Mary Tudor — Third day, part 1
WHICH OF THE TWO?
Scene.
--_Hall in the interior of the Tower of London.
Pointed arch upheld by large pillars.
To the right and to the left two low doors to two cells.
To the right a dormer-window, which is supposed to overlook the Thames.
To the left a dormer-window, which is supposed to overlook the streets.
On each side a door concealed in the wall.
In the background, a gallery with a sort of balcony shut in by glass and overlooking the exterior courts of the Tower_ SCENE I
Gilbert, Joshua GILBERT.
Well?
JOSHUA.
Alas!
GILBERT.
No more hope?
JOSHUA.
No more hope.
[_Gilbert goes to the window.
_ You won't see anything from the window.
GILBERT.
You inquired, didn't you?
JOSHUA.
I am only too sure.
GILBERT.
It is for Fabiani?
JOSHUA.
It is for Fabiani.
GILBERT.
How fortunate that man is!
Maledictions on me!
JOSHUA.
Poor Gilbert!
Your turn will come!
To-day, it is he; to-morrow it will be you!
GILBERT.
What do you say?
We are not thinking of the same thing.
What are you talking about?
JOSHUA.
About the scaffold which they are building.
GILBERT.
And I--I am speaking of Jane!
JOSHUA.
Of Jane?
GILBERT.
Yes, of Jane!
Only of Jane.
What does the rest matter to me?
You have forgotten, have you?
You don't remember that for one whole month, glued to the bars of my cell, from which I can look into the street, I have watched her, pale and sad, wandering around the base of this tower, which holds two men, Fabiani and me.
You have forgotten all about my anguish, have you, and my doubts, my misgivings?
For which of us does she come?
Poor wretch, I ask myself this question day and night.
I asked you, Joshua; and last night you promised to try to see her, and speak to her.
Oh, tell me!
Did you learn anything!
Is it for me she comes, or is it for Fabiani?
JOSHUA.
I learned that Fabiani is certainly to be beheaded to-day, and you to-morrow, and from that moment I confess I lost my head, Gilbert.
The scaffold drove Jane entirely out of my thoughts.
Your death-- GILBERT.
My death!
What do you mean by that word!
My death is that Jane loves me no longer.
From the day that I was no longer beloved, I was dead.
Oh, yes!
truly dead.
Joshua, what has remained of me since that time won't be worth taking to-morrow.
Oh, Joshua, you don't know, you can't understand what a man is when he loves.
If any one had said to me, two months ago, "Jane, your Jane without reproach, your Jane so pure, your love, your pride, your lily, your treasure, Jane will give herself to another; will you take her then?"
I should have said, "No, I will not have her!
rather death a thousand times for her and for myself."
And I should have crushed under my feet any one who had dared to speak to me like that.
If I would take her?
--To-day, you know, Jane is no longer the Jane without stain, whom I adored, the Jane whose brow I hardly dared touch with my lips.
Jane has given herself to another--to a wretch!
I know it--and--well, it's all the same to me.
I love her!
My heart is broken, but I love her!
I would kiss the hem of her dress, and I would ask her pardon, if she would only take me.
She might be in the gutter with those who belong there, and I would take her out, and I would hold her close to my heart, Joshua!
Joshua, I would give, not a hundred years of life, since I no longer possess one day, but the eternity which will be mine to-morrow, just to see her smile at me once more--just once more before my death--and to have her say to me those dear words she used to say, "I love you."
Joshua, Joshua, that is the way a man's heart is, when he loves.
You think you would kill the woman who betrays you?
No, you wouldn't kill her; you would lie at her feet afterward, the same as before, only you would be sad.
You think I am weak?
What should I have gained in killing Jane?
Oh, my heart will burst with all these unbearable thoughts!
If she only loved me now, what would it matter to me, what she has done?
But she loves Fabiani!
But she loves Fabiani!
It is for Fabiani that she comes here!
There is one thing that is sure, it is that I want to die.
Have pity on me, Joshua!
JOSHUA.
