9.2

Act 1 Cyrano de Bergerac

A Performance at the Hôtel de Bourgogne

The Hall of the Hôtel de Bourgogne in 1640. A sort of Tennis Court, arranged and decorated for Theatrical productions.

The 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.

This 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.

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There 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.

Farther 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 titleLa Clorise.”

As 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.

(Sound of voices outside the door. Then a Cavalier enters abruptly.)

THE PORTER (follows him)

Halloa there! — Fifteen sols!

THE CAVALIER I enter free.

THE PORTER Why?

THE CAVALIER Soldier of the Household of the King!

THE PORTER (turns to another Cavalier who has just entered)

You?

SECOND CAVALIER I pay nothing.

THE PORTER Why not?

SECOND CAVALIER Musketeer!

FIRST CAVALIER (to the Second)

The play begins at two. Plenty of time —

5 And here’s the whole floor empty. Shall we try Our exercise?

(They fence with the foils which they have brought.)

A LACKEY (enters)

— Pst! . . . Flanquin! . . .

ANOTHER (already on stage)

What, Champagne?

FIRST LACKEY (showing games which he takes out of his doublet)

Cards. Dice. Come on.

(sits on the floor)

SECOND LACKEY (same action)

Come on, old cock!

FIRST LACKEY (takes from his pocket a bit of candle, lights it, sets it on the floor)

I have stolen

A little of my master’s fire.

A GUARDSMAN (to a flower girl who comes forward)

How sweet

Of you, to come before they light the hall!

(puts his arm around her)

FIRST CAVALIER (receives a thrust of the foil)

10 A hit!

SECOND LACKEY A club!

THE GUARDSMAN (pursuing the girl)

A kiss!

THE FLOWER GIRL (pushing away from him)

They’ll see us! —

THE GUARDSMAN (draws her into a dark corner)

No danger!

A MAN (sits on the floor, together with several others who have brought packages of food)

When we come early, we have time to eat.

A CITIZEN (escorting his son, a boy of sixteen)

Sit here, my son.

FIRST LACKEY Mark the Ace!

ANOTHER MAN (draws a bottle from under his cloak and sits down with the others)

Here’s the spot

For a jolly old sot to suck his Burgundy —

(drinks)

15 Here — in the house of the Burgundians!

THE CITIZEN (to his son)

Would you not think you were in some den of vice?

(points with his cane at the drunkard)

Drunkards —

(In stepping back, one of the cavaliers trips him up)

Bullies! —

(He falls between the lackeys)

Gamblers! —

670

THE GUARDSMAN (behind him as he rises, still struggling with the Flower Girl)

One kiss —

THE CITIZEN Good God! —

(draws his son quickly away)

Here! — And to think, my son, that in this hall

They play Rotrou!1

THE BOY Yes father — and Corneille!2

THE PAGES (dance in, holding hands and singing:)

20 Tra-la-la-la-la-la-la-la-la-lère . . .

THE PORTER You pages there — no nonsense!

FIRST PAGE (with wounded dignity)

Oh, monsieur!

Really! How could you?

(to the Second, the moment the Porter turns his back)

Pst! — a bit of string?

SECOND PAGE (shows fishline with hook)

Yes — and a hook.

FIRST PAGE Up in the gallery,

And fish for wigs!

A CUT-PURSE (gathers around him several evil-looking young fellows)

Now then, you picaroons,

25 Perk up, and hear me mutter. Here’s your bout —

Bustle around some cull,3 and bite his bung . . .

SECOND PAGE (calls to other pages already in the gallery)

Hey! Brought your pea-shooters?

THIRD PAGE ( from above)

And our peas, too!

(blows, and showers them with peas)

THE BOY What is the play this afternoon?

THE CITIZEN Clorise.

THE BOY Who wrote that?

THE CITIZEN Balthasar Baro. What a play! . . .

(He takes The Boy’s arm and leads him up-stage.)

THE CUT-PURSE (to his pupils)

30 Lace now, on those long sleeves, you cut it off —

(gesture with thumb and finger, as if using scissors)

A SPECTATOR (to another, pointing upward toward the gallery)

Ah, Le Cid! — Yes, the first night, I sat there —

THE CUT-PURSE Watches —

(gesture as of picking a pocket)

THE CITIZEN (coming down with his son)

Great actors we shall see to-day —

THE CUT-PURSE Handkerchiefs —

(gesture of holding the pocket with left hand, and drawing out handkerchief with right)

THE CITIZEN Montfleury —

A VOICE (in the gallery)

Lights! Light the lights!

THE CITIZEN Bellerose, l’Épy, Beaupré, Jodelet —

A PAGE (on the floor)

35 Here comes the orange-girl.

THE ORANGE-GIRL Oranges, milk,

Raspberry syrup, lemonade —

(noise at the door)

A FALSETTO VOICE (outside)

Make way,

Brutes!

FIRST LACKEY What, the Marquis — on the floor?

(The Marquis enter in a little group.)

SECOND LACKEY Not long —

Only a few moments; they’ll go and sit

On the stage presently.

FIRST MARQUIS (seeing the hall half empty)

How now! We enter

40 Like tradespeople — no crowding, no disturbance! —

No treading on the toes of citizens?

Oh fie! Oh fie!

(He encounters two gentlemen who have already arrived.)

Cuigy! Brissaille!

(great embracings)

CUIGY The faithful!

(Looks around him.)

We are here before the candles.

671

FIRST MARQUIS Ah, be still!

You put me in a temper.

SECOND MARQUIS Console yourself,

45 Marquis — The lamplighter!

THE CROWD (applauding the appearance of the lamplighter)

Ah! . . .

(A group gathers around the chandelier while he lights it. A few people have already taken their place in the gallery. LIGNIÈRE enters the hall, arm in arm with CHRISTIAN DE NEUVILLETTE. LIGNIÈRE 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.)

CUIGY Lignière! —

BRISSAILLE (laughing)

Still sober — at this hour?

LIGNIÈRE (to CHRISTIAN)

May I present you?

(CHRISTIAN assents.)

Baron Christian de Neuvillette.

(They salute.)

THE CROWD (applauding as the lighted chandelier is hoisted into place)

Ah! —

CUIGY (aside to BRISSAILLE, looking at CHRISTIAN)

Rather

A fine head, is it not? The profile . . .

FIRST MARQUIS (who has overheard)

Peuh!

LIGNIÈRE (presenting them to CHRISTIAN)

Messieurs de Cuigy . . . de Brissaille . . .

CHRISTIAN (bows)

Enchanted!

FIRST MARQUIS (to the second)

50 He is not ill-looking; possibly a shade

Behind the fashion.

LIGNIÈRE (to CUIGY)

Monsieur is recently

From the Touraine.

CHRISTIAN Yes, I have been in Paris

Two or three weeks only. I join the Guards

To-morrow.

FIRST MARQUIS (watching the people who come into the boxes)

Look — Madame la Présidente

Aubry!

THE ORANGE-GIRL Oranges, milk —

THE VIOLINS (tuning up)

La . . . la . . .

CUIGY (to CHRISTIAN, calling his attention to the increasing crowd)

55 We have

An audience to-day!

CHRISTIAN A brilliant one.

FIRST MARQUIS Oh yes, all our own people — the gay world!

(They name the ladies who enter the boxes elaborately dressed. Bows and smiles are exchanged.)

SECOND MARQUIS Madame de Guéméné . . .

CUIGY De Bois-Dauphin . . .

FIRST MARQUIS Whom we adore —

BRISSAILLE Madame de Chavigny . . .

60 SECOND MARQUIS Who plays with all our hearts —

LIGNIÈRE Why, there’s Corneille

Returned from Rouen!

THE BOY (to his father)

Are the Academy

All here?

