L'Aiglon

by Edmond Rostand

  The Project Gutenberg EBook of L'Aiglon, by Edmond Rostand This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: L'Aiglon Author: Edmond Rostand Translator: Louis N. Parker Release Date: September 17, 2009 [EBook #30012] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK L'AIGLON *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.)

  * * *

  L'AIGLON

  A PLAY IN SIX ACTS

  BY

  EDMOND ROSTAND

  TRANSLATED BY

  LOUIS N. PARKER

  Copyright 1900

  By Robert Howard Russell

  The First Act

  The Second Act

  The Third Act

  The Fourth Act

  The Fifth Act

  The Sixth Act

  THE PERSONS OF THE PLAY

  The cast as presented by Maude

  Adams at the Knickerbocker

  Theatre, New York, October, 1900

  The Duke of Reichstadt, son of Napoleon I. and the Archduchess Maria Louisa of Austria Maude Adams

  Flambeau, a veteran J. H. Gilmour

  Prince Metternich, Chancellor of Austria Edwin Arden

  Count Prokesch Percy Lyndall

  Baron Friedrich von Gentz Eugene Jepson

  The Attaché of the French Embassy at the Austrian Court Oswald York

  The Tailor, a conspirator William Lewers

  Count Maurice Dietrichstein Edward Lester

  Baron von Obenaus R. Peyton Carter

  The Emperor Francis of Austria Jos. Francœur

  Marshal Marmont, Duke of Ragusa J. H. Benrimo

  Count Sedlinzky, Prefect of the Austrian Police William Crosby

  The Marquis of Bombelles, betrothed to Maria Louisa Clayton Legge

  Tiburtius de Loget William Irving

  Lord Cowley, English Ambassador at the Austrian Court Rienzi de Cordova

  Count Sandor Edward Jacobs

  Doctor Malfatti H. D. James

  General Hartmann Herbert Carr

  Captain Foresti John S. Robertson

  An Austrian Sergeant Lloyd Carleton

  A Country Doctor Frederick Spencer

  His Son Byron Ongley

  Thalberg B. B. Belcher

  Montenegro Morton H. Weldon

  The Chamberlain Charles Martin

  An Officer of the Noble Guard, the Emperor of Austria's Bodyguard Henry P. Davis

  The Marquis of Otranto, son of Fouche Charles Henderson

  Goubeaux Don C. Merrifield

  Pionnet {Bonapartist} Henry Clarke

  Morchain {conspirators} Thomas H. Elwood

  Guibert George Klein

  Borowski Frank Goodman

  First Police Officer Ralph Yoerg

  First Archduke, a child Walter Butterworth

  Second Archduke, a child John Leeman

  Maria Louisa, second wife of Napoleon I., widow of Count Neipperg Ida Waterman

  The Archduchess Sophia of Austria Sarah Converse

  Theresa de Loget, sister of Tiburtius de Loget Ellie Collmer

  The Countess Napoleone Camerata, daughter of Napoleon's sister, Elisa Baciocchi Sarah Perry

  Fanny Elssler Margaret Gordon

  Scarampi, Mistress of the Robes Francis Comstock

  Mina, a maid-of-honor Edith Scott

  An Archduchess, a child Beatrice Morrison

  Princes, Princesses, Archdukes, Archduchesses, Maids-of-Honor, Officers, Noble Guard, Masks (Male and Female), Crotian Peasants, Hungarian Peasant, Austrian Soldiers, Police Officers.

  The period covered by the play is from 1830 to 1832.

  THE DUKE OF REICHSTADT

  FROM THE PAINTING BY SIR THOMAS LAWRENCE

  THE FIRST ACT

  L'AIGLON

  THE FIRST ACT

  At Baden, near Vienna, in 1830.

  The drawing-room of the villa occupied by Maria Louisa. The walls are painted al fresco in bright colors. The frieze is decorated with a design of sphinxes.

  At the back, between two other windows, a window reaching to the ground and forming the entrance from the garden. Beyond, the balustrade of the terrace leading into the garden; a glimpse of lindens and pine-trees. A magnificent day in the beginning of September. Empire furniture of lemonwood decorated with bronze. A large china stove in the centre of the wall on the left. In front of it a door. On the right, two doors. The first leads to the apartments of Maria Louisa. In front of the window on the left at the back an Erard piano of the period, and a harp. A big table on the right, and against the right wall a small table with shelves filled with books. On the left, facing the audience, a Récamier couch, and a large stand for candlesticks. A great many flowers in vases. Framed engravings on the walls representing the members of the Imperial Family of Austria. A portrait of the Emperor Francis.

