{"product_id":"cyrano-de-bergerac-isbn-9780553213607","title":"Cyrano De Bergerac","description":"This is Edmond Rostand's immortal play in which chivalry and wit, bravery and love   are forever captured in the timeless spirit of romance. Set in Louis XIII’s reign,   it is the moving and exciting drama of one of the finest swordsmen in France, gallant   soldier, brilliant wit, tragic poet-lover with the face of a clown. Rostand’s extraordinary   lyric powers gave birth to a universal hero—Cyrano De Bergerac—and ensured his   own reputation as author of one of the best-loved plays in the literature of the   stage. \u003cbr\u003e\u003cbr\u003eThis translation, by the American poet Brian Hooker, is nearly as famous as   the original play itself, and is generally considered to be one of the finest English   verse translations ever written.Edmond Rostand was born in Marseilles in 1868 and died in 1918. His thirty-year literary career is marked primarily by one astronomical success and a number of plays of lesser note. Early on, Edmond displayed an interest in marionette theater and poetry. While attending the College Stanislas in Paris, Rostand studied French literature, history, and philosophy. He followed his own inclination and deviated from the course his father had designed for him as a lawyer, although he did finally earn a legal degree and gain admission to the bar. His first poetry appeared in the small academy review Mireille. In 1888, his LeGantRouge was produced and, in 1890, Rostand published his first book of poetry, LesMusardises. His play LesRomanesques was produced in 1894, followed a year later by LaPrincessLointaine. The playwright's name and influence spread. Rostand's fame peaked in 1898 with the first production of CyranodeBergerac, a five-act verse drama. The play was important to the drama of its time for its romantic nature, a departure from the realistic conventions then in vogue. It was an enormous success. After his next success, L'Aiglon (1900), ten years followed before Rostand completed another play. He spent the remaining years of his life in semiretirement, and died in 1918.?THE FIRST ACT\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eA Performance at the Hotel de Bourgogne\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThe Hall of the Hotel de Bourgogne in 1640. A sort of Tennis Court, arranged and decorated for Theatrical productions.\u003cbr\u003e\u003cbr\u003eThe Hall is a long rectangle; we see it diagonally, in such a way that one side of it forms the back scene, which begins at the First Entrance on the Right and runs up to the Last Entrance on the Left, where it makes a right angle with the Stage which is seen obliquely.\u003cbr\u003e\u003cbr\u003eThis Stage is provided on either hand with benches placed along the wings. The curtain is formed by two lengths of Tapestry which can be drawn apart. Above a Harlequin cloak, the Royal Arms. Broad steps lead from the Stage down to the floor of the Hall. On either side of these steps, a place for the Musicians. A row of candles serving as footlights. Two tiers of Galleries along the side of the Hall; the upper one divided into boxes.\u003cbr\u003e\u003cbr\u003eThere are no seats upon the Floor, which is the actual stage of our theatre; but toward the back of the Hall, on the right, a few benches are arranged; and underneath a stairway on the extreme right, which leads up to the galleries, and of which only the lower portion is visible, there is a sort of Sideboard, decorated with little tapers, vases of flowers, bottles and glasses, plates of cake, et cetera.\u003cbr\u003e\u003cbr\u003eFarther along, toward the centre of our stage is the Entrance to the Hall; a great double door which opens only slightly to admit the Audience. On one of the panels of this door, as also in other places about the Hall, and in particular just over the Sideboard, are Playbills in red, upon which we may read the title La Clorise.