THE CITIZEN I see some of them . . . there’s Boudu —

Boissat — Cureau — Porchéres — Colomby — Bourzeys — Bourdon — Arbaut —

Ah, those great names,

65 Never to be forgotten!

FIRST MARQUIS Look — at last!

Our Intellectuals! Barthénoide,

Urimédonte, Félixérie . . .

SECOND MARQUIS (languishing)

Sweet heaven!

How exquisite their surnames are! Marquis,

You know them all?

FIRST MARQUIS I know them all,

Marquis!

LIGNIÈRE (draws CHRISTIAN aside)

70 My dear boy, I came here to serve you — Well,

But where’s the lady? I’ll be going.

CHRISTIAN Not yet —

A little longer! She is always here.

Please! I must find some way of meeting her.

I am dying of love! And you — you know

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75 Everyone, the whole court and the whole town,

And put them all into your songs — at least

You can tell me her name!

THE FIRST VIOLIN (raps on his desk with his bow)

Pst — Gentlemen!

(raises his bow)

THE ORANGE-GIRL Macaroons, lemonade —

CHRISTIAN Then she may be

One of those aesthetes . . . Intellectuals,

80 You call them — How can I talk to a woman

In that style? I have no wit. This fine manner

Of speaking and of writing nowadays —

Not for me! I am a soldier — and afraid.

That’s her box, on the right — the empty one.

LIGNIÈRE (starts for the door)

85 I am going.

CHRISTIAN (restrains him)

No — wait!

LIGNIÈRE Not I. There’s a tavern

Not far away — and I am dying of thirst.

THE ORANGE-GIRL (passes with her tray)

Orange juice?

LIGNIÈRE No!

THE ORANGE-GIRL Milk?

LIGNIÈRE Pouah!

THE ORANGE-GIRL Muscatel?

LIGNIÈRE Here! Stop!

(to CHRISTIAN)

I’ll stay a little.

(to the Girl)

Let me see

Your Muscatel.

(He sits down by the sideboard. The Girl pours out wine for him.)

VOICES (in the crowd about the door, upon the entrance of a spruce little man, rather fat, with a beaming smile)

Ragueneau!

LIGNIÈRE (to CHRISTIAN)

Ragueneau,

90 Poet and pastry-cook — a character!

RAGUENEAU (dressed like a confectioner in his Sunday clothes, advances quickly to LIGNIÈRE)

Sir, have you seen Monsieur de Cyrano?

LIGNIÈRE (presents him to CHRISTIAN)

Permit me . . . Ragueneau, confectioner,

The chief support of modern poetry.

RAGUENEAU (bridling)

Oh — too much honor!

LIGNIÈRE Patron of the Arts —

95 Maecenas! Yes, you are —

RAGUENEAU Undoubtedly,

The poets gather round my hearth.

LIGNIÈRE On credit —

Himself a poet —

RAGUENEAU So they say —

LIGNIÈRE Maintains

The Muses.

RAGUENEAU It is true that for an ode —

LIGNIÈRE You give a tart —

RAGUENEAU A tartlet —

LIGNIÈRE Modesty!

100 And for a triolet4 you give —

RAGUENEAU Plain bread.

LIGNIÈRE (severely)

Bread and milk! And you love the theatre?

RAGUENEAU I adore it!

LIGNIÈRE Well, pastry pays for all.

Your place to-day now — Come, between ourselves,

What did it cost you?

RAGUENEAU Four pies; fourteen cakes.

(looking about)

105 But — Cyrano not here? Astonishing!

LIGNIÈRE Why so?

RAGUENEAU Why — Montfleury plays!

LIGNIÈRE Yes, I hear

That hippopotamus assumes the rôle

Of Phédon. What is that to Cyrano?

RAGUENEAU Have you not heard? Monsieur de Bergerac

110 So hates Montfleury, he has forbidden him

For three weeks to appear upon the stage.

LIGNIÈRE (who is, by this time, at his fourth glass)

Well?

RAGUENEAU Montfleury plays! —

CUIGY (strolls over to them)

Yes — what then?

673

RAGUENEAU Ah! That

Is what I came to see.

FIRST MARQUIS This Cyrano —

Who is he?

CUIGY Oh, he is the lad with the long sword.

115 SECOND MARQUIS Noble?

CUIGY Sufficiently; he is in the Guards.

(points to a gentleman who comes and goes about the hall as though seeking for someone)

His friend Le Bret can tell you more.

(calls to him)

Le Bret!

(LE BRET comes down to them.)

Looking for Bergerac?

LE BRET Yes. And for trouble.

CUIGY Is he not an extraordinary man?

LE BRET The best friend and the bravest soul alive!

120 RAGUENEAU Poet —

CUIGY Swordsman —

LE BRET Musician —

BRISSAILLE Philosopher —

LIGNIÈRE Such a remarkable appearance, too!

RAGUENEAU Truly, I should not look to find his portrait

By the grave hand of Philippe de Champagne.

He might have been a model for Callot5

125 One of those wild swashbucklers in a masque —

Hat with three plumes, and doublet with six points —

His cloak behind him over his long sword

Cocked, like the tail of strutting Chanticleer 6

Prouder than all the swaggering Tamburlaines7

130 Hatched out of Gascony. And to complete

This Punchinello8 figure — such a nose! —

My lords, there is no such nose as that nose —

You cannot look upon it without crying: “Oh no,

Impossible! Exaggerated!” Then

135 You smile, and say: “Of course — I might have known;

Presently he will take it off.” But that

Monsieur de Bergerac will never do.

LIGNIÈRE (grimly)

He keeps it — and God help the man who smiles!

RAGUENEAU His sword is one half of the shears of Fate!

FIRST MARQUIS (shrugs)

140 He will not come.

RAGUENEAU Will he not? Sir, I’ll lay you

A pullet9 à la Ragueneau!

FIRST MARQUIS (laughing)

Done!

(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.)

SECOND MARQUIS (with little excited cries)

Ah!

Oh! Oh! Sweet sirs, look yonder! Is she not

Frightfully ravishing?

FIRST MARQUIS Bloom of the peach —

Blush of the strawberry —

SECOND MARQUIS So fresh — so cool,

That our hearts, grown all warm with loving her,

145 May catch their death of cold!

CHRISTIAN (Looks up, sees ROXANE, and seizes LIGNIÈRE by the arm.)

There! Quick — up there —

In the box! Look! —

LIGNIÈRE (coolly)

Herself?

CHRISTIAN Quickly — Her name?

LIGNIÈRE (sipping his wine, and speaking between sips)

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Magdeleine Robin, called Roxane . . . refined . . . Intellectual . . .

CHRISTIAN Ah! —

LIGNIÈRE Unmarried . . .

CHRISTIAN Oh! —

LIGNIÈRE No title . . . rich enough . . . an orphan . . . cousin

150 To Cyrano . . . of whom we spoke just now . . .

(At this point, a very distinguished looking gentleman, the Cordon Bleu10 around his neck, enters the box, and stands a moment talking with ROXANE.)

CHRISTIAN (starts)

And the man? . . .

LIGNIÈRE (Beginning to feel his wine a little; cocks his eye at them.)

Oho! That man? . . . Comte de Guiche . . .

In love with her . . . married himself, however,

To the niece of the Cardinal — Richelieu . . .

Wishes Roxane, therefore, to marry one

155 Monsieur de Valvert . . . Vicomte . . . friend of his . . .

A somewhat melancholy gentleman . . .

But . . . well, accommodating! . . . She says No . . .

Nevertheless, de Guiche is powerful . . .

Not above persecuting . . .

(He rises, swaying a little, and very happy.)

I have written

160 A little song about his little game . . .

Good little song, too . . . Here, I’ll sing it for you . . .

Make de Guiche furious . . . naughty little song . . .

