Acis and Galatæa;: TEI editionBurnand, F.C.TEI conversionLou Burnard Privately distributed by the Digital Lacy ProjectL0860The Lacy Project waives all rights to the TEI encoding applied to this material, which is believed to be in the public domain. You may copy, modify, distribute and perform this work freely. Burnand, Francis C.Acis and Galatæa; or, The Nimble Nymph, and the Terrible Troglodyte!An Extravaganza46 pp (UM copy: 124 - 170) Lacy's Acting Edition, volume 58, No. 0860N10133UM from HT Licence sent 31 March 1863 for performance at the Olympic. BL ms LCP_53021.O Premiered at Royal Olympic Theatre 6 April 1863 SPECTACLE VULCAN Vulcan. CUPID Cupid. NEREUS Nereus. ACIS Acis. DAMON Damon. POLYPHEMUS Polyph. STREPHON Streph. A YOUNG CYCLOPS Young Cyc. Young Cyclops. CYCLOPES Cyclops. 1st Cyclopes. 1st. Cyc. SHEPHERDS & SHEPHERDESSES 1st Shepherd. GALATÆA Galat. PHYLLIS Phyllis. NEREIDS 1st Nereid. [Multiple speakers] Acis & Galat. Acis & Polyph. Acis and Gal. Acis and Galat. All. Both. Cupid, Acis, and Galatæa. Damon and Phillis. Damon, Phyllis, Shepherds, &c. Galat. Phyllis. Damon. Shepherds, &c. Phyllis & Damon. Standardize header componentsMetadata refreshed from catalogue and Partix folder Metadata refreshed from catalogue and Partix folder Auto-tagged by Gemini 3.0 (Flash 2.5) Acis and Galatæa; or, The Nimble Nymph, and the Terrible Troglodyte! An Extravaganza, BY F. C. BURNAND, Esq., Author of Dido, Romance under Difficulties, In for a Holiday, Lord Lovel and Nancy Bell, Villikins and Dinah, King of the Merrows, Deerfoot, Robin Hood, Fair Rosamond, Alonso the Brave and the Fayre Imogene. and part author of Carte de Visite, Isle of St. Tropez, Turkish Bath, "B.B.," &c., &c. THOMAS HAILES LACY, 89, STRAND LONDON.

First performed at the Royal Olympic Theatre, on the 6th day of April, 1863, under the management of Mr. W. S. Emden, & Mr. F. Robson.

Acis and Galatæa; Or, the nimble nymph, and the terrible troglodyte!

The Overture and Incidental Music composed, selected, and arranged by J. H. TULLY. The Dances and Action arranged by Mr. MILANO. The New Scenery by Messrs. GRIEVE and TELBIN.

Characters. VULCAN (God of Fire and Patron of Forgers) Mr. G. VINCENT CUPID (the Son of Vulcan and Venus; being, it need hardly be added, the God of Love) Miss LATIMER. NEREUS (the most Ancient Mariner ever known, he will appear towards the end of the piece as the Deus ex bathing-machina by the sea-side, and throw out a line or two, which the audience will doubtless catch) Miss HAYWARD. ACIS (a young Shepherd beloved by Galatæa— very romantic—has read Eugene Aram, but refuses to study Lamb plays the pipe, but cannot take to the short-horn, nor give any attention to the Alderneys, except as an Al-dernier resort—in love with the fair Gal, the fair Gal-atea) Miss ANNIE KEMP. (her First Appearance in England). DAMON (a young Farmer, a sort of Sicilian John Mellish, only more Mellish—us, in love with PhyllisMellish is the "transparent, boyish" Yorkshire squire who becomes the third husband of Aurora Floyd, in the eponymous novel by Mary Elizabeth Braddon. Alice Raynham also appeared in the theatrical adaptation of Aurora Floyd by Ben Webster, in 1863 at the Adelphi. Miss RAYNHAM. POLYPHEMUS (a Monster, a Troglodyte, and any other horrible name you like to call him —a very single-eye'd individual, and, though coming from a warm climate, must be considered as an eye-talyan the impersonation of this extraordinary being will show a great deal of eye art on the part of) Mr. ATKINS. STREPHON (a neatherd who comes of a tidy lot) Mr. H. COOPER. A YOUNG CYCLOPS (only three months old, and considered a remarkably fine child for his age—as he accompanies Polyphemus in his tour, it may be thought that he is put down to walk too early) Mr. H. RIVERS. CYCLOPES (Vulcan's Workmen, labouring at the Forges under Mount Ætna) Messrs. FRANKS, BOLOGNA, EVANS, &c., &c. SHEPHERDS & SHEPHERDESSES (usually known as Swains, distant relations of Charles's wain, and the moon's-wane) Misses BECKETT, HICKS, SHAVER, LENNOX, NEWHAM, BUSH, BLEWITT, WEBB, &c. GALATÆA (a Nymph of the Sea, who also visits the land—a nymphibious young lady, violently in love with Acis, a Sicilian Shepherd) Miss HUGHES. PHYLLIS (a Shepherdess, whom many people might consider, from her being so much on the "Strand" of the sea, as a Lowther Arcadian; but we don't allow their supposition for a moment —she is desperately in love with Acis) Miss J. TAYLOR. (her First Appearance at this Theatre). NEREIDS (who offish-iate whenever Galatæa appears) Misses CONWAY, WITHERS, BLEWITT, LOTON

The Scene is laid in the Island of Sicily, and especially in a very pastoral part of it (which ought to have been) called COWES.
SCENE I.

The Cyclopes wish for pleasure—in Ætna they have neither eat nor drank nor enjoyed themselves for a long time—the Revolution—Love's Entertainment—the Carte de Visite—the Compact—the Conflagration—the rash act ending in a

SCENE II.

Metoerological observations about the wether—Phyllis is my only joy—Strephon's complaint—Arrival of a well-known Magistrate, who sees that the course of his love match is crooked—Phyllis angry—Acis dismissed by dis Miss.

SCENE III.

Invisible chorus sung in time and with tide, "Over the Sea!" Great excitement in the sea-ty—Crush at the Bar—Horse Marines, in creeky boots, clear the way—"Oh, where, and oh, where is my shepherd lover gone?"—Scotch tune sung, because the sea-shore reminds everyone of Sandie—"Tell me, Shepherds, have ye seen?"—the Meeting—the Plot Thickens, you'll see what'll happen then—Up a Tree!—Allopathy practised with an axe, as if we were in Naxos—down again!—Blind-man's Buff—the Rebuff—cowardly conduct to Galatæa of a Buffer who towers above her.

Between the TREMENDOUS TROGLODYTE and the NEATHERD'S NOVICE, For further particulars concerning this interesting combat, apply at the Box office.

SCENE IV.

Preparations for a meal for one, enough for a meal-lion—Reminisences of Mrs. Fry—the Fire-escape—the griller—Polyphemus overcome by love and wine—the deadly design—" still so gently o'er me steeling"—cutting the cords, and getting the right keys—Away! away!

SCENE V.

The waiter shows the way ter the Inn—Infuriated Females—Combat "Off the Needles"—Oh, darn't!—The Reception! The Deception! Rage! Despair! Joy! And Grand Operatic Trio.

SCENE VI.

Cupid's Shot—Damon and Phyllis—the Maniac—the great Bargain and a little Rock thrown in, presenting in one denouement a

