJECT GUTENBERG EBOOK PRINCESS KIKU: A JAPANESE ROMANCE. A PLAY FOR GIRLS ***

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

M.

F.

ALL THAT GLITTERS IS NOT GOLD (The Factory Girl).    Comic Drama of great force; 2 acts; 2 hours

6

3

ARABIAN NIGHTS, THE.    Farcical comedy; always a great success with amateurs; 3 acts; 2¼ hours

4

5

BARBARA.    Drama; well-written romantic story with touches of genuine humor; 1 act; 50 minutes

2

2

BETSY.    Farcical comedy; keeps audience in roars of laughter to final curtain; 3 acts; 2½ hours

7

6

BETWEEN TWO FIRES.    Military drama; 3 acts; 2 hours

8

3

BROKEN PROMISES.    Strong temperance play of unflagging interest, relieved with much eccentric humor; 5 acts; 1¾ hours

6

3

BY FORCE OF IMPULSE. (Off to the War).    Military drama; comic and emotional; 5 acts; 2½ hours

9

3

CASTE.    Comedy that always delights the public; 3 acts; 2¾ hours

5

3

CRAWFORD’S CLAIM; OR NUGGET NELL.    Good rattling Western drama; 4 acts; 2¼ hours

9

3

CRICKET ON THE HEARTH, THE.    Dickens’ story dramatized; 3 acts; 2 hours

6

6

DEACON’S TRIBULATIONS, THE.    Comedy drama. A worthy successor to the ever-popular “Deacon”; 4 acts; 2 hours

8

4

EAST LYNNE.    Standard drama; 5 acts; 2½ hours

8

7

ENGAGED.    Society comedy; full of burlesque fun; 3 acts; 2¼ hours

5

5

FROM PUNKIN RIDGE.    Domestic drama; successful wherever produced; 1 act; 1 hour

6

3

HOME.    Comedy; fresh dialogue and genuine humor combined with a very strong plot; 3 acts; 2 hours

4

3

HONEY-MOON ECLIPSE, A.    Comedy marked by spirited dialogue and an abundance of comic incidents; 1 act; 30 minutes

1

2

IMOGENE; OR, THE WITCH’S SECRET.    Realistic drama sure of being enthusiastically received everywhere; 4 acts; 2¼ hours

8

4

IN HONOR BOUND.    Drama always given with entire success; 1 act; ¾ hour

2

2

JACK FOR EVERY JILL, A.    A most successful comedy; 1 act; ¾ hour

4

4

JEMIMA, OR, THE WITCH OF BENDER.    Very laughable in its absurd complications; 3 acts; 2 hours

4

4

JUST FOR FUN.    Up-to-date society comedy. The piece is cheerfully recommended; 3 acts; 2 hours

2

4

LA CIGALE. (The Grasshopper.)    Comedy sometimes played as “The Circus Girl”; 3 acts; 3 hours

13

4

LADY OF LYONS, THE.    Romantic Drama; 5 acts; 2¾ hours

8

5

LADY AUDLEY’S SECRET.    Emotional drama; 2 acts; 1¼ hours

4

3

MAJOR ABORN’S PROPOSAL.    Comedy in 1 act; about 45 minutes; a pretty comedy especially adapted for amateur production

3

2

MARBLE ARCH, THE.    Comedy; one of the most popular little plays; 1 act; ½ hour

2

2

MARRIED LIFE.    Comedy; companion piece to “Single Life”; 3 acts; 2 hours

5

5

MEG’S DIVERSION.    Drama; pathetic, humorous and picturesque; 2 acts; 1¾ hours

5

3

MEN, MAIDS AND MATCHMAKERS.    Society comedy sparkling with wit, interest and human nature; 3 acts; 2 hours

4

4

MIRIAM’S CRIME.    Drama; the interest in this play is kept up to the very end; 3 acts; 2 hours

5

2

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

PRINCESS KIKU

Favorite niece of the Emperor

O MIMOSA SAN

}

Ladies-in-waiting

O YUKI SAN

O TOTMAI SAN

O HARU SAN

SAKARA

A learned Japanese lady devoted to ancient customs

ITO

A little girl, dressed as a boy

LADY CECIL CAVENDISH

An English girl travelling in Japan

MISS PRENDERGAST

Her companion

MOONBEAM FAIRIES.

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?

ITO. The police with ropes in pockets go from dwelling to dwelling asking for blind boys.

SAKARA (scornfully). Afraid of the police? See, here is sacred charm; place also in girdle, O little Ito. (Child examines and bows.) Fear nothing, the gods protect. (Draws child beside her.) I see there are words in thy throat.

ITO. Honorable lady in the garden was beautiful as a flower. (Looks up.) Why did she not love excellent play-acting, and I the best play-actor among children in many honorable dwellings?

SAKARA. Who said, O little Ito, venerated Lady did not like?

ITO. The police. I fear not till lanterns are lit, and night-devils and evil spirits walk. I called out in honorable sleep; the kind mother heard. (Places book under arm.) If police put a rope round me I will say it was play-acting of Sakara, the wise lady.

SAKARA. Truly, the dog bites the hand that caresses it!

ITO. Honorable meaning I do not understand. Play-acting of doctor or funeral exalted lady would have liked.

SAKARA. Fear not, O little Ito; all good comes to the friends of Sakara! Keep close mouth (child starts) lest.... Here hangs honorable sword, fear nothing, O little Ito (child draws nearer), the words on excellent blade, “There’s naught ’twixt heaven and earth a man need fear who carries this single blade!” Soon, O little Ito, manhood will come, strong, powerful manhood, and Sakara will fasten this sword herself to girdle of wise Ito.

ITO. August lady is most honorably kind to little Ito; those in prison may not wear worthy swords! Will excellent charm keep away night-devils?

SAKARA. None can come. Have no fear, O Ito, and remember the words of Sakara—the mouth is the door of mischief. Keep close lips; excellent happiness will then come. Take honorable leave-taking, O wise Ito. I hear footsteps.