\u003cbr\u003e\u003cbr\u003eAs the Curtain Rises, the Hall is dimly lighted and still empty. The Chandeliers are lowered to the floor, in the middle of the Hall, ready for lighting.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e(Sound of voices outside the door. Then a Cavalier enters abruptly.)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTHE PORTER\u003cbr\u003e\u003cbr\u003e(Follows him)\u003cbr\u003e\u003cbr\u003eHalloa there!--Fifteen sols!\u003cbr\u003e\u003cbr\u003eTHE CAVALIER\u003cbr\u003e\u003cbr\u003eI enter free.\u003cbr\u003e\u003cbr\u003eTHE PORTER\u003cbr\u003e\u003cbr\u003eWhy?\u003cbr\u003e\u003cbr\u003eTHE CAVALIER\u003cbr\u003e\u003cbr\u003eSoldier of the Household of the King!\u003cbr\u003e\u003cbr\u003eTHE PORTER\u003cbr\u003e\u003cbr\u003e(Turns to another Cavalier who has just entered)\u003cbr\u003e\u003cbr\u003eYou?\u003cbr\u003e\u003cbr\u003eSECOND CAVALIER\u003cbr\u003e\u003cbr\u003eI pay nothing.\u003cbr\u003e\u003cbr\u003eTHE PORTER\u003cbr\u003e\u003cbr\u003eWhy not?\u003cbr\u003e\u003cbr\u003eSECOND CAVALIER\u003cbr\u003e\u003cbr\u003eMusketeer!\u003cbr\u003e\u003cbr\u003eFIRST CAVALIER\u003cbr\u003e\u003cbr\u003e(To the Second)\u003cbr\u003e\u003cbr\u003eThe play begins at two. Plenty of time--\u003cbr\u003e\u003cbr\u003eAnd here's the whole floor empty. Shall we try\u003cbr\u003e\u003cbr\u003eOur exercise?\u003cbr\u003e\u003cbr\u003e(They fence with the foils which they have brought)\u003cbr\u003e\u003cbr\u003eA LACKEY\u003cbr\u003e\u003cbr\u003e(Enters)\u003cbr\u003e\u003cbr\u003e--Pst! . . . Flanquin! . . .\u003cbr\u003e\u003cbr\u003eANOTHER\u003cbr\u003e\u003cbr\u003e(Already on stage)\u003cbr\u003e\u003cbr\u003eWhat, Champagne?\u003cbr\u003e\u003cbr\u003eFIRST LACKEY\u003cbr\u003e\u003cbr\u003e(Showing games which he takes out of his doublet)\u003cbr\u003e\u003cbr\u003eCards. Dice. Come on.\u003cbr\u003e\u003cbr\u003e(Sits on the floor)\u003cbr\u003e\u003cbr\u003eSECOND LACKEY\u003cbr\u003e\u003cbr\u003e(Same action)\u003cbr\u003e\u003cbr\u003eCome on, old cock!\u003cbr\u003e\u003cbr\u003eFIRST LACKEY\u003cbr\u003e\u003cbr\u003e(Takes from his pocket a bit of candle, lights it, sets it on the floor)\u003cbr\u003e\u003cbr\u003eI have stolen\u003cbr\u003e\u003cbr\u003eA little of my master's fire.\u003cbr\u003e\u003cbr\u003eA GUARDSMAN\u003cbr\u003e\u003cbr\u003e(To a flower girl who comes forward)\u003cbr\u003e\u003cbr\u003eHow sweet\u003cbr\u003e\u003cbr\u003eOf you, to come before they light the hall!\u003cbr\u003e\u003cbr\u003e(Puts his arm around her)\u003cbr\u003e\u003cbr\u003eFIRST CAVALIER\u003cbr\u003e\u003cbr\u003e(Receives a thrust of the foil)\u003cbr\u003e\u003cbr\u003eA hit!\u003cbr\u003e\u003cbr\u003eSECOND LACKEY\u003cbr\u003e\u003cbr\u003eA club!\u003cbr\u003e\u003cbr\u003eTHE GUARDSMAN\u003cbr\u003e\u003cbr\u003e(Pursuing the girl)\u003cbr\u003e\u003cbr\u003eA kiss!\u003cbr\u003e\u003cbr\u003eTHE FLOWER GIRL\u003cbr\u003e\u003cbr\u003e(Pushing away from him)\u003cbr\u003e\u003cbr\u003eThey'll see us!--\u003cbr\u003e\u003cbr\u003eTHE GUARDSMAN\u003cbr\u003e\u003cbr\u003e(Draws her into a dark corner)\u003cbr\u003e\u003cbr\u003eNo danger!\u003cbr\u003e\u003cbr\u003eA MAN\u003cbr\u003e\u003cbr\u003e(Sits on the floor, together with several others who have brought packages of food)\u003cbr\u003e\u003cbr\u003eWhen we come early, we have time to eat.\u003cbr\u003e\u003cbr\u003eA CITIZEN\u003cbr\u003e\u003cbr\u003e(Escorting his son, a boy of sixteen)\u003cbr\u003e\u003cbr\u003eSit here, my son.\u003cbr\u003e\u003cbr\u003eFIRST LACKEY\u003cbr\u003e\u003cbr\u003eMark the Ace!