If (Dunsany)/Act 3
ACT III[edit]
SCENE 1
Six and a half years later. Al Shaldomir. A room in the palace.
MIRALDA reclines on a heap of cushions, JOHN beside her.
Bazzalol and Thoothoobaba fan them.
OMAR [declaiming to a zither]
Al Shaldomir, Al Shaldomir, The nightingales that guard thy ways Cease not to give thee, after God And after Paradise, all praise. Thou art the theme of all their lays. Al Shaldomir, Al Shaldomir. . . .
MIRALDA
Go now, Omar.
OMAR
O lady, I depart. [Exit.]
MIRALDA [languidly]
John, John. I wish you'd marry me.
JOHN
Miralda, you're thinking of those old customs again that we left behind us seven years ago. What's the good of it?
MIRALDA
I had a fancy that I wished you would.
JOHN
What's the good of it? You know you are my beloved. There are none of those clergymen within hundreds of miles. What's the good of it?
MIRALDA
We could find one, John.
JOHN
O, yes, I suppose we could, but . . .
MIRALDA
Why won't you?
JOHN
I told you why.
MIRALDA
O, yes, that instinct that you must not marry. That's not your reason, John.
JOHN
Yes, it is.
MIRALDA
It's a silly reason. It's a crazy reason. It's no reason at all. There's some other reason.
JOHN
No, there isn't. But I feel that in my bones. I don't know why. You know that I love none else but you. Besides, we're never going back, and it doesn't matter. This isn't Blackheath.
MIRALDA
So I must live as your slave.
JOHN
No, no, Miralda. My dear, you are not my slave. Did not the singer compare our love to the desire of the nightingale for the evening star? All know that you are my queen.
MIRALDA
They do not know at home.
JOHN
Home? Home? How could they know? What have we in common with home? Rows and rows of little houses; and if they hear a nightingale there they write to the papers. And--and if they saw this they'd think they were drunk. Miralda, don't be absurd. What has set you thinking of home?
MIRALDA
I want to be crowned queen.
JOHN
But I am not a king. I am only Shereef.
MIRALDA
You are all-powerful here, John, you can do what you please, if you wish to. You don't love me at all.
JOHN
Miralda, you know I love you. Didn't I kill Hussein for you?
MIRALDA
Yes, but you don't love me now.
JOHN
And Hussein's people killed ARCHIE. That was for you too. I brought my brother out here to help you. He was engaged to be married, too.
MIRALDA
But you don't love me now.
JOHN
Yes, I do. I love you as the dawn loves the iris marshes. You know the song they sing. (footnote: poem just before Act III)
MIRALDA
Then why won't you marry me?
JOHN
I told you, I told you. I had a dream about the future. I forgot the dream, but I know I was not to marry. I will not wrong the future.
MIRALDA
Don't be crazy.
JOHN
I will have what fancies I please, crazy or sane. Am I not Shereef of Shaldomir? Who dare stop me if I would be mad as Herod?
MIRALDA
I will be crowned queen.
JOHN
It is not my wish.
MIRALDA
I will, I will, I will.
JOHN
Drive me not to anger. If I have you cast into a well and take twenty of the fairest daughters of Al Shaldomir in your place, who can gainsay me?
MIRALDA
I will be crowned queen.
JOHN
O, do not be tiresome.
MIRALDA
Was it not my money that brought you here? Was it not I who said " Kill Hussein"? What power could you have had, had Hussein lived? What would you have been doing now, but for me?
JOHN
I don't know, Miralda.
MIRALDA
Catching some silly train to the City. Working for some dull firm. Living in some small suburban house. It is I, I, that brought you from all that, and you won't make me a queen.
JOHN
Is it not enough that you are my beloved? You know there is none other but you. Is it not enough, Miralda?
MIRALDA
It is not enough. I will be queen.
JOHN
Tchah! . . . Miralda, I know you are a wonderful woman, the most wonderful in the East; how you ever came to be in the West I don't know, and a train of all places; but, Miralda, you must not have petty whims, they don't become you.
MIRALDA
Is it a petty whim to wish to be a queen?
JOHN
Yes, when it is only the name you want. You are a queen. You have all you wish for. Are you not my beloved? And have I not power here over all men? Could I not close the pass?
MIRALDA
I want to be queen.