ITO (bowing deeply, taking SAKARA’S hand to his forehead). I thank thee, O most exalted and wise, for books and money. Honored words my foolish mind will keep, but I fear greatly night-devils.

[EXIT L.

SAKARA. It is the foot of O Mimosa San!

ENTER MIMOSA R., carrying presents. Bows in doorway.

MIMOSA. O most exalted Sakara, I come with honorable presents in humble hands. Deign to accept, O most powerful. Tell me of noble health since last I worshipped thy eyebrow. (SAKARA sits motionless. MIMOSA bowing.) I regret humble and unworthy feet should soil venerated chamber, and that one so poor, so foolishly weak, should cross excellent threshold! (Stands motionless.)

MIMOSA (hesitates, then bows, speaking louder). I come, O great and wise, after exalted custom of noble land with presents in humble hands, pleasant words on foolish tongue.

SAKARA (bows once). It has been said, O Mimosa San, that the mouth is the door of mischief. I have deep thoughts. I return honorable greeting. Deign to sit.

MIMOSA (bowing). Condescend to accept humble offering to great wisdom!

SAKARA. Wisdom—you love the folly of the Palace! He who touches vermilion becomes red. It is only the gravely thoughtful who pray the aid of Sakara.

MIMOSA. Am I, then, a wolf in sheep’s clothing, that you receive honorable greeting and poor unworthy presents with little excellent courtesy? I will leave offerings at exalted feet, and take away the burden of letting venerated eyes rest upon Mimosa! (Aside.) O Shinto, grant wisdom; to show eagerness is loss!

SAKARA. Nay, O Mimosa San, rest on humble floor; they shall lay honorable tea before you. What can the ignorance of Sakara do? Forgive seeming discourtesy. (Bows.) I twanged my bow on the box here, talking to spirits of the most exalted dead (MIMOSA shrinks) as to the evil coming to beautiful, beloved Japan.

MIMOSA. Will there be trembling of the catfish? Will honorable dwellings fall?

SAKARA (scornfully). Earthquake? or swift-moving fire? The humble servants of the great ones. That is nothing.

MIMOSA (rising). My excellent brother travels to the Shrine of Ise—could he bring thee charms? and let honorable prayers avert evil days?

SAKARA (rising). O Mimosa San, there is no escape from the nets of Heaven.

MIMOSA (tremblingly moves toward R.). Honorable leave-taking! Will most gracious favor chrysanthemum-viewing at the Palace with exalted presence?

SAKARA. My feet turn not again to the Palace; the absent get farther off every day!... Honorable minds (scornfully) will soon forget Sakara, who will sit (seats herself C., draws bow along box) and commune with the spirits who protect Japan—exalted, powerful gods!

MIMOSA (advancing). I came with honorable presents in my hand——

SAKARA. Hai—you would give honey to eat!

MIMOSA (drawing nearer, though avoiding box). Nay, the small fox may borrow strength and wisdom from the powerful tiger. I came to sit humbly at thy feet——

SAKARA (twanging bow, laughs). Would foolish fox enter the tiger’s den? (MIMOSA shrinks.) After the swallowing, scalding is forgotten. (Turns to MIMOSA, who struggles to appear brave.) What think you, O Mimosa San, of poor, unworthy dwelling of the wise woman? Ignorantly speaking of bringing charms to one who makes charms—charms of long life, happiness, love, lasting beauty!

MIMOSA. I rob you, O Sakara, of honorable time. I——

SAKARA (beckons MIMOSA C.). Stay, O Mimosa, foolish Mimosa. You came to learn wisdom sitting at the foot of Sakara. Condescend to remain. O Mimosa San, if you would be wise, honorably exalted, all good shall come from the doing of one little thing——

MIMOSA. Deign to name the very little thing, O most honorable?

SAKARA. A very little thing! Condescend to sit, O Mimosa. First with honorable kindness answer, have your eyes seen excellent venerated lotus-flower in the mud?

MIMOSA (with astonishment). Never, O Sakara; the sacred flower?

SAKARA (speaking impressively). Do my bidding and you shall never be trampled like a dead, forgotten flower. Neither shall you grow old, and love will never leave you! Death by drowning, or long, pain-giving illness shall not be yours. At a venerated age you shall fall asleep in the embracing arms of the gods. I know, O Mimosa San, that the most worshipful Toko has fastened the sprig of lime to thy father’s door and woos thee; the gods, the all-powerful, shall smile upon him also. (Rises slowly.) The terrible destroying earthquake, the swift-moving fire shall never touch you! Your joys shall last like the pine trees. You shall remain beautiful as the cherry blossom and as spotless. (Stands with folded arms looking at MIMOSA.)

MIMOSA. What can I all unworthy do to gain exalted happiness?

SAKARA (walking forward, keeping face from MIMOSA). It is a very little thing, O Mimosa. You have come with courteous words to Sakara. Thy heart is not all folly, for the magnet can attract iron, but not stone. Do as I bid, beloved Japan shall venerate thee. Be honorable friend of wise, powerful Sakara, and you shall be protected by exalted gods, and the name of O Mimosa San shall live when all else perishes. (Crosses R.)

MIMOSA (follows, bowing). Tell me, venerated will. Great is the good you promise, O powerful Sakara, when I do thy bidding. (Kneels.) Hear one humble little prayer.

SAKARA (turning, seizes MIMOSA’S hands). Bring for one little day the charm of life from the Princess Kiku’s girdle.

MIMOSA. I to bring the charm of life from august Princess’s girdle?

SAKARA (drops MIMOSA’S hand, speaking quietly). Deign to see it is a very little thing.

MIMOSA. Verily, you hide the sword with a smile. What would you with venerated charm? Nay (SAKARA prepares to speak), nay, purse lips now, for you have spoken loud. (Lowering voice.) Hold the powerful charm, and exalted lady’s life is yours.

SAKARA (placidly). Fallen blossom does not return to the twig. All powerful Son of Heaven will forget her foolish fancies, and in beloved Japan all will excellently remain as it did in the days of honorable fathers—and—Mimosa——

MIMOSA (kneeling). Condescend to kill me, and spare her!

