maurice maeterlinck - the blue bird (1) 1911

7/30/2019 Maurice Maeterlinck - The Blue Bird (1) 1911

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THE BLUE BIRDByMAURICE MAETERLINCK

Author ofThe Life of the Bee/' etc.

TITHATEVER Maeterlinck does he^ ^ does exquisitely. The Blue Bird

is a play about children, written for adults,and it is altogether charming. In itsatmosphere of wonder and magic, andits delightful fidelity to the nature ofchildren, it is much like ^< Peter Pan.Maeterlinck needs no introduction as awriter of plays, since he has already pro-duced such dramas as


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NV PUBLIC UBBARV THE BRANCS.Vffiffi?

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in 2007 with funding fromIVIicrosoft Corporation


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THE BLUE BIRD


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THE BLUE BIRDA Fairy Play in Six Acts

BYMAURICE MAETERLINCK

Translated byAlexander Teixeira de Mattos

NEW YORKDODD, MEAD AND COMPANY

1967


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Copyright, 1907, igog, igj.iBy DoDD, Mead & Companv

pjllo^lt

Printed iv U. S. A.


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^ The Rabbitg The HorseQThe Ass

' ^^ CHARACTERSTyltyl The WolfMytyl The PigLight The OxThe Fairy Berylune The CowNeighbour Berlingot The BullDaddy Tyl The SheepMummy Tyl The CockGaffer TylGranny TylTyltyl's Brothersand Sisters j The OakTime The ElmNight The BeechNeighbour Berlin- ]got's Little I The Lime-trebDaughter JTylo, the Dog The Fir-treeTylette, the Cat The CypressBread The Birch

iThe^^^^^ \ Chestnut-treeFire The IvyWater The PoplarMilk The Willow

Stars, Sicknesses, Shades, Luxuries,Happinesses, Joys, etc.


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TRANSLATOR'S NOTEA NEW act appears for the first time in this edi-tion and is inserted as Act IV The Palace ofHappiness. It has been specially written for theChristmas revival of The Blue Bird at the Hay-market Theatre, where it will take the place ofthe Forest Scene (Act III., Scene 2). In theprinted version, howerer, the Forest Scene is re-tained ; and in this and all later editions the playwill consist of six acts instead of five.

Alexander Teixeira de Mattos.Chelsea, 14 November,, 1910,


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COSTUMESTyltyl wears the dress of Hop o* my

Thumb In Perrault's Tales. Scarletknickerbockers, pale-blue jacket, whitestockings, tan shoes.Mytyl Is dressed like Gretel or Little RedRIdlng-hood.

Light.The moon-coloured dress inPerrault's Peau d'dne; that Is to say,pale gold shot with silver, shimmeringgauzes, forming a sort of rays, etc.Neo-Greclan or Anglo-Grecian {a laWalter Crane) or even more or lessEmpire style : a high waist, bare arms,etc. Head-dress: a sort of diadem oreven a light crown.

The Fairy Bj^rylune and NeighbourBerlingot.The traditional dressof the poor women in fairy-tales. Ifdesired, the transformation of theFairy Into a princess in Act I may beomitted.

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The Blue BirdDaddy Tyl, Mummy Tyl, Gaffer Tyl

and Granny Tyl.The traditionalcostume of the German wood-cuttersand peasants in Grimm's Tales.

Tyltyl's Brothers and Sisters.Dif-ferent forms of the Hop-o'-my-Thumbcostume.

Time.Traditional dress of Time : a wideblack or dark-blue cloak, a streamingwhite beard, scythe and hour-glass.

Night.Ample black garments, coveredwith mysterious stars and shot withreddish-brown reflections. Veils, darkpoppies, etc.The Neighbour's Little Girl.Brightfair hair; a long white frock.The Dog.Red dress-coat, white breeches,top-boots, a shiny hat. The costumesuggests that of John Bull.

The Cat.The costume of Puss in Bootspowdered wig, three-cornered hat,violet or sky-blue coat, dress-sword,etc.