Not so bad, either — Listen! . . .

(He stands with his glass held aloft, ready to sing.)

CHRISTIAN No. Adieu.

LIGNIÈRE Whither away?

CHRISTIAN To Monsieur de Valvert!

165 LIGNIÈRE Careful! The man’s a swordsman . . .

(Nods toward ROXANE, who is watching CHRISTIAN.)

Wait! Someone

Looking at you —

CHRISTIAN Roxane! . . .

(He forgets everything, and stands spellbound, gazing toward ROXANE. The Cut-Purse and his crew, observing him transfixed, his eyes raised and his mouth half open, begin edging in his direction.)

LIGNIÈRE Oh! Very well,

Then I’ll be leaving you . . . Good day . . . Good day! . . .

(CHRISTIAN remains motionless.)

Everywhere else, they like to hear me sing! —

Also, I am thirsty.

(He goes out, navigating carefully. LE BRET, having made the circuit of the hall, returns to RAGUENEAU, somewhat reassured.)

LE BRET No sign anywhere

170 Of Cyrano!

RAGUENEAU (incredulous)

Wait and see!

LE BRET Humph! I hope

He has not seen the bill.

THE CROWD The play! — The play! —

FIRST MARQUIS (Observing DE GUICHE, as he descends from Roxane’s box and crosses the floor, followed by a knot of obsequious gentlemen, the VICOMTE DE VALVERT among them.)

This man de Guiche — what ostentation!

SECOND MARQUIS Bah! —

Another Gascon!

FIRST MARQUIS Gascon, yes — but cold

And calculating — certain to succeed —

175 My word for it. Come, shall we make our bow?

We shall be none the worse, I promise you . . .

(They go toward DE GUICHE.)

SECOND MARQUIS Beautiful ribbons, Count! That color, now,

What is it — Kiss-me-Dear or Startled-Fawn?

DE GUICHE I call that shade The Dying Spaniard.

FIRST MARQUIS Ha!

180 And no false colors either — thanks to you

And your brave troops, in Flanders before long

The Spaniard will die daily.

DE GUICHE Shall we go

And sit upon the stage? Come Valvert.

675

CHRISTIAN (starts at the name)

Valvert! —

The Vicomte — Ah, that scoundrel! Quick — my glove —

185 I’ll throw it in his face —

(Reaching into his pocket for his glove, he catches the hand of the Cut-Purse.)

THE CUT-PURSE Oh! —

CHRISTIAN (holding fast to the man’s wrist)

Who are you?

I was looking for a glove —

THE CUT-PURSE (cringing)

You found a hand.

(hurriedly)

Let me go — I can tell you something —

CHRISTIAN (still holding him)

Well?

THE CUT-PURSE Lignière — that friend of yours —

CHRISTIAN (same business)

Well?

THE CUT-PURSE Good as dead —

Understand? Ambuscaded. Wrote a song

190 About — no matter. There’s a hundred men

Waiting for him to-night — I’m one of them.

CHRISTIAN A hundred! Who arranged this?

THE CUT-PURSE Secret.

CHRISTIAN Oh!

THE CUT-PURSE (with dignity)

Professional secret.

CHRISTIAN Where are they to be?

THE CUT-PURSE Porte de Neste. On his way home. Tell him so.

195 Save his life.

CHRISTIAN (releases the man)

Yes, but where am I to find him?

THE CUT-PURSE Go round the taverns. There’s the Golden Grape,

The Pineapple, The Bursting Belt, the Two

Torches, The Three Funnels — in every one

You leave a line of writing — understand?

200 To warn him.

CHRISTIAN (starts for the door)

I’ll go! God, what swine — a hundred

Against one man! . . .

(stops and looks longingly at ROXANE)

Leave her here! —

(savagely, turning toward VALVERT)

And leave him!

(decidedly)

I must save Lignière!

(exit).

(DE GUICHE, VALVERT, and all the Marquis have disappeared through the curtains, to take their seats upon the stage. The floor is entirely filled; not a vacant seat remains in the gallery or in the boxes.)

THE CROWD The play! The play!

Begin the play!

A CITIZEN (as his wig is hoisted tnto the air on the end of a fishline, in the hands of a page in the gallery)

My wig!!

CRIES OF JOY He’s bald! Bravo,

You pages! Ha ha ha!

THE CITIZEN ( furious, shakes his fist at the boy)

Here, you young villain!

CRIES AND LAUGHTER (beginning very loud, then suddenly repressed)

205 HA HA! Ha Ha! ha ha. . . .

(complete silence)

LE BRET (surprised)

That sudden hush? . . .

(A Spectator whispers in his ear.)

Yes?

THE SPECTATOR I was told on good authority . . .

MURMURS (here and there)

What? . . . Here? . . . No . . . Yes . . . Look — inthe latticed box —

The Cardinal! . . . The Cardinal! . . .

A PAGE The Devil! —

Now we shall all have to behave ourselves!

(Three raps on the stage. The audience becomes motionless. Silence.)

THE VOICE OF A MARQUIS (from the stage, behind the curtains)

210 Snuff that candle!

ANOTHER MARQUIS (Puts his head out through the curtains.)

A chair! . . .

(A chair is passed from hand to hand over the heads of the crowd. He takes it, and disappears behind the curtains, not without having blown a few kisses to the occupants of the boxes.)

676

A SPECTATOR Silence!

VOICES Hssh! . . . Hssh! . . .

(Again the three raps on the stage. The curtains part. Tableau. The Marquis seated on their chairs to right and left of the stage, insolently posed. Back drop representing a pastoral scene, bluish in tone. Four little crystal chandeliers light up the stage. The violins play softly.)

LE BRET (in a low tone, to RAGUENEAU)

Montfleury enters now?

RAGUENEAU (nods)

Opens the play.

image
image
This is an image of the actual historical figure Savinien Cyrano de Bergerac.
To what extent does the real Cyrano look like what you’d expect of the dramatic character Cyrano, given the information that is presented in Act 1 before his appearance?

LE BRET (much relieved)

Then Cyrano is not here!

RAGUENEAU I lose . . .

LE BRET Humph! —

So much the better!

(The melody of a Musette is heard. MONTFLEURY appears upon the scene, a ponderous figure in the costume of a rustic shepherd, a hat garlanded with roses tilted over one ear, playing upon a beribboned pastoral pipe.)

THE CROWD (applauds)

Montfleury! . . . Bravo! . . .

MONTFLEURY (after bowing to the applause, begins the rôle of Phédon)

Thrice happy he who hides fram pomp and power

In sylvan shade or solitary bower;

Where balmy zephyrs fan his burning checks —”

A VOICE ( from the midst of the hall)

Wretch! Have I not forbade you these three weeks?

(Sensation. Every one turns to look. Murmurs.)

SEVERAL VOICES What? . . . Where? . . . Who is it? . . .

CUIGY Cyrano!

LE BRET (in alarm)

Himself!

215 THE VOICE King of clowns! Leave the stage — at once!

THE CROWD Oh! —

MONTFLEURY Now,

Now, now —

THE VOICE You disobey me?

SEVERAL VOICES ( from the floor, from the boxes)

Hsh! Go on —

Quiet! — Go on, Montfleury! — Who’s afraid? —

MONTFLEURY (in a voice of no great assurance)

“Thrice happy he who hides from . . ."

THE VOICE (more menacingly)

Well? Well? Well? . . .

Monarch of mountebanks!11 Must I come and plant

A forest on your shoulders?

677

(A cane at the end of a long arm shakes above the heads of the crowd.)

MONTFLEURY (in a voice increasingly feeble)

Thrice hap —’’

(The cane is violently agitated.)

THE VOICE GO!!!