\u003cbr\u003e\u003cbr\u003eANOTHER MAN\u003cbr\u003e\u003cbr\u003e(Draws a bottle from under his cloak and sits down with the others)\u003cbr\u003e\u003cbr\u003eHere's the spot\u003cbr\u003e\u003cbr\u003eFor a jolly old sot to suck his Burgundy--\u003cbr\u003e\u003cbr\u003e(Drinks)\u003cbr\u003e\u003cbr\u003eHere--in the house of the Burgundians!\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003e(To his son)\u003cbr\u003e\u003cbr\u003eWould you not think you were in some den of vice?\u003cbr\u003e\u003cbr\u003e(Points with his cane at the drunkard)\u003cbr\u003e\u003cbr\u003eDrunkards--\u003cbr\u003e\u003cbr\u003e(In stepping back, one of the cavaliers trips him up)\u003cbr\u003e\u003cbr\u003eBullies!--\u003cbr\u003e\u003cbr\u003e(He falls between the lackeys)\u003cbr\u003e\u003cbr\u003eGamblers!--\u003cbr\u003e\u003cbr\u003eTHE GUARDSMAN\u003cbr\u003e\u003cbr\u003e(Behind him as he rises, still struggling with the Flower Girl)\u003cbr\u003e\u003cbr\u003eOne kiss--\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003eGood God!--\u003cbr\u003e\u003cbr\u003e(Draws his son quickly away)\u003cbr\u003e\u003cbr\u003eHere!--And to think, my son, that in this hall\u003cbr\u003e\u003cbr\u003eThey play Rotrou!\u003cbr\u003e\u003cbr\u003eTHE BOY\u003cbr\u003e\u003cbr\u003eYes father--and Corneille!\u003cbr\u003e\u003cbr\u003eTHE PAGES\u003cbr\u003e\u003cbr\u003e(Dance in, holding hands and singing:)\u003cbr\u003e\u003cbr\u003eTra-la-la-la-la-la-la-la-la-lere . . .\u003cbr\u003e\u003cbr\u003eTHE PORTER\u003cbr\u003e\u003cbr\u003eYou pages there--no nonsense!\u003cbr\u003e\u003cbr\u003eFIRST PAGE\u003cbr\u003e\u003cbr\u003e(With wounded dignity)\u003cbr\u003e\u003cbr\u003eOh, monsieur!\u003cbr\u003e\u003cbr\u003eReally! How could you?\u003cbr\u003e\u003cbr\u003e(To the Second, the moment the Porter turns his back)\u003cbr\u003e\u003cbr\u003ePst!--a bit of string?\u003cbr\u003e\u003cbr\u003eSECOND PAGE\u003cbr\u003e\u003cbr\u003e(Shows fishline with hook)\u003cbr\u003e\u003cbr\u003eYes--and a hook.\u003cbr\u003e\u003cbr\u003eFIRST PAGE\u003cbr\u003e\u003cbr\u003eUp in the gallery,\u003cbr\u003e\u003cbr\u003eAnd fish for wigs!\u003cbr\u003e\u003cbr\u003eA CUT-PURSE\u003cbr\u003e\u003cbr\u003e(Gathers around him several evil-looking young fellows)\u003cbr\u003e\u003cbr\u003eNow then, you picaroons,\u003cbr\u003e\u003cbr\u003ePerk up, and hear me mutter. Here's your bout--\u003cbr\u003e\u003cbr\u003eBustle around some cull, and bite his bung . . .\u003cbr\u003e\u003cbr\u003eSECOND PAGE\u003cbr\u003e\u003cbr\u003e(Calls to other pages already in the gallery)\u003cbr\u003e\u003cbr\u003eHey! Brought your pea-shooters?\u003cbr\u003e\u003cbr\u003eTHIRD PAGE\u003cbr\u003e\u003cbr\u003e(From above)\u003cbr\u003e\u003cbr\u003eAnd our peas, too!\u003cbr\u003e\u003cbr\u003e(Blows, and showers them with peas)\u003cbr\u003e\u003cbr\u003eTHE BOY\u003cbr\u003e\u003cbr\u003eWhat is the play this afternoon?\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003e\"Clorise.\"\u003cbr\u003e\u003cbr\u003eTHE BOY\u003cbr\u003e\u003cbr\u003eWho wrote that?\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003eBalthasar Baro. What a play! . . .\u003cbr\u003e\u003cbr\u003e(He takes the Boy's arm and leads him upstage)\u003cbr\u003e\u003cbr\u003eTHE CUT-PURSE\u003cbr\u003e\u003cbr\u003e(To his pupils)\u003cbr\u003e\u003cbr\u003eLace now, on those long sleeves, you cut it off--\u003cbr\u003e\u003cbr\u003e(Gesture with thumb and finger, as if using scissors)\u003cbr\u003e\u003cbr\u003eA SPECTATOR\u003cbr\u003e\u003cbr\u003e(To another, pointing upward toward the gallery)\u003cbr\u003e\u003cbr\u003eAh, Le Cid!