N.B.The heads of the DoG and theCat should be only discreetly animalised.

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The Blue BirdThe Luxuries.Before the transfor-

mation: wide, heavy mantles in redand yellow brocade; enormous fatjewels, etc. After the transfor-mation: chocolate or coffee-colouredtights, giving the impression of un-adorned dancing-jacks.

The Happinesses of the Home.-Dresses of various colours, or, ifpreferred, costumes of peasants,shepherds, wood-cutters and so on,but idealised and interpreted fairy-fashion.

The Great Joys.^As stated in the text,shimmering dresses in soft and subtleshades : rose-awakening, water's-smile,amber-dew, blue-of-dawn, etc.

Maternal Love.Dress very similar tothe dress worn by Light, that is tosay, supple and almost transparentveils, as of a Greek statue, and, in sofar as possible, white. Pearls andother stones as rich and numerous asmay be desired, provided that theydo not break the pure and candidharmony of the whole,

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The Blue BirdBread.A rich pasha's dress. An ample

crimson silk or velvet gown. A hugeturban. A scimitar. An enormousstomach, red and puffed-out cheeks.

Sugar.A silk gown, cut like that of aeunuch In a seraglio, half blue andhalf white, to suggest the paper wrap-per OY a sugar-loaf. Eunuch's head-dress.

Fire.Red tights, a vermilion cloak withchanging reflections, lined with gold.An aigrette of Iridescent flames.

Water.A pale-blue or bluish-greendress, with transparent reflections andeffects of rippling or trickling gauze.Neo-Greclan or Anglo-Grecian style,but fuller and more voluminous thanthat of Light. Head-dress ofaquatic flowers and seaweed.The Animals.Popular or peasant cos-tumes.The Trees.Dresses of different shadesof green or the colour of the trunks oftrees. Distinctive attributes In theshape of leaves or branches by whichthey can be recognised,

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SCENESAct I.The Wood-cutter's Cottage.Act II., Scene iAt the Fairy's.

Scene 2The Land of Memory^Act III. 5 Scene iThe Palace of Night.Scene 2The Forest.Act IV., Scene iBefore the Curtain.

Scene 2The Palace of Happi-ness.

Act v., Scene iBefore the Curtain.Scene 2^The Graveyard.Scene 3The Kingdom of the

Future.Act VI., Scene i^The Leave-taking.

Scene 2The Awakening.

II


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The Blue BirdACT I

The fVood-cutter's CottageThe itage represents the interior of a wood*

cutter's cottage, simple and rustic inappearance, hut in no way poverty-stricken. A recessed fireplace contain-ing the dying embers of a wood-fire.Kitchen utensils, a cupboard, a bread-pan, a grandfather's clock, a spinning-wheel, a water-tap, etc. On a table, alighted lamp. At the foot of the cup-board, on either side, a DoG and a Catlie sleeping, rolled up, each with hisnose in his tail. Between them standsa large blue-and-white sugar-loaf. Onthe wall hangs a round cage contain-ing a turtle-dove. At the back, twowindows, with closed inside shutters.Under one of the windows, a stool.On the left is the front door, with a

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The Blue Birdbig latch to it. On the right, anotherdoor. A ladder leads up to a loft.On the right also are two little chiUdren's cots, at the head of which aretwo chairs, with clothes carefullyfolded on them. When the curtainrises, Tyltyl and Mytyl are soundasleep in their cots. Mummy Tyltucks them in, leans over them,watches them for a moment as theysleep and beckons to Daddy Tyl, whothrusts his head through the half-opendoor. Mummy Tyl lays a finger onher lips, to impose silence upon him,3.nd then goes out to the right, on tip-toe, after first putting out the lamp.The scene remains in darkness for amoment. Then a light, gradually in-*creasing in intensity, filters in throughthe shutters. The lamp on the tabltlights again of itself, but its light is ofa different colour than when MummyTyl extinguished it. The two Chil-dren appear to wake and sit upin bed.

