9.6

742

Act 5 Cyrano de Bergerac

Cyrano’s Gazette

Fifteen years later, in 1655. The Park of the Convent occupied by the Ladies of the Cross, at Paris.

Magnificent foliage. To the Left, the House upon a broad Terrace at the head of a flight of steps, with several Doors opening upon the Terrace. In the centre of the scene an enormous Tree alone in the centre of a little open space. Toward the Right, in the foreground, among Boxwood Bushes, a semicircular Bench of stone.

All the way across the Background of the scene, an Avenue overarched by the chestnut trees, leading to the door of a Chapel on the Right, just visible among the branches of the trees. Beyond the double curtain of the trees, we catch a glimpse of bright lawns and shaded walks, masses of shrubbery; the perspective of the Park; the sky.

A little side door of the Chapel opens upon a Colonnade, garlanded with Autumnal vines, and disappearing on the Right behind the box-trees.

It is late October. Above the still living green of the turf all the foliage is red and yellow and brown. The evergreen masses of Box and Yew stand out darkly against this Autumnal coloring. A heap of dead leaves under every tree. The leaves are falling everywhere. They rustle underfoot along the walks; the Terrace and the Bench are half covered with them.

Before the Bench on the Right, on the side toward the Tree, is placed a tall embroidery frame and beside it a little Chair. Baskets filled with skeins of many-colored silks and balls of wool. Tapestry unfinished on the Frame.

At the Curtain Rise the nuns are coming and going across the Park; several of them are seated on the Bench around MOTHER MARGUERITE DE JESUS. The leaves are falling.

SISTER MARTHE (to MOTHER MARGUERITE)

Sister Claire has been looking in the glass

At her new cap; twice!

MOTHER MARGUERITE (to SISTER CLAIRE)

It is very plain; Very.

SISTER CLAIRE And Sister Marthe stole a plum

Out of the tart this morning!

MOTHER MARGUERITE (to SISTER MARTHE)

That was wrong;

5 Very wrong.

SISTER CLAIRE Oh, but such a little look!

SISTER MARTHE Such a little plum!

MOTHER MARGUERITE (severely)

I shall tell Monsieur

De Cyrano, this evening.

SISTER CLAIRE No! Oh no! —

He will make fun of us.

SISTER MARTHE He will say nuns

Are so gay!

SISTER CLAIRE And so greedy!

MOTHER MARGUERITE (smiling)

And so good . . .

10 SISTER CLAIRE It must be ten years, Mother Marguerite,

That he has come here every Saturday,

Is it not?

MOTHER MARGUERITE More than ten years; ever since

His cousin came to live among us here —

Her worldly weeds among our linen veils,

15 Her widowhood and our virginity —

Like a black dove among white doves.

SISTER MARTHE No one

Else ever turns that happy sorrow of hers

Into a smile.

ALL THE NUNS He is such fun! — He makes us

Almost laugh! — And he teases everyone —

20 And pleases everyone — And we all lovehim —

And he likes our cake, too —

SISTER MARTHE I am afraid

He is not a good Catholic.

SISTER CLAIRE Some day

We shall convert him.

THE NUNS Yes — yes!

MOTHER MARGUERITE Let him be;

I forbid you to worry him. Perhaps

25 He might stop coming here.

SISTER MARTHE But . . . God?

MOTHER MARGUERITE You need not

Be afraid. God knows all about him.

SISTER MARTHE Yes . . .

743

But every Saturday he says to me,

Just as if he were proud of it: “Well, Sister,

I ate meat yesterday!”

MOTHER MARGUERITE He tells you so?

30 The last time he said that, he had not eaten

Anything, for two days.

SISTER MARTHE Mother! —

MOTHER MARGUERITE He is poor;

Very poor.

SISTER MARTHE Who said so?

MOTHER MARGUERITE Monsieur Le Bret.

SISTER MARTHE Why does not someone help him?

MOTHER MARGUERITE He would be

Angry; very angry . . .

(Between the trees up stage, ROXANE appears, all in black, with a widow’s cap and long veils. DE GUICHE, magnificently grown old, walks beside her. They move slowly. MOTHER MARGUERITE rises.)

Let us go in —

Madame Madeleine has a visitor.