--Yes, the first night, I sat there--\u003cbr\u003e\u003cbr\u003eTHE CUT-PURSE\u003cbr\u003e\u003cbr\u003eWatches--\u003cbr\u003e\u003cbr\u003e(Gesture as of picking a pocket)\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003e(Coming down with his son)\u003cbr\u003e\u003cbr\u003eGreat actors we shall see to-day--\u003cbr\u003e\u003cbr\u003eTHE CUT-PURSE\u003cbr\u003e\u003cbr\u003eHandkerchiefs--\u003cbr\u003e\u003cbr\u003e(Gesture of holding the pocket with left hand, and drawing out handkerchief with right)\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003eMontfleury--\u003cbr\u003e\u003cbr\u003eA VOICE\u003cbr\u003e\u003cbr\u003e(In the gallery)\u003cbr\u003e\u003cbr\u003eLights! Light the lights!\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003eBellerose, l'eapy, Beaupre, Jodelet--\u003cbr\u003e\u003cbr\u003eA PAGE\u003cbr\u003e\u003cbr\u003e(On the floor)\u003cbr\u003e\u003cbr\u003eHere comes the orange girl.\u003cbr\u003e\u003cbr\u003eTHE ORANGE GIRL\u003cbr\u003e\u003cbr\u003eOranges, milk,\u003cbr\u003e\u003cbr\u003eRaspberry syrup, lemonade--\u003cbr\u003e\u003cbr\u003e(Noise at the door)\u003cbr\u003e\u003cbr\u003eA FALSETTO VOICE\u003cbr\u003e\u003cbr\u003e(Outside)\u003cbr\u003e\u003cbr\u003eMake way,\u003cbr\u003e\u003cbr\u003eBrutes!\u003cbr\u003e\u003cbr\u003eFIRST LACKEY\u003cbr\u003e\u003cbr\u003eWhat, the Marquis--on the floor?\u003cbr\u003e\u003cbr\u003e(The Marquis enter in a little group.)\u003cbr\u003e\u003cbr\u003eSECOND LACKEY\u003cbr\u003e\u003cbr\u003eNot long--\u003cbr\u003e\u003cbr\u003eOnly a few moments; they'll go and sit\u003cbr\u003e\u003cbr\u003eOn the stage presently.\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003e(Seeing the hall half empty)\u003cbr\u003e\u003cbr\u003eHow now! We enter\u003cbr\u003e\u003cbr\u003eLike trades people--no crowding, no disturbance!--\u003cbr\u003e\u003cbr\u003eNo treading on the toes of citizens?\u003cbr\u003e\u003cbr\u003eOh fie! Oh fie!\u003cbr\u003e\u003cbr\u003e(He encounters two gentlemen who have already arrived)\u003cbr\u003e\u003cbr\u003eCuigy! Brissaille!\u003cbr\u003e\u003cbr\u003e(Great embracings)\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003eThe faithful!\u003cbr\u003e\u003cbr\u003e(Looks around him.)\u003cbr\u003e\u003cbr\u003eWe are here before the candles.\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003eAh, be still!\u003cbr\u003e\u003cbr\u003eYou put me in a temper.\u003cbr\u003e\u003cbr\u003eSECOND MARQUIS\u003cbr\u003e\u003cbr\u003eConsole yourself,\u003cbr\u003e\u003cbr\u003eMarquis--The lamplighter!\u003cbr\u003e\u003cbr\u003eTHE CROWD\u003cbr\u003e\u003cbr\u003e(Applauding the appearance of the lamplighter)\u003cbr\u003e\u003cbr\u003eAh! . . .\u003cbr\u003e\u003cbr\u003e(A group gathers around the chandelier while he lights it. A few people have already taken their place in the gallery. Ligniere enters the hall, arm in arm with Christian de Neuvillette. Ligniere is a slightly disheveled figure, dissipated and yet distinguished looking. Christian, elegantly but rather unfashionably dressed, appears preoccupied and keeps looking up at the boxes.)\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003eLigniere!--\u003cbr\u003e\u003cbr\u003eBRISSAILLE\u003cbr\u003e\u003cbr\u003e(Laughing)\u003cbr\u003e\u003cbr\u003eStill sober--at this hour?\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(To Christian)\u003cbr\u003e\u003cbr\u003eMay I present you?\u003cbr\u003e\u003cbr\u003e(Christian assents.)\u003cbr\u003e\u003cbr\u003eBaron Christian de Neuvillette.\u003cbr\u003e\u003cbr\u003e(They salute.)\u003cbr\u003e\u003cbr\u003eTHE CROWD\u003cbr\u003e\u003cbr\u003e(Applauding as the lighted chandelier is hoisted into place)\u003cbr\u003e\u003cbr\u003eAh!--\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003e(Aside to Brissaille, looking at Christian)\u003cbr\u003e\u003cbr\u003eRather\u003cbr\u003e\u003cbr\u003eA fine head, is it not? The profile . . .\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003e(Who has overheard)\u003cbr\u003e\u003cbr\u003ePeuh!