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Th(s Blue BirdTyltyl

Mytyl ?Mytyl

Tyltyl?Tyltyl

Are you asleep? MytylAre you? . . .

TyltylNo; how can I be asleep when I'm talking

to you? MytylSay, Is this Christmas Day? . . .

TyltylNot yet; not till to-morrow. But Father

Christmas won't bring us anythingthis year. . . .MytylWhy not?

TyltylI heard mummy say that she couldn't go

to town to tell him. . . . But he willcome next year. . . .Mytyl

Is next year far off ? . . .


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The Blue BirdTyltyl

The rich children opposite. It's the Christ-mas-tree. Let's open the shut-ters. . . .

MytylCan we? . . .

TyltylOf course; there's no one to stop us. . . .Do you hear the music? . . . Let usget up. . . .

( The two Children get up, runto one of the windows,climb on to the stool andthrow hack the shutters. Abright light fills the room.The Children look outgreedily.)

TyltylWe can see everything . . .Mytyl {who can hardly find room on the

stool)I can't. . . .

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The Blue BirdTyltyl

It*s snowing . . . There's two carriages,with six horses each . .

MytylThere are twelve little boys getting

out . . .TyltylHow silly you are . . . They're little

girls. . . . MytylThey've got knickerbockers. . . .

TyltylWhat do you know? ... . Don't pushso . . .

MytylI never touched you.Tyltyl {who is taking up the whole stool)You're taking up all the room. . . .

MytylWhy, I have no room at all I . . .TyltylDo be quiet I see the tree I.e.Mytyl

What tree? . . . i8


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The Blue BirdTyltyl

Why, the Christmas-tree . . . You'relooking at the wall . . .

MytylFm looking at the wall because I've got noroom. . . .

Tyltyl {giving her a miserly little placeon the stool)

There . . . Will that do? . . . Nowyou're better off than I . . .1 say,what lots and lots of lights . . .

MytylWhat are those people doing who are mak-

such a noise? . . .TyltylThey're the musicians.

MytylAre they angry? . . .

TyltylNo; but It's hard work.

MytylAnother carriage with white horses I ,. [.i t.i

TyltylBe quiet . . . And look . .

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The Blue BirdMytyl

What are those gold things there, hangingfrom the branches?

TyltylWhy, toys, to be sure . . . Swords, guns,

soldiers, cannons. . . .

MytylAnd dolls; say, are there any dolls? . . .Tyltyl

Dolls? . . . That's too silly; there's no tunIn dolls. . . .

MytylAnd what's that all round the table? . . .TyltylCakes and fruit and tarts. . . .

MytylI had some once when I was little. . . ,

TyltylSo did I; It's nicer than bread, but they

don't give you enough. . . .Mytyl

They've got plenty over there. . . . Thewhole table's full. . . . Are they go-ing to eat them ? . . .20


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The Blue BirdTyltyl

Of course; what else would they do withthem? . . . MytylWhy don't they eat them at once? . . .Tyltyl

Because they're not hungry. . . .Mytyl {stupefied with astonishment)Not hungry ? . . . Why not ? . . .TyltylWell, they eat whenever they want

to. . . .Mytyl {incredulously)Every day? . . .TyltylThey say so. . . .MytylWill they eat them all? . . . Will they give

any away? . . .TyltylTo whom ? . . . Mytyl

To us. . . . TyltylThey don't know us. . . .

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The Blue BirdMytyl

Suppose we asked them. . . .TyltylWe mustn't.MytylWhy not ? . . .TyltylBecause It's not right.Mytyl {clapping her hands)

Oh, how pretty they are . . .Tyltyl {rapturously)

And how they're laughing and laugh-ing . . . Mytyl

And the little ones dancing . . .Tyltyl

Yes, yes; let's dance too . . . {Theystamp their feet for joy on the stool.)

MytylOh, what fun . . .

TyltylThey're getting the cakes . . . They can

touch them . . . They're eating,they're eating, they're eating . . .