220 THE CROWD Ah! . . .

CYRANO (Arises in the centre of the floor, erect upon a chair, his arms folded, his hat cocked ferociously, his moustache bristling, his nose terrible.)

Presently I shall grow angry!

(sensation at his appearance)

MONTFLEURY (to the Marquis)

Messieurs,

If you protect me —

A MARQUIS (nonchalantly)

Well — proceed!

CYRANO Fat swine!

If you dare breathe one balmy zephyr more,

I’ll fan your cheeks for you!

THE MARQUIS Quiet down there!

CYRANO Unless these gentlemen retain their seats,

225 My cane may bite their ribbons!

ALL THE MARQUIS (on their feet)

That will do! —

Montfleury —

CYRANO Fly, goose! Shoo! Take to your wings,

Before I pluck your plumes, and draw your gorge!

A VOICE See here! —

CYRANO Off stage!!

ANOTHER VOICE One moment —

CYRANO What — still there?

(Turns back his cuffs deliberately.)

Very good — then I enter — Left — with knife

230 To carve this large Italian sausage.

MONTFLEURY (desperately attempting dignity)

Sir,

When you insult me, you insult the Muse!

CYRANO (with great politeness)

Sir, if the Muse, who never knew your name,

Had the honor to meet you — then be sure

That after one glance at that face of yours,

235 That figure of a mortuary urn —

She would apply her buskin12— toward the rear!

THE CROWD Montfleury! . . . Montfleury! . . . The play! The play!

CYRANO (to those who are shouting and crowding about him)

Pray you, be gentle with my scabbard here —

She’ll put her tongue out at you presently! —

(The circle enlarges.)

THE CROWD (recoiling)

240 Keep back —

CYRANO (to MONTFLEURY)

Begone!

THE CROWD (Pushing in closer, and growling.)

Ahr! . . . ahr! . . .

CYRANO (Turns upon them.)

Did someone speak?

(They recoil again.)

A VOICE (In the back of the hall, sings.)

Monsieur de Cyrano

Must be another Caesar

Let Brutus lay him low,

And play us La Clorise!

ALL THE CROWD (singing)

La Clorise! La Clorise!

CYRANO Let me hear one more word of that same song,

And I destroy you all!

A CITIZEN Who might you be?

Samson? —

CYRANO Precisely. Would you kindly lend me

Your jawbone?

A LADY (in one of the boxes)

What an outrage!

A NOBLE Scandalous!

245 A CITIZEN Annoying!

A PAGE What a game!

THE CROWD Kss! Montfleury!

Cyrano!

CYRANO Silence!

678

THE CROWD (delirious)

Woof! Woof! Baaa! Cockadoo!

CYRANO I —

A PAGE Meow!

CYRANO I say be silent! —

(His voice dominates the uproar. Momentary hush.)

And I offer

One universal challenge to you all!

Approach, young heroes — I will take your names.

250 Each in his turn — no crowding! One, two, three —

Come, get your numbers — who will head the list —

You sir? No — You? Ah, no. To the first man

Who falls I’ll build a monument! . . . Not one?

Will all who wish to die, please raise their hands? . . .

255 I see. You are so modest, you might blush

Before a sword naked. Sweet innocence! . . .

Not one name? Not one finger? . . . Very well,

Then I go on:

(Turning back towards the stage, where MONTFLEURY waits in despair.)

I’d have our theatre cured

Of this carbuncle. Or if not, why then —

(His hand on his sword hilt.)

260 The lancet!13

MONTFLEURY I —

CYRANO (Descends from his chair, seats himself comfortably in the centre of the circle which has formed around him, and makes himself quite at home.)

Attend to me — full moon!

I clap my hands, three times — thus. At the third

You will eclipse yourself.

THE CROWD (amused)

Ah!

CYRANO Ready? One.

MONTFLEURY I —

A VOICE (from the boxes)

No!

THE CROWD He’ll go — He’ll stay —

MONTFLEURY I really think,

Gentlemen —

CYRANO Two.

MONTFLEURY Perhaps I had better —

CYRANO Three!

(MONTFLEURY disappears, as if through a trapdoor. Tempest of laughter, hoots and hisses.)

265 THE CROWD Yah! — Coward — Come back —

CYRANO (beaming, drops back in his chair and crosses his legs)

Let him — if he dare!

A CITIZEN The Manager! Speech! Speech!

(BELLEROSE advances and bows.)

THE BOXES Ah! Bellerose!

BELLEROSE (with elegance)

Most noble — most fair —

THE CROWD No! The Comedian —

Jodelet! —

JODELET (Advances, and speaks through his nose.)

Lewd fellows of the baser sort —

THE CROWD Ha! Ha! Not bad! Bravo!

JODELET No Bravos here!

270 Our heavy tragedian with the voluptuous bust

Was taken suddenly —

THE CROWD Yah! Coward!

JODELET I mean . . .

He had to be excused —

THE CROWD Call him back — No! —

Yes! —

THE BOY (to CYRANO)

After all, Monsieur, what reason have you

To hate this Montfleury?

CYRANO (graciously, still seated)

My dear young man,

275 I have two reasons, either one alone

Conclusive. Primo: A lamentable actor,

Who mouths his verse and moans his tragedy,

And heaves up — Ugh! — like a hod-carrier,14 lines

679

That ought to soar on their own wings. Secundo:

280 Well — that’s my secret.

THE OLD CITIZEN (behind him)

But you close the play —

La Clorise — by Baro! Are we to miss

Our entertainment, merely —

CYRANO (respectfully, turns his chair toward the old man)

My dear old boy,

The poetry of Baro being worth

Zero, or less, I feel that I have done

285 Poetic justice!

THE INTELLECTUALS (in the boxes)

Really! — our Baro! —

My dear! — Who ever? — Ah, dieu! The idea! —

CYRANO (gallantly, turns his chair toward the boxes)

Fair ladies — shine upon us like the sun,

Blossom like flowers around us — be our songs,

Heard in a dream — Make sweet the hour of death,

290 Smiling upon us as you close our eyes —

Inspire, but do not try to criticise!

BELLEROSE Quite so! — and the mere money — possibly

You would like that returned — Yes?

CYRANO Bellerose,

You speak the first word of intelligence!

295 I will not wound the mantle of the Muse —

Here, catch! —

(throws him a purse)

And hold your tongue.

THE CROWD (astonished)

Ah! Ah!

JODELET (Deftly catches the purse, weighs it in his hand.)

Monsieur,

You are hereby authorized to close our play

Every night, on the same terms.

THE CROWD Boo!

JODELET And welcome!

Let us be booed together, you and I!

300 BELLEROSE Kindly pass out quietly . . .

JODELET (burlesquing BELLEROSE)

Quietly . . .

(They begin to go out, while CYRANO looks about him with satisfaction. But the exodus ceases presently during the ensuing scene. The ladies in the boxes who have already risen and put on their wraps, stop to listen, and finally sit down again.)

LE BRET (to CYRANO)

Idiot!

A MEDDLER (hurries up to CYRANO)

But what a scandal! Montfleury —

The great Montfleury! Did you know the Duc

de Candale was his patron? Who is yours?

CYRANO No one.

THE MEDDLER No one — no patron?

CYRANO I said no.

305 THE MEDDLER What, no great lord, to cover with his name —

CYRANO (with visible annoyance)

No, I have told you twice. Must I repeat?

No sir, no patron —

(his hand on his sword)

But a patroness!

THE MEDDLER And when do you leave Paris?

CYRANO That’s as may be.

THE MEDDLER The Duc de Candale has a long arm.

CYRANO Mine

310 Is longer,

(drawing his sword)

by three feet of steel.

THE MEDDLER Yes, yes,

But do you dream of daring —

CYRANO I do dream

Of daring . . .

THE MEDDLER But —

CYRANO You may go now.