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Presenting them to Christian)\u003cbr\u003e\u003cbr\u003eMessieurs de Cuigy . . . de Brissaille . . .\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003e(Bows)\u003cbr\u003e\u003cbr\u003eEnchanted!\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003e(To the second)\u003cbr\u003e\u003cbr\u003eHe is not ill-looking; possibly a shade\u003cbr\u003e\u003cbr\u003eBehind the fashion.\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(To Cuigy)\u003cbr\u003e\u003cbr\u003eMonsieur is recently\u003cbr\u003e\u003cbr\u003eFrom the Touraine.\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003eYes, I have been in Paris\u003cbr\u003e\u003cbr\u003eTwo or three weeks only. I join the Guards\u003cbr\u003e\u003cbr\u003eTo-morrow.\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003e(Watching the people who come into the boxes)\u003cbr\u003e\u003cbr\u003eLook--Madame la Presidente\u003cbr\u003e\u003cbr\u003eAubry!\u003cbr\u003e\u003cbr\u003eTHE ORANGE GIRL\u003cbr\u003e\u003cbr\u003eOranges, milk--\u003cbr\u003e\u003cbr\u003eTHE VIOLINS\u003cbr\u003e\u003cbr\u003e(Tuning up)\u003cbr\u003e\u003cbr\u003eLa . . . la . . .\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003e(To Christian, calling his attention to the increasing crowd)\u003cbr\u003e\u003cbr\u003eWe have\u003cbr\u003e\u003cbr\u003eAn audience to-day!\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003eA brilliant one.\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003eOh yes, all our own people--the gay world!\u003cbr\u003e\u003cbr\u003e(They name the ladies who enter the boxes elaborately dressed. Bows and smiles are exchanged.)\u003cbr\u003e\u003cbr\u003eSECOND MARQUIS\u003cbr\u003e\u003cbr\u003eMadame de Guemene . . .\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003eDe Bois-Dauphin . . .\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003eWhom we adore--\u003cbr\u003e\u003cbr\u003eBRISSAILLE\u003cbr\u003e\u003cbr\u003eMadame de Chavigny . . .\u003cbr\u003e\u003cbr\u003eSECOND MARQUIS\u003cbr\u003e\u003cbr\u003eWho plays with all our hearts--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eWhy, there's Corneille\u003cbr\u003e\u003cbr\u003eReturned from Rouen!\u003cbr\u003e\u003cbr\u003eTHE BOY\u003cbr\u003e\u003cbr\u003e(To his father)\u003cbr\u003e\u003cbr\u003eAre the Academy\u003cbr\u003e\u003cbr\u003eAll here?\u003cbr\u003e\u003cbr\u003eTHE CITIZEN\u003cbr\u003e\u003cbr\u003eI see some of them . . . there's Boudu--\u003cbr\u003e\u003cbr\u003eBoissat--Cureau--Porcheres--Colomby--\u003cbr\u003e\u003cbr\u003eBourzeys--Bourdon--Arbaut--\u003cbr\u003e\u003cbr\u003eAh, those great names,\u003cbr\u003e\u003cbr\u003eNever to be forgotten!\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003eLook--at last!\u003cbr\u003e\u003cbr\u003eOur Intellectuals! Barthenoide,\u003cbr\u003e\u003cbr\u003eUrimedonte, Felixerie . . .\u003cbr\u003e\u003cbr\u003eSECOND MARQUIS\u003cbr\u003e\u003cbr\u003e(Languishing)\u003cbr\u003e\u003cbr\u003eSweet heaven!\u003cbr\u003e\u003cbr\u003eHow exquisite their surnames are! Marquis,\u003cbr\u003e\u003cbr\u003eYou know them all?\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003eI know them all, Marquis!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Draws Christian aside)\u003cbr\u003e\u003cbr\u003eMy dear boy, I came here to serve you--Well,\u003cbr\u003e\u003cbr\u003eBut where's the lady? I'll be going.\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003eNot yet--\u003cbr\u003e\u003cbr\u003eA little longer! She is always here.\u003cbr\u003e\u003cbr\u003ePlease! I must find some way of meeting her.\u003cbr\u003e\u003cbr\u003eI am dying of love! And you--you know\u003cbr\u003e\u003cbr\u003eEveryone, the whole court and the whole town,\u003cbr\u003e\u003cbr\u003eAnd put them all into your songs--at least\u003cbr\u003e\u003cbr\u003eYou can tell me her name!