JOHN
Oh-h! I will leave you. I have more to do than to sit and hear your whims. When I come back you will have some other whim. Miralda, you have too many whims.
[He rises.]
MIRALDA
Will you be back soon?
JOHN
No.
MIRALDA
When will you come back, John?
[She is reclining, looking fair, fanning slightly.]
JOHN
In half an hour.
MIRALDA
In half an hour?
JOHN
Yes.
[Exit.]
MIRALDA
Half an hour.
[Her fan is laid down. She clutches it with sudden resolve. She goes to the wall, fanning herself slowly. She leans against it. She fans herself now with obvious deliberation. Three times the great fan goes pat against the window, and then again separately three times; and then she puts it against the window once with a smile of ecstasy. She has signalled. She returns to the cushions and reclines with beautiful care, fanning herself softly.
Enter the Vizier, HAFIZ EL ALCOLAHN]
HAFIZ
Lady! You bade me come.
MIRALDA
Did I, Hafiz?
HAFIZ
Lady, your fan.
MIRALDA
Ah, I was fanning myself.
HAFIZ
Seven times, lady.
MIRALDA
Ah, was it? Well, now you're here.
HAFIZ
Lady, O star of these times. O light over lonely marshes. [He kneels by her and embraces her.] Is the Shereef gone, lady?
MIRALDA
For half an hour, Hafiz.
HAFIZ
How know you for half an hour?
MIRALDA
He said so.
HAFIZ
He said so? Then is the time to fear, if a man say so.
MIRALDA
I know him.
HAFIZ
In our country who knows any man so much? None.
MIRALDA
He'll be away for half an hour.
HAFIZ [embracing]
O, exquisite lily of unattainable mountains.
MIRALDA
Ah, Hafiz, would you do a little thing for me?
HAFIZ
I would do all things, lady, O evening star.
MIRANDA
Would you make me a queen, Hafiz?
HAFIZ
If--if the Shereef were gathered?
MIRALDA
Even so, Hafiz.
HAFIZ
Lady, I would make you queen of all that lies west of the passes.
MIRANDA
You would make me queen?
HAFIZ
Indeed, before all my wives, before all women, over all Shaldomir, named the elect.
MIRALDA
O, well, Hafiz; then you may kiss me. [HAFIZ does so ad lib.]
Hafiz, the Shereef has irked me.
HAFIZ
Lady, O singing star, to all men is the hour.
MIRALDA
The appointed hour?
HAFIZ
Even the appointed hour, the last, leading to darkness.
MIRALDA
Is it written, think you, that the Shereef's hour is soon?
HAFIZ
Lady, O dawn's delight, let there be a banquet. Let the great ones of Shaldomir be bidden there.
MIRALDA
There shall be a banquet, Hafiz.
HAFIZ
Soon, O lady. Let it be soon, sole lily of the garden.
MIRALDA
It shall be soon, Hafiz. [More embraces.]
HAFIZ
And above all, O lady, bid Daoud, the son of the baker.
MIRALDA
He shall be bidden, Hafiz.
HAFIZ
O lady, it is well.
MIRALDA
Go now, Hafiz.
HAFIZ
Lady, I go [giving a bag of gold to BAZZALOL]. Silence. Silence. Silence.
BAZZALOL [kneeling]
O, master!
HAFIZ
Let the tomb speak; let the stars cry out; but do you be silent.
BAZZALOL
Aye, master.
HAFIZ [to THOOTHOOBABA]
And you. Though this one speak, yet be silent, or dread the shadow of Hafiz el Alcolahn.
[He drops a bag of gold. THOOTHOOBABA goes down and grabs at the gold; his eyes gloat over it.]
THOOTHOOBABA
Master, I speak not. Oh-h-h.
[Exit HAFIZ.
MIRALDA arranges herself on the cushions. She looks idly at each Nubian. The Nubians put each a finger over his lips and go on fanning with one hand.]
MIRALDA
A queen. I shall look sweet as a queen.
[Enter JOHN. She rises to greet him caressingly.
Enter DAOUD.]
Oh, you have brought Daoud with you.
JOHN
Why not?
MIRALDA
You know that I don't like Daoud.
JOHN
I wish to speak with him.
[MIRALDA looks straight at JOHN and moves away in silence. Exit L.]
JOHN
Daoud.
DAOUD
Great master.