SISTER MARTHE (to SISTER CLAIRE)

35 The Duc de Grammont, is it not? The Marshal?

SISTER CLAIRE (Looks toward DE GUICHE.)

I think so — yes.

SISTER MARTHE He has not been to see her

For months —

THE NUNS He is busy — the Court! — The Camp! —

SISTER CLAIRE The world! . . .

(They go out. DE GUICHE and ROXANE come down in silence, and stop near the embroidery frame. Pause.)

DE GUICHE And you remain here, wasting all that gold —

For ever in mourning?

ROXANE For ever.

DE GUICHE And still faithful?

40 ROXANE And still faithful . . .

DE GUICHE (after a pause)

Have you forgiven me?

ROXANE (simply, looking up at the cross of the Convent)

I am here.

(another pause)

DE GUICHE Was Christian . . . all that?

ROXANE If you knew him.

DE GUICHE Ah? We were not precisely . . . intimate . . .

And his last letter — always at your heart?

ROXANE It hangs here, like a holy reliquary.

45 DE GUICHE Dead — and you love him still!

ROXANE Sometimes I think

He has not altogether died; our hearts

Meet, and his love flows all around me, living.

DE GUICHE (after another pause)

You see Cyrano often?

ROXANE Every week.

My old friend takes the place of my Gazette.

50 Brings me all the news. Every Saturday,

Under that tree where you are now, his chair

Stands, if the day be fine. I wait for him,

Embroidering; the hour strikes; then I hear,

55 (I need not turn to look!) at the last stroke,

His cane tapping the steps. He laughs at me

For my eternal needlework. He tells

The story of the past week —

(LE BRET appears on the steps.)

There’s Le Bret! —

(LE BRET approaches.)

How is it with our friend?

LE BRET Badly.

DE GUICHE Indeed?

ROXANE (to DE GUICHE)

60 Oh, he exaggerates!

LE BRET Just as I said —

Loneliness, misery — I told him so! —

His satires make a host of enemies —

He attacks the false nobles, the false saints,

The false heroes, the false artists — in short,

65 Everyone!

ROXANE But they fear that sword of his —

No one dare touch him!

DE GUICHE (with a shrug)

H’m — that may be so.

LE BRET It is not violence I fear for him,

But solitude — poverty — old gray December,

Stealing on wolf’s feet, with a wolf’s green eyes,

70 Into his darkening room. Those bravoes yet

May strike our Swordsman down! Every day now,

He draws his belt up one hole; his poor nose

744

Looks like old ivory; he has one coat

Left — his old black serge.

DE GUICHE That is nothing strange

75 In this world! No, you need not pity him

Overmuch.

LE BRET (with a bitter smile)

My lord Marshal! . . .

DE GUICHE I say, do not

Pity him overmuch. He lives his life,

His own life, his own way — thought, word, and deed

Free!

LE BRET (as before)

My lord Duke! . . .

DE GUICHE (haughtily)

Yes, I know — I have all;

80 He has nothing. Nevertheless, to-day

I should be proud to shake his hand . . .

(Saluting ROXANE.)

Adieu.

ROXANE I will go with you.

(DE GUICHE salutes LE BRET, and turns with ROXANE toward the steps.)

DE GUICHE (Pauses on the steps, as she climbs.)

Yes — I envy him

Now and then . . .

Do you know, when a man wins

Everything in this world, when he succeeds

85 Too much — he feels, having done nothing wrong

Especially, Heaven knows! — he feels somehow

A thousand small displeasures with himself,

Whose whole sum is not quite Remorse, but rather

A sort of vague disgust . . . The ducal robes

90 Mounting up, step by step, to pride and power,

Somewhere among their folds draw after them

A rustle of dry illusions, vain regrets,

As your veil, up the stairs here, draws along

The whisper of dead leaves.

ROXANE (ironical)

The sentiment

95 Does you honor.

DE GUICHE Oh, yes . . .

(Pausing suddenly.)

Monsieur Le Bret! —

(to ROXANE)

You pardon us? —

(He goes to LE BRET, and speaks in a low tone.)

One moment — It is true

That no one dares attack your friend. Some people

Dislike him, none the less. The other day

At Court, such a one said to me: “This man

100 Cyrano may die — accidentally.”

LE BRET (coldly)

Thank you.