Fabiani will die to-day.
GILBERT.
And I to-morrow.
JOSHUA.
God is above all.
GILBERT.
I will be revenged on him to-day.
To-morrow, he will be revenged on me!
JOSHUA.
My brother, here is the second constable of the Tower, Master Eneas Dulverton.
You must go in.
I will see you again to-night.
GILBERT.
Oh, to die without being beloved!
To have no one to weep for us!
Jane!
Jane!
Jane!
[_Re-enters his cell.
_ JOSHUA.
Poor Gilbert!
Good God!
Who could have foretold that what has happened would happen?
[_Goes out.
Enter Simon Renard and Master Eneas.
_ SCENE II
Simon Renard, Master Eneas Dulverton SIMON RENARD.
As you say, it is very extraordinary.
But what can you expect?
The Queen is crazy.
She doesn't know what she wants.
You can't count upon anything.
She is a woman.
I would like to know what she is here for.
Well!
a woman's heart is a riddle of which King Francis I. wrote the solution on that pane of glass at Chambord-- "A woman's heart is most capricious;
Who trusts her, finds life not propitious."
Listen to me, Master Eneas.
We are old friends; we must get through with this thing to-day.
Everything here depends upon you.
If you are ordered--[_He whispers to Eneas_] be slow about it; let it fall through skillfully.
Let me have two clear hours before me to-night, and what I want will be accomplished; to-morrow there will be no favorite.
I shall be all-powerful, and you will be baronet and lieutenant of the Tower the day after.
Do you understand?
MASTER ENEAS.
I understand.
SIMON RENARD.
Very well.
Some one is coming.
We must not be seen together.
Go out that way.
I am going to meet the Queen.
[_They separate.
_ SCENE III
_A Jailer enters with caution, then ushers in Lady Jane.
_ THE JAILER.
You are where you wished to be, my lady.
Here are the doors to the two cells.
My recompense, now, if you please.
[_Jane unfastens her diamond bracelet and gives it to him.
_ JANE.
There it is.
THE JAILER.
Thanks.
Don't compromise me.
[_He goes out.
_ JANE (_alone_).
Kind Heaven!
What shall I do?
It is I who have destroyed him.
I must be the one to save him!
I can never do it, never!
A woman can do nothing!
The scaffold-- The scaffold!
Oh, it is horrible!
Come, no more tears; let us have action!
I never can do it!
I never can do it!
Have mercy on me, my God!
I think some one is coming.
Whose voice is that?
I recognize it.
It is the Queen's voice!
Ah, all is lost!
[_She hides behind a pillar.
The Queen and Simon Renard enter.
_ SCENE IV
_The Queen; Simon Renard; Jane, concealed_ THE QUEEN.
Ah, the change surprises you?
I am no longer myself?
Well, what does that matter to me?
It is the truth!
I don't want him to die--now!
SIMON RENARD.
Yet yesterday, your Majesty ordered the execution to take place to-day.
THE QUEEN.
As I ordered the day before, that the execution should take place yesterday.
As I ordered Sunday that the execution should take place Monday.
To-day I ordered the execution to take place to-morrow.
SIMON RENARD.
As a matter of fact, since the second Sunday in Advent, when the decision was pronounced in the Star Chamber, and the two criminals came back to the Tower preceded by the executioner with the ax turned toward them--and that was three weeks ago--every day since then your Majesty has put the matter off until to-morrow.
THE QUEEN.
Well, can't you understand what that means, sir?
Must I explain everything, and must a woman be forced to show her naked heart to you, because she is a Queen--unfortunate woman that she is--and because you represent the Prince of Spain, her future husband?
You don't understand, you men, that with a woman the heart has its chastity as well as the body.
Well, then, yes--since you want to know, since you make believe that you don't understand anything--yes, every day I put off Fabiani's execution until to-morrow, because every morning my courage fails me when I think that the bell of the Tower of London will ring out his death-knell; because to think they are sharpening an ax for that man, breaks my heart; because it kills me to think they will nail a coffin over him; because I am a woman, because I am weak, because I am insane, because I love him yet, my God!