JOHN
Daoud, one day in spring, in the cemetery of those called Blessed, beyond the city's gates, you swore to me by the graves of both your parents . . . .
DAOUD
Great master, even so I swore.
JOHN
. . . . to be true to me always.
DAOUD
There is no Shereef but my master.
JOHN
Daoud, you have kept your word.
DAOUD
I have sought to, master.
JOHN
You have helped me often, Daoud, warned me and helped me often. Through you I knew those currents that run through the deeps of the market, in silence and all men feel them, but a ruler never. You told me of them, and when I knew--then I could look after myself, Daoud. They could do nothing against me then. Well, now I hold this people. I hold them at last, Daoud, and now --well, I can rest a little.
DAOUD
Not in the East, master.
JOHN
Not in the East, Daoud?
DAOUD
No, master.
JOHN
Why? What do you mean?
DAOUD
In Western countries, master, whose tales I have read, in a wonderful book named the "Good Child's History of England," in the West a man hath power over a land, and lo! the power is his and descends to his son's son after him.
JOHN
Well, doesn't it in the East?
DAOUD
Not if he does not watch, master; in the night and the day, and in the twilight between the day and the night, and in the dawn between the night and the day.
JOHN
I thought you had pretty long dynasties in these parts, and pretty lazy ones.
DAOUD
Master, he that was mightiest of those that were kings in Babylon had a secret door prepared in an inner chamber, which led to a little room, the smallest in the palace, whose back door opened secretly to the river, even to great Euphrates, where a small boat waited all the days of his reign.
JOHN
Did he really now? Well, he was taking no chances. Did he have to use it?
DAOUD
No, master. Such boats are never used. Those that watch like that do not need to seek them, and the others, they would never be able to reach the river in time, even though the boat were there.
JOHN
I shouldn't like to have to live like that. Why, a river runs by the back of this palace. I suppose palaces usually are on rivers. I'm glad I don't have to keep a boat there.
DAOUD
No, master.
JOHN
Well, what is it you are worrying about? Who is it you are afraid of?
DAOUD
Hafiz el Alcolahn.
JOHN
O, Hafiz. I have no fears of Hafiz. Lately I ordered my spies to watch him no longer. Why does he hate me?
DAOUD
Because, most excellent master, you slew Hussein.
JOHN
Slew Hussein? What is that to do with him? May I not slay whom I please?
DAOUD
Even so, master. Even so. But he was Hussein's enemy.
JOHN
His enemy, eh?
DAOUD
For years he had dreamed of the joy of killing Hussein.
JOHN
Well, he should have done it before I came. We don't hang over things and brood over them for years where I come from. If a thing's to be done, it's done.
DAOUD
Even so, master. Hafiz had laid his plans for years. He would have killed him and got his substance; and then, when the hour drew near, you came, and Hussein died, swiftly, not as Hafiz would have had him die; and lo! thou art the lord of the pass, and Hafiz is no more than a beetle that runs about in the dirt.
JOHN
Well, so you fear Hafiz?
DAOUD
Not for himself, master. Nay, I fear not Hafiz. But, master, hast thou seen when the thunder is coming, but no rumble is heard and the sky is scarce yet black, how little winds run in the grass and sigh and die; and the flower beckons a moment with its head; all the world full of whispers, master, all saying nothing; then the lightning, master, and the anger of God; and men say it came without warning? [Simply.] I hear those things coming, master.
JOHN
Well?
DAOUD
Master, it is all silent in the market. Once, when the price of turquoises was high, men abused the Shereef. When the merchant men could not sell their pomegranates for silver they abused the Shereef. It is men's way, master, men's way. Now it is all silent in the market. It is like the grasses with the idle winds, that whisper and sigh and die away; like the flowers beckoning to nothing. And so, master, and so . . . .
JOHN
I see, you fear some danger.
DAOUD
I fear it, master.
JOHN
What danger, Daoud?
DAOUD
Master, I know not.
JOHN
From what quarter, Daoud?
DAOUD
O master, O sole Lord of Al Shaldomir, named the elect, from that quarter.
JOHN
That quarter? Why, that is the gracious lady's innermost chamber.
DAOUD
From that quarter, great master, O Lord of the Pass.
JOHN
Daoud, I have cast men into prison for saying less than this. Men have been flogged on the feet for less than this.
DAOUD
Slay me, master, but hear my words.