DE GUICHE You may thank me. Keep him at home

All you can. Tell him to be careful.

LE BRET (Shaking his hands to heaven.)

Careful! —

He is coming here. I’ll warn him — yes, but! . . .

ROXANE (still on the steps, to a Nun who approaches her)

Here

I am — what is it?

THE NUN Madame, Ragueneau

105 Wishes to see you.

ROXANE Bring him here.

(to LE BRET and DE GUICHE)

He comes

For sympathy — having been first of all

A Poet, he became since then, in turn,

A Singer —

LE BRET Bath-house keeper —

ROXANE Sacristan1

LE BRET Actor —

ROXANE Hairdresser —

LE BRET Music-master —

ROXANE Now,

110 To-day —

RAGUENEAU (Enters hurriedly.)

Madame! —

(He sees LE BRET.)

Monsieur! —

745

ROXANE (Smiling)

First tell your troubles

To Le Bret for a moment.

RAGUENEAU But Madame —

(She goes out, with DE GUICHE, not hearing him. RAGUENEAU comes to LE BRET.)

After all, I had rather — You are here —

She need not know so soon — I went to see him

Just now — Our friend — As I came near his door,

115 I saw him coming out. I hurried on

To join him. At the corner of the street,

As he passed — Could it be an accident? —

I wonder! — At the window overhead,

A lackey with a heavy log of wood

120 Let it fall —

LE BRET Cyrano!

RAGUENEAU I ran to him —

LE BRET God! The cowards!

RAGUENEAU I found him lying there —

A great hole in his head —

LE BRET Is he alive?

RAGUENEAU Alive — yes. But . . . I had to carry him

Up to his room — Dieu! Have you seen his room? —

125 LE BRET Is he suffering?

RAGUENEAU No; unconscious.

LE BRET Did you

Call a doctor?

RAGUENEAU One came — for charity.

LE BRET Poor Cyrano! — We must not tell Roxane

All at once . . . Did the doctor say? —

RAGUENEAU He said

Fever, and lesions of the — I forget

130 Those long names — Ah, if you had seen him there,

His head all white bandages! — Let us go

Quickly — there is no one to care for him —

All alone — If he tries to raise his head,

He may die!

LE BRET (Draws him away to the Right.)

This way — It is shorter — through

135 The Chapel —

ROXANE (Appears on the stairway, and calls to LE BRET as he is going out by the colonnade which leads to the small door of the Chapel.)

Monsieur Le Bret! —

(LE BRET and RAGUENEAU rush off without hearing.)

Running away

When I call to him? Poor dear Ragueneau

Must have been very tragic!

(She comes slowly down the stair, toward the tree.)

What a day! . . .

Something in these bright Autumn afternoons

Happy and yet regretful — an old sorrow

140 Smiling . . . as though poor little April dried

Her tears long ago — and remembered . . .

(She sits down at her work. Two Nuns come out of the house carrying a great chair and set it under the tree.)

Ah —

The old chair, for my old friend! —

SISTER MARTHE The best one

In our best parlor! —

ROXANE Thank you, Sister —

(The Nuns withdraw.)

There —

(She begins embroidering. The clock strikes.)

The hour! — He will be coming now — my silks —

145 All done striking? He never was so late

Before! The sister at the door — my thimble . . .

Here it is — she must be exhorting him

To repent all his sins . . .

(a pause)

He ought to be

Converted, by this time — Another leaf —

(A dead leaf falls on her work; she brushes it away.)

150 Certainly nothing could — my scissors — ever

Keep him away —

A NUN (Appears on the steps.)

Monsieur de Bergerac.

ROXANE (Without turning)

What was I saying? . . . Hard, sometimes, to match

These faded colors! . . .

(While she goes on working, CYRANO appears at the top of the steps, very pale, his hat drawn over his eyes. The Nun who has brought him in goes away. He begins to descend the steps leaning on his cane, and holding himself on his feet only by an evident effort. ROXANE turns to him, with a tone of friendly banter.)

746

After fourteen years,

Late — for the first time!

CYRANO (Reaches the chair, and sinks into it; his gay tone contrasting with his tortured face.)

Yes, yes — maddening!

155 I was detained by —

ROXANE Well?

CYRANO A visitor,

Most unexpected.