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The Blue BirdMytyl

The tiny ones, too . . . They've got two,three, four apiece . . .Tyltyl {drunk with delight)

Oh, how lovely . . . Oh, how lovely, howlovely . . .Mytyl {counting imaginary cakes)

I've got twelve . . .Tyltyl

And I four times twelve . . . But I'll giveyou some. . . .

(A knock at the door of the cot^tage).

Tyltyl {suddenly quieted and fright-ened)

What's that? . . .Mytyl {scared)It's Daddy . . .

{As they hesitate before openingthe door, the big latch isseen to rise of itself, with agrating noise; the door halfopens to admit a little oldwoman dressed in greenwith a red hood on her

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The Blue Birdhead. She is humpbackedand lame and near-sighted;her nose and chin meet; andshe walks bent on a stick.She is obviously a fairy.)The Fairy

Have you the grass here that sings or thebird that Is blue? . . .TyltylWe have some grass, but It can't sing. . . .Mytyl

Tyltyl has a bird.Tyltyl

But I can't give It away. . . .The FairyWhy not ? . . .Tyltyl

Because It's mine.The FairyThat's a reason, no doubt. Where Is the

bird? . . .Tyltyl (pointing to the cage)

In the cage. . . .The Fairy (putting on her glasses to ex-amine the bird)

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The Blue BirdI don't want It; It's not blue enough. You

will have to go and find me the one Iwant.

TyltylBut I don't know where It is. . . .The FairyNo more do I. That's why you must look

for it. I can do without the grass thatsings, at a pinch ; but I must absolutelyhave the blue bird. It's for my httlegirl, who Is very ill.

TyltylWhat's the matter with her? . . .The FairyWe don't quite know; she wants to be

happy. . . .Tyltyl

Really? . . . The FairyDo you know who I am ? . . .TyltylYou're rather like our neighbour, Madame

Berlingot. . . .The Fairy {growing suddenly angry)Not a bit . . . There's not the least llke-

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The Blue Birdness . . . This is intolerable I . . .I am the Fairy Berylune. . . Tyltyl

Oh Very well. . . .The FairyYou will have to start at once.

TyltylAre you coming with us ?The FairyI can't, because I put on the soup this morn-

ing and it always boils over if I leaveit for more than hour. . . . {Point-ing successively to the ceiling, thechimney and the zvindow) Will yougo out this way, or that way, or thatway? . . .

Tyltyl {pointing timidly to the door)I would rather go out that way. . . .The Fairy {growing suddenly angry

again )That's quite impossible; and it's a shocking

habit . . . {Pointing to the window)We'll go out this way. . . . Well?. . . What are you waiting for? . . .Get dressed at once. . . , i The Chil*

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The Blue BirdTyltyl

They are dead, too. . . .The FairyWould you like to see them again? . . .

TyltylOh, yes . . .At once . . . Show them to

us . . . The FairyI haven^t got them In my pocket. . . . But

this is very lucky; you will see themwhen you go through the Land ofMemory. . . . It's on the way to theBlue Bird, just on the left, past thethird turning. . . . What were youdoing when I knocked? . . .

TyltylWe were playing at eating cakes? . . .The FairyHave you any cakes? . . . Where arethey? . . .

TyltylIn the house of the rich children. . . .

Come and look. It's so lovely. {Hedrags the Fairy to the window.)The Fairy {at the window)28


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The Blue BirdBut It's the others who are eating them . .

TyltylYes; but we can see them eat. . . .The FairyAren't you cross with them? . . .

TyltylWhat for? . . .The FairyFor eating all the cakes. ... I think It's

very wrong of them not to give yousome. . . .

TyltylNot at all; they're rich. ... I say, Isn't it

beautiful over there? . . .The FairyIt's no more beautiful there than here.

TyltylUgh . . . It's darker here and smaller and

there are no cakes. . . .The Fairy

It's exactly the same, only you can't see. . .Tyltyl

Yes, I can; and I have very good eyes. Ican see the time on the church clockand daddy can't . . .