JOHN
I will not slay you. You are mistaken, Daoud. You have made a great mistake. The thing is absurd. Why, the gracious lady has scarcely seen Hafiz. She knows nothing of the talk of the market. Who could tell her? No one comes here. It is absurd. Only the other day she said to me . . . But it is absurd, it is absurd, Daoud. Besides, the people would never rebel against me. Do I not govern them well?
DAOUD
Even so, master.
JOHN
Why should they rebel, then?
DAOUD
They think of the old times, master.
JOHN
The old times? Why, their lives weren't safe. The robbers came down from the mountains and robbed the market whenever they had a mind.
DAOUD
Master, men were content in the old times.
JOHN
But were the merchants content?
DAOUD
Those that loved merchandise were content, master. Those that loved it not went into the mountains.
JOHN
But were they content when they were robbed?
DAOUD
They soon recovered their losses, master. Their prices were unjust and they loved usury.
JOHN
And were the people content with unjust prices?
DAOUD
Some were, master, as men have to be in all countries. The others went into the mountains and robbed the merchants.
JOHN
I see.
DAOUD
But now, master, a man robs a merchant and he is cast into prison. Now a man is slain in the market and his son, his own son, master, may not follow after the aggressor and slay him and burn his house. They are ill-content, master. No man robs the merchants, no man slays them, and the merchants' hearts are hardened and they oppress all men.
JOHN
I see. They don't like good government?
DAOUD
They sigh for the old times, master.
JOHN
I see; I see. In spite of all I have done for them, they want their old bad government back again.
DAOUD
It is the old way, master.
JOHN
Yes, yes. And so they would rebel. Well, we must watch. You have warned me once again, Daoud, and I am grateful. But you are wrong, Daoud, about the gracious lady. You are mistaken. It is impossible. You are mistaken, Daoud. I know it could not be.
DAOUD
I am mistaken, master. Indeed, I am mistaken. Yet, watch. Watch, master.
JOHN
Well, I will watch.
DAOUD
And, master, if ever I come to you bearing oars, then watch no longer, master, but follow me through the banquet chamber and through the room beyond it. Move as the wild deer move when there is danger, without pausing, without wondering, without turning round; for in that hour, master, in that hour . . . .
JOHN
Through the room beyond the banquet chamber, Daoud?
DAOUD
Aye, master, following me.
JOHN
But there is no door beyond, Daoud.
DAOUD
Master, I have prepared a door.
JOHN
A door, Daoud?
DAOUD
A door none wots of, master.
JOHN
Whither does it lead?
DAOUD
To a room that you know not of, a little room; you must stoop, master.
JOHN
O, and then?
DAOUD
To the river, master.
JOHN
The river! But there's no boat there.
DAOUD
Under the golden willow, master.
JOHN
A boat?
DAOUD
Even so, under the branches.
JOHN
Is it come to that? . . . No, Daoud, all this is unnecessary. It can't come to that.
DAOUD
If ever I come before you bearing two oars, in that hour, master, it is necessary.
JOHN
But you will not come. It will never come to that.
DAOUD
No, master.
JOHN
A wise man can stop things before they get as far as that.
DAOUD
They that were kings in Babylon were wise men, master.
JOHN
Babylon! But that was thousands of years ago.
DAOUD
Man changes not, master.
JOHN
Well, Daoud, I will trust you, and if it ever comes to that . . .
[Enter MIRALDA.]
MIRALDA
I thought Daoud was gone.
DAOUD
Even now I go, gracious lady.
[Exit DAOUD. Rather strained silence with JOHN and MIRALDA till he goes. She goes and retakes herself comfortable on the cushions. He is not entirely at ease.]
MIRALDA
You had a long talk with Daoud.
JOHN
Yes, he came and talked a good deal.
MIRALDA
What about?
JOHN
O, just talk; you know these Eastern people.
MIRALDA
I thought it was something you were discussing with him.
JOHN
O, no.
MIRALDA
Some important secret.
JOHN
No, not at all.
MIRALDA
You often talk with Daoud.
JOHN
Yes, he is useful to me. When he talks sense I listen, but to-day . . .
MIRALDA
What did he come for to-day?
JOHN
O, nothing.
MIRALDA
You have a secret with Daoud that you will not share with me.
JOHN
No, I have not.
MIRALDA
What was it he said?