ROXANE (carelessly, still sewing)

Was your visitor

Tiresome?

CYRANO Why, hardly that — inopportune,

Let us say — an old friend of mine — at least

A very old acquaintance.

ROXANE Did you tell him

160 To go away?

CYRANO For the time being, yes.

I said: “Excuse me — this is Saturday —

I have a previous engagement, one

I cannot miss, even for you — Come back

An hour from now.”

ROXANE Your friend will have to wait;

165 I shall not let you go till dark.

CYRANO (very gently)

Perhaps

A little before dark, I must go . . .

(He leans back in the chair, and closes his eyes. SISTER MARTHE crosses above the stairway. ROXANE sees her, motions her to wait, then turns to CYRANO.)

ROXANE Look —

Somebody waiting to be teased.

CYRANO (Quickly, opens his eyes.)

Of course!

(in a big, comic voice)

Sister, approach!

(SISTER MARTHE glides toward him.)

Beautiful downcast eyes! —

So shy —

SISTER MARTHE (Looks up, smiling.)

You —

(She sees his face.)

Oh! —

CYRANO (Indicates ROXANE.)

Sh! — Careful!

(Resumes his burlesque tone.)

Yesterday,

170 I ate meat again!

SISTER MARTHE Yes, I know.

(aside)

That is why

He looks so pale . . .

(to him: low and quickly)

In the refectory,

Before you go — come to me there —

I’ll make you

A great bowl of hot soup — will you come?

CYRANO (boisterously)

Ah —

Will I come!

SISTER MARTHE You are quite reasonable

175 To-day!

ROXANE Has she converted you?

SISTER MARTHE Oh, no —

Not for the world! —

CYRANO Why, now I think of it,

That is so — You, bursting with holiness,

And yet you never preach! Astonishing

I call it . . .

(with burlesque ferocity)

Ah — now I’ll astonish you —

180 I am going to —

(with the air of seeking for a good joke and finding it)

— let you pray for me

To-night, at vespers!

ROXANE Aha!

CYRANO Look at her —

Absolutely struck dumb!

SISTER MARTHE (gently)

I did not wait

For you to say I might.

(She goes out.)

CYRANO (Returns to ROXANE, who is bending over her work.)

Now, may the devil

Admire me, if I ever hope to see

185 The end of that embroidery!

ROXANE (smiling)

I thought

It was time you said that.

(A breath of wind causes a few leaves to fall.)

CYRANO The leaves —

747

ROXANE (Raises her head and looks away through the trees.)

What color —

Perfect Venetian red! Look at them fall.

CYRANO Yes — they know how to die. A little way

From the branch to the earth, a little fear

190 Of mingling with the common dust — and yet

They go down gracefully — a fall that seems

Like flying!

ROXANE Melancholy — you?

CYRANO Why, no,

Roxane!

ROXANE Then let the leaves fall. Tell me now

The Court news — my gazette!

CYRANO Let me see —

ROXANE Ah!

CYRANO (more and more pale, struggling against pain)

195 Saturday, the nineteenth: The King fell ill,

After eight helpings of grape marmalade.

His malady was brought before the court,

Found guilty of high treason; whereupon

His Majesty revived. The royal pulse

200 Is now normal. Sunday, the twentieth:

The Queen gave a grand ball, at which they burned

Seven hundred and sixty-three wax candles. Note:

They say our troops have been victorious

In Austria. Later: Three sorcerers

205 Have been hung. Special post: The little dog

Of Madame d’Athis was obliged to take

Four pills before —

ROXANE Monsieur de Bergerac,

Will you kindly be quiet!

CYRANO Monday . . . nothing.

Lygdamire has a new lover.

ROXANE Oh!

CYRANO (his face more and more altered)

Tuesday,

210 The Twenty-second: All the court has gone

To Fontainebleau, Wednesday: The Comte de Fiesque

Spoke to Madame de Montglat; she said No.

Thursday: Mancini was the Queen of France

Or — very nearly! Friday: La Monglat

215 Said Yes. Saturday, twenty-sixth. . . .

(His eyes close; his head sinks back; silence.)

ROXANE (Surprised at not hearing any more, turns, looks at him, and rises, frightened.)

He has fainted —

(She runs to him, crying out.)

Cyrano!