THE MEDDLER But —

CYRANO You may go —

Or tell me why are you staring at my nose!

THE MEDDLER (in confusion)

No — I —

CYRANO (stepping up to him)

Does it astonish you?

THE MEDDLER (drawing back)

Your grace

315 Misunderstands my —

680

CYRANO Is it long and soft

And dangling, like a trunk?

THE MEDDLER (same business)

I never said —

CYRANO Or crooked, like an owl’s beak?

THE MEDDLER I —

CYRANO Perhaps

A pimple ornaments the end of it?

THE MEDDLER No —

CYRANO Or a fly parading up and down?

320 What is this portent?

THE MEDDLER Oh! —

CYRANO This phenomenon?

THE MEDDLER But I have been careful not to look —

CYRANO And why

THE MEDDLER Why —

CYRANO It disgusts you, then?

THE MEDDLER My dear sir —

CYRANO Does its color appear to you

Unwholesome?

THE MEDDLER Oh, by no means!

CYRANO Or its form

325 Obscene?

THE MEDDLER Not in the least —

CYRANO Then why assume

This deprecating manner? Possibly

You find it just a trifle large?

THE MEDDLER (babbling)

Oh no! —

Small, very small, infinitesimal —

CYRANO (roars)

What!

How? You accuse me of absurdity?

330 Small — my nose? Why —

THE MEDDLER (breathless)

My God! —

CYRANO Magnificent,

My nose! . . . You pug, you knob, you button-head,

Know that I glory in this nose of mine,

For a great nose indicates a great man —

Genial, courteous, intellectual,

335 Virile, courageous — as I am — and such

As you — poor wretch — will never dare to be

Even in imagination. For that face —

That blank, inglorious concavity

Which my right hand finds —

(He strikes him.)

THE MEDDLER Ow!

CYRANO — on top of you,

340 Is as devoid of pride, of poetry,

Of soul, of picturesqueness, of contour,

Of character, of NOSE in short — as that

(takes him by the shoulders and turns him around, suiting the action to the word)

Which at the end of that limp spine of yours

My left foot —

THE MEDDLER (escaping)

Help! The Guard!

CYRANO Take notice, all

345 Who find this feature of my countenance

A theme for comedy! When the humorist

Is noble, then my custom is to show

Appreciation proper to his rank —

More heartfelt . . . and more pointed . . .

DE GUICHE (who has come down from the stage, surrounded by the Marquis)

Presently

350 This fellow will grow tiresome.

VALVERT (shrugs)

Oh, he blows

His trumpet!

DE GUICHE Well — will no one interfere?

VALVERT No one?

(looks round)

Observe. I myself will proceed

To put him in his place.

(He walks up to CYRANO, who has been watching him, and stands there, looking him over with an affected air.)

Ah . . . your nose . . . hem! . . .

Your nose is . . . rather large!

CYRANO (gravely)

Rather.

VALVERT (simpering)

Oh well —

CYRANO (coolly)

355 Is that all?

VALVERT (turns away, with a shrug)

Well, of course —

681

CYRANO Ah, no, young sir!

You are too simple. Why, you might have said —

Oh, a great many things! Mon dieu, why waste

Your opportunity? For example, thus: —

Aggressive: I, sir, if that nose were mine,

360 I’d have it amputated — on the spot!

Friendly: How do you drink with such a nose?

You ought to have a cup made specially.

Descriptive: ’Tis a rock — a crag — a cape —

A cape? say rather, a peninsula!

365 Inquisitive: What is that receptacle —

A razor-case or a portfolio?

Kindly: Ah, do you love the little birds

So much that when they come and sing to you,

You give them this to perch on? Insolent:

370 Sir, when you smoke, the neighbors must suppose

Your chimney is on fire. Cautious: Take care —

A weight like that might make you topheavy.

Thoughtful: Somebody fetch my parasol —

Those delicate colors fade so in the sun!

375 Pedantic: Does not Aristophanes

Mention a mythologic monster called

Hippocampelephantocamelos?15

Surely we have here the original!

Familiar: Well, old torchlight! Hang your hat

380 Over that chandelier — it hurts my eyes.

Eloquent: When it blows, the typhoon howls,

And the clouds darken. Dramatic: When it bleeds —

The Red Sea! Enterprising: What a sign

For some perfumer! Lyric: Hark — the horn

385 Of Roland16 calls to summon Charlemagne! —

Simple: When do they unveil the monument?

Respectful: Sir, I recognize in you

A man of parts, a man of prominence —

Rustic: Hey? What? Call that a nose? Na, na —

390 I be no fool like what you think I be —

That there’s a blue cucumber! Military:

Point against cavalry! Practical: Why not

A lottery with this for the grand prize?

Or — parodying Faustus17 in the play —

395 “Was this the nose that launched a thousand ships

And burned the topless towers of Ilium?”

These, my dear sir, are things you might have said

Had you some tinge of letters, or of wit

To color your discourse. But wit, — not so,

400 You never had an atom — and of letters,

You need but three to write you down — an Ass.

Moreover, — if you had the invention, here

Before these folk to make a jest of me —

Be sure you would not then articulate

405 The twentieth part of half a syllable

Of the beginning! For I say these things

Lightly enough myself, about myself,

But I allow none else to utter them.

DE GUICHE (Tries to lead away the amazed VALVERT.)

Vicomte — come.

VALVERT (choking)

Oh — These arrogant grand airs! —

410 A clown who — look at him — not even gloves!

No ribbons — no lace — no buckles on his shoes —

CYRANO I carry my adornments on my soul.

I do not dress up like a popinjay;18

But inwardly, I keep my daintiness.

682

seeing connections


Following is the speech given by C. D. Bales in Roxanne, the 1987 film adaptation of Cyrano starring Steve Martin, who also wrote the screenplay. In this scene, a bar patron calls him “Big Nose” and C. D. accepts the challenge to think of twenty jokes better than “Big Nose.”

To what extent do you think Martin has retained the original meaning of Cyrano’s famous speech and also made it appeal to a more modern audience?

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C. D. Bales Let’s start with . . . Obvious: ’scuse me, is that your nose or did a bus park on your face? Meteorological: everybody take cover, she’s going to blow! Fashionable: you know, you could de-emphasize your nose if you wore something larger, like . . . Wyoming. Personal: well, here we are, just the three of us. Punctual: all right, Delbman, your nose was on time but YOU were fifteen minutes late! Envious: Ooooh, I wish I were you! Gosh, to be able to smell your own ear! Naughty: uh, pardon me, sir, some of the ladies have asked if you wouldn’t mind putting that thing away. Philosophical: you know, it’s not the size of a nose that’s important, it’s what’s IN IT that matters. Humorous: laugh and the world laughs with you. Sneeze, and it’s goodbye, Seattle! Commercial: hi, I’m Earl Scheib, and I can paint that nose for $39.95! Polite: uh, would you mind not bobbing your head? The, uh, orchestra keeps changing tempo. Melodic: Everybody. He’s got . . .

Everyone [singing] The whole world in his nose!

C. D. Bales Sympathetic: aw, what happened? Did your parents lose a bet with God? Complimentary: you must love the little birdies to give them this to perch on. Scientific: Say, does that thing there influence the tides? Obscure: whoa! I’d hate to see the grindstone. Well, think about it. Inquiring: when you stop to smell the flowers, are they afraid? French: saihr, ze pigs have refused to find any more truffles until you leave! Pornographic: finally, a man who can satisfy two women at once! How many is that?

Dean Fourteen, Chief!

C. D. Bales Religious: the Lord giveth . . . and He just kept on giving, didn’t He? Disgusting: Say, who mows your nose hair? Paranoid: keep that guy away from my cocaine! Aromatic: it must be wonderful to wake up in the morning and smell the coffee . . . in Brazil. Appreciative: Oooh, how original! Most people just have their teeth capped.