JOHN
He said there was a king in Babylon who . . .
[DAOUD slips into the room.]
MIRALDA
In Babylon? What has that to do with us?
JOHN
Nothing. I told you he was not talking sense.
MIRALDA
Well, what did he say?
JOHN
He said that in Babylon . . .
DAOUD
Hist!
JOHN
O, well . . .
[MIRALDA glares, but calms herself and says nothing.
Exit DAOUD.]
MIRALDA
What did Daoud say of Babylon?
JOHN
O, well, as you say, it had nothing to do with us.
MIRALDA
But I wish to hear it.
JOHN
I forget.
[For a moment there is silence.]
MIRALDA
John, John. Will you do a little thing for me?
JOHN
What is it?
MIRALDA
Say you will do it, John. I should love to have one of my little wishes granted.
JOHN
What is it?
MIRALDA
Kill Daoud, John. I want you to kill Daoud.
JOHN
I will not.
[He walks up and down in front of the two Nubians in silence. She plucks petulantly at a pillow. She suddenly calms herself. A light comes into her eyes. The Nubians go on fanning. JOHN goes on pacing.]
MIRALDA
John, John, I have forgotten my foolish fancies.
JOHN
I am glad of it.
MIRALDA
I do not really wish you to kill Daoud.
JOHN [same voice]
I'm glad you don't.
MIRALDA
I have only one fancy now, John.
JOHN
Well, what is it?
MIRALDA
Give a banquet, John. I want you to give a banquet.
JOHN
A banquet? Why?
MIRALDA
Is there any harm in my fancy?
JOHN
No.
MIRALDA
Then if I may not be a queen, and if you will not kill Daoud for me, give a banquet, John. There is no harm in a banquet.
JOHN
Very well. When do you want it?
MIRALDA
To-morrow, John. Bid all the great ones to it, all the illustrious ones in Al Shaldomir.
JOHN
Very well.
MIRALDA
And bid Daoud come.
JOHN
Daoud? You asked me to kill him.
MIRALDA
I do not wish that any longer, John.
JOHN
You have queer moods, Miralda.
MIRALDA
May I not change my moods, John?
JOHN
I don't know. I don't understand them.
MIRALDA
And ask Hafiz el Alcolahn, John.
JOHN
Hafiz? Why?
MIRALDA
I don't know, John. It was just my fancy.
JOHN
Your fancy, eh?
MIRALDA
That was all.
JOHN
Then I will ask him. Have you any other fancy?
MIRALDA
Not now, John.
JOHN
Then go, Miralda.
MIRALDA
Go?
JOHN
Yes.
MIRALDA
Why?
JOHN
Because I command it.
MIRALDA
Because you command it?
JOHN
Yes, I, the Shereef Al Shaldomir.
MIRALDA
Very well.
[Exit L.
He walks to the door to see that she is really gone. He comes back to centre and stands with back to audience, pulling a cord quietly from his pocket and arranging it.
He moves half left and comes up behind BAZZALOL. Suddenly he slips the cord over BAZZALOL's head, and tightens it round his neck.]
[BAZZALOL flops on his knees.
THOOTHOOBABA goes on fanning.]
JOHN
Speak!
[BAZZALOL is silent.
JOHN tightens it more. THOOTHOOBABA goes on quietly fanning.]
BAZZALOL
I cannot.
JOHN
If you would speak, raise your left hand. If you raise your left hand and do not speak you shall die.
[BAZZALOL is silent. JOHN tightens more. BAZZALOL raises his great flabby left hand high. JOHN releases the cord. BAZZALOL blinks and moves his mouth.]
BAZZALOL
Gracious Shereef, one visited the great lady and gave us gold, saying, "Speak not."
JOHN
When?
BAZZALOL
Great master, one hour since.
JOHN [a little viciously]
Who?
BAZZALOL
O heaven-sent, he was Hafiz el Alcolahn.
JOHN
Give me the gold.
[BAZZALOL gives it.]
[To THOOTHOOBABA.] Give me the gold.
THOOTHOOBABA
Master, none gave me gold.
[John touches his dagger, and looks like using it.
THOOTHOOBABA gives it.]
JOHN
Take back your gold. Be silent about this. You too.
[He throws gold to BAZZALOL.]
Gold does not make you silent, but there is a thing that does. What is that thing? Speak. What thing makes you silent?