\u003cbr\u003e\u003cbr\u003eTHE FIRST VIOLIN\u003cbr\u003e\u003cbr\u003e(Raps on his desk with his bow)\u003cbr\u003e\u003cbr\u003ePst--Gentlemen!\u003cbr\u003e\u003cbr\u003e(Raises his bow)\u003cbr\u003e\u003cbr\u003eTHE ORANGE GIRL\u003cbr\u003e\u003cbr\u003eMacaroons, lemonade--\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003eThen she may be\u003cbr\u003e\u003cbr\u003eOne of those ?sthetes . . . Intellectuals,\u003cbr\u003e\u003cbr\u003eYou call them--How can I talk to a woman\u003cbr\u003e\u003cbr\u003eIn that style? I have no wit. This fine manner\u003cbr\u003e\u003cbr\u003eOf speaking and of writing nowadays--\u003cbr\u003e\u003cbr\u003eNot for me! I am a soldier--and afraid.\u003cbr\u003e\u003cbr\u003eThat's her box, on the right--the empty one.\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Starts for the door)\u003cbr\u003e\u003cbr\u003eI am going.\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003e(Restrains him)\u003cbr\u003e\u003cbr\u003eNo--wait!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eNot I. There's a tavern\u003cbr\u003e\u003cbr\u003eNot far away--and I am dying of thirst.\u003cbr\u003e\u003cbr\u003eTHE ORANGE GIRL\u003cbr\u003e\u003cbr\u003e(Passes with her tray)\u003cbr\u003e\u003cbr\u003eOrange juice?\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eNo!\u003cbr\u003e\u003cbr\u003eTHE ORANGE GIRL\u003cbr\u003e\u003cbr\u003eMilk?\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003ePouah!\u003cbr\u003e\u003cbr\u003eTHE ORANGE GIRL\u003cbr\u003e\u003cbr\u003eMuscatel?\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eHere! Stop!\u003cbr\u003e\u003cbr\u003e(To Christian)\u003cbr\u003e\u003cbr\u003eI'll stay a little.\u003cbr\u003e\u003cbr\u003e(To the Girl)\u003cbr\u003e\u003cbr\u003eLet me see\u003cbr\u003e\u003cbr\u003eYour Muscatel.\u003cbr\u003e\u003cbr\u003e(He sits down by the sideboard. The Girl pours out wine for him.)\u003cbr\u003e\u003cbr\u003eVOICES\u003cbr\u003e\u003cbr\u003e(In the crowd about the door, upon the entrance of a spruce little man, rather fat, with a beaming smile)\u003cbr\u003e\u003cbr\u003e Ragueneau!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(To Christian)\u003cbr\u003e\u003cbr\u003eRagueneau,\u003cbr\u003e\u003cbr\u003ePoet and pastry-cook--a character!\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003e(Dressed like a confectioner in his Sunday clothes, advances quickly to Ligniere)\u003cbr\u003e\u003cbr\u003eSir, have you seen Monsieur de Cyrano?\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Presents him to Christian)\u003cbr\u003e\u003cbr\u003ePermit me . . . Ragueneau, confectioner,\u003cbr\u003e\u003cbr\u003eThe chief support of modern poetry.\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003e(Bridling)\u003cbr\u003e\u003cbr\u003eOh--too much honor!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003ePatron of the Arts--\u003cbr\u003e\u003cbr\u003eM?cenas! Yes, you are--\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eUndoubtedly,\u003cbr\u003e\u003cbr\u003eThe poets gather round my hearth.\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eOn credit--\u003cbr\u003e\u003cbr\u003eHimself a poet--\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eSo they say--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eMaintains\u003cbr\u003e\u003cbr\u003eThe Muses.\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eIt is true that for an ode--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eYou give a tart--\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eA tartlet--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eModesty!\u003cbr\u003e\u003cbr\u003eAnd for a triolet you give--\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003ePlain bread.