View of a Flat by the sea—Nereus appears riding on a bay, with other Sequestrians on Sea Horses—Assembly of River Deities to witness the glorious And General Rejoicing at the Celebration of the Nuptials of !
ACIS AND GALATÆA.
SCENE FIRST.—The Forges of Vulcan underneath Mount Ætna. CYCLOPES discovered at work at the furnaces. Music. The CYCLOPES simultaneously give one blow and finish their labours. Opening Chorus. Air, "La Zingarella." Cyclops. Who'd do a bit of work But for a stern compeller? Who would not trouble shirk? Why, ev'ry single fellar. Who, who? Would do? Would you? Who, who? No single fellar! No single fellar! No single fellar! 1st Cyclopes. (R.) Let's play. (the CYCLOPS testify their assent and are about to commence games when) Young Cyclops. (L.) To one thing I must make allusion: This was to be our night for revolution. (the CYCLOPS look as sagaciously as they can at one another and then come down) When Polyphemus said that he'd instruct us How to dethrone great Vulcan, and conduct us To freedom. 1st. Cyc. Pooh! that is all talk, I fear. Now is the time, and where is he? (turning to CYCLOPS) All. (murmuring) Hear! POLYPHEMUS entering from inner cave and coming down by large anvil, C. Polyph. (C.) Here! What with mere words his time does every man fill? Am I midst lunatics, and is this Hanvil! (striking anvil) 1st. Cyc. (R.) You said— Polyph. I did: that as to me appears, For Vulcan we have used our hands for years! For him we've worked by day, and worked by night, Each Cyclops with his hammer. Hammer right? All. You are. Polyph. You want a holiday, Cyclopes? Vulcan has gone to Lemnos, where I hope he's Likely to stay; our move he'll not detect, Let's make one bolt that he does not expect. Come lay your implements upon the shelves, We've struck for him, now we'll strike for ourselves. All. We will! we will! (gong sounds—all start look dolefully at one another—they begin to move away from POLYPHEMUS) Polyph. Leave me? Why do you all off skulk an' Young Cyc. (L.) Why—hem—you see in fact—it's Vulcan! Music—enter VULCAN, L—CYCLOPES stand moodily at their different furnaces—POLYPHEMUS, with his arms folded, assumes a defiant attitude. Vulcan. Why has each forger stopped his usual action? Polyph. Would it afforge yer any satisfaction, To know that we're in need of a physician, And suffering from severe indisposition! Vulcan. (L.) To take that lame excuse, I must refuse! Slave! I'll not swallow anything you choose! Polyph. (R.) Well then, to make the matter very clear, We're all agreed on striking Vulcan. (c.) Strike, but (laying his hand on anvil) here. Polyph. (excited) I— Vulcan. (grandly) Silence! Vulcan. Go to your bellows. (pointing) Polyph. Work we'll not begin, sir; And for your bellows we don't care a pin, sir. Vulcan. Now for this impudence, base slave, I'll tan you, As sure as my name's Vulcan. Polyph. (derisively) Ah! Vul-can you. One blow, so try to bear it if your skull can, One, two, and— (all the CYCLOPES raise their hammers and take a step back to give force to the blow) Vulcan. Jove, assist your step-son Vulcan! (as the CYCLOPES rush forward about to strike VULCAN, in a flash of forked lightning a bolt descends, striking the rock, which splits asunder, discovering CUPID standing in an attitude as if protecting VULCAN—the CYCLOPES stand powerless in the different positions in which they were when the bolt descended, rooted to the spot—tableau) Vulcan. (L.) Cupid! Cupid. (R.) My pal Vulcan. My son, receive my gratitude. There! I'll release you from your striking attitude! (waves his hand and the CYCLOPS regain their freedom, they now in a very subdued and humble manner make obeisance to VULCAN, and retire up to their several occupations) Vulcan here asks Cupid if there is any news, and Cupid producing a newspaper, introduces the topics of the day. Cupid. Jove wants some Armstrongs—just a dozen more. Vulcan. Better try Whitworth's! Cupid. Well, they're such a bore; Some thunderbolts are wanted, Mars believes, His armour's gone to grief, and needs some greaves. Cupid. Jove wants some thunderbolts, and Mars believes His armour's gone to grief, and needs some greaves. There is his note. (handing paper) Vulcan. (reading it sneeringly) "I wants an armour." Well, The coxcomb can't write grammar, and can't spell. Cupid. Good grammar from a captain of hussars? He cannot be at once both Mars and parse. Vulcan. (crosses to L) Come, boys, to work! think, Polyphemus, too, While at my iron I've my eye-on you. Exeunt VULCAN and CYCLOPS, L. 1 E., POLYPHEMUS about to follow them, stops, and turning disconsolately looks at CUPID. Polyph. (L., mournfully) Ah, happy Cupid, ever young! Cupid. (R., carelessly) Oh, yes! Polyph. With such light spirits you quite effervesce, Like ginger beer. Cupid. (gaily) And that the reason is Why I have popped up here to show my phiz. Polyph. I envy you. Cupid. What, don't the guv'nor treat You well with food? Polyph. 'Tis iron that we heat You see the fires everywhere thou turnest. Cupid. (looking around) Yes, your apartments seem to be well furnaced. When trade is dull and all your fittings shabby Make this a show place. Polyph. What as? Cupid. Furnace Abbey. Polyph. Won't you take anything? Cupid. No, not now, later. You know I've just had one drop from the crater! I'm making holiday! my bow, you see, And arrows I don't bring, wil't come with me To Earth, to Sicily—'twill be such fun. Polyph. Alas! Cupid. A lass? Up there (pointing up) I'll show you one; A beatueous face for which you long have panted, Fair as the Rose of Denmark, just transplanted. A sea-nymph who forgetful what her place is, Falls over head and ears in love with Acis— Polyph. And he's— Cupid. A shepherd—you shall see. (looking off) Here! bring That photographic album. (to POLYPHEMUS) A new thing. A sea-nymph who forgetful what her place is, Falls over head and ears in love with Acis— Polyph. And he's— Cupid. A shepherd—you shall see. (looking off) Here! bring, That photographic album. (to POLYPHEMUS) A new thing. Invented by Apollo, one may say The sun is now the artist of the day. (two CYCLOPES who have entered during the above speech with large book place it R.—Music.) I'll show you such a beauty, not too near, (the book opens and shows a living portrait of GALATÆA. CUPID speaks in the style of a Showman.) A likeness of the sea-nymph Galatæa! Hobserve the heye, the 'and, if you are willing, You can be done in this style for one shilling. She's taken by herself which some prefer! Polyph. (in rapture) And I am taken very much with her. (sadly) Regrets are useless! (book shuts) CYCLOPES remove book and exeunt. Cupid. Why, what do you mean? Polyph. There was a time, boy, when I should ha' been, If I had met her formerly, contented. Cupid. Well, now you shall be formally presented. Polyph. What! Can you take me? Cupid. Through the mountain smack up! Polyph. Then I'm your man, at once I'll go and pack up. Duett "Flip-up-in-de-Skidamindinck." Cupid. I'm such a one for fun you know, We'll stop out late at night, Polyph. And go and see a theatre-show, And ev'ry other sight. Cupid. And when it is the break o'day, Still dancing we'll be found. Polyph. Ah, then we may, while fiddles play, Just take another round. Oh, my! Don't you hear the fiddle playing. Dance. Our joy we'll sing together, In words we can't imprube, Flip up in de Skidamindinck, Jube up in de jubentube. Dance and exeunt, R. 1 E. Re-enter VULCAN, and the CYCLOPES with materials, L. 1 E. Vulcan. We've got materials, now then for the works It seems that master Polyphemus shirks. Enter YOUNG CYCLOPS, R. Young Cyc. Oh, please, sir— Vulcan. Well, stupid? Young Cyc. That Polypheme Vulcan. What? Young Cyc. I saw him just a going off with Cupid! Vulcan. What, leave without my license? Re-enter CUPID and POLYPHEMUS, R. 1 E., the latter carrying a carpet bag and umbrella. Cupid. Not a bit. It Is thus we came to know if you'll permit it. A tour— Vulcan. (looking at POLYPHEMUS) Well, my permission he has got. (to POLYPHEMUS) But mind you're back in six days, or if not, I'll fetch you. Polyph. (crossing to C.) Sir, I shall return without. Vulcan. Here, take this youth (pointing to YOUNG CYCLOPS), to follow you about! On you some luggage such a trip entails. Cupid. We'll take the valet to attend the vails! Vulcan. Blow at the fires—all Ætna's force we'll lend 'em. Up on the heave of an eruption, send 'em! Part Song and Chorus—Air, "Granny Snow." Published by Hopwood & co. Vulcan. Remember, master Polly, Your course is very plain, Polyph. To-day we go — that's jolly! Vulcan. One week, then back again. Cupid. On Earth we'll have such fun, To pleasure not say woa! Vulcan. And when the time is done, Then back again you'll go. All. They'll|We'll leave us|you all behind. The compact we|they all know. About we'll|they'll roam, And then come home; But first away we'll|they'll go. (during this concluding chorus, POLYPHEMUS, CUPID, and YOUNG CYCLOPS, have mounted on a large block of rock at the back in C.—the CYCLOPS work the fires—the rocks begin to heave—the furnaces to blaze—the rumbling sound, which has been gradually increasing ends in a loud explosion, and the three are seen ascending in the fiery eruption, as the scene closes)