BAZZALOL
O, great master, it is death.
JOHN
Death, eh? And how will you die if you speak? You know how you will die?
BAZZALOL
Yes, heaven-sent.
JOHN
Tell your comrade, then.
BAZZALOL
We shall be eaten, great master.
JOHN
You know by what?
BAZZALOL
Small things, great master, small things. Oh-h-h-h. Oh-h-h.
[THOOTHOOBABA's knees scarcely hold him.]
JOHN
It is well.
Curtain
SCENE 2
A small street. Al Shaldomir.
Time: Next day.
[Enter L. the SHEIK OF THE BISHAREENS.
He goes to an old green door, pointed of course in the Arabic way.]
SHEIK OF THE BISHAREENS
Ho, Bishareens!
[The BISHAREENS run on.]
SHEIK
It is the place and the hour.
BISHAREENS
Ah, ah!
SHEIK [to FIRST BISHAREEN]
Watch.
[FIRST BISHAREEN goes to right and watches up sunny street.]
FIRST BISHAREEN
He comes.
[Enter HAFIZ EL ALCOLAHN. He goes straight up to the SHEIK and whispers.]
SHEIK [turning]
Hear, O Bishareens.
[HAFIZ places flute to his lips.]
A BISHAREEN
And the gold, master?
SHEIK
Silence! It is the signal.
[HAFIZ plays a weird, strange tune on his flute.]
HAFIZ
So.
SHEIK
Master, once more.
[HAFIZ raises the flute again to his lips.]
SHEIK
Hear, O Bishareens!
[He plays the brief tune again.]
HAFIZ [to SHEIK]
Like that.
SHEIK
We have heard, O master.
[He walks away L. Hands move in the direction of knife-hilts.]
THE BISHAREENS
Ah, ah!
[Exit HAFIZ.
He plays a merry little tune on his flute as he walks away.]
Curtain
SCENE 3
The banqueting hall. A table along the back. JOHN and MIRALDA seated with notables of Al Shaldomir.
JOHN sits in the centre, with MIRALDA on his right and, next to her, HAFIZ EL ALCOLAHN.
MIRALDA [to JOHN]
You bade Daoud be present?
JOHN
Yes.
MIRALDA
He is not here.
JOHN
Daoud not here?
MIRALDA
No.
JOHN
Why?
MIRALDA
We all obey you, but not Daoud.
JOHN
I do not understand it.
A NOTABLE
The Shereef has frowned.
[Enter R. an OFFICER-AT-ARMS. He halts at once and salutes with his sword, then takes a side pace to his left, standing against the wall, sword at the carry.
JOHN acknowledges salute by touching his forehead with the inner tips of his fingers.]
OFFICER-AT-ARMS
Soldiers of Al Shaldomir; with the dance-step; march.
[Enter R. some men in single file; uniform, pale green silks; swords at carry. They advance in single file, in a slightly serpentine way, deviating to their left a little out of the straight and returning to it, stepping neatly on the tips of their toes. Their march is fantastic and odd without being exactly funny.
The OFFICER-AT-ARMS falls in on their left flank and marches about level with the third or fourth man. When he reaches the centre he gives another word of command.]
OFFICER-AT-ARMS
With reverence: Salute.
[The actor who takes this part should have been an officer or N. C. O.
JOHN stands up and acknowledges their salute by touching his forehead with the fingers of the right hand, palm turned inwards.
Exeunt soldiers L. JOHN sits down.]
A NOTABLE
He does not smile this evening.
A WOMAN
The Shereef?
NOTABLE
He has not smiled.
[Enter R. ZABNOOL, a CONJURER, with brass bowl. He bows. He walks to centre opposite JOHN. He exhibits his bowl.]
ZABNOOL
Behold. The bowl is empty.
[ZABNOOL produces a snake.]
ZABNOOL
Ah, little servant of Death.
[He produces flowers.]
Flowers, master, flowers. All the way from Nowhere.
[He produces birds.]
Birds, master. Birds from Nowhere. Sing, sing to the Shereef. Sing the little empty songs of the land of Nowhere.
[He seats himself on the ground facing JOHN. He puts the bowl on the ground. He places a piece of silk, with queer designs on it over the bowl. He partly draws the silk away with his left hand and puts in his right. He brings out a young crocodile and holds it by the neck.]