CYRANO (Opens his eyes.)

What . . . What is it? . . .

(He sees ROXANE leaning over him, and quickly pulls his hat down over his head and leans back away from her in the chair.)

No — oh no —

It is nothing — truly!

ROXANE But —

CYRANO My old wound —

At Arras — sometimes — you know. . . .

ROXANE My poor friend!

CYRANO Oh it is nothing; it will soon be gone. . . .

(forcing a smile)

220 There! It is gone!

ROXANE (standing close to him)

We all have our old wounds —

I have mine — here . . .

(her hand at her breast)

under this faded scrap

Of writing. . . . It is hard to read now — all

But the blood — and the tears. . . .

(Twilight begins to fall.)

CYRANO His letter! . . . Did you

Not promise me that some day . . . that some day . . .

225 You would let me read it?

ROXANE His letter? — You . . .

You wish —

CYRANO I do wish it — to-day.

ROXANE (Gives him the little silken bag from around her neck.)

Here. . . .

CYRANO May I . . . open it?

ROXANE Open it, and read.

(She goes back to her work, folds it again, rearranges her silks.)

CYRANO (Unfolds the letter; reads.)

“Farewell Roxane, because to-day I die —”

ROXANE (Looks up, surprised.)

Aloud?

CYRANO (reads)

748

“I know that it will be to-day,

230 My own dearly beloved — and my heart

Still so heavy with love I have not told,

And I die without telling you! No more

Shall my eyes drink the sight of you like wine,

Never more, with a look that is a kiss,

235 Follow the sweet grace of you —”

ROXANE How you read it —

His letter!

CYRANO (continues)

“I remember now the way

You have, of pushing back a lock of hair

With one hand, from your forehead — and my heart

Cries out —”

ROXANE His letter . . . and you read it so . . .

(The darkness increases imperceptibly.)

240 CYRANO “Cries out and keeps crying: ‘Farewell, my dear,

My dearest —’”

ROXANE In a voice. . . .

CYRANO “— My own heart’s own,

My own treasure —”

ROXANE (dreamily)

In such a voice. . . .

CYRANO —“My love —”

ROXANE — As I remember hearing . . .

(She trembles.)

— long ago. . . .

(She comes near him, softly, without his seeing her; passes the chair, leans over silently, looking at the letter. The darkness increases. )

CYRANO “— I am never away from you. Even now,

245 I shall not leave you. In another world,

I shall be still that one who loves you, loves you

Beyond measure, beyond —”

ROXANE (Lays her hand on his shoulder.)

How can you read

Now? It is dark. . . .

(He starts, turns, and sees her there close to him. A little movement of surprise, almost of fear; then he bows his head.

A long pause; then in the twilight now completely fallen, she says very softly, clasping her hands.)

And all these fourteen years,

He has been the old friend, who came to me

250 To be amusing.

CYRANO Roxane! —

ROXANE It was you.

CYRANO No, no, Roxane, no!

ROXANE And I might have known, Every time that I heard you speak my name! . . .

CYRANO No — It was not I —

ROXANE It was . . . you!

CYRANO I swear —

ROXANE I understand everything now: The letters —

255 That was you . . .

CYRANO No!

ROXANE And the dear, foolish words —

That was you. . . .

CYRANO No!

ROXANE And the voice . . . in the dark . . . .

That was . . . you!

CYRANO On my honor —

ROXANE And . . . the Soul! —

That was all you.

CYRANO I never loved you —

ROXANE Yes,

260 You loved me.

CYRANO (desperately)

No — He loved you —

ROXANE Even now,

You love me!

CYRANO (His voice weakens.)

No!

ROXANE (smiling)

And why . . . so great a No?

CYRANO No, no, my own dear love, I love you not! . . .

(pause)

ROXANE How many things have died . . . and are newborn! . . .

Why were you silent for so many years,

All the while, every night and every day,

He gave me nothing — you knew that — You knew

265 Here, in this letter lying on my breast,

Your tears — You knew they were your tears —

749

CYRANO (Holds the letter out to her.)

The blood

Was his.

ROXANE Why do you break that silence now,

To-day?

CYRANO Why? Oh, because —

(LE BRET and RAGUENEAU enter, running.)

LE BRET What recklessness —

I knew it! He is here!