SCENE SECOND.—Landscape in Sicily. Music. A lot of very white sheep like the toy ones run across the stage. Enter STREPHON, L., struggling with a large SHEEP. Streph. I've got you; but—(SHEEP butts) don't butt; how hard he's hitting, I'll keep this wether here, weather permitting; He's going, going—(SHEEP releases himself and runs away) gone, yes, altogether, Oh, Admiral Fitzroy! send back that fine weather. Stop, sheep! Miss Phyllis this will much annoy; Hi stop, you skipper Hallo, sheep ahoy. Enter PHYLLIS, R. Phyllis. (R.) Why are you idling? Streph. (L.) Ma'am, this not my place is, To wash the sheep, you hired that boy Acis; I have to do his work. Phyllis. Where's he? Streph. He! straying, Singing love's roundelays, his round delaying; While I am forced to stand in water sloshing, Like flannel, ma'am, I shrink from so much washing. Phyllis. I told him he must churn too: Streph. Well, he won't— Wants me to make the butter, but 'er won't; I work for him—his pay on me confer; Come, stand the bullion. (threateningly) Enter DAMON, L. 2 E. Chord. Damon. (door, c. quietly laying hold of his arm) Don't stand bullyin' her! Streph. (L.) And who are you? Damon. (c.) At Hammersmith, you may, man, Learn at the police court that I'm Mr. Dayman. Phyllis. (R.) Leave us! Streph. Dismiss me! who will tend your flocks, Your garden borders, poultry, box and cocks? Your favorite Acis? Damon. (aside) Ha! Streph. He won't assist. Phyllis. Go! Streph. When I've mizzled then I shall be missed. Exit, L. Damon. Phyllis, perhaps it will not much surprise you To hear that there's a youth who knows and eyes you, Head over ears in love. Phyllis. This youth appears To've formed a passion far above his years. Damon. I'm he—Be mine? Phyllis. Go, from the village, choose Where many a girl your hand would not refuse. There's Chloe— Damon. (disgusted) Oh! she's ancient, fat, and doughy! I can't drop this new suit for that old Chloe. A prosp'rous farmer am I in good sooth, I till three hundred acres— Phyllis. Till the truth. Damon. I do. I'm rich in hops and grain and mallow, Ripe cornfields too—oh, smile upon a fallow— I'm major in the yeomanry. Phyllis. No doubt of it You're major in it, and you may jaw out of it But won't obtain my heart. Damon. There's one who's wove Love's net round that. Phyllis. (surprised out of the secret) The shepherd boy! Damon. Boy Jove! Above a farmer rank a shepherd? pooh! Phyllis. I love him, farmer, oh far more than you. Damon. And he returns your passion? Phyllis. Well, he may so, Up to this moment I've not heard him say so. Damon. (aside) Aha! Phyllis. Of late he quite neglects the flocks, Playing his pipe he strays among the rocks. Sometimes he dances, caring not a fig, Right o'er the cockles. Damon. "Cockle o'er 'em jig." (ACIS plays without on a shepherd's pipe, "Hush ye Pretty.")—(Handel.) Phyllis. That strain! Damon. (aside) This train of thought! her eye she's wiping! I'd like to give some trimming to his piping. (they retire up) Enter ACIS, L. 2 E., playing on his pipe dejectedly. Acis. Sweet nymph, I conjure up thy absent face; Each place is triste except the trysting place. When Galatæa comes. While she's not here, I can but drop for this sweet gal a tear. Song.—ACIS.—Air, "Now with joy my Heart is beating." (Sonambula) Oh! when shall I see my Galatæa? She, she is to me such a little, little dear. "Railway Car." Oh! I love her so, I hope One day we'll both elope, For she's got no bothering papa; And she has, I'm glad to say, Simply no one in the way— No nasty odious mamma! Odi— Odi— Odious mamma! Oh! we so love one another! And, to kick up any bother, There's no nasty odious mamma. (dances and strikes an attitude) Phyllis. (is about to come forward lovingly, when she sees DAMON watching her, aside) I must be guarded; (aloud to ACIS, crossly) Through your work you scramble, And leave each bull and ram to take a ram bull. Acis. Bother! from service, madam, let me go; Phyllis. The sheep are— Acis. (pettishly) Bah! Phyllis. And then the oxen— Acis. (as before) Low! Phyllis. To mind the fowls is not beneath your station; Acis. Hen's cackle is beyond my cackle-lation. Damon. (comes down c.) In feeding poultry, he'd give satisfaction; Acis. Pooh! Phyllis. He will not stoop to a poultry action. Damon. He wouldn't kill two fowls a dinner treat. Acis. I'm not accustomed to make both hens meat. I am a poet, not a shepherd. Damon. Then Why not write poems? Acis. What with a sheep pen? I might as well change places with a dog! Damon. (sneeringly) Or pig! Acis. The Ettrick shepherd was a Hogg; But I give up your service. (crosses c.) Phyllis. (aside to ACIS) Cruel willian, I love you, young Sicilian. Acis. (annoyed) Do cease silly 'un. Damon. (aside) He doesn't care for her, that's very clear. Phyllis. You still must mind my herd. Damon. (in ACIS' ear, as he does not appear to be listening) The herd! Acis. (annoyed) I hear. (abstractedly) She rises from the sea, so deep and vasty. Phyllis. Think of my sheep, young man. Acis. They're sheep—and nasty. Damon. The place won't suit him. Acis. At the work I shudder; I've milked one cow, I'd never milk an udder— 1 loath the life. Damon. (aside to him) That's right! Phyllis. (aside, distractedly) And loathe me, too. Cruel willian, (aloud, playfully) What, hate the little lambs? Acis. (throwing off her hand, which she has placed on his arm) The lambs! no ewe! (crosses to L.) Phyllis. (aside, fiercely) Spurned by a slave like that! (to DAMON, who has been laughing at the rebuff) Come here, I say! Don't go on laughing in that senseless way; Put on disguise, and follow quick, incog., him. Damon. I will. Phyllis. Find out "how jumps the cat," and dog him; Learn who's his mistress—some deceitful, new, Soft purring puss! Damon. I'll go on purr-puss too. (crosses to L.) Phyllis. (to ACIS) Boy, you may go—I shall want you no more; Acis. (joyfully) I'm free! Phyllis. As air— Acis. As e'er I was before. Trio. DAMON, ACIS, and PHYLLIS. Air, "For a few days." Hutchings, Leader, & Co, 63, New Bond Street. Acis. (walking round in nigger fashion) I'll go and see my Galatæa All. For a few days! for a few days! Acis. She lives in the sea so very near, She'll take me home. Acis. She's a home out yonder, for a few days, for a few days. Phyllis & Damon. Where'll he roam, I wonder, for a few days, for a few days. Acis. She'll take me home. Phyllis & Damon. We'll make him roam. Phyllis. (walking furiously) Oh! vengeance makes me walk like this. All. (beating time with hands and feet) For a few days! for a few days! Phyllis. I'll not be left for any miss, Left, left at home. (Chorus, as before) Damon. (walking) I'll follow him and track him out For a few days, &c. Until quite lame, I think about Walking home. (Chorus, as before) Exeunt, walking off to time and tune, PHYLLIS and DAMON, L., ACIS, R.