SAKARA. Never!

MIMOSA. Then the gods will shield, O most wicked! (SAKARA listens with amazement.) Mimosa will walk barefoot to every shrine. She will not do your bidding. (SAKARA folds arms.) Nay, I fear not. Prophets know nothing of themselves. Is there no one who would work you evil? no god whom you have angered?

SAKARA (raising hand). Peace, O most foolish. I am Sakara the wise. In my own house evil words? (Stands over MIMOSA.) Would the evil curse light on you, too? Thy mistress sent thee with tears and humble prayers. (Contemptuously.) As well cut a stick after the fight. Listen, O Mimosa! I, Sakara, speak these words. The curse of her fathers, the fathers of Japan, rests upon her. Those she loves (MIMOSA throws out arms) shall wither, those she touches shall fail—when she wishes good evil shall come! I, Sakara——

MIMOSA (passionately). She shall not hear evil words. I shall not repeat.

SAKARA (contemptuously). Hearken, O very foolish little one—while you speak here her eyes read the words—the curse I have spoken. (MIMOSA cries out.) The all-powerful spirits commanded their willing servant Sakara to honorably write. Fear-giving words were written, carried by excellently swift messenger! Thou, (pointing), thou shalt see her fade and die—thou, thyself.

MIMOSA. See, I hold between me and thee my girdle of charms. I fear thee not. The gods will judge.

SAKARA (scornfully). Judge for thee?

MIMOSA. I will not buy happiness at the cost of another’s. Nay (SAKARA steps toward her) thou shalt not touch me or my charms! I am Mimosa, the swift-footed. (Springs back to door R.) Remember, O most wise, wicked one (stands with outstretched hand), he who curses must look out for two graves!

CURTAIN.

SCENE V.—A room made with screens in a Japanese house, opening, if possible, on to a veranda, up stage C. L. 1 E. and R. 1 E. Plenty of cushions, rugs and little low stools about the room. YUKI (down L.), TOTMAI (R. of entrance to veranda), HARU (L. of entrance to veranda), recline lazily.

TOTMAI. O Haru, a bird flew past the window—a visitor comes; let us adorn our hair.

YUKI. Is not the word of the Princess known? None may enter the gate. Watchful sentries would not even allow honorable dog to pass!

TOTMAI (sinking back on cushions). Truly, O Yuki, I had forgotten. O Haru, deign with honorable kindness to tell excellent tale? (HARU shakes head.) I would like one with a great, powerful and noble Prince who sends away trouble with swift sword! There, O Yuki, rapid one flew past again. Excellent message of its honorable flight I have never known to fail! (Sits upright.) Then, O most wise Yuki, in honorable cup of tea there was a tea leaf that stood upright. O Haru, come! (HARU sits before TOTMAI, who arranges pins.)

YUKI. I had foolishly forgotten. Here come the Princess and O Mimosa San. Smile gaily, O Totmai and O Haru. Exalted lady is sad enough. (All bow.)

ENTER PRINCESS R., MIMOSA following.

PRINCESS. O poor maidens, has terrible evil come to you yet? You would come with me, foolish yet excellently loving hearts. Your honorable hands, brightly seeing eyes, excellent hearing, is all well? (Comes C. and looks eagerly from one to another.)

TOTMAI (coming down R. C. with flowers in her hand). O most august Princess.

PRINCESS. Totmai, you forget. I will not be called Princess any longer. I am Kiku, the chrysanthemum, a fading flower!

TOTMAI. O beloved lady, in sweet, health-giving country air all will be excellently well. We can dance, sing, honorably eat.

PRINCESS. Who can tell when the terrible curse falls?

TOTMAI (bowing). All-powerful gods are good. From one excellently sweet as thou art no evil comes, O most worthily loved.

PRINCESS. My august uncle would know, O Mimosa, how long I tarry here with you for refreshment of sweet-smelling air full of the scent of fragrant flowers. Do you think the fair chrysanthemums at the Palace will fade without our loving care? O trouble-bringing—I forgot—they wither at my touch!

MIMOSA (taking flowers from TOTMAI). Deign to hold honorable blossoms in venerated hands——

PRINCESS (moving away up stage on L.). Nay, I would not have dear ones die.

MIMOSA (crossing, TOTMAI follows PRINCESS). Condescend to listen to humble Mimosa—take them, O dear lady—deign to see I lay them against you.

PRINCESS (hesitatingly). They, the beautiful ones, die not now, but watch in an hour, before dark night comes—they will be dead!

MIMOSA (cheerfully). We will set honorable blooms in water (HARU and YUKI arrange in vases on stool at L.), we will watch; deign to believe they will not fade. The people in the village hold happy festival. They pray humbly for august presence.

PRINCESS. O Mimosa—I go among them? I? (Moving down R.) I hear again the cry, the terrible cry of the little child! “O Amairu, mercy—mercy—I see not, I am blind—blind!”

TOTMAI (coming up to her R. C.). O Princess, my honorable father often excellently said: “Live under your own hat. Do well. Deign not to think what worthy neighbors say!”

YUKI (L.). O Princess, the bird that flies upward does not ruffle water. The gods are good and merciful, excellent charms are safe. O lady, forget!

MIMOSA (C.). Condescend to return to the Palace.

PRINCESS. Are these wise words, O Yuki, “Return to the Palace?” O Mimosa, heart would break if my touch brought evil to the august Son of Heaven. I will not weep. O kind ones, I will write words to my exalted uncle. Would that you returned to the gay Palace.

ALL (bowing). With you, O most excellently loved!

[PRINCESS EXITS R., MIMOSA follows.

YUKI. If I had my way the whole trouble-bringing story should be laid before the august Emperor and truth threshed forth.

TOTMAI. How, O Yuki?

YUKI. The police, if I were Emperor, should bind Sakara!

HARU (by curtain C.). The bird again!