[he pauses, pretending to be stumped, while the crowd urges him on]

C. D. Bales All right. Dirty: your name wouldn’t be Dick, would it?

683

415 I do not bear with me, by any chance,

An insult not yet washed away — a conscience

Yellow with unpurged bile — an honor frayed

To rags, a set of scruples badly worn.

I go caparisoned in gems unseen,

420 Trailing white plumes of freedom, garlanded

With my good name — no figure of a man,

But a soul clothed in shining armor, hung

With deeds for decorations, twirling — thus —

A bristling wit, and swinging at my side

425 Courage, and on the stones of this old town

Making the sharp truth ring, like golden spurs!

VALVERT But —

CYRANO But I have no gloves! A pity too!

I had one — the last one of an old pair —

And lost that. Very careless of me. Some

430 Gentleman offered me an impertinence.

I left it — in his face.

VALVERT Dolt, bumpkin, fool,

Insolent puppy, jobbernowl!19

CYRANO (Removes his hat and bows.)

Ah, yes?

And I — Cyrano — Savinien-Hercule

De Bergerac!

VALVERT (Turns away.)

Buffoon!

CYRANO (Cries out as if suddenly taken with a cramp.)

Oh!

VALVERT (Turns back.)

Well, what now?

CYRANO (with grimaces of anguish)

I must do something to relieve these cramps —

435 This is what comes of lack of exercise —

Ah! —

VALVERT What is all this?

CYRANO My sword has gone to sleep!

VALVERT (draws)

So be it!

CYRANO You shall die exquisitely.

VALVERT (contemptuously)

Poet!

CYRANO Why yes, a poet, if you will;

So while we fence, I’ll make you a Ballade

440 Extempore.20

VALVERT A Ballade?

CYRANO Yes. You know

What that is?

VALVERT I —

CYRANO The Ballade, sir, is formed

Of three stanzas of eight lines each —

VALVERT Oh, come!

CYRANO And a refrain of four.

VALVERT You —

CYRANO I’ll compose

One, while I fight with you; and at the end

445 Of the last line — thrust home!

VALVERT Will you?

CYRANO I will.

(declaims)

“Ballade of the duel at the Hôtel de Bourgogne

Between de Bergerac and a Boeotian.”

VALVERT (sneering)

What do you mean by that?

CYRANO Oh, that? The title.

THE CROWD (excited)

Come on —

A circIe —

Quiet —

Down in front!

(Tableau. A ring of interested spectators in the centre of the floor, the Marquis and the Officers mingling with the citizens and common folk. Pages swarming up on men’s shoulders to see better; the Ladies in the boxes standing and leaning over. To the right, DE GUICHE and his following; to the left, LE BRET, CUIGY, RAGUENEAU, and others of CYRANO’S friends.)

CYRANO (Closes his eyes for an instant.)

450 Stop . . . Let me choose my rimes. . . . Now!

Here we go —

(He suits the action to the word, throughout the following:)

684

Lightly I toss my hat away,

Languidly over my arm let fall

The cloak that covers my bright array —

455     Then out swords, and to work withal!

A Launcelot, in his Lady’s hall . . .

A Spartacus, at the Hippodrome! 21 . . .

I dally awhile with you, dear jackal,

Then’ as I end the refrain, thrust home.

   (The swords cross — the fight is on.)

460 Where shall I skewer my peacock? . . . Nay,

Better for you to have shunned this brawl! —

Here, in the heart, thro’ your ribbons gay?

—In the belly, under your silken shawl?

Hark, how the steel rings musical!

465 Mark how my point floats, light as the foam,

Ready to drive you back to the wall,

Then, as I end the refrain, thrust home!

Ho, for a rime! . . . You are white as whey —

You break, you cower, you cringe, you . . . crawl!

470 Tac! — and I parry your last essay:

So may the turn of a hand forestall

Life with its honey, death with its gall;

So may the turn of my fancy roam

Free, for a time, till the rimes recall,

475 Then, as I end the refrain, thrust home!

(He announces solemnly.)

REFRAIN

Prince! Pray God, that is Lord of all,

Pardon your soul, for your time has come!

Beat — pass — fling you aslant, asprawl —

Then, as I end the refrain . . .

(He lunges; VALVERT staggers back and falls into the arms of his friends. CYRANO recovers, and salutes.)

— Thrust home!

(Shouts. Applause from the boxes. Flowers and handkerchiefs come fluttering down. The Officers surround CYRANO and congratulate him. RAGUENEAU dances for joy. LE BRET is unable to conceal his enthusiasm. The friends of VALVERT hold him up and help him away.)

THE CROWD (in one long cry)

480 Ah-h!

A CAVALIER Superb!

A WOMAN Simply sweet!

RAGUENEAU Magnelephant!

A MARQUIS A novelty!

LE BRET Bah!

image
image
The opening duel of Cyrano de Bergerac, as staged by the Chicago Shakespeare Theater.
How does the staging of this scene suggest that the duelis a play within a play?
Photo by Liz Lauren/Chicago Shakespeare Theater

685

THE CROWD (thronging around CYRANO)

Compliments — regards —

Bravo! —

A WOMAN’S VOICE Why, he’s a hero!

A MUSKETEER (Advances quickly to CYRANO, with outstretched hands.)

Monsieur, will you

Permit me? — It was altogether fine!

I think I may appreciate these things —

485 Moreover, I have been stamping for pure joy!

(He retires quickly.)

CYRANO (to CUIGY)

What was that gentleman’s name?

CUIGY Oh . . . D’Artagnan.

LE BRET (Takes CYRANO’S arm.)

Come here and tell me —

CYRANO Let this crowd go first —

(to BELLEROSE)

May we stay?

BELLEROSE (with great respect)

Certainly!

(Cries and cat-calls off stage.)

JODELET (Comes down from the door where he has been looking out.)

Hark! — Montfleury —

They are hooting him.

BELLEROSE (solemnly)

Sic transit gloria!

(Changes his tone and shouts to the porter and the lamplighter.)

490 — Strike! . . . Close the house! . . . Leave the lights — We rehearse

The new farce after dinner.

(JODELET and BELLEROSE go out after elaborately saluting CYRANO.)

THE PORTER (to CYRANO)

You do not dine?

CYRANO I? — No!

(THE PORTER turns away.)

LE BRET Why not?

CYRANO (haughtily)

Because —

(Changing his tone when he sees THE PORTER has gone.)

Because I have

No money.

LE BRET (gesture of tossing)

But — the purse of gold?

CYRANO Farewell,

Paternal pension!

LE BRET So you have, until

495 The first of next month—?

CYRANO Nothing.

LE BRET What a fool! —

CYRANO But — what a gesture!

THE ORANGE-GIRL (Behind her little counter; coughs.)

Hem!

(CYRANO and LE BRET look around; she advances timidly.)

Pardon, monsieur . . .

A man ought never to go hungry . . .

(indicating the sideboard)

See,

I have everything here . . .

(eagerly)

Please! —

CYRANO (uncovers)

My dear child,

I cannot bend this Gascon pride of mine

500 To accept such a kindness — Yet, for fear

That I may give you pain if I refuse,

I will take . . .

(He goes to the sideboard and makes his selection.)

Oh, not very much! A grape . . .

(She gives him the bunch; he removes a single grape.)

One only! And a glass of water . . .

(She starts to pour wine into it; he stops her.)

Clear!

And . . . half a macaroon!

(He gravely returns the other half.)

LE BRET Old idiot!

505 THE ORANGE-GIRL Please! — Nothing more?

CYRANO Why yes — Your hand — to kiss.

(He kisses the hand which she hold out, as he would the hand of a princess.)