SCENE THIRD.—Sicily: the scene represents, as just before dawn, a rocky shore and wide expanse of sea—waves advancing and re-sea-ding. GALATÆA sings without, L. Oh, 'tis pleasant to float on the sea, When the nursery maids in a deep sleep be; When there's no small boy on beach with spade To fill up the little hole he's made; Where there comes no man to the yellow sand, Laden with sweets from the distant land; This is the pleasant sort of thing At Ramsgate, or Margate, or famed Bri-ting. Music—GALATÆA, attended by NEREIDS, passes across stage over the sea from L. to R. As she disappears, enter in front SHEPHERDS and SHEPHERDESSES, L. 2 E.—GALATÆA comes down from R. U. E.—they salute her. All. Hail, Galatæa! (R. and L. at back) Galat. On the shore again, I go to seek my Acis in the plain; His whereabouts at once I must discover— Say, gentle shepherds, have ye seen my lover? Song.This Song, in imitation of the original Italian, will, it is hoped, obtain a prize for real poetic feeling and elegance of expression at the Hanwell Academy.—GALATÆA.—Air, second part of "Casta Diva." (Norma.) Galat. Fellow, to me return, oh, Who's got a more prim air, oh? He can't, oh, for me much care, oh, Nor fuss at a sor-row. Well, rather you the way know, If you don't love me, say so, Apart we are to go. Enter STREPHON, L. Streph. Yes, I've seen Acis. Galat. Looking— Streph. Werry fair; He's wandering near. Galat. Is he? I wonder where? Streph. The music of his pipe along the shore Once drew the shepherds. Galat. His pipe used to draw. Streph. Now he sings you, and cries, "How sweet her face is, My Queen of Hearts." Galat. The Queen! then he the Ace is. Down, timid flutterer! wherefore these delays, This poor sea nymph has not seen him for days. Acis. (sings without) "Galatæa!" Galat. I'll echo back his cry along the strand, Though we're not standing on a neck o' land. (ACIS sings her name again and she answers, thus Acis. Galatæa! Galat. I'm he-re! Galat. Leave us, ye nymphs and swains. Exeunt STREPHON, with SHEPHERDS and SHEPHERDESSES, L. 1 and 3 E. How swift his pace is! Enter ACIS, L. 2 E. Acis. (L.) Where is she? Ah! my Galatæa! Galat. (R.) Acis! Where have you been? Acis. Oh, running here in haste— For without you my breast is but a waste. Galat. Fresh as green grass in every desert place is. O, Acis, in my heart, you're an oasis. Acis. Singing your name, 'gainst Fate I rail. Galat. No railly! Acis. (faintly, as though fatigued) O'er hill and dale— Galat. (sympathetically) Have you been ill! Acis. Oh! daily. More beauty than three goddesses you've got. Galat. I cannot vie with them. Acis. Not vie! Vy not? You are, than Juno, blue-eyed Pallas too. Aye, lovelier than the sea-born Venus, who Disputed Beauty's prize with both o' them. And as to Hebe— Galat. (pouting) He-be-she be. Hem! Acis. Would you could live on shore. Galat. Pshaw! you with me. Were you like Nereus, might live in the sea. Acis. The sea! With finny fish I've no affinity. Galat. I can dive in it being a dive-in-it-y. Acis. Were I a Triton— Galat. You'd try't on with pleasure. Once 'neath the waves thine is my heart and treasure; Or I might say, the old song's words to suit, My heart, and what the Indians term my "loot." Acis. To-day you'll stay here? Galat. 'Till the shades of night. The daytime, so to speak, is my daylight. Acis. Since to our meeting Fate has been propitious, We'll to some shady dell. Galat. Ah! how dell-icious. Acis. There we'll beguile the time with loving speech Beneath some tree. Galat. We'll shingle out a beach. Acis. Then think me no "sly dog," my future spouse, If by it's bark I plight you my bough wows. There, as we sit, our pleasure to enhance, The shepherds' band shall play, the nymphs shall dance. Galat. The shepherds' band! I fear too loud their din is. Acis. Their band of brass quite equals that of Tinney's. Galat. Their music in that case my ear will suit, For Tinney's can't be bad because it's Coote. Acis. Now to some shady corner. Galat. There dear, look! Come, for I've got my eye upon a nook. Duet.—Air." Original Nigger Melody." To be obtained of Hutchings, Leader, & Co., Music Publishers, 63, New Bond Street Galat. Come away into a nook, To a nook, &c. Acis. Oh! how pretty you do look! You do look, &c. Galat. Yes, there we'll spend the day. Spend the day, &c. Acis. In a pleasant sort of way. Sort of way, &c. Both. Whitebait hock, In a little villa near. Eight o'clock Is the time for dinner, dear. Exeunt ACIS and GALATÆA, R. 1 E. (STREPHON cautiously comes from behind rocks, L. 2 E., where he has been hiding, and beckons off) Enter DAMON and PHYLLIS, L. 2 .E. Streph. (R.) That way they went, they couldn't find a seat here. Damon. (C.) My stars! Streph. I heard them plan it how they'd meet here. Phyllis. (L.) My peace of mind is gone. Damon. Then let it go; A piece of my mind on you I'll bestow, Which is just this— Phyllis. (contemptuously) Your mind! don't offer what You know as well as I, you haven't got. Damon. (aside) She sneers! I'd gain her smiles—ah! I'll for them Tip her some pathos, à la Fechter, hem! (aloud, à la Fechter) Sweet, by your side, I ever would be near, With the Duke's Motto, saying, "I am here!" I'll leave you nevare! nevare! I'll be true! Blanche! you do love me? "Oh, I live for you!" You've heard of Ruy Blas. I, like that lad, For you cull daisies—grass.—" Yes, I am mad!" (PHYLLIS sighs) Are my words cruel? have I made you sigh? For that as Shakespeare says, I know not why, "Oh, what a wretch and peasant slave am I!" Phyllis. (bringing and taking her down at the same time) You keep to melodrame, 'tis your safe card, Don't spoil the language of the English Bard. (aside, crossing to R.) I'll follow them alone. (aloud) Now as for you—(to DAMON) Stay hereabouts and watch. Damon. Watch shall I do? Phyllis. Get up that tree; in love all schemes are fair, Perched up you'll overhear — Damon. What over there? That I'm no singer my excuse must be, Why I cannot go up so high to see. Phyllis. (looking towards the ocean) You mean above the sea. Damon. I must decline (looking at the height of the tree, L. and feeling his back) To go so high would really hurt my spine (Miss Pyne), My little hands you know were never meant Phyllis. If you to my request refuse ascent, For love from me look not in future time. Damon. Rather than that, I'll seek a distant climb. (prepares to climb tree, L.) Phyllis. (looking off, R. 2 E.) Ah! now I see them. Damon. (failing in a first attempt in which STREPHON gives a leg up, and then lets him fall) Oh! that was a shock! Streph. I'll treat you to a hoister on the rock. (music—STREPHON stands on rock—DAMON ascends over his back to a seat between the two branches of the tree—during this, PHYLLIS is still looking off) Phyllis. Yes; Acis and his love, I clearly see-oh! Damon. (from branches) I'm up a tree, shall we get up a trio? Streph. Somebody's coming! (rolls away the stone, by aid of which DAMON got up) Phyllis. (preparing to follow ACIS) Now, then, they shall rue it. Exit, R. Damon. (calling after her) Let's sing that trio. Streph. There's not time to do-ett. Exit, L. 2 E. Damon. I say, don't leave me, "Here's a situation!" I do not like this "Branch Association." Cupid. (without, R. 1 E.) This way. Polyph. (without, R. 1 E.) Straight on. Enter CUPID and POLYPHEMUS, A funny effect may be obtained by Polyphemus coming on disguised in a long smock frockl as a modern ploughboy: he must wear no bear or moustache; then Cupid. Thus dressed, you're like a ploughboy or a miller. Polyph. Even the Stiers mistook me for a tiller. R. 1 E., followed by YOUNG CYCLOPS, carrying the carpet bag and umbrella—POLYPHEMUS and the CYCLOPS appear rather tired. Cupid. You're tired by coming out— You want a porter. Polyph. Yes, I'm rather stout. Cupid. This tree will give you a support; be quick, And while you stop here, you can cut your stick. Polyph. Yes, that will just keep up my vast immensity, For a strong prop I have a strong propensity. (POLYPHEMUS begins to loosen the axe which he wears in his belt) Cupid. Well, I want luncheon. Polyph. So do I. Cupid. (pointing to Polyphemus's axe) No, stop! You've eaten yours, there's your bill for a chop. (crosses to L. corner) Polyph. This sort of bill one axes for; (throwing it to CYCLOPS) here, catch it. At the hotel that bears the name of Hatch-ett. (YOUNG CYCLOPS begins cutting at tree) Damon. (aside) This is the sort of thing of which I've read. What is he going to do? (aloud) Hi! look ahead! Cupid. That phrase when boating I have heard off Cowes. The cutter slacks—(YOUNG CYCLOPS stops, then CUPID says, seeing DAMON) there's some one in the bows. Damon. Oh! let me down for goodness sake! Polyph. Eh! why? Cupid. 