TOTMAI (back to first place). It must speak honorable truth; let us adorn our hair better. Sit here, O Haru. I will arrange beautiful fans.

YUKI (crosses to veranda). Friends come not in the wilderness. The great white mountain, sacred though it be, I weary of it! Much would I give to hear the sound of feet on honorable path. (Steps onto veranda.)

TOTMAI. Do excellent eyes see honorable visitors, O Yuki?

YUKI. From the threshold I see only great lofty head of Fuzi—from the village there are sounds of music. O Totmai and O Haru (takes Japanese umbrella), let us forth to the spreading garden to hear honorable laughter. There is no need to be gloomy and sad, for the sun shines—and the gods hear prayers! Come!

[EXEUNT all by veranda.

ENTER LADY CECIL L., followed by MISS PRENDERGAST.

MISS P. (gasping). Cecil, how can you be so lamentably, foolishly rash? People have been thrown into prison for bribing sentries. You walk in here as if you were the Mikado-ess of Japan! I knew that we should not escape without some grievous trouble. Come away! (Pulls CECIL, who looks around inquisitively.) Come away before they see us and it is too late!

CECIL. Dear G., don’t you like exploring expeditions? No? I remember, you prefer excavations. Didn’t Professor Anstruther discourse eternally on the excavation of antiquities? Think what a lovely day we have had! I contemplate taking my dear little rickshaw man and his carriage back to London to be the sensation when we go home.

MISS P. (sighing). To England? We shall never see our native land again—and you promised that we should be at home in time for the Sales!

CECIL. So I did, but you wouldn’t like to leave poor Arthur lamenting alone, searching for the lost heiress? The Princess has left the Palace. She would have interested the Emperor for him. I must know if the villagers speak the truth and she is here. G., don’t you think things assume a darkly tragic air?

MISS P. Dark and tragic, indeed! It is exactly what I have predicted! Ar—his lordship has offended, I feel sure he has offended innocently, and those horrid little policemen, looking as if they had come out of a pantomime or a box of toys, will take him off to prison. Then (tearfully) it will be your turn, through your headstrong folly. Cecil, I implore you not to look out from there—and I—in my old—ahem!—in the prime of life, will have to accompany you!

CECIL (at veranda). G., dear, do come and look at this delicious view!

MISS P. (remaining L.). I shall not stir from this spot!

CECIL (running up to her). Nothing will happen, so don’t draw gloomy pictures about Arthur. Fancy, roped by these policemen, would one come for him, or two, or six? They are so painfully polite; one could not hurt their feelings by refusing. Think what pictures for Punch, what headlines for newspapers. (Puts an arm around MISS P.) Wouldn’t you like to be in history?

MISS P. (emphatically). Certainly not, my dear! All gunpowder, conspiracies and plots! Do come away, Cecil, do!

CECIL. There, you have moved and no catastrophe occurs. (MISS P. starts and returns to original position.) So sit down. Well, if you are so in love with that spot, move just an inch or two. I will put three or four of these charming cushions together. You will be so comfortable! (MISS P. sits reluctantly.) Do be a darling and like explorations as much as excavations. If it is the Princess, think what news for Arthur!

MISS P. If the gossip Fuyijama tells us correctly, the Princess is a dangerous young woman.

CECIL (sitting). I shall sit real Japanese fashion. Fancy, an enlightened, highly educated English lady listening to such superstitious tales!

MISS P. It is all very well, but once you land yourself in prison nothing can be done to save you. I believe you would quite enjoy steeping Europe in bloodshed.

CECIL (laughing). Europe? Oh, G., when I think of the geography you made me learn! There, I won’t tease any more. I want to see this poor little Princess. She is not a bit real Japanesy, you know she isn’t; and I will tell you a secret, and that is Arthur admires her very much.

MISS P. (lifting hands in horror). Poor, innocent, misguided boy!

CECIL. He is not going to ask a Japanese to marry him, but he gave me to understand he wished she had been English.

MISS P. Beg him instantly to leave the country—tell him you are ill—the climate is affecting your reason, and we will start to-night!

CECIL. In a little open boat? There is no mail steamer. Think how ill you were. Would you brave even an open boat for that boy? You need not be afraid of any terrible contretemps. We Cavendishes have a little common-sense. Listen! what merry laughter. (Jumps up, helps MISS P. to her feet.)

TOTMAI (without). O Haru, did your eyes ever see the rickshaw tumble over and the man go sprawling on his face?

ENTER Japanese girls from veranda, bow profoundly. CECIL also bows. MISS P. nods stiffly.

THREE GIRLS (coming down R.). Welcome—honorable welcome!

CECIL (aside). Oh, G., I wish I had an elastic backbone! (Advances.) The most exalted Princess, can I, ah—G., what is the right expression? Is it kiss her foot? No, it has something to do with eyes. I’ll try this—can I salute her eyelids?

YUKI (bowing). The most exalted Princess would be honorably pleased to worship your eyebrow——

CECIL. There, why didn’t I get it right?

YUKI. She will not, O most distinguished, see any one.

CECIL. I hope the—ah—the ah—shadow of the Princess has not grown less?

ALL. Shadow? The most venerated is not a ghost.

CECIL (sighing). Wrong again! G., do help me.

MISS P. (clearly and emphatically). Tell the Princess a very great lady wishes to see her.

HARU (bowing). She would wish to see one so very honorably old——

MISS P. Cecil, my dear——

TOTMAI (bowing). In our land we venerate the aged.

YUKI (bowing). Thy head, O Most Ancient, resembles the snows of Fuzi——

MISS P. (looking from one to the other). Cecil! (Gasps.)

CECIL (smiling). In our land the people have white hair when they are—quite—young.

TOTMAI. Oh, they are funny in your land—jolly little things! (Laughs.)

CECIL. Now, I wonder who taught you that?

HARU. O most worshipful, the great barbarian Englishman.

CECIL. There, G., that’s your beloved Arthur. Do you mean the very tall Englishman, my brother?