There!
have you got enough?
Are you satisfied?
Do you understand now?
Oh, some day, my lord, I will have my revenge on you, for all these things you have made me tell you!
SIMON RENARD.
Yet it ought to be about time to get through with this Fabiani!
You expect to marry my royal master, the Prince of Spain, madame!
THE QUEEN.
If the Prince of Spain is not satisfied, let him say so; we will marry somebody else.
Suitors are not lacking.
The son of the King of the Romans, the Prince of Piedmont, the Infante of Portugal, Cardinal Polus, the King of Denmark, and Lord Courtenay are as good noblemen as he!
SIMON RENARD.
Lord Courtenay!
Lord Courtenay!
THE QUEEN.
An English baron is worth a Spanish prince, my lord.
Besides, Lord Courtenay is descended from the emperors of the East.
Oh, get mad if you like!
SIMON RENARD.
Fabiani has made himself hated by every one in London who has got a heart.
THE QUEEN.
Except by me!
SIMON RENARD.
Peasants and lords are united against him, and if he is not executed this very day, as your Majesty has promised-- THE QUEEN.
Well!
SIMON RENARD.
There will be an uprising among the people.
THE QUEEN.
I've got my lansquenets.
SIMON RENARD.
There will be a conspiracy among the nobles.
THE QUEEN.
I have the executioner.
SIMON RENARD.
Your Majesty swore upon your mother's prayer-book that you would not pardon him.
THE QUEEN.
Here is a signature in blank which he has sent to me, in which I swear on my imperial crown that I will pardon him!
My father's crown is worth as much as my mother's prayer-book.
One oath destroys the other.
But who says that I will pardon him?
SIMON RENARD.
He has boldly betrayed you, madame!
THE QUEEN.
What does that matter?
All men are alike about that.
I don't want him to die.
Listen, my lord--I mean Sir Bailiff.
Good God!
you confuse my mind so much that I can't even tell whom I am talking to.
Oh, I know all that you want to say to me!
I know he is a vile, degraded, contemptible man.
I know it as well as you, and I blush for it.
But I love him!
What do you want me to do about it?
I would probably love a better man less.
Moreover, who are you--all of you--great as you may be?
Are you any better than he?
You will tell me that he is a favorite, and the English nation detests favorites!
Don't I know that you only want to overthrow him to put the Earl of Kildare--that fool, that Irishman--in his place, that he may have twenty heads a day cut off?
What does that matter to you?
Don't talk to me about your Prince of Spain; you make light enough of him.
Don't talk to me about the anger of M. de Noailles, the French embassador!
M.
de Noailles is an idiot, and I will tell him so to his face.
As for me, I am a woman; I want things, and then I don't want them.
I am not made all in one piece.
That man's life is necessary to my life.
Oh, I beg of you, don't put on that air of virginal sincerity and good faith.
I know all your intrigues.
Between us two, you know as well as I that he didn't commit the crime for which he is condemned.
Well, it is settled.
I don't want Fabiani to die.
Am I the mistress, or am I not?
Come, Sir Bailiff, let us talk about something else, will you?
SIMON RENARD.
I withdraw, madame.
All your nobles have spoken to you through my voice.
THE QUEEN.
What do I care for my nobles!
SIMON RENARD (_aside_).
Suppose we try the people!
[_He goes out with respectful salutation.
_ THE QUEEN (_alone_).
He went out with a singular expression.
That man is capable of arousing a rebellion.
I must hurry off to the City Hall.
What ho!
Some one!
[_Master Eneas and Joshua appear.
_ SCENE V
_The same, without Simon Renard.
Master Eneas, Joshua_ THE QUEEN.
Is it you, Master Eneas?
This man and you, you must attend to it that the Earl of Clanbrassil makes his escape at once.
MASTER ENEAS.
Madame-- THE QUEEN.
Very well!
I won't trust you; I remember you are one of his enemies.