'Tis a police case. Polyph. From the hew and cry. Damon. As to the Hew, my explanation true Will give this matter quite a different hue. Cupid. Who put you up to that? Damon. Oh, sir, I'll tell a True story. (CYCLOPS is about to cut tree again) Cupid. (to POLYPHEMUS, alluding to CYCLOPS with the axe) Pol, you'd better stop that feller. Damon. (to POLYPHEMUS) If you're his master, you'll do murder. (POLYPHEMUS looks incredulously at CUPID) Cupid. (confidentially to POLYPHEMUS) Facts! The master answers for his servant's axe. Polyph. Come down. (assists him to descend—crosses, L.) Cupid. (R.) And be our guide. Damon. (C.—safe on terra firma) I'm a proficient. Hobserve the sea, surf, fish. Cupid. Ah! quite surf-fishient Who are those yonder? (pointing R. 2 E.) Damon. Playing blindman's buff? 'Tis Acis and the shepherds. Cupid. That's enough. Polyph. (L.) I'll rest awhile. Cupid. Then au revoir. Exit with DAMON, R. Polyph. Good bye! Where's a soft seat—ah, there is one hard by. (Music—lies down behind rock, L. flat, his head gradually disappears until he is quite concealed) Music. Ballet of SHEPHERDS and SHEPHERDESSES—the tune is that of a Morris Dance, date 1600.—Enter ACIS, GALATÆA, SHEPHERDS, and SHEPHERDESSES, R. Galat. That blindman's buff is getting rather tame, Suppose my friends we change our little game. Acis. Let's play at hide and seek—see coverts near; You might hide there. Galat. Oh! that's a good hide here, Now go away, the first to hide I'll be. Acis. I'll find you in the rocks, the fields, the sea, I'd find you any where. Galat. I've not a doubt of it, Acis. Find me in the tea and sugar. Galat. When you're out of it. Come, friends. Exeunt ACIS, SHEPHERDS and SHEPHERDESSES, L. 1 E. Galat. (Watching them off) Now, they're dispersin, very slow; And where, can I to hide dis person go? I've meadows handy, and 'tis very true, That the sea-shore, is just as sandy too. I shan't be seen, and now the tide's run out, I'll cross the shallows; not a shoal about. Near here, I know, there was a cavern spacious. Polyph. (who has left his rock, confronts her as she turns to go up) Oh! How d'ye do? Galat. An Ogre! Oh, gre-acious! Duet.—GALATÆA and POLYPHEMUS. Air, "Gentle Zitella." Polyph. Sweet Galatæa, Whither away; My little de-ar, Will you not stay? You have been walking, How tired you'll be; If you stand talking, Step in and have tea. No ma'am, you cannot Get off at the "wings;" 'Tis Polyphemus, Himself who now sings. Air, "Pretty Polly Hopkins." Galat. Pretty, pretty, Poly-Poly-phemus, How do you do? How do you do? Polyph. Quite a pair of flirts they would esteem us, To see me and you—to see me and you. Galat. I hardly know! You, sir, and so, You must at once, please, let me go. Pretty, pretty Poly-Poly-phemus, Now I must go! Now I must go! Polyph. You cannot go— You cannot go! (they dance a schottische in which GALATÆA tries to escape, and is each time prevented by POLYPHEMUS) Polyph. (L.) Nay, do not start, I'm harmless as a dove. Galat. (R.) Why do you stop me? Polyph. But to say I love, For you my raging passion I confess; Will you love me? (seizing her arm) Galat. Ah! Polyph. Don't say R, say yeS. Galat. You shook me so— Polyph. Too roughly I then took her; She is so sweet, I ought'nt to have shook her. Galat. You're not a beauty, and I beg to state, A three-eye'd lover is the one I'd hate; At your appearance e'en street boys would hoot, You're sooty, black. (laughs at him) Polyph. She smiles upon my soot; Oh, hear me paint my passion. (sighs heavily) Galat. If you're wise You'll not commence your painting, thus with sighs. Polyph. Mocked at! away! (seizes her) Galat. Nay!— Polyph. I'll have no resistance. Galat. My Acis won't you come to my acis-tance? Music—ACIS and SHEPHERDS run in L.—Tableau. Acis. He who'd lay hands, my worthy friend, upon A female in distress, is— Polyph. Pooh! Acis. (squaring up, c.) Come on! Polyph. Bah! I'd beat two of you in any lists. Acis. Two? Why then I must double both my fists. Polyph. What is your name? Acis. 'Tis Acis, and what then? To you I am the Miller and his men. (to GALATÆA) Why do you sigh? Galat. (R.) You'll fall in my defence, And hence the sigh, Acis. (squaring artistically) Just look at my sci-ence. Galop and Chorus.—Air, "Demon Chorus," from "Orpheus," (Offenbach). (ACIS and POLYPHEMUS make several feints—walk round eyeing one another—sparring for wind, &c., they are about to close when, at the commencement of the dance music the SHEPHERDS and SHEPHERDESSES interpose themselves by dancing in between the combatants) (chorus to be sung during the dance to the dance music) Galat. Phyllis. Damon. Shepherds, &c. Stop him! Stop him! Or he'll prop him On the knob or on the chin. Cruel creature, He will teach yer, One, two, three, go in and win. Polyph. Drop him! drop him! I will prop him— On the knob or on the chin; I'm the creature, Who can teach yer, One, two, three, go in and win. (fight resumed—sparring with the marked notes) Acis & Polyph. One, two—one two, Galat. Oh, he'll be so black and blue! Acis & Polyph. I will beat him black and blue. Polyph. One, two—one, two, Pop a topper—how dye do? (second time at "pop a topper," which POLYPHEMUS follows up by planting just "one" on ACIS's forehead, and ACIS goes down—POLYPHEMUS is just going, during the bars intervening between the dance and "voce" part, to hit ACIS, when the SHEPHERDS, being no longer able to restrain him, and all shout out "Unfair!") Polyph. Let ME Prop him, whop a fop, fop Soft as lollipop, pop. Won't I make him hop, hop. Galat. (rushing forward operatically) Ah! Terror, tremor, mise-REE. Polyph. Let ME Prop, &c., &c., &c. Acis. Let ME Prop him, drop him, whop, whop, &c., &c. Damon, Phyllis, Shepherds, &c. Should HE. Prop him, &c. Soft as, &c. Won't he, &c. (as the last bars are winding up fast and furiously, ACIS falls—CYCLOPS tears up tree, R., and POLYPHEMUS, R., is about to crush ACIS, when CUPID intervenes and saves him—Tableau as scene closes) Shepherds & Shepherdesses Shepherds & Shepherdesses Polyphemus (threatening) Cupid. (interposing) Acis. (down on one knee) Phyllis. (imploring) Damon. (supporting Galatea) Young Cyclops R. L.
SCENE FOURTH.—A cavern; two iron (practicable) grated doors in rock, R. and L. of C. at back in flat. Enter STREPHON, R. 1 E., dressed as a man cook, he carries a sort of cauldron and three sticks, which he places, C., a steel, and on his arm a bundle. Streph. Cook to the Cyclops Polypheme, eh? I'm all prepared, but cannot get away. (places bundle in corner, R.) If from his girdle I his keys could take, I'd steal down to my boat upon the lake; Thence to the landing place. Ah! there's for me No lock or landing place but lock and key. (goes to cauldron and lights a fire underneath) Enter YOUNG CYCLOPS, L. Young Cyc. (loudly) What you still here? Streph. If you shout so I fear I shall no longer say that I still hear. Young Cyc. (as before) Master and self sup here to-night, that's all. Streph. What two large parties and— Young Cyc. (as before) Ourselves! Streph. (stopping his ears) A bawl! Young Cyc. (giving STREPHON a bill of fare) He'll eat five pigs, six kids, lambs— Streph. Well I never! Young Cyc. A roasted ox. Streph. An ox! oh did you heifer! Polyph. (without) What ho! (STREPHON starts and trembles) Young Cyc. (watching him) That sound has an effect galvanic! The frying pan. Streph. I'm in a frying panic (STREPHON pretends to be cooking, YOUNG CYCLOPS assisting him.) Enter POLYPHEMUS moodily, L. 1 E. Polyph. Spurned, and despised by woman! I should so Like just in full to pay her what I —(grips STREPHON's arm) Streph. Oh! Polyph. (to STREPHON) Go! If I catch you list'ning— Streph. Don't be furious! Polyph. I'll skewer you! (flourishes a sharp weapon which has been hanging on one of the sticks) Streph. I'm not a man who's skewer-ious. Exit precipitately R. 1 E. urged by the YOUNG CYCLOPS, Exit CYCLOPS R. Polyph. Yet, I'd drink from her liquid eye all day, An "i" is not a liquid by the way! At my a-vowal she did not stand mute, But still she would not listen to my suit. Ah me! her smile which all who see, applaud so, Does thaw one like the sun, at least, I thaw'd so. She's made upon this soft and yielding part (placing his hand on his heart) An impress—she's the Impress of my heart! Medley Song—POLYPHEMUS,—Air, "Strida la vampa." (Trovatore) Polyph. It is a riddle, iddle, um, How me they diddle, iddle, um, "Fool in the middle," iddle, um, She has made me. Unlike a noodle, oodle, who Nothing can do. He, loodle, do, Sharp as a poodle, loodle, loo, I now shall be. Air, "My Pretty Jane." A pretty chain! A pretty chain! Love ever'd round me shie! The moon 'tis plain is on the wane, And my brain is all awry. My powers are drooping fast, my love, Where art thou, my Galatæa? I can't take my repast, my love, Because thou art not near. A pretty chain! a pretty chain! Love, &c. Air, "Down in Piccadilly." Hopwood & Crew's New Bond Street Oh when again I catch her, she shan't me bamboozle; From her love I'll snatch her, then take no refusal. But to let her go, I ne'er would be so silly, For I'll wake her, shake her, take her! Mine I'll make her, willy nilly! Tooral, looral, &c. Dances and exit, L. 1 E. Enter ACIS, cautiously, R. Acis. This is the place where Galatæa and I Were often wont to meet in times gone by. Where is she?