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The Blue BirdThe Fairy {suddenly angry)

I tell you that you can't see . . . How doyou see me? . . . What do I looklike?. . . {An awkward silence fromTyltyl.) Well, answer me, willyou? I want to know if you can seel. . . Am I pretty or ugly? . . .( The silence grows more and moreuncomfortable.) Won't you answer?. . . Am I young or old? . . . Aremy cheeks pink or yellow? . . .Perhaps you'll say I have a hump? . .Tyltyl {in a conciliatory tone)No, no; it's not a big one. . . .The Fairy

Oh, yes, to look at you, any one would thinkit enormous. . . . Have I a hook noseand have 1 lost one of my eyes? . . .

TyltylOh, no, I don't say that. . . . Who put itout? . . .The Fairy {growing more and more

irritated) .But it's not out . . . You wretched, impu-

dent boy . . . It's much finer than30


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The Blue Birdthe other; it's bigger and brighter andblue as the sky. . . . And my hair, doyou see that? . . . It's fair as the cornin the fields, it's like virgin gold . . .And I've such heaps and heaps of itthat it weighs my head down. . . .It escapes on every side. . . . Do yousee it on my hands ? (She holds out twolean wisps of grey hair.)Tyltyl

Yes, I see a little. . . .The Fairy {indignantly)Ahttle . . . Sheaves Armfuls Clus-

ters Waves of gold ... I knowthere are people who say that theydon't see any; but you're not one ofthose wicked, blind people, I shouldhope? . . .

TyltylOh, no; I can see all that isn't hidden. . . .The FairyBut you ought to see the rest with as little

doubt . . . Human beings are veryodd . . . Since the death of thefairies, they see nothing at all and they

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The Blue Birdnever suspect it. . . . Luckily, 1 al-ways carry with me all that is wantedto give new light to dimmed eyes.. . . What am I taking out of mybag? . . .

TyltylOh, what a dear little green hat I . . .

What's that shining in the cock-ade? . . .The Fairy

That's the big diamond that makes peoplesee. . . .

TyltylReally? . . . The FairyYes; when you've got the hat on your head,

you turn the diamond a little; fromright to left, for instance, like this; doyou see ? . . . Then It presses a bumpwhich nobody knows of and whichopens your eyes. . . .

TyltylDoesn't it hurt? . . .The FairyOn the contrary. It's enchanted. . . . You72


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The Blue Birdat once see even the inside of things:the soul of bread, of wine, of pepper,for instance. . . .

MytylCan you see the soul of sugar, too? . . .

The Fairy {suddenly cross)Of course you can . . . I hate unnecessary

questions. . . . The soul of sugar isno more interesting than the soul ofpepper. . . . There, I give you all Ihave to help you in your search forthe Blue Bird. I know that the flyingcarpet or the ring which makes itswearer invisible would be more use-ful to you. . . . But I have lost thekey of the cupboard in which I lockedthem. . . . Oh, I was almost forget-ting . . . {Pointing to the diamond)When you hold it Hke this, do you see ?. . . One little turn more and youbehold the past. . . . Another littleturn and you behold the future. . . .It's curious and practical and it's quitenoiseless. . . .


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The Blue BirdTyltyl

Daddy will take It from me. . . .The FairyHe won't see It; no one can see It as longas It's on your head. . . . Will youtry It? . . . {She puts the little greenhat on Tyltyl's head.) Now, turnthe diamond. . . . One turn andihen. . . .

(Tyltyl has no sooner turnedthe diamond than a suddenand wonderful change comesover everything. The oldFairy alters then and thereinto a princess of marvellousbeauty ; the flints of whichthe cottage walls are builtlight up, turn blue as sap-phires, become transparentand gleam and sparkle likethe most precious stones.The humble furniture takeslife and becomes resplen^dent; the deal table assumesas grave and noble an air as

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The Blue Birda table made of marble; theface of the clock winks itseye and smiles genially,while the door that con-tains the pendulum opensand releases the Hours,which^ holding one anotherby the hand and laughingmerrily, begin to dance tothe sound of delicious music,

Tyltyl {displaying a legitimate bewilder-ment and pointing to the Hours)Who are all those pretty ladies? . . .

