SCENE IV Outside Dongurh. Ichalgurh, a letter in his hand; Ruttan, the Captain. ICHALGURH Who art thou, soldier? CAPTAIN The leader of the lances That guarded Edur's princess and with her Were captived by the Bheels. Their chief I serve. ICHALGURH Thou hast dishonoured then the Rajpoot name Deserting from thy lord to serve a ruffian Under the eyes of death, thou paltry trembler. CAPTAIN My honour, Rao of Ichalgurh, is mine To answer for, and at a fitting name I will return thy insults on my swordpoint. But now I am only a messenger. ICHALGURH I'll read The pri

-59_The Devil's Mastiff.htm The Devil's Mastiff THERE had been a heavy fall throughout the whole of that December day. The roads were white and in- distinguishable in a thick pall of moonlight and dazzling snow; here and there a drift betrayed the footing. In the sky a bright moon pursued by clouds ran timidly up the ascent of the firmament; great arms of darkness sometimes closed over it; sometimes it emerged and proceeded with its still luminous race, ran, swayed, floated, glided forward intently, unfalteringly. Patrick Curran, treading uncautiously the white uncertain flooring of earth, stumbling into snowdrifts, scouting into temporary dark- ness for his right road, cursed the weather a

SCENE V The slave-market. Muazzim with Anice-Aljalice exposed for sale. Ajebe, AZIZ, Abdullah and merchants. MUAZZIM Who bids? AZIZ Four thousand. MUAZZIM She went for ten when she was here first. Will you not raise your bid nearer her value? AZIZ She was new then and untouched. 'Tis the way with goods, broker; they lose value by time and purchase, use and soiling. MUAZZIM Oh, sir, the kissed mouth has always honey. But this is a Peri and immortal lips have an immortal sweetness. AJEBE Five hundred to that bid. Enter Almuene with slaves. ALMUEN

SCENE IV A room in the women's apartments of Ibn Sawy's house. Ameena, Doonya. AMEENA Call, Doonya, to the eunuch once again And ask if Nureddene has come. DOONYA Mother, What is the use ? You know he has not come. Why do you fret your heart, sweet mother, for him? Bad coins are never lost. AMEENA Fie, Doonya! bad? He is not bad, but wild, a trifle wild; And the one little fault's like a stray curl Among his clustering golden qualities, That graces more than it disfigures him. Bad coin! Oh, Doonya, even the purest gold Has some alloy, so do not call him bad. DOONYA Sweet

SCENE VI Outside Bappa's cot. Comol Cumary alone. COMOL CUMARY Have I too dangerously ventured my all Daring a blast so rude ? The Scythian roar Appals no more the forest, nor the war-cry Of Ichalgurh climbs mightily the hills; The outlaws' fierce triumphant shout is stilled Of their young war-god's name. Who has won ? who fallen ? Enter Bappa. COMOL CUMARY (coming eagerly to him) How went the fight ? You're safe! And Ichalgurh ? BAPPA Give me your hands; I'll tell you. COMOL CUMARY I see your head's Not in the basket. He takes her hands and draws her towards him

Fragment of A Drama ACHAB Stamp out, stamp out the sun from the high blue And all overarching firmament of heaven; Forget the mighty ocean when it spumes Under the thunder-deafened cliffs and soars To crown their tops with spray, but never hope That Baal will excuse, Baal forgive. That's an ambition more impossible, A thought more rebel from the truth. ESAR Baal! It seems to me that thou believ'st in Baal! ACHAB And what dost thou believe in? The gross crowd Believe the sun is God or else a stone. This though I credit not, yet Baal lives. ESAR And if he lives, then you and I are Baal, Dese

Act Three SCENE I Before Alaciel's House. GUENDOLEN But what you tell me is not credible. Could Love at the prime vision slip your fence And his red bees wing humming to your heart ? What, at the premier interchange of eyes Seed bulged into the bud, the bud to flower, Bloom waxing into fruit ? can passion sink Thus deep embedded in a maiden soil ? Masks not your love in an unwonted guise ? ALACIEL Sweet girl, you are a casket yet unused, A fair, unprinted page. These mysteries Are alien to your grasp, until Love pen His novel lithograph and write in you Songs bubbling with the music of a name. Oh, I am faster

SCENE VII The palace in Bassora. Ibn Sawy, Ameena, Nureddene, Anice-Aljalice, Doonya, Ajebe. IBN SAWY End, end embraces; they will last our life, Thou dearest cause at once of all our woes And their sweet ender! Cherish her, Nureddene, Who saved thy soul and body. NUREDDENE Surely I'll cherish My heart's queen! ANICE-ALJALICE Only your slave-girl. DOONYA You've got a King, You lucky child! But I have only a Turk, A blustering, bold and Caliph-murdering Turk Who writes me silly letters, stabs my lovers When they would run away with me, and makes A general Turkish nuisance of h

SCENE II Ibn Sawy's house. A room in the women's apartments. Ameena, Doonya. AMEENA Has he come in ? DOONYA He has. AMEENA For three long days! I will reprove him — call him to me, Doonya. I will be stern. DOONYA That's right. Lips closer there! And just try hard to frown. That's mildly grim And ought to shake him. Now you spoil all by laughing. AMEENA Away, you madcap! Call him here. DOONYA The culprit Presents himself unsummoned. Enter Nureddene. NUREDDENE (at the door) Ayoob, Ayoob! A bowl of sherbet in my chamber.

JUVENILIA THE WITCH OF ILNI A Dream of the Woodlands CHARACTERS CORILLO : prince of Ilm VALENTINE : a courtier IMELANDER : a sylvan poet FORESTERS : courtiers ALACIEL : the witch of Ilni GUENDOLEN : her sister GIRLS OF THE FOREST PERSONAE MUTAE Page .– 1057 The Witch of Ilni The Woodlands of Ilni. Girls and youths dancing. Song Under the darkling tree Who danceth with thee, Sister, say ? His hair is the sweet sunlight His eyes a starry night In May. Under the leaf-wrought screen Who crowns thee his queen Kissing thee ? His lips are a ru