TOTMAI. The Princess has spoken of you, O most excellent. You are the lady who came with the most worshipful foreigner to the Palace. O Yuki will run instantly and tell O Mimosa San that you are here with the most venerated Ancient One.

MISS P. (turning away). They are very ignorant, poor little things!

CECIL (to TOTMAI). Would you tell me your name?

TOTMAI (bowing). Totmai.

CECIL. What do you find to do all day?

TOTMAI. We dance, laugh, sing and care for honorable flowers, we read and work.

CECIL. Quite like English girls! What do you read?

TOTMAI (proudly). I have read the greater learning—the lesser learning—I know excellently the model letters—and there are many pleasure-giving stories about fairy princes and powerful soldiers.

CECIL. I am afraid I am too old to care for fairy princes, but tell me——

ENTER MIMOSA R., followed by YUKI. Bows deeply.

MIMOSA. O great lady, the exalted Princess sleeps after much sorrow. We know not where her soul wanders. To call suddenly is evil-bringing.

CECIL. I will come again. Let me see (triumphantly), worship her most exalted eyelash—no, I mean eyebrow——

MIMOSA (sorrowfully). The Princess, O most honorable and venerated, will see no one. She has wiped sad eyes with her kimono sleeve; and we are laughter-loving in Japan.

CECIL (kindly). I hope—ah—happiness will return. We are leaving your beautiful country. (Moving C.) Mimosa—may I call you Mimosa?

MIMOSA (R. C., smiling). It is my humble name. Leaving beautiful Japan?

CECIL. My brother, the barbarian, as you call him——

MIMOSA (earnestly). The most exalted stranger——

CECIL. Came here to find a girl shipwrecked off the coast of Japan years ago (smiles at MISS P.), more than twenty years ago. The parents were drowned, but one of the sailors has always persisted that the baby was not drowned, but adopted by kind Japanese. All sorts of inquiries have been made. A great deal of money comes to her if she can be found, but my brother, who keeps it if no trace of her can be discovered, would not rest satisfied until he had visited Japan himself.

MIMOSA. Is it the treasure-flower of most worshipful Englishman that has been sadly lost?

CECIL. Treasure-flower? What a sweet name! No, Mimosa. The great barbarian has no little barbarians!

MISS P. Barbarian, indeed! One of the most enlightened and cultivated members of the powerful English aristocracy!

MIMOSA (bowing). We reverence your words, O Most Ancient. Treat an honorable old woman as thy mother (bows) we learn in our cradles. May you, O most venerated, grow more and more like the pine and the lobster!

MISS P. (indignantly). Cecil, I am insulted! A lobster, indeed! Is my face heated?

CECIL (quickly). No, no! Don’t look vexed. It means something immensely complimentary. See, they are bowing again.

MIMOSA. O most exalted, will you let honorable feet rest longer on unworthy floor while I see if most exalted Princess returns from the land of Sleep? Is it known to your powerful intelligence that the Princess fears a terrible curse?

CECIL. We heard it, Mimosa.

MIMOSA. Would you, O most excellent, fear the touch of the Princess?

CECIL. Fear? Not the least little scrap.

YUKI. And you, O most honorable Ancient?

MISS P. (snappishly). If you are addressing me, young woman, it is all nonsense. I shall be thankful to find myself safely out of this, and not in prison!

VOICE (calls). O Mimosa San!

GIRLS. The Princess!

ENTER PRINCESS R.

CECIL. I have a horrible feeling that I should bow to the earth—kiss her feet, or something. Poor child, how sad she looks! Now, for a very low bow.

PRINCESS (seeing her, starts; she removes R.). Away, most exalted stranger—away, lest evil come—I am accursed! Away, O most venerable!

MISS P. Are they all mad or blind?

CECIL. We are not afraid—Princess—your Highness. (Crosses stage.)

PRINCESS. You are brave to come, most honorable lady—come not nearer. I—am—accursed. (Hides face.)

CECIL. Accursed? (Advances impetuously.) Don’t look so sad, you poor little thing! (MISS P. expresses horror by many gesticulations.) I must talk plain English, not high-flown sentiment. Princess or not, I take both your hands and look into your pretty eyes.

PRINCESS (shrinking). Nay, the curse will fall upon you—those I touch, even the flowers.

MIMOSA (bowing). See honorable blossoms, august lady, as fresh and sweet——

PRINCESS (advancing slowly). Is this venerated truth?

CECIL. Oh, don’t shrink like that. If you were in England I should give you a good hug—it is so comforting.

MISS P. (crosses excitedly). You will certainly be in prison before night. The German Emperor does not call himself Son of Heaven and you talk to this——

PRINCESS (sadly). Is this most exalted lady with excellent hair as white as Fuzi afraid? Afraid of the curse?

CECIL (aside). Now, G., be nice! If you are not I will tell Arthur.

MISS P. (advancing hurriedly). No, my dear, I’m not afraid. Give me your hand. (Shakes heartily, then drops it hurriedly, glancing at CECIL.)

PRINCESS. The English ways are strange, yet I like them. Still, O kind ones, Kiku’s heart is breaking!

MIMOSA (aside to CECIL). Deign to beg august one to return to the Palace.

CECIL (to PRINCESS). Dear lady, do not sorrow so. We are leaving Japan. (PRINCESS raises head.) Could you not return to the Palace? You promised graciously to show me your chrysanthemums, and my brother would be so grateful for your help—he is hunting for a lost heiress. Dear Princess, return. (MISS P. sighs.)

PRINCESS. My honorable chrysanthemums would wither.

[YUKI lays flowers at feet of PRINCESS, who looks down hesitatingly.

CECIL. Dearest Princess, return.

PRINCESS. It is the cry of the child, the dear little honorable child: “Oh, I am blind—blind!” It echoes in my heart, rings in my ears! A child! O lady—a little treasure-flower!

CECIL. It couldn’t be true, dear Princess. It couldn’t possibly be true. It might have been a touch of sunstroke, but not blindness from your touch. These dear little hands could not hurt a fly. Be comforted, return. Something tells me you will be glad if you do. Dear lady, return!