—Ha! what's this? a light breaks o'er me! She has been after me, and gone before me. I'll find her in some inner cave, unless She, like the House, won't sit in a recess. Exit, R. 2 E. Re-enter POLYPHEMUS, L. 1 E. Polyph. Methinks for supper I feel in a cue. Let's see— Re-enter ACIS, K. 1 E. Acis. 'Tis very strange (they meet) Hallo! Polyph. Halloo! (they execute a double-shuffle, and stand in an attitude of surprise) Polyph. 'Tis Polyphemus whom you see before you; T-r-r-remble, young man, does not my presence awe you? Acis. (carelessly) Why what's come o'er you, sir, to think it can; Awe me indeed, "awe any other man." Polyph. (calls off) Ho there! Enter YOUNG CYCLOPS with spit, and STREPHON with cord and chain, L. 2 E. Polyph. Now in my power you are placed, Here, at this fire I'll roast you. Acis. What a baste! (they commence trussing him) Unhand me! (struggling) I'm as Celts say with a whoop, A broth of a boy! Polyph. The very thing for soup! As fat as a young partridge in September, (feeling his arms, while STREPHON and CYCLOPS make fire blaze) As free electors say, plump for a member! Acis. Why, with revengeful feelings art imbued, We've had no quarrel. Polyph. (sharpening his knife) Now, I'll have my feud. Acis. Now, then! (about to drag him to fire; GALATÆA is heard without, singing) Acis. 'Tis Galatæa! Polyph. Ha, that name! Wouldst choose between yon fire and your flame— There, I repent. Sing in that selfsame measure; She'll come, and I will give her up with pleasure. Enter GALATÆA, L. 2 E. she rushes to ACIS. Polyph. Seize her! (STREPHON and CYCLOPS cross and seize GALATÆA) Acis. Ha, treason! now, too late, I scent it; You said you'd give her up. Polyph. D'ye think I meant it? Galat. Have pity pray! say that 'tis but a lark, Oh, do be tinder with that little spark. Polyph. (crosses to c.) You touch me — of my eyes I am piper, Observe my handkerchief! (pretends to cry) Galat. I see, (aside) the wiper! Polyph. Away with tears! here make the fire hot. Galat. (pointing to STREPHON, who is blubbering) Even your servant weeps. Polyph. (savagely) He'd better not. (STREPHON stops at once). (crosses L.) The gridiron! (STREPHON goes to fire, R., trembling) Quick! at this you're a beginner. Galat. Done to a "T," he'll eat you for his dinner. Polyph. Hum! I could gnaw you both. Acis. What can we do? Galat. Gnaw both! no, he shall take nor me nor you— 'Tis most a-gnawing. Acis. (dragged by YOUNG CYCLOPS and STREPHON to fire, L.) Farewell! Polyph. (to GALATÆA) Now decide, To see him cooked, or say you'll be my bride. (crosses to c.) Galat. Oh, torture! Polyph. Quite so. Then on him I'll dine. Galat. Hold! fierce Cyclops, I am thine. Polyph. Now, one, two. (flourishing knife) (chord—they unbind ACIS) Polyph. Oh, rapture! lest your promise you should break, To Vulcan's forge at once our way we'll take: I'll pack up. Galat. Go. Polyph. (aside, while ACIS is being untrussed, comes down, L.) Untrussed; let me think whether I could one minute trust them both together? I have it. (aloud) As you'll have some time to wait, P'raps you'll retire by this iron grate. Galat. This is ingratitude for kindness hateful! Behind that Iron grate— Polyph. What, I ungrateful! Acis. (to GALATÆA) Behind those bars he'll keep us. P'raps a show He'll make of us. Galat. (to ACIS) Don't make a fuss, but go! (POLYPHEMUS has now opened both the gates, YOUNG CYCLOPS stands at one, POLYPHEMUS at the other) Patience, and then the game we yet may win. Acis. He opes the gate, Galat. And 'opes that we'll go in. Polyph. Come in. Galat. (to him) Yes. (to ACIS) Go! when the chance comes—don't lose it, If you have nous, then now's the time to use it. (STREPHON puts ACIS into cell, L., CYCLOPS, GALATÆA into cell, R.—they shut the grated doors, which POLYPHEMUS locks with one of the large keys at his girdle) Polyph. (while doing it) There's one. (to GALATEÆA) Now, sweet, I would not hurt a mouse. Galat. This den of bars is very barbar-rous. Exit GALATÆA into cell, R.—POLYPHEMUS locks it and hangs key in his bunch. Polyph. (to STREPHON) Here, take this bunch of keys, you stupid dolt! Mind you don't lose 'em. (crosses to L.) Streph. No, sir. (aside) Keys! I'll bolt! Exit STREPHON, R. 1 E. Polyph. Now for my wedding cloths and wedding favour. (is going off, L. 1 E., when he is stopped by CUPID, L. 1 E.) What, Cupid! Cupid. (L.) Yes, I've just dropped in to have a Short chat. Polyph. (C.) My boy, I'm off with Galatæa. Cupid. You young Don Juan, you! (aside) But how to free her. (aloud) She loves you? Polyph. (doubtfully) Um—— Cupid. I see, then you mean now, Wedder or no to wed her any how. I'll send a note to Hymen, and ask if he Can come and do the business in a jiffey. Polyph. Thanks! Cupid. (having written on tablet gives it to YOUNG CYCLOPS) Here! YOUNG CYCLOPS takes the letter and exit L. 1 E. Cupid. Now, let's be jovial—I expect a Large piece of cake. Your health, Pol, in this nectar. I need not stop just now to make a speech. Nectar won't keep when it as my neck to reach. (drinks) Polyph. Nectar! Cupid. Jove's tipple. Hush! you're to be trusted. From his own cellars—labelled "Fine old crusted." Bacchus himself speaks highly in its praise. (drinks) This is a sort you don't get now-a-days— 'Tis very full! (sniffs) Polyph. Which I'm not. Let me try! Cupid. And dry as well. (drinks) Polyph. Oh, yes! and so am I. Cupid. Well, I will gratify your little whim. There! (gives glass to POLYPHEMUS, and pours wine from his flask) Polyph. (drinks) 'Tis divine! Cupid. (aside) De-vine will settle him. Polyph. I feel a—(drinks) don't—you're waggling about. Everything's double—p'raps it's Dublin Stout. You're a wine merchant and distiller—fill—(CUPID fills POLYPHEMUS'S glass) Merchant, with all thy vaults I love this still. (sings) "I love her still the sa-a-a-me—" all right, "That I loved her still the sa-a-a-me," good-night. (falls asleep—Music) Cupid. (L.) He sleeps. Acis and Gal. Now, Cupid, Galat. Let us out, do, please— Cupid. Without delay, if I can find the keys. Acis. They're hanging on his girdle. Cupid. (searching him) Not here I'm Searching his waist—'tis surch a waste of time. Galat. Love laughs at locksmiths. Cupid. Yes, that's very true; But love locks are the ones that we undo. I'll find the keys within this cavern rocky! Then I'll unlock the gates—this is unlocky! Exit CUPID, L. 1 E. Enter STREPHON, R., with keys. Streph. Since, with his keys I've opened all the doors. I'll hang them up and go. (hangs them up between ACIS and GALATÆA) Lor', how he snores! I've left my pack here, small 'tis true, (takes up bundle which he brought in at the beginning of the scene) but yet, it Holds my clean things, so I've come pack to get it. Farewell! base Cyclops! now I quit the cave, I've got the pack, and with it cut the knave. Music. Exit STREPHON stealthily, L. 1 E.