CONJURER
Behold, O Shereef; O people, behold; a crocodile.
[He arises and bows to JOHN and wraps up the crocodile in some drapery and walks away. As he goes he addresses his crocodile.]
O eater of lambs, O troubler of the rivers, you sought to evade me in an empty bowl. O thief, O appetite, you sought to evade the Shereef. The Shereef has seen you, O vexer of swimmers, O pig in armour, O . . .
[Exit.
SHABEESH, another CONJURER, rushes on.]
SHABEESH
Bad man, master; he very, very bad man.
[He pushes ZABNOOL away roughly, impetus of which carries ZABNOOL to the wings.]
Very, very bad man, master.
MIRALDA [reprovingly]
Zabnool has amused us.
SHABEESH
He very, very bad man, lily lady. He get crocodile from devil. From devil Poolyana, lily lady. Very, very bad.
MIRALDA
He may call on devils if he amuse us, Shabeesh.
SHABEESH
But Poolyana, my devil. He call on my devil, lily lady. Very, very, very bad. My devil Poolyana.
MIRALDA
Call on him yourself, Shabeesh. Amuse us.
SHABEESH
Shall one devil serve two masters?
MIRALDA
Why not?
SHABEESH [beginning to wave priestly conjurer's hands]
Very bad man go away. Go away, bad man: go away, bad man. Poolyana not want bad man: Poolyana only work for good man. He mighty fine devil. Poolyana, Poolyana. Big, black, fine, furry devil. Poolyana, Poolyana, Poolyana. O fine, fat devil with big angry tail. Poolyana, Poolyana, Poolyana. Send me up fine young pig for the Shereef. Poolyana, Poolyana. Lil yellow pig with curly tail. [Small pig appears.] O Poolyana, great Poolyana. Fine black fur and grey fur underneath. Fine ferocious devil you my devil, Poolyana. O, Poolyana, Poolyana, Poolyana. Send me a big beast what chew bad man's crocodile. Big beast with big teeth, eat him like a worm.
[He has spread large silk handkerchief on floor and is edging back from it in alarm.]
Long nails in him toes, big like lion, Poolyana. Send great smelly big beast--eat up bad man's crocodile.
[At first stir of handkerchief SHABEESH leaps in alarm.]
He come, he come. I see his teeth and horns.
[Enter small live rabbit from trapdoor under handkerchief.]
O, Poolyana, you big devil have your liddle joke. You laugh at poor conjuring man. You send him lil rabbit to eat big crocodile. Bad Poolyana. Bad Poolyana.
[Whacks ground with stick.]
You plenty bad devil, Poolyana.
[Whacking it again. Handkerchief has been thrown on ground again. Handkerchief stirs slightly.]
No, no, Poolyana. You not bad devil. You not bad devil. You plenty good devil, Poolyana. No, no, no! Poor conjuring man quite happy on muddy earth. No, Poolyana, no! O, no, no, devil. O, no, no! Hell plenty nice place for devil. Master! He not my devil! He other man's devil!
JOHN
What's this noise? What's it about? What's the matter?
SHABEESH [in utmost terror]
He coming, master! Coming!
ZABNOOL
Poolyana, Poolyana, Poolyana. Stay down, stay down, Poolyana. Stay down in nice warm hell, Poolyana. The Shereef want no devil to-day.
[ZABNOOL before speaking returns to centre and pats air over ground where handkerchief lies.
Then SHABEESH and ZABNOOL come together side by side and bow and smile together toward the SHEREEF. Gold is thrown to them, which ZABNOOL gathers and hands to SHABEESH, who gives a share back to ZABNOOL.]
A NOTABLE
The Shereef is silent.
[Enter three women R. in single file, dancing, and carrying baskets full of pink rose-leaves. They dance across, throwing down rose-leaves, leaving a path of them behind them. Exeunt L.]
A NOTABLE
Still he is silent.
MIRALDA
Why do you not speak?
JOHN
I do not wish to speak.
MIRALDA
Why?
[Enter OMAR with his zither.]
OMAR [singing]
Al Shaldomir, Al Shaldomir, Birds sing thy praises night and day; The nightingale in every wood, Blackbirds in fields profound with may; Birds sing of thee by every way. Al Shaldomir, Al Shaldomir, My heart is ringing with thee still Though far away, O fairy fields, My soul flies low by every hill And misses not one daffodil. Al Shaldomir, Al Shaldomir, O mother of my roving dreams Blue is the night above thy spires And blue by myriads of streams Paradise through thy gateway gleams.