The FairyDon't be afraid; they are the hours of yourlife and they are glad to be free andvisible for a moment. . . .

TyltylAnd why are the walls so bright? . . . Are

they made of sugar or of preciousstones? . . .

The FairyAll stones are alike, all stones are precious;

but man sees only a few of them. . . .,35


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The Blue Bird(While they are speaking^ the

scene of enchantment con-tinues and is completed.The souls of the Quartern-loaves, in the form oflittle men in crust-colouredtights, flurried and all pow-dered with flour, scrambleout of the bread-pan andfrisk round the table, wherethey are caught up by Fire,who, springing from thehearth in yellow and ver-milion tights, writhes withlaughter as he chases theloaves.)Tyltyl

Who are those ugly little men? . . .The FairyOh, theyVe nothing; they are merely the

souls of the Quartern-loaves, who aretaking advantage of the reign of truthto leave the pan In which they were tootightly packed. . . .

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The Blue BirdTyltyl

And the big red fellow, with the nastysmell? . . .The Fairy

Hush . . . Don't speak too loud; that'sFire. . . . He's dangerous.( This dialogue does not interrupt

the enchantment. The DoGand the Cat, lying rolled upat the foot of the cupboard,utter a loud and simultane-ous cry and disappear downa trap; and in their placesrise two persons, one ofwhom has the face of a bull-dog, the other that of a tom-cat. Forthwith, the littleman with the hidl-dogface, zvhom we will hence-forward call the Dog,rushes upon Tyltyl, kisseshim violently and over-whelms him with noisy andimpetuous caresses; whilethe little man with the face

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The Blue Birdof a tom-cat, whom we willsimply call the Cat, combshis hair, washes his handsand strokes his whiskersbefore going up to Mytyl.)

The Dog {yelling, jumping about, knock-ing up against everything, unbearable)My little god . . . Good-morning, good-morning, my dear little god ... At

last, at last we can talk ... I hadso much to tell you . . . Bark andwag my tall as I might, you never un-derstood . . . But now . . . Good-morning, good-morning ... Ilove you . . . Shall I do some of mytricks? . . . Shall I beg? . . . Wouldyou like to see me walk on my frontpaws or dance on my hind-legs? . . .

Tyltyl {to the Fairy)Who Is this gentleman with the dog'shead? . . .

The FairyDon't you see? It's the soul of Tylo,whom you have set free. . . .

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The Blue BirdThe Cat (going up to Mytyl and put'ting out his hand to her, with much cere*

mony and circumspection)Good-morning, Miss. . . . How well you

look this morning I . . .MytylGood-morning, sir. . . . {To the Fairy)Who is it ? . . .

The FairyWhy, don't you see ? Its the soul of Tyletteoffering you his hand. . . . Kisshim. . . .The Dog {hustling the Cat)

Me, tool . . . I've kissed the little god I. . . I've kissed the little girl I . . .I've kissed everybody . . . Oh,grand . . . What fun we shall have I. . . I'm going to frighten Tylette IBow, wow, wow . . .The Cat

Sir, I don't know you. . . .The Fairy {threatening the Dog with herstick)

Keep still, will you, or else you'll go backinto silence until the end of time. . . .

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The Blue Bird(Meanwhile, the enchantment

has pursued its course: thespinning-wheel has begun toturn madly in its corner andto spin brilliant rays oflight; the tap, in anothercorner, begins to sing in avery high voice and, turninginto a luminous fountain^floods the sink with sheetsof pearls and emeralds,through which darts thesoul of Water, like a younggirl, streaming, dishevelledand tearful, who immedi-ately begins to fight withFire.)Tyltyl

And who Is that wet lady? . . .The FairyDon't be afraid, It's Water just come from

the tap. . . .( The milk-jug upsets, falls from

the table and smashes on40


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The Blue Birdthe floor; and from thespilt milk there rises a tall^white, bashful figure whoseems to he afraid of every-thing.)Tyltyl

And the frightened lady In her night-gown? . . .