PRINCESS (clasping hands). I am—accursed. My touch brought evil to a child. O powerful gods, be merciful to Kiku! Worshipful lady, though it tears my heart, I will show you my chrysanthemum garden, and help if I can the exalted foreigner.

[The girls crowd round the PRINCESS and CECIL, laughing excitedly and joyously and clapping hands.

CURTAIN.

SCENE VI.—The Chrysanthemum Garden, as before.

MIMOSA up stage among flowers.

MIMOSA. O dear honorable ones, hold up exalted heads to comfort august lady with beauty! She comes hither with the kind, worshipful English lady who tells strange story of little lost one. (Comes slowly down C.) The sun shines to-morrow, and the gods will send Mimosa wisdom! (Turns to flowers.) O dear ones, beautiful and fresh, I would not the Princess saw one drooping head.

ENTER ITO L., cautiously, without perceiving MIMOSA.

ITO. For many mornings I come here. The sentries smile at me, there is no one to see Ito’s play-acting, and I, the best play-actor in many honorable dwellings, did not my own play-acting, but that of wise Sakara, therefore beautiful lady liked not. Would she could see me play-act doctor or the funeral.

MIMOSA (throws herself on her knees, half laughing, half crying). O dear one, sent by the gods, thy eyes, honorable eyes?

ITO (drawing back). I will not play-act that again, most worshipful!

MIMOSA. Play-act?

ITO. It was not my play-acting. I would august lady saw my own excellent games. It was Sakara taught this to me. None liked; even the policemen said angry words!

MIMOSA. Come to me, O dear little one. Be not afraid, it is joy; honorable desire to see excellent play-acting.

ITO. The beautiful lady! I would she knew Ito is the most excellent play-actor. She did not like game of Sakara.

MIMOSA. Dear treasure-flower, beautiful lady will indeed love excellent play-acting. When the powerful sun travels higher in the sky, if little Ito returns to the garden he shall do excellent play-acting, the venerated Princess will like rarely.

ITO. Ito wants neither money nor books, but smiles from the beautiful, exalted lady.

MIMOSA. O dear kind one, the Princess will give smiles. All will love honorable, kind little Ito. Make leave-taking, and return, Ito, the comfort-bringing!

ITO. The lady will smile?

MIMOSA. Truly, O little Ito.

ITO. Then I return. Shall I play-act the doctor or the funeral?

MIMOSA. All the play-acting. Only return. (ITO bows. EXIT L.) O joy, joy! Shall I with haste fly to the Princess? Ah, she comes, with worshipful lady and venerated Ancient One!

ENTER PRINCESS R. with LADY C. and MISS P., followed by three girls.

PRINCESS. This, O kind ones, is the Chrysanthemum Garden. See honorable blossoms, how fresh and sweet. They will be gathered for thee; deign to accept. I will not myself pluck, lest evil come.

CECIL (briskly). Dear Princess, you are very kind. May I tell you more about my brother’s search for the little one?

MIMOSA (throws herself with a cry at feet of PRINCESS). O dear lady, forgive, the gods have sent Mimosa wisdom. Deign to remember. (PRINCESS starts.) Nay, O most beloved, it is not evil. Condescend to remember the words of the most worthy Yamen who sleeps with the gods. Did he not say the gods of the sea sent thee to cheer his house with honorable laughter?

PRINCESS (with surprise). I remember well, O Mimosa San. Sometimes when still a little one I heard in the dark the sound of angry waves and strange moanings, as of voices calling in the hours when sleep condescended not to rest on my eyelids. He told me to still childish fears.

CECIL (aside to MISS P.). G., this is exciting. We are not only explorers, but discoverers, and that is more than your professor will ever be!

MISS P. (to PRINCESS, speaking in loud voice). Are your father and mother dead?

PRINCESS. The noble Yamen and the exalted lady sleep with the gods.

MIMOSA. Deign, O most august, to remember the little bag they gave—the bag worn round venerated neck.

PRINCESS. The bag, O Mimosa San?

MIMOSA. The little honorable silk bag—the gracious Princess has told Mimosa of it, and the bidding of the powerful Yamen to open it if trouble dwelt on thy threshold. And we, O most foolish, have forgotten it.

PRINCESS. The bag? I have worn it so long that, indeed, I had forgotten honorable words, O wise Mimosa. See, here it is.

CECIL (excitedly). Open it, Princess.

MISS P. If you are the young person to whom the money belongs, Ar—his lordship—will lose £5000 a year.

CECIL (laughing). G., you forget. You have called a Princess a young person. What about the prison?

PRINCESS (hesitating). O Mimosa, I cannot! Fear has come to me—my fingers tremble. It may be I shall learn more evil!

YUKI. Open it, most worshipful. It is only the putting-off man who sharpens his arrows when he sees the lion. This may be an arrow to pierce the heart of wicked Sakara!

MIMOSA. Give it to me, beloved Princess. If it be evil-bringing, let the grief come to me and not to thee.

PRINCESS. Nay, I will not fear. It was here the little one, the treasure-flower, cried out the cry that has broken my heart. I have brought sorrow to a child—what else matters? See—I—open! (Draws out paper and reads.) “The Princess Kiku has been to the unworthy Yamen the light of life. The gods of the sea sent her to cheer a threshold brightened by no treasure-flowers—from a wreck the little one was saved. The deep secret is known only to the august Son of Heaven.”

CECIL. O you dear little thing! But I suppose £5000 a year is nothing to a Princess.

MISS P. I am thankful it isn’t one of those solemn Japanese babies.

MIMOSA. O beloved. (Bows.) Exalted! (Bows.) August. (Bows.) There is no curse. Sakara said the curse of the fathers of Japan. You, O most gracious, are a barbarian baby.

ALL JAPANESE GIRLS. Comfort-bringing, there is no curse.

PRINCESS. If this is so, I do not mind being a barbarian baby.

MISS P. I should think not, indeed. A most fortunate young woman.