—POLYPHEMUS snores—ACIS and GALATÆA try to reach the keys. Acis I can't! Galat. Nor I! Music. Enter DAMON and PHYLLIS with dagger, R. 1 E.; walking as if in search of somebody. Damon. Not here? Phyllis. No! (DAMON yawns) Hush, take care. (PHYLLIS yawns) Damon. Like a bad fruit, we are a sleepy pair. Enter CUPID listening, L. 1 E., ACIS and GALATÆA in vain try to attract his attention. Phyllis. As to our purpose, you are still quite clear. Damon. You want to slay your rival? Polyph. (in his sleep) Galatæa! Both. Ha! Phyllis. (going up) Nothing. (just as ACIS and GALATÆA have attracted CUPID'S attention to the keys, PHYLLIS takes them down. CUPID meets her at back, c. they talk) Damon. If my rival in this place is, I'll from my path remove the youthful— Polyph. (as before) Acis! Damon. (R., startled) Oh, goodness! (PHYLLIS comes down and taps him on his right shoulder) Gracious! (CUPID on his left) What are you about? I'll go. Cupid. We tapped you, so you'd best run out; You're at your journey's end. Phyllis. Some keys I've brought. Cupid. They whom you sought are there. (pointing to gratings) Damon. Ah, that's Your sort Phyllis. (vindictively opening iron grating, R., GALATÆA has drawn aside to let her pass) Now then for her! (disappears, and ÆÆ comes out) Damon. (same business with grating, L., and ACIS) Now then for him! Cupid. (while ACIS and GALATÆA turn the keys in the lock, and hang up the bunch in their position, C.) Well said. (calling to DAMON and PHYLLIS) Go on a foot or two! (to ACIS and GALATÆA) Go on ahead. Sestette—Air —First movement in the Overture to "Semiramide." Cupid, Acis, and Galatæa. We timidly wending Our way in the silent night, Love us is defending. Oh, he's snoring, all right! Step gently now. (POLYPHEMUS snores) Dear me, what a row! What a row! Quiet now! We timidly wending, &c. Damon and Phillis. (trying to get keys) We vainly are bending. These keys are quite out o' sight, Love them is defending. We'll stop here, we'll stop here, all night. Try gently now; (POLYPHEMUS snores) Dear me, what a row! &c., &c. The three steal off, R.—DAMON and PHYLLIS are vainly endeavouring to get out of the cells, and POLYPHEMUS is still snoring.
SCENE FIFTH.—Exterior of "The Shepherds' Inn." Door L. in flat and window R. in flat. Enter STREPHON, through door, as a waiter, counting money, which he pockets, from door. Streph. (alluding to the money) Well, this is change. My star's in the ascendant. As Waiter at an Inn, I'm Inn-dependant. I whisk my napkin up when I am beckon'd, And thus by me are luncheon items reckon'd: Two chops, one shilling—taters, let me see, sir, That's thirteen pence, exactly one and three, sir— Stout, yes, sir, bread, sir,—cheese, sir, nothing more, sir? Thirteen, and one and three, is sixteen four, sir,— And up this sort of ready reck'ner's summing I finish thus with "Wait'r sir?—thank sir,—coming!" Young Cyc. (without) Hallo! Streph. A customer! my bill of fare. Enter YOUNG CYCLOPS, L. Hey! what! why? Young Cyc. Strephon! Streph. Hum! I thought you were Gone. (aside) And perhaps his master is behind him! (aloud) Is Polypheme— Young Cyc. I'm on my way to find him. Streph. You'll stop? (aside) I hope he won't. Young Cyc. 'Twould be a sin To pass the Hostelrie: so I'll step Inn. Exit into Inn, door in flat. Streph. How to get rid of him. Enter PHYLLIS, L., unseen by STREPHON. (sees PHYLLIS, her back is towards him) A lady! who? I'll ask of her what can I offer you? Dishes on trays, en-trees on dishes—stout, Pale ale what may I get you, ma'am? Phyllis. (turning upon him suddenly) Get out! Streph. Ha! Phyllis. He! Streph. (nodding) Aye! Phyllis. Oh! you seem to recollect me. Hush! of insanity you'll not suspect me If I say— Streph. (motions her towards door of inn) Won't you sit? Phyllis. (mysteriously) No, verbum sat. She's coming whom you wot of. Streph. What of that? Phyllis. Stop her; I'll watch you, where a peep one gains From yonder window. (gives money) There is for thy panes. Streph. I will do your behest. Phyllis. You'd behest not sell me, And when she's near to the hotel, ho tell me. Exit into inn, door in flat. Streph. This morning I can say without much vanity, I'm the sole one untroubled with insanity. Enter GALATÆA, reading a letter, R. 1 E. Galat. (R.) A note from Acis I've received, entreating Me at the "Shepherds' Inn" to grant a meeting. I wish that I'd not walked —how tired I feel! Streph. (L., presenting bill of fare) Here is a carte, ma'am. Galat. (looking over it) But you've got no weal. Streph. There's line of mutton, line of pork, and line here, (pointing) Of— Galat. You've quite a line regimen to dine here. Is this, to "Shepherds' Inn," the road correct or— Streph. Though in your company I'm no director, Or shareholder— Galat. But I've come, you see To make a call upon a cher ami. Streph. Then step within and take a shair, miss. Galat. I Imagine that he's coming—yes! (runs up to the door of inn, L. flat, which is suddenly opened and she is confronted by PHYLLIS) Phyllis. (L. C.) 'Tis I! Galat. (R. C.) Phyllis! Streph. (L., chuckling) Ha! ha! Phyllis. (sharply to him) You leave us till I call. Streph. (aside) There'll be a storm. I'll come back at the squall. Exit into inn, door in flat. Phyllis. (pointing to note in GALATÆA's hand) So at the bait I dropped you gave a bite. Galat. I see this letter then you wrote. Phyllis. You're right! You've sought our shore, and in the coolest fashion, For my own Acis have conceived a passion. Your ocean friends would laugh your choice to know Of a land lubber. Galat. (rapturously) He's so lubberly tho'! Phyllis. What! you confess your love? Galat. Of course I do. Phyllis. This to my face! Galat. You've plenty of it too. Phyllis. I am your rival—now methinks you'll quake! Tremble! Galat. Oh, no, pray don't stop for my shake. Phyllis. You jeer at me! Galat. Oh, jeer me no! how very Absurd to mind my jeers: jeer up, be merry; Phyllis. Merry! when I know how you both behave! Ah! recollect I saw you quit the cave Together, and I watched you laugh and chat. Your arm in his. Galat. There was no 'arm in that. Phyllis. Once—Damon on the shore—points out you two Walking so fondly. Galat. A shore point with you. Oh, nonsense! Phyllis. Don't flounce out at me, madam! Galat. Who Flounces? I speak less curtly, ma'am, than you. For railing at me you have no pretence, I skip your railing but won't take a fence. I turn a deaf ear to it all. Phyllis. I'll try you. Turn to my threats a deaf ear! Galat. I deaf-eye you! Phyllis. I challenge you! Galat. A duel? You're afraid. Galat. Your weapons? Phyllis. (producing knitting needle) Here! the longest that are made. Music—Duett—(during which they fence with needles) Air "Madam Flirt." (Midas.) Galat. Now, madam, on your guard; Phyllis. Fight for whom we'll marry; Galat. I mean to hit you hard; Both. To quick, carte, tierce, and parry. (the blast of a trombone is heard, then a roar) Galat. (dropping weapon in alarm) Ha! 'tis the monster! Phyllis. Let's within. GALATÆA runs into inn, door in flat. A scheme I've here I'll give her up to Polypheme. Exit into inn, door in flat. Enter POLYPHEMUS, R., miserably, playing on the trombone. Polyph. I wander, but can't Galatæa meet, Though I have played in every quiet street; The people say who hear these dulcet tones, He must be the original Trom-Bones. (a piece of paper is thrown from window—he picks it up, kisses it) A letter! a love letter! I ne'er had one! No, it's a penny, and a very bad one. Enter by door, STREPHON, he speaks as he enters. Streph. (L.) Miss Galatæa says—ha! do I dream! Polyph. (R.) My servant, Strephon. Streph. Gracious! Polypheme! Polyph. Are you a spy upon me? Streph. Sir, not I. Polyph. If so, I'd eat you make you a mince spy What would you with me? Streph. Speak up, man! you'd better, Or else I'll give you— (during the above, YOUNG CYCLOPS has entered, door in flat, and thrust a letter into STREPHON's hand) Streph. I'll give you—— a letter. (gives it to POLYPHEMUS) Polyph. (reading) "If this should meet the eye of Polypheme, He's ordered to return at once, and deem His leave withdrawn." It comes from Vulcan? Quick! Young Cyc. (L.) Yes—answer to your note. Polyph. (R.) 