\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Severely)\u003cbr\u003e\u003cbr\u003eBread and milk! And you love the theatre?\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eI adore it!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eWell, pastry pays for all.\u003cbr\u003e\u003cbr\u003eYour place to-day now--Come, between ourselves,\u003cbr\u003e\u003cbr\u003eWhat did it cost you?\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eFour pies; fourteen cakes.\u003cbr\u003e\u003cbr\u003e(Looking about)\u003cbr\u003e\u003cbr\u003eBut--Cyrano not here? Astonishing!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eWhy so?\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eWhy--Montfleury plays!\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eYes, I hear\u003cbr\u003e\u003cbr\u003eThat hippopotamus assumes the role\u003cbr\u003e\u003cbr\u003eOf Phedon. What is that to Cyrano?\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eHave you not heard? Monsieur de Bergerac\u003cbr\u003e\u003cbr\u003eSo hates Montfleury, he has forbidden him\u003cbr\u003e\u003cbr\u003eFor three weeks to appear upon the stage.\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Who is, by this time, at his fourth glass)\u003cbr\u003e\u003cbr\u003eWell?\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eMontfleury plays!--\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003e(Strolls over to them)\u003cbr\u003e\u003cbr\u003eYes--what then?\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eAh! That\u003cbr\u003e\u003cbr\u003eIs what I came to see.\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003eThis Cyrano--\u003cbr\u003e\u003cbr\u003eWho is he?\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003eOh, he is the lad with the long sword.\u003cbr\u003e\u003cbr\u003eSECOND MARQUIS\u003cbr\u003e\u003cbr\u003eNoble?\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003eSufficiently; he is in the Guards.\u003cbr\u003e\u003cbr\u003e(Points to a gentleman who comes and goes about the hall as though seeking for someone)\u003cbr\u003e\u003cbr\u003eHis friend Le Bret can tell you more.\u003cbr\u003e\u003cbr\u003e(Calls to him)\u003cbr\u003e\u003cbr\u003eLe Bret!\u003cbr\u003e\u003cbr\u003e(Le Bret comes down to them)\u003cbr\u003e\u003cbr\u003eLooking for Bergerac?\u003cbr\u003e\u003cbr\u003eLE BRET\u003cbr\u003e\u003cbr\u003eYes. And for trouble.\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003eIs he not an extraordinary man?\u003cbr\u003e\u003cbr\u003eLE BRET\u003cbr\u003e\u003cbr\u003eThe best friend and the bravest soul alive!\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003ePoet--\u003cbr\u003e\u003cbr\u003eCUIGY\u003cbr\u003e\u003cbr\u003eSwordsman--\u003cbr\u003e\u003cbr\u003eLE BRET\u003cbr\u003e\u003cbr\u003eMusician--\u003cbr\u003e\u003cbr\u003eBRISSAILLE\u003cbr\u003e\u003cbr\u003ePhilosopher--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eSuch a remarkable appearance, too!\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eTruly, I should not look to find his portrait\u003cbr\u003e\u003cbr\u003eBy the grave hand of Philippe de Champagne.\u003cbr\u003e\u003cbr\u003eHe might have been a model for Callot--\u003cbr\u003e\u003cbr\u003eOne of those wild swashbucklers in a masque--\u003cbr\u003e\u003cbr\u003eHat with three plumes, and doublet with six points--\u003cbr\u003e\u003cbr\u003eHis cloak behind him over his long sword\u003cbr\u003e\u003cbr\u003eCocked, like the tail of strutting Chanticleer--\u003cbr\u003e\u003cbr\u003eProuder than all the swaggering Tamburlaines\u003cbr\u003e\u003cbr\u003eHatched out of Gascony. And to complete\u003cbr\u003e\u003cbr\u003eThis Punchinello figure--such a nose!