  At the rise of the curtain a group of elegant ladies is discovered at the further end of the room. Two of them are seated at the piano, with their backs to the audience, playing a duet. Another is at the harp. They are playing at sight, amid much laughter and many interruptions. A lackey ushers in a modestly dressed young girl who is accompanied by an officer of the Austrian Cavalry. Seeing that no one notices their entrance, these two remain standing a moment in a corner. The Count de Bombelles comes in from the door on the right and goes toward the piano. He sees the young girl, and stops, with a smile.

  The Ladies.

  [Surrounding the piano, laughing, and all talking at

  the same time.]

  She misses all the flats!—It's scandalous!—

  I'll take the bass!—Loud pedal!—One! Two!—Harp!

  Bombelles.

  [To Theresa.]

  What! You!

  Theresa.

  Good-day, my Lord Bombelles!

  A Lady.

  [At the piano.]

  Mi, sol.

  Theresa.

  I enter on my readership—

  Another Lady.

  [At the piano.]

  The flats!

  Theresa.

  It's thanks to you.

  Bombelles.

  My dear Theresa! Nothing!

  You are my relative, and you are French.

  Theresa.

  [Presenting the officer.]

  Tiburtius—

  Bombelles.

  Ah, your brother!

  [He gives him his hand and pushes forward a

  chair for Theresa.]

  Take a seat.

  Theresa.

  I'm very nervous.

  Bombelles.

  [With a smile.]

  Heavens! What about?

  Theresa.

  To venture near the persons of the two

  The Emperor left!

  Bombelles.

  Oh, is that all, my child?

  Tiburtius.

  Our people hated Bonaparte of old—

  Theresa.

  Yes—but to see—

  Bombelles.

  His widow?

  Theresa.

  And perhaps

  His son?

  Bombelles.

  Assuredly.

  Theresa.

  Why, it would mean

  I'd never thought or read, and was not French,

  Nor born in recent years, if I could stand

  Unmoved so near them. Is she lovely?

  Bombelles.

  Who?

  Theresa.

  Her Majesty of Parma?

  Bombelles.

  Why�
��

  Theresa.

  She's sad

  And that itself is beauty.

  Bombelles.

  But I'm puzzled.

  Surely you've seen her?

  Theresa.

  No.

  Tiburtius.

  We've just come in.

  Bombelles.

  Yes, but—

  Tiburtius.

  We feared we might disturb these ladies

  Whose laughter sings new gamuts to the piano.

  Theresa.

  Here in my corner I await her notice.

  Bombelles.

  What? Why, it's she who's playing bass this moment!

  Theresa.

  The Emp—?

  Bombelles.

  I'll go and tell her.

  [He goes to the piano and whispers to one of the

  ladies who are playing.]

  Maria Louisa.

  [Turning.]

  Ah! this child—

  Quite a pathetic story—yes—you told me:

  A brother—

  Bombelles.

  Father exiled. Son an exile.

  Tiburtius.

  The Austrian uniform is to my taste;

  And then there's fox-hunting, which I adore.

  Maria Louisa.

  [To Theresa.]

  So that's the rascal whose extravagance

  Eats up your little fortune?

  Theresa.

  Oh!—my brother—

  Maria Louisa.

  The wretch has ruined you, but you forgive him!

  Theresa de Loget, I think you're charming!

  [She takes Theresa by both hands and makes her

  sit beside her on the couch.]

  [Bombelles and Tiburtius retire to the back.]

  Now you're among my ladies. I may boast

  I'm not unpleasant; rather sad at times

  Since—

  Theresa.

  I am grieved beyond the power of words.

  Maria Louisa.

  Yes, to be sure. It was a grievous loss.

  That lovely soul was little known!

  Theresa.

  Oh, surely!

  Maria Louisa.

  [Turning to Bombelles.]

  I've just been writing; they're to keep his horse—

  [To Theresa.]

  Since the dear General's death—

  Theresa.

  The—General's?

  Maria Louisa.

  He'd kept that title.

  Theresa.