The FairyThat's Milk; she has broken her jug. . . .

( The sugar-loafy at the footof the cupboard, growstaller and wider and splitsits paper wrapper, whenceissues a mawkish and hypo-critical being, dressed in along coat half blue and halfwhite, who goes up toMytyl with a sanctimonUous smile.)

Mytyl {greatly alarmed)What does he want? . . .

The FairyWhy, he Is the soul of Sugar . . .,

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The Blue BirdMytyl {reassured)

Has he any barley-sugar? . . .The FairyHis pockets are full of it and each of his

fingers is a sugar-stick. . . .( The lamp falls from the table

and, at the same moment, itsflame springs up again andturns into a luminous maidof incomparable beauty.She is dressed in long trans-parent and dazzling veilsand stands motionless in asort of ecstasy.)Tyltyl

It's the Queen . . .MytylIt's the Blessed Virgin . . .The FairyNo, my children; it's Light. . . .

{Meanwhile, the saucepans onthe shelves spin roundlike tops; the linen-pressthrows open its folding-doors and unrolls a magnifi'


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The Blue Birdcent display of moon-col-oured and sun-colouredstuffs, with which minglesa no less splendid array ofrags and tatters that comedown the ladder from theloft. But^ suddenly, threeloud knocks are heard onthe door at the right.)

Tyltyl {alarmed)That's daddy . . . He's heard us I . . .The FairyTurn the diamond . . . From left to

right . . .(Tyltyl turns the diamond

quickly.)Not so quick . . . Heavens It's too

late . . . You turned It too briskly;they will not have time to resume theirplaces and we shall have a lot of an-noyance. . . .

{The Fairy becomes an oldwoman again, the walls ofthe cottage lose their splen-dour. The Hours go back

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The Blue Birdinto the clock, the spinning*

'

wheel stops, etc. But, in thegeneral hurry and con-fusion, while Fire runsmadly round the room, look-ing for the chimney, one ofthe loaves of bread, whohas been unable to squeezeinto the pan, bursts intosobs and utters roars offright.)The Fairy

What's the matter? . . .Bread {in tears)

There's no room In the pan . . .The Fairy {stooping over the pan)Yes, there Is; yes, there Is. . . . {Push-

ing the other loaves, which have re-sumed their original places.) Come,quick, make room there. . . .

( The knocking at the door is re-newed.)

Bread {utterly scared, vainly struggling toenter the pan)

I can't get in I . , . He'll eat me first I . . ^,


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The Blue BirdThe Dog {frisking round Tyltyl)My little god . . . I am still here . . .

I can still talk ... I can still kissyou . . . Once more Once more IOnce more . . .The Fairy

What, you too? . . . Are you therestill? . . .

The DogWhat luck ... I was too late to re-turn to silence; the trap closed tooquickly. . . .The Cat

So did mine. . . . What is going to hap-pen? . . . Is there any danger? . . .The Fairy

Well, I'm bound to tell you the truth : allthose who accompany the two childrenwill die at the end of the journey. . . .,

The Cat ['o the Dog)Come, let us get back into the trap. . . .The DogNo, no . . .1 won't I . . o I want to

go with the little god ... I wantto talk to him all the time . . .

^^


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The Blue BirdThe Cat

Idiot . . . {More knocking at the door)Bread {shedding bitter tears)

I don't want to die at the end of thejourney ... I want to get back atonce into my pan . . .

Fire {who has done nothing but run madlyround the room, hissing with anguish)I can't find my chimney . . .Water {vainly trying to get into the tap)I can't get into the tap . . .Sugar {hovering round his paper wrapper)I've burst my packing-paper . . .Milk (Jymphatically and bashfully)Somebody's broken my little jug . . .The FairyGoodness me, what fools they are . . .

