SCENE II Outside the palace of Pururavas, beneath the House of Gems. The terrace of the House of Gems with a great staircase leading up to it. The Chamberlain Latavya enters. LATAVYA (sighing) All other men when life is green and strong Marry and toil and get them wealth, then, ageing, Their sons assume the burden, they towards rest Their laboured faces turn. But us for ever Service, a keyless dungeon still renewed, Wears down; and hard that service is which keeps O'er women ward and on their errands runs. Now Kashi's daughter, careful of her vow, Commands me, "I have put from me, Latavya, The obstinacy of offended love And w

Act Three The forest near Dongurh. SCENE I Comol, Coomood, meeting in the forest. COOMOOD CUMARY Where were you hidden, Comol, all this morning? COMOL CUMARY I have been wandering in my woods alone Imagining myself their mountain queen. O Coomood, all the woodland worshipped me! Coomood, the flowers held up their incense-bowls In adoration and the soft-voiced winds Footing with a light ease among the leaves Paused to lean down and lisp into my ear, Oh, pure delight. The forest's unnamed birds Hymned their sweet sovran lady as she walked Lavishing melody. The furry squirrels Peeped fro

THE MAID IN THE MILL LOVE SHUFFLES THE CARDS A Comedy DRAMATIS PERSONAE CUPID. ATE. KING PHILIP OF SPAIN. COUNT BELTRAN, a nobleman. ANTONIO, his son. BASIL, his nephew. COUNT CONRAD, a young nobleman. THE MILLER. ACINTO, his son. JERONIMO, a student. CARLOS, a student. FRIAR BALTASAR, a pedagogue. EUPHROSYNE, the maid of the farm. ISMENIA, sister of Conrad. BRIGIDA, her cousin. Page – 821 Facsimile of a page from THE MADE IN THE MILL Page – 823 Act One SCENE I The King's Court at Salamanca. King Philip, Conra

Act Three SCENE I Hermitage of the Saint Bharat in Heaven. Galava and Pelava. GALAVA Pelava, thee the Sage admitted, happier Chosen, to that great audience in the house Of highest Indra — I meanwhile must watch The sacred flame; inform my absence. Was The divine session with the acting pleased ? PELAVA Of pleased I know not; this I well could see They sat all lost in that poetic piece Of Saraswatie, "Luxmie's Choice" — breathlessly Identified themselves with every mood. But— GALAVA Ah, that but! It opens doors to censure. PELLAVA Yes, Urvasie was heedless, missed her wo

Act Two SCENE 1 Park of the King's palace in Pratisthana. — In the background the wings of a great building, near it the gates of the park, near the bounds of the park an arbour and a small artificial hill to the side. Manavaka enters. MANAVAKA Houp! Houp! I feel like a Brahmin who has had an invitation to dinner; he thinks dinner, talks dinner, looks dinner, his very sneeze has the music of the dinner-bell in it. I am simply bursting with the King's secret. I shall never manage to hold my tongue in that crowd. Solitude's my only safety. So until my friend gets up from the session of affairs, I will wait for him in this precinct o

Act Five Bassora and Bagdad. SCENE I A room in Almuene's house. Almuene, Farced. FAREED You'll give me money, dad ? ALMUENE You spend too much. We'll talk of it another time. Now leave me. FAREED You'll give me money ? ALMUENE Go; I'm out of temper. FAREED (dancing round him) Give money, money, money, give me money. ALMUENE You boil, do you too grow upon me ? There, (strikes him.) FAREED You have struck me! ALMUENE Why, you would have it. Go. You shall have money. FAREED How much? Page – 706

SCENE III Ismenia's chamber. ISMENIA Brigida lingers. O he has denied me And therefore she is loth to come, for she Knows she will bring me death. It is not so. He has detained her to return an answer. Yet I asked none. I am full of fear, O heart, I have staked thee upon a desperate cast, Which if I win not, I am miserable. 'Tis she. O that my hope could give her wings Or lift her through the window bodily To shorten this age of waiting. I could not Discern her look. Her steps sound hopefully. Enter Brigida. Dearest Brigida! at last! What says Antonio? Tell me quickly. Heavens! you look mela

SCENE VI The palace at Bassora. Alzayni, Salar. ALZAYNI So it is written here. Hot interchange And high defiance have already passed Between our Caliph and the daring Roman. Europe and Asia are at grips once more. To inspect the southward armies unawares Haroun himself is coming. SALAR Alfazzal then Returns to us, unless the European, After their barbarous fashion, seize on him. ALZAYNI 'Tis strange, he sends no tidings of the motion I made to Egypt. SALAR 'Tis too dangerous To write of, as indeed 'twas ill-advised To make the approach. ALZAYNI Great dangers j

SCENE II The same. Anice-Aljalice, Nureddene. ANICE-ALJALICE And they all left? NUREDDENE Cafoor crept down and heard The clamorous creditors; and they all left. Ghaneem's dear mother's sick; for my sweet love Only he came, leaving her sad bedside; Friend Ayoob's uncle leaves today for Mecca: In Cafoor's house there is a burial toward; Zeb's father, Omar's brother, Hussan's wife Are piteously struck down. There never was So sudden an epidemic witnessed yet In Bassora, and all with various ailments. ANICE-ALJALICE This is their friendship! NUREDDENE We will not judge so har

SCENE II A room in Almuene's house. Almuene, Khatoon. KHATOON You have indulged the boy till he has lost The likeness even of manhood. God's great stamp And heavenly image on his mint's defaced, Rubbed out, and only the brute metal left Which never shall find currency again Among his angels. ALMUENE Oh always clamour, clamour! I had been happier bedded with a slave, Whom I could beat to sense when she was froward. KHATOON Oh, you'ld have done no less by me, I know, Although my rank's as far above your birth As some white star in heaven o'erpeers the muck Of foulest stables, had I