THE ORANGE-GIRL Thank you, sir.

(She curtseys.)

Good-night.

(She goes out.)

CYRANO Now, I am listening.

686

(plants himself before the sideboard and arranges thereon—)

Dinner! —

(—the macaroon)

Drink! —

(—the glass of water)

Dessert! —

(—the grape.)

There — now I’ll sit down.

(Seats himself.)

Lord, I was hungry! Abominably!

(eating)

Well?

LE BRET These fatheads with the bellicose grand airs

510 Will have you ruined if you listen to them;

Talk to a man of sense and hear how all

Your swagger impresses him.

CYRANO (finishes his macaroon.)

Enormously.

LE BRET The Cardinal —

CYRANO (beaming)

Was he there?

LE BRET He must have thought you —

CYRANO Original.

LE BRET Well, but —

CYRANO He is himself

515 A playwright. He will not be too displeased

That I have closed another author’s play.

LE BRET But look at all the enemies you have made!

CYRANO (Begins on the grape.)

How many — do you think?

LE BRET Just forty-eight

Without the women.

CYRANO Count them.

LE BRET Montfleury,

520 Baro, de Guiche, the Vicomte, the Old Man,

All the Academy —

CYRANO Enough! You make me

Happy!

LE BRET But where is all this leading you?

What is your plan?

CYRANO I have been wandering —

Wasting my force upon too many plans.

525 Now I have chosen one.

LE BRET What one?

CYRANO The simplest —

To make myself in all things admirable!

LE BRET Hmph! — WeIl, then, the real reason why you hate

Montfleury — Come, the truth, now!

CYRANO (rises)

That Silenus,22

Who cannot hold his beIly in his arms,

530 Still dreams of being sweetly dangerous

Among the women — sighs and languishes,

Making sheeps’ eyes out of his great frog’s face —

I hate him ever since one day he dared

Smile upon —

Oh, my friend, I seemed to see

535 Over some flower a great snail crawling!

LE BRET (amazed)

How,

What? Is it possible? —

CYRANO (with a bitter smile)

For me to love? . . .

(changing his tone; seriously)

I love.

LE BRET May I know? You have never said —

CYRANO Whom I love? Think a moment. Think of me —

Me, whom the plainest woman would despise —

540 Me, with this nose of mine that marches on

Before me by a quarter of an hour!

Whom should I love? Why — of course — it must be

The woman in the world most beautiful.

LE BRET Most beautiful?

CYRANO In all this world — most sweet

545 Also; most wise; most witty; and most fair!

LE BRET Who and what is this woman?

CYRANO Dangerous

Mortally, without meaning; exquisite

Without imagining. Nature’s own snare

To allure manhood. A white rose wherein

550 Love lies in ambush for his natural prey.

Who knows her smile has known a perfect thing.

687

She creates grace in her own image, brings

Heaven to earth in one movement of her hand —

Nor thou, O Venus! balancing thy shell

555 Over the Mediterranean blue, nor thou,

Diana! marching through broad, blossoming woods,

Art so divine as when she mounts her chair,

And goes abroad through Paris!

LE BRET Oh, well — of course,

That makes everything clear!

CYRANO Transparently.

560 LE BRET Magdeleine Robin — your cousin?

CYRANO Yes; Roxane.

LE BRET And why not? If you love her, tell her so!

You have covered yourself with glory in her eyes

This very day.

CYRANO My old friend — look at me,

And tell me how much hope remains for me

565 With this protuberance! Oh I have no more

Illusions! Now and then — bah! I may grow

Tender, walking alone in the blue cool

Of evening, through some garden fresh with flowers

After the benediction of the rain;

570 My poor big devil of a nose inhales

April . . . and so I follow with my eyes

Where some boy, with a girl upon his arm,

Passes a patch of silver . . . and I feel

Somehow, I wish I had a woman too,

575 Walking with little steps under the moon,

And holding my arm so, and smiling. Then

I dream — and I forget. . . .

And then I see

The shadow of my profile on the wall!

LE BRET My friend! . . .

CYRANO My friend, I have my bitter days,

580 Knowing myself so ugly, so alone.

Sometimes —

LE BRET You weep?

CYRANO (quickly)

Oh, not that ever! No,

That would be too grotesque — tears trickling down

All the long way along this nose of mine?

I will not so profane the dignity

585 Of sorrow. Never any tears for me!

Why, there is nothing more sublime than tears,

Nothing! — Shall I make them ridiculous

In my poor person?

LE BRET Love’s no more than chance!

CYRANO (Shakes his head.)

No. I love Cleopatra; do I appear

590 Caesar? I adore Beatrice; have I

The look of Dante?23

LE BRET But your wit — your courage —

Why, that poor child who offered you just now

Your dinner! She — you saw with your own eyes,

Her eyes did not avoid you.

CYRANO (thoughtful)

That is true . . .

LE BRET Well then! Roxane herself, watching your duel,

595 Paler than —

CYRANO Pale? —

LE BRET Her lips parted, her hand

Thus, at her breast — I saw it! Speak to her

Speak, man!

CYRANO Through my nose? She might laugh at me;

That is the one thing in this world I fear!

THE PORTER (Followed by The Duenna, approaches CYRANO respectfully.)

A lady asking for Monsieur.

CYRANO Mon dieu . . .

600 Her Duenna! —

THE DUENNA (a sweeping curtsey)

Monsieur . . .

A message for you:

From our good cousin we desire to know

When and where we may see him privately.

CYRANO (amazed)

To see me?

THE DUENNA (an elaborate reverence)

To see you. We have certain things

To tell you.

688

CYRANO Certain —

THE DUENNA Things.

CYRANO (trembling)

Mon dieu!24 . . .

THE DUENNA We go

605 To-morrow, at the first flush of the dawn,

To hear Mass at St. Roch. Then afterwards,

Where can we meet and talk a little?

CYRANO (Catching LE BRET’S arm.)

Where? —

I — Ah, mon dieu! . . . mon dieu! . . .

THE DUENNA Well?

CYRANO I am thinking . . .

THE DUENNA And you think?

CYRANO I . . . The shop of Ragueneau . . .

Ragueneau — pastrycook . . .

THE DUENNA Who dwells? —

CYRANO Mon dieu!

Oh, yes . . . Ah, mon dieu! . . . Rue St. — Honoré.

610 THE DUENNA We are agreed. Remember — seven o’clock.

(reverence)

Until then —

CYRANO I’ll be there.

(The Duenna goes out.)

CYRANO (Falls into the arms of LE BRET.)

Me . . . to see me! . . .

LE BRET You are not quite so gloomy.

CYRANO After all,

She knows that I exist — no matter why!

LE BRET So now, you are going to be happy.

CYRANO Now! . . .

(beside himself)

615 I — I am going to be a storm — a flame —

I need to fight whole armies all alone;

I have ten hearts; I have a hundred arms; I feel

Too strong to war with mortals —

(He shouts at the top of his voice.)

BRING ME GIANTS!

(A moment since, the shadows of the comedians have been visible moving and posturing upon the stage. The violins have taken their places.)

A VOICE (from the stage)

Hey — pst — less noise! We are rehearsing here!

CYRANO (laughs)

620 We are going.

(He turns up stage. Through the street door enter CUIGY, BRISSAILLE, and a number of officers, supporting LIGNIÈRE, who is now thoroughly drunk.)

CUIGY Cyrano!

CYRANO What is it?

CUIGY Here —

Here’s your stray lamb!

CYRANO (Recognizes LIGNIÈRE.)

Lignière! — What’s wrong with him?

CUIGY He wants you.

BRISSAILLE He’s afraid to go home.

CYRANO Why?

LIGNIÈRE (Showing a crumpled scrap of paper and speaking with the elaborate logic of profound intoxication.)