MIRALDA
Why do you not wish to speak?
JOHN
You desire me to speak?
MIRALDA
No. They all wonder why you do not speak; that is all.
JOHN
I will speak. They shall hear me.
MIRALDA
O, there is no need to.
JOHN
There is a need. [He rises.] People of Shaldomir, behold I know your plottings. I know the murmurings that you murmur against me. When I sleep in my inner chamber my ear is in the market, while I sit at meat I hear men whisper far hence and know their innermost thoughts. Hope not to overcome me by your plans nor by any manner of craftiness. My gods are gods of brass; none have escaped them. They cannot be overthrown. Of all men they favour my people. Their hands reach out to the uttermost ends of the earth. Take heed, for my gods are terrible. I am the Shereef; if any dare withstand me I will call on my gods and they shall crush him utterly. They shall grind him into the earth and trample him under, as though he had not been. The uttermost parts have feared the gods of the English. They reach out, they destroy, there is no escape from them. Be warned; for I do not permit any to stand against me. The laws that I have given you, you shall keep; there shall be no other laws. Whoso murmurs shall know my wrath and the wrath of my gods. Take heed, I speak not twice. I spoke once to Hussein. Hussein heard not; and Hussein is dead, his ears are closed for ever. Hear, O people.
HAFIZ
O Shereef, we murmur not against you.
JOHN
I know thoughts and hear whispers. I need not instruction, Hafiz.
HAFIZ
You exalt yourself over us as none did aforetime.
JOHN
Yes. And I will exalt myself. I have been Shereef hitherto, but now I will be king. Al Shaldomir is less than I desire. I have ruled too long over a little country. I will be the equal of Persia. I will be king; I proclaim it. The pass is mine; the mountains shall be mine also. And he that rules the mountains has mastery over all the plains beyond. If the men of the plains will not own it let them make ready; for my wrath will fall on them in the hour when they think me afar, on a night when they think I dream. I proclaim myself king over . . .
[HAFIZ pulls out his flute and plays the weird, strange tune. JOHN looks at him in horrified anger.]
JOHN
The penalty is death! Death is the punishment for what you do, Hafiz. You have dared while I spoke. Hafiz, your contempt is death. Go to Hussein. I, the king . . . say it.
[DAOUD has entered R., bearing two oars. DAOUD walks across, not looking at JOHN. Exit by small door in L. near back.
JOHN gives one look at the banqueters, then he follows DAOUD. Exit.
All look astonished. Some rise and peer. HAFIZ draws his knife.]
OMAR [singing]
Al Shaldomir, Al Shaldomir, The nightingales that guard thy ways Cease not to give thee, after God And after Paradise, all praise,
CRIES [off]
Kill the unbeliever. Kill the dog. Kill the Christian.
[Enter the SHEIK OF THE BISHAREENS, followed by all his men.]
SHEIK
We are the Bishareens, master.
[MIRALDA standing up, right arm akimbo, left arm pointing perfectly straight out towards the small door, hand extended.]
MIRALDA
He is there.
[The BISHAREENS run off through the little door.]
A NOTABLE
Not to interfere with old ways is wisest.
ANOTHER
Indeed, it would have been well for him.
[The BISHAREENS begin to return looking all about them like disappointed hounds.]
A BISHAREEN
He is not there, master.
HAFIZ
Not there? Not there? Why, there is no door beyond. He must needs be there, and his chief spy with him.
SHEIK [off]
He is not here.
MIRALDA [turning round and clawing the wall]
O, I was weary of him. I was weary of him.
HAFIZ
Be comforted, pearl of the morning; he is gone.
MIRALDA
When I am weary of a man he must die.
[He embraces her knees.]
ZAGBOOLA [who has come on with a little crowd that followed the BISHAREENS. She is blind.]
Lead me to Hafiz. I am the mother of Hafiz. Lead me to Hafiz. [They lead her near.] Hafiz! Hafiz!
[She finds his shoulder and tries to drag him away.]
HAFIZ
Go! Go! I have found the sole pearl of the innermost deeps of the sea.
[He is kneeling and kissing MIRALDA's hand. ZAGBOOLA wails.]
Curtain