CYRANO (smiling, and trying to rise)

Well? Here I am!

270 RAGUENEAU He has killed himself, Madame, coming here!

ROXANE He — oh, God. . . . And that faintness . . . was that? —

CYRANO No,

Nothing! I did not finish my Gazette

Saturday, twenty-sixth: An hour or so

Before dinner, Monsieur de Bergerac

275 Died, foully murdered.

(He uncovers his head, and shows it swathed in bandages.)

ROXANE Oh, what does he mean? —

Cyrano! — What have they done to you? —

CYRANO “Struck down

By the sword of a hero, let me fall —

Steel in my heart, and laughter on my lips!”

Yes, I said that once. How Fate loves a jest! —

280 Behold me ambushed — taken in the rear —

My battlefield a gutter — my noble foe

A lackey, with a log of wood! . . .

It seems

Too logical — I have missed everything,

Even my death!

RAGUENEAU (Breaks down.)

Ah, monsieur! —

CYRANO Ragueneau,

285 Stop blubbering!

(Takes his hand.)

What are you writing nowadays,

Old poet?

RAGUENEAU (through his tears)

I am not a poet now;

I snuff the — light the candles — for Molière!

CYRANO Oh — Molière!

RAGUENEAU Yes, but I am leaving him

To-morrow. Yesterday they played Scapin

290 He has stolen your scene —

LE BRET The whole scene — word for word!

RAGUENEAU Yes: “What the devil was he doing there” —

That one!

LE BRET (furious)

And Molière stole it all from you —

Bodily! —

CYRANO Bah — He showed good taste. . . .

(to RAGUENEAU)

The Scene

Went well? . . .

RAGUENEAU Ah, monsieur, they laughed—and laughed —

295 How they did laugh!

CYRANO Yes — that has been my life. . . .

Do you remember that night Christian spoke

Under your window? It was always so!

While I stood in the darkness underneath,

Others climbed up to win the applause — thekiss! —

300 Well — that seems only justice — I still say,

Even now, on the threshold of my tomb —

“Molière has genius — Christian had good looks—

(The chapel bell is ringing. Along the avenue of trees above the stairway, the Nuns pass in procession to their prayers.)

They are going to pray now; there is the bell.

ROXANE (Raises herself and calls to them.)

Sister! — Sister! —

CYRANO (holding on to her hand)

No, — do not go away —

305 I may not still be here when you return. . . .

(The Nuns have gone into the chapel. The organ begins to play.)

A little harmony is all I need —

Listen. . . .

ROXANE You shall not die! I love you! —

CYRANO No —

That is not in the story! You remember

When Beauty said “I love you” to the Beast

310 That was a fairy prince, his ugliness

Changed and dissolved, like magic. . . .

But you see

I am still the same.

ROXANE And I — I have done

This to you! All my fault — mine!

750

CYRANO You? Why no,

On the contrary! I had never known

315 Womanhood and its sweetness but for you.

My mother did not love to look at me —

I never had a sister — Later on,

I feared the mistress with a mockery

Behind her smile. But you — because of you

320 I have had one friend not quite all a friend —

Across my life, one whispering silken gown! . . .

LE BRET (Points to the rising moon which begins to shine down between the trees.)

Your other friend is looking at you.

CYRANO (smiling at the moon)

I see. . . .

ROXANE I never loved but one man in my life,

And I have lost him — twice. . . .

325 CYRANO Le Bret — I shall be up there presently

In the moon — without having to invent

Any flying machines!

ROXANE What are you saying? . . .

CYRANO The moon — yes, that would be the place for me —

My kind of paradise! I shall find there

330 Those other souls who should be friends of mine —

Socrates — Galileo —

LE BRET (revolting)

No! No! No!

It is too idiotic — too unfair —

Such a friend — such a poet — such a man

To die so — to die so! —

CYRANO (affectionately)

There goes Le Bret,

335 Growling!

LE BRET (Breaks down.)

My friend! —

CYRANO (Half raises himself, his eye wanders.)

The Cadets of Gascoyne,

The Defenders. . . . The elementary mass —

Ah — there’s the point! Now, then . . .

LE BRET Delirious —

And all that learning —

CYRANO On the other hand, We have Copernicus —

ROXANE Oh!