This letter — hundred against one —that’s me —

I’m the one — all because of little song —

625 Good song — Hundred men, waiting, understand?

Porte de Nesle — way home — Might be dangerous —

Would you permit me spend the night with you?

CYRANO A hundred — is that all? You are going home!

LIGNIÈRE (astonished)

Why —

CYRANO (In a voice of thunder, indicating the lighted lantern which The Porter holds up curiously as he regards the scene.)

Take that lantern!

(LIGNIÈRE precipitately seizes the lantern.)

Forward march! I say

630 I’ll be the man to-night that sees you home.

(to the officers)

You others follow — I want an audience!

CUIGY A hundred against one —

CYRANO Those are the odds

689

To-night!

(The Comedians in their costumes are descending from the stage and joining the group.)

LE BRET But why help this —

CYRANO There goes Le Bret

Growling!

LE BRET — This drunkard here?

CYRANO (His hand on LE BRET’S shoulder.)

Because this drunkard —

635 This tun of sack, this butt of Burgundy —

Once in his life has done one lovely thing:

After the Mass, according to the form,

He saw, one day, the lady of his heart

Take holy water for a blessing. So

640 This one, who shudders at a drop of rain,

This fellow here — runs headlong to the font

Bends down and drinks it dry!

A SOUBRETTE25 I say that was

A pretty thought!

CYRANO Ah, was it not?

THE SOUBRETTE (to the others)

But why

Against one poor poet, a hundred men?

645 CYRANO March!

(to the officers)

And you gentlemen, remember now,

No rescue — Let me fight alone.

A COMEDIENNE (Jumps down from the stage.)

Come on!

I’m going to watch —

CYRANO Come along!

ANOTHER COMEDIENNE (Jumps down, speaks to a Comedian costumed as an old man.)

You, Cassandre?

CYRANO Come all of you — the Doctor, Isabelle,

Léandre — the whole company — a swarm

650 Of murmuring, golden bees — we’lI parody

Italian farce and Tragedy-of-Blood;

Ribbons for banners, masks for blazonry,

And tambourines to be our rolIing drums!

ALL THE WOMEN (Jumping for joy.)

Bravo! — My hood — My cIoak — Hurry!

JODELET (mock heroic)

Lead on! —

CYRANO (to the violins)

655 You violins — play us an overture —

(The violins join the procession which is forming. The lighted candles are snatched from the stage and distributed; it becomes a torchlight procession.)

Bravo! — Officers — Ladies in costume —

And twenty paces in advance. . . .

(He takes his station as he speaks.)

Myself,

Alone, with glory fluttering over me,

Alone as Lucifer at war with heaven!

660 Remember — no one lifts a hand to help —

Ready there? One . . . two . . . three! Porter, the doors! . . .

(The Porter flings wide the great doors. We see in the dim moonlight a corner of old Paris, purple and picturesque.)

Look — Paris dreams — nocturnal, nebulous,

Under blue moonbeams hung from wall to wall —

Nature’s own setting for the scene we play! —

Yonder, behind her veil of mist, the Seine,

Like a mysterious and magic mirror

Trembles —

And you shall see what you shall see!

ALL To the Porte de Nesle!

CYRANO (erect upon the threshold)

To the Porte de Nesle!

(He turns back for a moment to the Soubrette.)

Did you not ask, my dear, why against one

Singer they send a hundred swords?

(quietly, drawing his own sword)

Because

They know this one man for a friend of mine!

(He goes out. The procession follows: LIGNIÈRE zigzagging at its head, then the Comediennes on the arms of the Officers, then the Comedians, leaping and dancing as they go. It vanishes into the night to the music of the violins, illuminated by the flickering glimmer of the candles.)

(Curtain)

690

Understanding and Interpreting

  1. What is the mood of the play in the opening scenes before Cyrano appears? Cite specific textual evidence to support your response.

  2. The stage directions following line 220 tell us that Cyrano “arises in the centre of the floor, erect upon a chair, his arms folded, his hat cocked ferociously, his moustache bristling, his nose terrible.” What does this description tell us about the character of Cyrano?

  3. What is the nature of the conflict between Cyrano and Montfleury? Why does Cyrano object to the play being performed?

  4. What does the exchange between the Meddler and Cyrano show us about him? Do you think it shows Cyrano’s insecurity, his disregard for the opinion of others, a little of both, or something else entirely? In what ways does he, in fact, “glory in this nose of mine” (l. 332)?

  5. Perhaps the most famous speech in the entire play is the monologue Cyrano delivers cataloging different possible responses to his nose (ll. 355–408). What does this speech tell us about him? Do you see him as arrogant, showing off his poetic and rhetorical skills? Simply confident? Or is he essentially apologizing for a physical anomaly that most find repugnant? (Keep in mind that in ll. 409–410 Valvert accuses him of “arrogant grand airs” at the same time he calls him a “clown.”)

  6. How is Christian characterized in this opening act? What positive qualities does he have (presented directly or indirectly), and what are his weaknesses?

  7. Why are one hundred men, allegedly, after Lignière? Why does Cyrano insist that he will fight them alone (ll. 658–660)?

  8. The opening sections of Act 1 introduce multiple characters who represent a range of backgrounds, occupations, and social classes in 1640s-era France. Choose five characters and describe the picture of French society that emerges from their actions and interactions.

  9. By the end of Act 1, what do we know of the love (or attraction) of De Guiche, Christian, and Cyrano for Roxane?

  10. By the end of Act 1, what internal conflicts do you sense that Cyrano possesses? Is he, for example, arrogant or insecure—or both? In what ways might he be seen as both brave and fearful?

Analyzing Language, Style, and Structure

  1. Cyrano opens with a play within a play. What purpose might that structure serve for Rostand as he develops the audience’s relationship with Cyrano? Is Rostand poking fun at the idea of the theater? Calling attention to stagecraft? Both? Something else?

  2. How does the delayed appearance of Cyrano in Act I contribute to his characterization? What do we know of him before he arrives on stage?

  3. A ballade is a verse form, usually consisting of three stanzas of eight or ten lines each; each stanza ends in the same one-line refrain. Why do you think Rostand has Cyrano choose this strict form rather than a more free-form verse in this scene?

  4. How does the character of Lignière function in Act 1? What do we learn about the central characters, especially Christian and Cyrano, through their interaction with him? What elements of tension and conflict does Rostand introduce through him?

  5. What is the nature and effect of the extended metaphor in Act I, lines 412–426? Why is the metaphor of clothing appropriate to the point Cyrano is making?

  6. Throughout Act 1, there are references to money and the status it confers. The most obvious—and literal—distinction is between the aristocracy and the lower classes, but Rostand also reminds us to question the value of money on a more abstract level. What are some of the issues he raises, including the importance of patronage and the figurative currency of wit and words?

  7. What image patterns do you notice in Act 1, particularly in the speeches Cyrano delivers?

691

Connecting, Arguing, and Extending

  1. A swashbuckler is a swaggering or flamboyant adventurer, a romantic and heroic figure. To what extent does Cyrano fit this description in Act 1? Does he seem to be too flawed to be a hero?

  2. Watch the famous speech Cyrano delivers about his nose in the 1990 film Cyrano, starring French actor Gérard Depardieu. In what ways does his interpretation match or differ from yours as you read Act 1?

  3. Set in a different era, a time when France was flourishing culturally, politically, and economically, Cyrano de Bergerac offered theatergoers escapist entertainment that distracted them, however briefly, from current, pressing problems. View a film popular from the Great Depression era, which went from 1929 to 1939, and discuss how it served a similar function of escapism for American audiences. Some popular movies include The Wizard of Oz, Gone with the Wind, Grand Hotel, Frankenstein, King Kong, and the gangster movie Angels with Dirty Faces.