--\u003cbr\u003e\u003cbr\u003eMy lords, there is no such nose as that nose--\u003cbr\u003e\u003cbr\u003eYou cannot look upon it without crying: \"Oh, no,\u003cbr\u003e\u003cbr\u003eImpossible! Exaggerated!\" Then\u003cbr\u003e\u003cbr\u003eYou smile, and say: \"Of course--I might have known;\u003cbr\u003e\u003cbr\u003ePresently he will take it off.\" But that\u003cbr\u003e\u003cbr\u003eMonsieur de Bergerac will never do.\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Grimly)\u003cbr\u003e\u003cbr\u003eHe keeps it--and God help the man who smiles!\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eHis sword is one half of the shears of Fate!\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003e(Shrugs)\u003cbr\u003e\u003cbr\u003eHe will not come.\u003cbr\u003e\u003cbr\u003eRAGUENEAU\u003cbr\u003e\u003cbr\u003eWill he not? Sir, I'll lay you\u003cbr\u003e\u003cbr\u003eA pullet ^ la Ragueneau!\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003e(Laughing)\u003cbr\u003e\u003cbr\u003eDone!\u003cbr\u003e\u003cbr\u003e(Murmurs of admiration; Roxane has just appeared in her box. She sits at the front of the box, and her Duenna takes a seat toward the rear. Christian, busy paying the Orange Girl, does not see her at first.)\u003cbr\u003e\u003cbr\u003eSECOND MARQUIS\u003cbr\u003e\u003cbr\u003e(With little excited cries)\u003cbr\u003e\u003cbr\u003eAh!\u003cbr\u003e\u003cbr\u003eOh! Oh! Sweet sirs, look yonder! Is she not\u003cbr\u003e\u003cbr\u003eFrightfully ravishing?\u003cbr\u003e\u003cbr\u003eFIRST MARQUIS\u003cbr\u003e\u003cbr\u003eBloom of the peach--\u003cbr\u003e\u003cbr\u003eBlush of the strawberry--\u003cbr\u003e\u003cbr\u003eSECOND MARQUIS\u003cbr\u003e\u003cbr\u003eSo fresh--so cool,\u003cbr\u003e\u003cbr\u003eThat our hearts, grown all warm with loving her,\u003cbr\u003e\u003cbr\u003eMay catch their death of cold!\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003e(Looks up, sees Roxane, and seizes Ligniere by the arm.)\u003cbr\u003e\u003cbr\u003eThere! Quick--up there--\u003cbr\u003e\u003cbr\u003eIn the box! Look!--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Coolly)\u003cbr\u003e\u003cbr\u003eHerself?\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003eQuickly--Her name?\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Sipping his wine, and speaking between sips)\u003cbr\u003e\u003cbr\u003eMadeleine Robin, called Roxane . . . refined . . .\u003cbr\u003e\u003cbr\u003eIntellectual . . .\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003eAh!--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eUnmarried . . .\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003eOh!--\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003eNo title . . . rich enough . . . an orphan . . . cousin\u003cbr\u003e\u003cbr\u003eTo Cyrano . . . of whom we spoke just now . . .\u003cbr\u003e\u003cbr\u003e(At this point, a very distinguished looking gentleman, the Cordon Bleu around his neck, enters the box, and stands a moment talking with Roxane.)\u003cbr\u003e\u003cbr\u003eCHRISTIAN\u003cbr\u003e\u003cbr\u003e(Starts)\u003cbr\u003e\u003cbr\u003eAnd the man? . . .\u003cbr\u003e\u003cbr\u003eLIGNIERE\u003cbr\u003e\u003cbr\u003e(Beginning to feel his wine a little; cocks his eye at them.)\u003cbr\u003e\u003cbr\u003eOho! That man? . . . Comte de Guiche . . .\u003cbr\u003e\u003cbr\u003eIn love with her . . . married himself, however,\u003cbr\u003e\u003cbr\u003eTo the niece of the Cardinal--Richelieu . . .\u003cbr\u003e\u003cbr\u003eWishes Roxane, therefore, to marry one","brand":"Bantam Classics","offers":[{"title":"Default Title","offer_id":46302020894949,"sku":"NP9780553213607","price":6.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780553213607.jpg?v=1767724404","url":"https:\/\/k12savings.com\/es\/products\/cyrano-de-bergerac-isbn-9780553213607","provider":"K12savings","version":"1.0","type":"link"}