CYRANO (more and more delirious)

“Very well,

340 But what the devil was he doing there? —

What the devil was he doing there, up there?” . . .

(he declaims)

Philosopher and scientist,

Poet, musician, duellist —

He flew high, and fell back again!

345 A pretty wit — whose like we lack —

A lover . . . not like other men. . . .

Here lies Hercule-Savinien

De Cyrano de Bergerac —

Who was all things — and all in vain!

350 Well, I must go — pardon — I cannot stay!

My moonbeam comes to carry me away. . . .

(He falls back into the chair, half fainting. The sobbing of ROXANE recalls him to reality. Gradually his mind comes back to him. He looks at her, stroking the veil that hides her hair.)

I would not have you mourn any the less

That good, brave, noble Christian; but perhaps —

I ask you only this — when the great cold

Gathers around my bones, that you may give

355 A double meaning to your widow’s weeds

And the tears you let fall for him may be

For a little — my tears. . . .

ROXANE (sobbing)

Oh, my love! . . .

CYRANO (Suddenly shaken as with a fever fit, he raises himself erect and pushes her away.)

— Not here! —

Not lying down! . . .

(They spring forward to help him; he motions them back.)

Let no one help me — no one! —

Only the tree. . . .

(He sets his back against the trunk. Pause.)

It is coming . . . I feel

360 Already shod with marble . . . gloved withlead . . .

(joyously)

Let the old fellow come now! He shall find me

On my feet — sword in hand —

(Draws his sword.)

LE BRET Cyrano! —

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ROXANE (half fainting)

Oh,

Cyrano!

CYRANO I can see him there — he grins —

He is looking at my nose — that skeleton

365 —What’s that you say? Hopeless? — Why, very well! —

But a man does not fight merely to win!

No — no — better to know one fights in vain! . . .

You there — Who are you? A hundred against one —

I know them now, my ancient enemies —

(He lunges at the empty air.)

370 Falsehood! . . . There! There! Prejudice —

Compromise —

Cowardice —

(thrusting)

What’s that? No! Surrender? No!

Never — never! . . .

Ah, you too, Vanity!

I knew you would overthrow me in the end —

No! I fight on! I fight on! I fight on!

(He swings the blade in great circles, then pauses, gasping. When he speaks again, it is in another tone.)

375 Yes, all my laurels you have riven away

And all my roses; yet in spite of you,

There is one crown I bear away with me,

And to-night, when I enter before God,

My salute shall sweep all the stars away

380 From the blue threshold! One thing without stain,

Unspotted from the world, in spite of doom

Mine own! —

(He springs forward, his sword aloft.)

And that is . . .

(The sword escapes from his hand; he totters, and falls into the arms of LE BRET and RAGUENEAU.)

ROXANE (Bends over him and kisses him on the forehead.)

— That is . . .

CYRANO (Opens his eyes and smiles up at her.)

My white plume. . . .

(Curtain)

Understanding and Interpreting

  1. The opening of Act 4 is vastly different from the light mood of Act 3. What has changed and why? Is the shift jarring, or do you find it an appropriate move to follow elements of plot and theme as they’ve developed thus far? Explain with specific reference to the text.

  2. Cyrano crosses enemy lines every day to post a letter to Roxane, but he does not bring food to the starving troops. Why? Is Cyrano acting honorably as he takes these actions?

  3. In Act 4, Roxane arrives at camp after facing considerable danger, and she brings a bounty of food and drink (l. 300). Do you interpret this action as evidence of Roxane’s self-absorption, her abiding love for Christian, her naive disregard for the danger in which she places herself and others, her concern for the starving troops, a combination of these traits, or something else?

  4. Once Roxane appears in the camp, how does the behavior of the Cadets of Gascoyne reflect the chivalric code?

  5. What decision does De Guiche make in Act 4 that shows his honesty, perhaps even honor?

  6. In Act 4, why does Cyrano insist, even as Christian is dying, that Roxane chose Christian (ll. 491–520)? Do you view this as the ultimate deception, a truly selfless act, or something else? Explain.

  7. What are the circumstances of Cyrano’s life as we hear of him at the start of Act 5?

  8. By Act 5, what is De Guiche’s attitude toward his own life? What does he mean when he says that a seemingly successful man “feels somehow / A thousand small displeasures with himself, / Whose whole sum is not quite Remorse, but rather / a sort of vague disgust” (ll. 86–89)?