PRINCESS. It is the cry of the child—that terrible cry! (MIMOSA claps hands, runs L., returns with ITO. General astonishment.) The little one! MIMOSA (excitedly) his eyes—his eyes!

ITO (solemnly). I grieve, most excellent, that play-acting gave not happiness. It was play-acting of Sakara. Those who are too grave and wise cannot play-act. I will be——

PRINCESS. O joy too great! O little treasure-flower, my touch harmed thee not?

ITO. It was play-acting—but it was grief-bringing that play-acting brought no honorable hand-clapping. I——

PRINCESS (caressing). Thou shalt be Princess Kiku’s play-actor. Nay (turns to CECIL), I forgot, most worshipful, I am no Princess, only a very happy girl (holds ITO). Is the excellent Englishman now my brother?

CECIL. No, your cousin. Do you have cousins in Japan? I will instantly send to him to come.

YUKI. Let us dance our joy!

TOTMAI. Jolly little things!

HARU. Oh, I say!

ITO. When shall excellent play-acting be?

CECIL. I hope you notice, G., the impression that the most enlightened member of the powerful British aristocracy has produced. However (Japanese girls dance forward), this is only the beginning. What will be the end of this Japanese Romance?

[Kneels by PRINCESS, taking her hand.

CURTAIN.

A BUNCH OF ROSES

A BURLESQUE MUSICAL ENTERTAINMENT, BY W. D. FELTER

PRICE, 15 CENTS

CAST OF CHARACTERS

MRS. PHŒBE ANN ROSE

from Kalamazoo

PRUDENCE LOBELIA

}

the Bunch of Roses

POLLY CLORINDA

PRISCILLA

PAMELIA

PATIENCE

PENELOPE

LILLY

}

the Rose-buds

PANSY

VIOLET

DAISY

SALLY SPARKS

who only “thinks so.”

MATILDA JANE

the Hired Girl

MELVIN MELROSE

the Only Young Man on the Spot

A burlesque musical entertainment in 1 act, by W. D. Felter (author of “The Sweet Family,” etc.), 1 male, 13 female characters. Time of performance about 1½ hours. This is a miscellaneous programme rendered for the benefit of “The Free Ice Fund for the Philippine Islanders.” It includes various “specialties,” living pictures, Mother-Goose chorus, etc., and concludes with a burlesque operetta entitled “JOHNNY JONES.” The Roses, the Rosebuds and the Only Young Man on the Spot make up an entertainment that cannot fail to excite continuous mirth for the better part of an evening. The author has produced this burlesque at church entertainments in many parts of the country, with unvarying success.

GERTRUDE MASON, M.D.

Or, THE LADY DOCTOR

A FARCE IN ONE ACT, FOR FEMALE CHARACTERS, BY L. M. C. ARMSTRONG

PRICE, 15 CENTS

CAST OF CHARACTERS

GERTRUDE MASON. M.D.

a young Physician

BERTHA LAWRENCE

}

her Friends

ELLA GRAY

MISS JANE SIMPKINS

a Spinster of Uncertain Age

MRS. VAN STYLE

one of the “400”

NORAH

Dr. Mason’s Cook

MARIE

a Lady’s Maid

TIME.—The Present. PLACE.—New York.

TIME OF REPRESENTATION.—Thirty Minutes.

An exceedingly bright piece for young ladies, in which young Dr. Gertrude, already a victim of circumstances, is made the victim of a practical joke. The scenes with Mrs. Van Style, who mistakes the doctor for a pawnbroker, and Miss Jane Simpkins, who brings a sick dog to be cured, are hilarious, while Norah, an Irish cook, is deliciously droll. The cook is the star of the piece, but all the personages are vivacious and every situation bristles with fun.

DICK & FITZGERALD, PUBLISHERS, 18 ANN STREET, NEW YORK

COMEDIES AND DRAMAS

15 CENTS EACH

M.

F.

MY AWFUL DAD.    Comedy that always makes a brilliant hit; 3 acts; 2 hours

6

6

NIGHT IN TAPPAN, A.    Farce comedy; excessively funny and sure to take; 1 act; ½ hour

2

3

NOT SO BAD AFTER ALL.    Comedy; sometimes plays as “Is Marriage a Failure?” 3 acts; 1¾ hours

6

5

NOT SUCH A FOOL AS HE LOOKS.    Comedy; one of the best examples of modern farcical comedy ever written; 3 acts; 2½ hours

5

4

OUR BOYS.    Comedy; always succeeds; 3 acts; 2 hours

6

4

OUT IN THE STREETS.    Drama. Wherever this play is presented it is received with the greatest enthusiasm; 3 acts; 1 hour

6

4

PAIR OF IDIOTS, A.    Up-to-date society comedy, with bright and witty dialogue and telling situations; 2 acts; 2 hours

3

3

PICKING UP THE PIECES.    Effective comedy either as a parlor play or curtain raiser; 1 act; 30 minutes

1

1

ROBERT EMMET.    (New version.) A new, actable version of this great historical drama; 3 acts; 2 hours

10

2

SAVED FROM THE WRECK.    Drama; serio-comic; 3 acts; 2 hours

8

3

SCRAP OF PAPER, A.    Comedy of the present time, full of healthy laughter; 3 acts; 2 hours

6

6

SHAKESPEARE WATER CURE.    Burlesque comedy; each character a star; 3 acts; 2 hours

5

4

SINGLE LIFE.    Comedy; the characters are all comic and all “Stars”; 3 acts; 2 hours

5

5

SNOWBALL, THE.    Farcical comedy; the popularity of this comedy is unexcelled; 3 acts; 2 hours

4

3

SOLON SHINGLE.    Yankee comedy; 2 acts; 1½ hours

7

2

STRIFE. (Master and Men.)    Great labor drama; a play for the masses; 4 acts; 2¼ hours

9

4

SUNSET.    Comedy; requires some acting with reserve force in both comedy and pathos; 1 act; 50 minutes