'Tis Cupid's trick! (to STREPHON) I think I heard you mention Galatæa. Streph. (c.) She's there. Polyph. At once, then, you will bring her here. Exeunt YOUNG CYCLOPS and STREPHON, door in flat—scream heard. I'll not mind crying, though it hard does seem. Now to keep cool. (scream) Ha! there is a nice scream. (GALATÆA is dragged in by YOUNG CYCLOPS and STREPHON—exeunt YOUNG CYCLOPS and STREPHON, door in flat) Polyph. You're mine! Galat. (crosses, R.) Than that phrase haven't you a newer; Are you what's called in Scotch law a "pursuer?" No followers I allow. Polyph. I'd take you back. Galat. Hem! Polyph. What means "hem?" Galat. (aside) "Hem" means I'll change my tack. (aloud, lovingly) Sweet Polypheme, believe me, now we're here. And —you are certain Acis isn't near? Polyph. (crosses, L.) Oh, quite! Galat. Then I may freely to you own That I do love you and love you alone. Polyph. (sheepishly) Well, this is nice. Phyllis. (watching at window) He little understands. Polyph. To you I open both my heart and hands. Galat. Open your hands? Seek "Turkish Bath" —because That is the place for opening the paws. Polyph. I mean I offer my hand as a free male, Of Polypheme become the Polly-female. Galat. Then we will meet to night. (crosses to L.) Polyph. What, would you leave me? Galat. But for a short time. Polyph. Hem! (aside) She will deceive me. (aloud) To-night, I must to Ætna go; and you Will come. Galat. I must put up some "things"—a few. Good-bye—(aside) I'm free. Polyph. (aside) Could I her movements learn— Phyllis. (coming down from door in flat, and stopping GALATÆA as she is going out) I'll join her, and make sure of her return. (L.) How fortunate we've met. Galat. (L. C.) Oh, bother! Polyph. (R.) I Cannot express my everlasting jye! Galat. As you pronounce words wrong in state extatic, Now show your Gye by being operatic. Trio.—" Trovatore." "Il tuo sangue." The libretto of this trio has been written after a severe course of study, devoted entirely to the majestic English translations of the Italian Operas. The words have been separately patented, registered, and are now ready for exportation; may be had in private boxes, price 6d. None are genuine unless signed with the name of the Author. Polyph. With you, oh, sanguine, I'd share your 'art oh! 'Twould be a stinger, lo! if no go. (as to her) Dear! (as to himself) Oh, folly! be calm, oh! I'm misty! (holding his hands over his bursting heart—operatically singing) Eh, pooh, we've here a lump, oh! (alluding to his heart) No, eh, pooh, we've 'ere a Lump, oh, no. Ah! de gal, oh, so de gal, oh, so coy, press 'art to. In this and the next line the artist will find great scope for impassioned acting.(enraptured) And it may then end in no go! (with a tinge of sadness) And it may then end in no go! I'm a gent, oh, over-misty (with his hand to his head) Cease of her to be fond, ah, no! No! fond! ah! no! Ah! &c. Phyllis. Come, ah! come, we'll you o-ver-awe, eh! (fiercely) Galat. Come, ah! come, will you o-ver-awe me? (distractedly) Phyllis. You'll ar-ray, ah! wi' Pol trudge, oh! This is the poetic for "You'll get your bonnet and accompany Polyphemus." What depth of meaning underlies these few simple words!(fiercely) Galat. You'll ar-ray, ah! wi' Pol trudge, oh! (distractedly) Phyllis. Veep! ye'll ne'er go to rest o' shore, eh! (fiercely) Galat. Veep! we'll ne'er go to rest o' shore, eh? (distractedly) Phyllis. Gay! tomb! ah! one full! no beau! (wildly and demoniacally)These conflicting words are indeed heart-rending. Galat. Gay! tomb! ah! one full! no beau! (wildly and distractedly) Exeunt PHYLLIS and GALATÆA, L., POLYPHEMUS, R.
SCENE 6. Ruined Temple on the Sea Shore; overhanging rocks, &c., &c. Enter CUPID, R. U. E., with his bow and arrows—he is fitting an arrow on the string as he enters. Cupid. Now, with my quiver, I'll cause a sensation, Make Phyllis speak with no e-quiver-cation, As without these no longer I roam; I just stepped up to fetch them from my home, For I do keep my bow and arrows still On Mount Olympus—arrow on the hill. Damon. (without) Alas! Cupid. There's one of my love-stricken sillies. Enter DAMON distractedly, R., carrying a shepherd's pipe. Damon. My Phyllis is the worst of all young fillies! That girl I've never treated with duplicity. Phyllis! I'm in a state of in Phyllis-ity! I'll jump into the sea! Cupid. (coming forward) And risk a limb? When you can't float it is a curious whim. Look at my bow. Damon. Of that, what is the use? Cupid. You see that I can say bow to a goose. Trust me! About fair Phyllis don't be sighing; Oh! you change colour! Damon. Yes, I think of dyeing. Cupid. Let's stand aside! Enter PHYLLIS, L. leading GALATÆA as a captive. Galat. Why, treat me thus? Phyllis. I take you To Polyphemus, and his bride he'll make you. Acis shall soon be mine! Damon. (to CUPID) You hear? Cupid. (to DAMON) I've got A cure for that. I'll make her stand the shot. (up stage, R., lets fly an arrow—it hits PHYLLIS) Phyllis. A sudden pang! a shock! What can it be? I feel I must love some one— Damon. (coming down) Then love me. (CUPID and GALATÆA steal off unseen, L. 2 E., DAMON and PHYLLIS embrace) Phyllis. I do. Damon. What say you? Phyllis. Can you have been blind? Damon. Had you known what my agony of mind Was when your love to some one else was shown, Sharp as a razor! Phyllis. Razor! you're my hone! Exeunt lovingly, R. Hurried Music—Enter terrified crowd of SHEPHERDS and SHEPHERDESSES, L. 2 E.—Enter to them STREPHON. Streph. Stay! 1st Shepherd. Polypheme's insane. He wants to batter all. Streph. Mad! 1st Shepherd. As a hatter. Hark! (POLYPHEMUS roars without, L. U. E.) Streph. That sounds un-hatter-al. He comes! Enter POLYPHEMUS, raging, L. 2 E. Polyph. Howl on, ye winds! rush on ye rivers! (to crowd) You shake with cold. I'll dash you all to shivers. (they all retreat to R.) Where's Acis? Him I'll hurl into the sea. He's to be pitied, pitted against me! (fiercely) Go! all of you! (Exeunt OMNES R. 2 E.) (he weeps) They fly me. Now away! Ashburnham House—the dog shall have his day! (Exit melo-dramatically, R. 1 E.) Music—Enter ACIS and GALATÆA lovingly, R. U. E. Galat. Promise you'll never leave me. Acis. Yes, I do! For I dread hurt from Polyphemus, who, Like a ghost haunts me, and I fear him most. Galat. That ghost haunts you, because you haunt this coast. Acis. Let us to sea, my Nereids! dear, what's come on 'em? Three NEREIDS appear at back, C. Summon my Dolphins! 1st Nereid. All? Galat. No, I said some on 'em. NEREIDS disappear. We'll take my yacht and sail— Acis. Oh, happy lot! On board it will be cold. Galat. No, very 'ot? Acis. (going towards seat beneath overhanging rocks) Let's here await your servants. Galat. They'll not fail us. Acis. Once spread a sail, the monster won't assail us. Trio—Air, "On Yonder Rock" (as they go towards the overhanging rock). Acis and Galat. On yonder rock reclining, We'll look upon the sparkling bay. What a nice place for dining 'Fore that we go away! Polyph. (on rock above) Oh, oh! yes, they will very soon go! Acis & Galat. Go, go! yes, we will very soon go! What a nice place for our dining, Polyph. I'll put a stop to their whining. Acis & Galat. De-ar fellow! de-ar fellow! dear fellow! Polyph. Down you go! (overhanging rock is hurled down by POLYPHEMUS, ACIS is crushed flat beneath it—at the same time enter CUPID, DAMON, PHYLLIS, SHEPHERDS, &c.—picture) Cupid. Smashed! killed! He is, I fear, beyond a doubt! Behold, his linkéd sweetness long drawn out! (DAMON and CUPID pull out ACIS quite flat, like a toy figure that moves its arms and legs) Galat. Oh! Acis, Acis, has it come to that! I never thought that you could be so flat. (GALATÆA sinks down weeping) Enter POLYPHEMUS, R., furiously. Cupid. (opposing POLYPHEMUS's entrance) What, want you here? Polyph. She's mine—that weeping maid. Vulcan. (rising in flames, R. C., gong) Seize him at once. Your time, you've overstayed. (POLYPHEMUS is seized by CYCLOPES, who rush on, R. 2 E.) Galat. Oh, Nereus, help! He heard me not I'm fearing. Cupid. Nereus ne'er used to be so hard of hearing. He comes! (NEREUS rises from the sea, C., at back, attended, &c.) Nereus. We can't give mortal life, albeit he May rank with us as a New River Deity. APOTHEOSIS OF ACIS. He appears as a River God, being crowned by GALATÆA, and surrounded by NYMPHS, NEREIDS, TRITONS, &c. &c. Acis. As a stream-deity I may be heard; This river rises just to say one word. Reeds, rushes, line our banks; (to AUDIENCE) that means a crush, (to AUDIENCE) You read our bills and come here with a rush. Polyph. Say, shall this stream "run," and with triumphs rank? Then your great rushes soon shall line our bank. Galat. I gather from the smiles that round us beam, He'll have no cause to be a murmuring stream. If you are pleased, there is no further fear For my own "Acis"— Acis. "And" his "Galatæa." Finale. Air, "Like the Lightning." (Cinderella) Acis. Faces bright'ning, bright'ning Round us as we play, Dull care cannot appear; Galat. So for light'ning, light'ning Time upon the way, See "Acis and" his "Galatæa!" Acis. Mark you Polypheme's ferocity, Galat. And his fearful animosity. All. So for light'ning, &c. &c. Tableau. Curtain.
Printed by Thomas Scott, Warwick Court, Holborn.