  Ah, I understand!

  Maria Louisa.

  I weep.

  Theresa.

  That title was his greatest glory.

  Maria Louisa.

  One cannot know at first all one has lost;

  And I lost all when General Neipperg died.

  Theresa.

  Neipperg?

  Maria Louisa.

  I came to Baden for distraction.

  It's nice. So near Vienna.—Ah, my dear,

  My nerves are troublesome; they say I'm thinner—

  And growing very like Madame de Berry.

  'Twas Vitrolles said so. Now I do my hair

  Like her. Why did not Heaven take me too?

  This villa's small, of course; but 'tisn't bad;

  Metternich is our guest in passing.

  [She points to the door on the left.]

  There.

  He leaves to-night. The life at Baden's gay.

  We have the Sandors and the pianist Thalberg,

  And Montenegro sings to us in Spanish.

  Fontana howls an air from Figaro.

  The wife of the Ambassador of England

  And the Archduchess come; we go for drives—

  But nothing soothes my grief!—Ah, could the General—!

  Of course you're coming to the ball to-night?

  Theresa.

  Why—

  Maria Louisa.

  At the Meyendorffs'. Strauss will be there.

  She must be present, mustn't she, Bombelles?

  Theresa.

  May I solicit of your Majesty

  News of the Duke of Reichstadt?

  Maria Louisa.

  In good health.

  He coughs a little; but the air of Baden

  Is good for him. He's quite a man. He's reached

  The critical hour of entrance in the world!

  Oh dear! when I consider he's already

  Lieutenant-Colonel! Think how grieved I am

  Never to have seen him in his uniform!

  [Enter the Doctor and his son, bringing a box.

  Maria Louisa.

  Ah! These must be for him!

  The Doctor.

  Yes; the collections.

  Maria Louisa.

  Please put them down.

  Bombelles.

  What are they?

  The Doctor.

  Butterflies.

  Theresa.

  Butterflies?

  Maria Louisa.

  Yes; when I was visiting

  This amiable old man, the local doctor,

  I saw his boy arranging these collections.

  I sighed aloud, Alas! would but my son,

  Whom nothing moves, take interest in these!

  The Doctor.

  So then I answered, Well, your Majesty,

  One never knows. Why not? We can but try;

  I'll bring my butterflies!

  Theresa.

  His butterflies!

  Maria Louisa.

  Could he but leave his solitary musings

  To occupy his mind with—

  The Doctor.

  Lepidoptera.

  Maria Louisa.

  Leave them; come back; he's out at present.

  [To Theresa.] You

  Come, I'll present you to Scarampi. She's

  The Mistress of the Robes.

  [She sees Metternich, who enters L.]

  Ah, Metternich!

  Dear Prince, we leave you the saloon.

  Metternich.

  Indeed,

  I had to come here to receive the Envoy—

  Maria Louisa.

  I know—

  Metternich.

  Of General Belliard, French Ambassador;

  And Councillor Gentz, and several Estafets.

  With your permission—

  [To a lackey.] First, Baron von Gentz.

  Maria Louisa.

  The room is yours.

  [She goes out with Theresa. Tiburtius and

  Bombelles follow her. Gentz enters.]

  Metternich.

  Good-morning, Gentz. You know

  The Emperor recalls me to Vienna?

  I'm going back to-day.

  Gentz.

  Ah?

  Metternich.

  Yes; it's tiresome—

  The town in summer!

  Gentz.

  Empty as my pocket.

  Metternich.

  Oh, come now! No offence, you know, but—eh?

  Surely the Russian Government has—

  Gentz.

  Me!

  Metternich.

  Be frank. Who's bought you? Eh?

  Gentz.

  [Munching sweetmeats.]

  The highest bidder.

  Metternich.

  Where does the money go?

  Gentz.

  [Smelling at a scent-bottle he has taken out of his

  pocket.]

  In riotous living.

  Metternich.

  Good Heavens! And you're considered my right hand!

  Gentz.

  Let not your left know what your right receives.

  Metternich.

  Sweetmeats and perfumes! Oh!

  Gentz.

  Why, yes, of course.

  I've money; I love sweets and perfumes. Yes,

  I'm a depraved old baby.

  Metternich.

  Affectation!

  Mere pose of self-contempt.

  [Suddenly.] And Fanny?
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