  9. In the final act, Roxane, cloistered for fifteen years in a convent, realizes the truth about Cyrano’s love for her. What finally brings her to this recognition? Do you think she has wasted her life?

  10. What does Cyrano mean in Act 5 when he says, “It seems / Too logical—I have missed everything, / Even my death!” (ll. 282–284)? Do you agree with him?

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Analyzing Language, Style, and Structure

  1. The appearance of Roxane on the battlefield at Arras in Act 4 is implausible at best, although it furthers the plot and prepares for the ending. What do you think Rostand achieves by his decision to use this setting?

  2. In Act 4, Cyrano disagrees with what De Guiche does with his white scarf, and claims he would have acted differently (ll. 145–163). What does the white scarf symbolize in this disagreement?

  3. How does Rostand establish the mood at the opening of Act 5, which is set in a convent fifteen years after the close of Act 4? Note the overall atmosphere and the behavior of the characters in your response, as well as the stage directions.

  4. What evidence in the text of Act 5 do you find of Cyrano’s continuing eloquence?

Connecting, Arguing, and Extending

  1. One of the hallmarks of the chivalric code is idealism. In what ways do Acts 4 and 5 taken together embody a tension between idealistic and realistic behaviors? To what extent do you think these two very different scenarios—a battlefield and a convent—argue for the superiority of an idealistic perspective?

  2. The play ends with Cyrano’s dying words, “My white plume . . .” (Act 5, l. 382). He is making reference to a plume or feather such as that worn on a hat or helmet. The French word is panache, which has been adopted in English to mean a flamboyant manner. The white plume (or panache) is referred to explicitly at several points in the play, but is worn by Cyrano throughout. How does the plume function as a symbol throughout the play?

  3. Find an image—a painting or photo—that captures your interpretation of Roxane at the end of the play. (Keep in mind that, although Act 5 takes place fifteen years after the death of Christian, Roxane would still be only in her midthirties.) Explain how the image, which need not be from the period when the play takes place, captures both her physical qualities and character traits.

Topics for Composing

  1. Exposition
    Discuss the role of friendship as a theme of the play. Consider the different dimensions of friendship, including how duty and sacrifice play into it.

  2. Argument
    In most enduring novels or plays, a character (or characters) experience a change: we watch the arc of a journey the protagonist takes toward greater self-awareness, stronger character, more courageous actions, and so on. Which character do you believe changes most significantly in this play—Christian, Cyrano, or Roxane—and how does he or she change? Be very specific in your references to the text.

  3. Argument
    How does Rostand develop the tension between material and worldly values and spiritual ones? What are the risks of privileging one over the other? Which is, ultimately, more enduring? In your discussion, you might consider physical versus inner beauty, monetary power versus independence, and emotion versus intellect.

  4. Narrative
    What if Christian had not died in battle? Would he and Roxane have lived happily ever after? Write a short scene (as part of a play or as a piece of short fiction, no more than five hundred words) depicting their life together five years after Christian returns, hale and hearty, from the Battle of Arras. Whether you include Cyrano in your portrait is up to you.

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  5. Multimedia/Comparison-Contrast
    After viewing one of the film versions of Cyrano (such as the 1990 French production starring Gérard Depardieu or the 1987 adaptation called Roxanne), discuss the extent to which you believe the film is a success. Consider the intended audience and time period in your definition of “success,” along with your interpretation of the play by Rostand.

  6. Research/Argument
    Develop a proposal for a contemporary production of Cyrano de Bergerac. First of all, decide if you would choose to perform it as a live theater production or a film version. Second, consider who you would like to cast as the main characters and whether you will set the production in 1640 (the original time frame) or in a more contemporary setting. Finally, think about whether you would like to change anything significant, such as the ending or other elements of plot. Would you choose verse or prose? Explain your rationale for your choices.

  7. Narrative/Argument
    In Cyrano, Rostand has created a great hero. He is daring. He is romantic. He is selfless. Investigate how we define “heroes” today, and what aspects of their characters seem most admirable. What do these traits tell us about what we value as a society? What do you value, or think others should value more? How does Cyrano compare to your standards?