3

3

SWEETHEARTS.    Comedy combining fun and pathos; 2 acts; 1 hour

2

2

TEN NIGHTS IN A BARROOM.    New and simplified version of an old favorite that will draw hundreds where other plays draw dozens; 5 acts; 2 hours

7

4

THREE HATS.    Farcical comedy; one of the greatest favorites; cannot fail to be a success; 3 acts; 2 hours

5

4

TIMOTHY DELANO’S COURTSHIP.    Yankee comedy full of laughable incidents; 2 acts; 1 hour

2

3

TRIED AND TRUE.    Stirring play of city life, full of brisk action and lively dialogue; 3 acts; 2¼ hours

8

3

TRIPLE WEDDING.    Short excellent drama of home life by the author of “The County Fair”; 3 acts; 1¼ hours

4

4

UNCLE JACK.    Drama; comic, with a good moral; 1 act; 1¼ hours

3

4

UNCLE TOM’S CABIN.    New version. An old favorite rewritten so that it can be played in any hall; 5 acts; 2¼ hours

7

5

UNDER A CLOUD.    Comedy drama; bright, breezy, full of snap and go; 2 acts; 1½ hours

5

2

UNEXPECTED FARE, AN.    Comedy affording excellent scope for amusing situations and by-play; 1 act; ½ hour

1

5

WANDERER’S RETURN, THE. (Enoch Arden.)    Drama with strong plot and effective characters; 4 acts; 2½ hours

6

4

WOODCOCK’S LITTLE GAME.    Farce-comedy; funny; 2 acts; 1 hour

4

4

WOVEN WEB, THE.    Strong and sparkling drama; has a military flavor, and is frequently played under the title of “In Old Virginia”; 4 acts; 2¼ hours

7

3

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

COMEDIES AND DRAMAS

25 CENTS EACH

M.

F.

ALL THE COMFORTS OF HOME.    Comedy by William Gillette. Only authorized edition of this famous play; 4 acts; 2½ hours

10

7

BREAKING HIS BONDS.    Strong drama with comic underplay; easily staged; 4 acts; 2 hours

6

3

BUTTERNUT’S BRIDE; OR, SHE WOULD BE A WIDOW.    Farce comedy for laughing purposes only; 3 acts; 2½ hours

11

6

CAPTAIN DICK.    Effective drama, founded on an episode of the Civil War; 3 acts; 2 hours

9

6

DEACON, THE.    Comedy drama that is simply immense. Alvyn Joslyn type, old man leading character; 5 acts; 2½ hours

6

6

EDWARDS THE SPY.    Drama; a brilliant episode of the Civil War; 5 acts; 2½ hours

10

4

ERIN GO BRAGH.    Up-to-date Irish drama; both serious and comic in scope, not sensational; 3 acts; 2 hours

5

4

GOLDEN GULCH. (The Government Scout.)    Drama that combines fun, sentiment, and exciting situations; 3 acts; 2¼ hours

11

3

GYPSY QUEEN, THE.    Romantic drama with bright comedy parts; 4 acts; 2½ hours

5

3

JAILBIRD, THE.    Drama of city life, containing a vivid plot with well-diversified interest, together with a pretty love-story; 5 acts; 2½ hours

6

3

JOHN BRAG, DECEASED.    Farce comedy; one of the best farces ever published; nothing slow in this piece; 4 acts; 2½ hours

8

5

JOSIAH’S COURTSHIP.    Farcical comedy drama; uproarious comedy features alternate with forceful, but not heavy pathos; 4 acts; 2 hours

7

4

MAN FROM MAINE.    Comedy drama with a wide-awake hero from “Down East”; 5 acts, 2¼ hours

9

3

MISS MOSHER OF COLORADO.    Comedy drama with great “character” parts; 4 acts, 2¼ hours

5

3

MY LADY DARRELL.    Drama possessing all the elements of success; powerful situations, effective stage pictures, and grand climaxes; 4 acts; 2½ hours

9

6

NIGHT OFF, A.    Comedy of Augustin Daly; printed from the original prompt-copy; 4 acts; 2½ hours

6

5

PRISONER OF ANDERSONVILLE.    Military comedy drama. An excellent play for amateurs, as all the parts are good and evenly divided; 4 acts; 2¼ hours

10

4

REGULAR FLIRT, A.    Up-to-date comedy, especially recommended to those who have produced the author’s “Just for Fun”; 3 acts; 2 hours

4

4

SEVEN-TWENTY-EIGHT.    By Augustin Daly. There have been several imitations of this comedy, but none of them approaches the original; 4 acts; 2½ hours

7

4

SHAUN AROON.    Stirring drama of home life in Ireland; a simple real picture of country life in the Emerald Isle; 3 acts; 2 hours

7

3

SQUIRE TOMPKINS’ DAUGHTER.    Strong comedy drama; 5 acts; 2½ hours

5

2

STEEL KING, THE.    Comedy drama with brisk action; depicts the struggle between labor and capital; 4 acts; 2½ hours

5

3

WHAT’S NEXT?    Farce comedy; 3 acts; plays 150 minutes; raises 150 laughs

7

4

WHITE LIE, A.    Comedy drama; abounds in laughable comedy features and strong situations of serious interest; 4 acts; 2½ hours

4

3

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

Transcriber’s Notes:

Changed Prendargast to Prendergast in “Miss Prendergast’s solicitude for Arthur” on page 3.

bp changed to by in “sits on ground by summer-house” on page 11.

Nora changed to Norah to agree with list of characters in “Gertrude Mason”.

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Table of Contents

PRINCESS KIKU A JAPANESE ROMANCE FEMALE CHARACTERS ONLY

COMEDIES AND DRAMAS

PRINCESS KIKU

SYNOPSIS

COSTUMES

PROPERTIES

NOTES ON SCENERY

STAGE DIRECTIONS

FOREWORD

PRINCESS KIKU

COMEDIES AND DRAMAS

COMEDIES AND DRAMAS

Transcriber’s Notes:

THE FULL PROJECT GUTENBERG LICENSE