Fools and cowards too ... Soyou would rath^* go on living in yourugly boxes, in your traps and taps,than accompany the children in searchof the bird? . . .

All {excepting the Dog and Light)Yes, yes Now, at once . . . My tap

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The Blue Bird. . . My pan . . . My chim-ney I . . . My trap . . .

The Fairy (to Light, who is dreamilygazing at the wreckage of her lamp)And you, Light, what do you say?Light

I will go with the children. . . .The Dog {yelling with delight)I too . . . I too . . .

The FairyThat's right. . . . Besides, it's too late to

go back; you have no choice now,you must all start with us. . . . Butyou. Fire, don't come near anybody;you, Dog, don't tease the Cat; andyou. Water, hold yourself up and trynot to run all over the place. . . .

{A violent knocking is againheard at the door on theright.)

Tyltyl {listening)There's daddy again . . . He's getting

up this time; I can hear him walk-ing. .. .

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The Blue BirdThe Fairy

Let us go out by the window. . . . Youshall all come to my house, where Iwill dress the Animals and the Thingsproperly. . . . {To Bread) You,Bread, take the cage in which to putthe Blue Bird. ... It will be in yourcharge. . . . Quick, quick, let us wasteno time. ...

( The window suddenly lengthensdownwards, like a door.They all go out; after whichthe window resumes itsprimitive shape and closesquite innocently. The roomhas become dark again andthe two cots are steeped inshadow. The door on theright opens ajar and in theaperture appear the heads ofDaddy and Mummy Tyl.)Daddy Tyl

It was nothing. . . . It's the cricketchirping. . . .

4.8


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The Blue BirdMummy Tyl

Can you see them? . . .Daddy Tyl

I can. . . . They are sleeping quitequietly. . . .Mummy Tyl

I can hear their breathing. . . .( The door closes again)

CURTAIN


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The Blue Bird

ACT IIScene i.At the Fairy's

A magnificent entrance-hall in the palace ofthe Fairy Berylune. Columns ofgleaming marble with gold and silvercapitals, staircases, porticoes, balus-trades, etc.

Enter from the back, on the right,sumptuously clad, the Cat, Sugarand Fire. They come from a roomwhich emits rays of light; it is theFairy's wardrobe. The Cat hasdonned the classic costume of Puss-in-boots; Sugar, a silk dress, half whiteand half pale-blue; and FiRE wears anumber of many-coloured aigrettesand a long verjuilion mantle lined withgold. They cross the whole lengthof the hall to the front of the stage,where the Cat draws them up under aportico on the right,

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The Blue BirdSugar

It Is too late. ... He has discoveredus. . . . Look, here is Water alsocoming out of the wardrobe. . . .Goodness me, how fine she is . . .

( The Dog and Water join thefirst group.)

The Dog {frisking about)There There . . . Aren't we fine . . .Just look at these laces and thisembroidery . . . It's real gold andno mistake . . .

The Cat {to Water)Is that Catskin's colour-of-time dress?... I seem to recognise it. . . .

WaterYes, it's the one that suited me best. . . .

Fire {between his teeth)She's not brought her umbrella. . . WaterWhat's that? . . .

FireNothing, nothing. . . .

SZ


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The Blue Birdhe holds the hilt of a scimitar passedthrough his sash and in the other thecage intended for the Blue Bird,Bread {waddling conceitedly)

Well? . . . What do you think of this?The Dog {frisking round the Loaf)How nice he looks What a fool he looks IHow nice he looks How nice helooks . . .The Cat {to the Loaf)

Are the children dressed? . . .Bread

Yes, Master Tyltyl has put on Hop-o'-my-Thumb's blue jacket and red breeches;and Miss Mytyl has Gretel's frockand Cinderella's slippers. . . . Butthe great thing was the dressing ofLight . . .The CatWhy? . . .

BreadThe Fairy thought her so lovely that shedid not want to dress her at all . . .Thereupon I protested in the name ofour dignity as essential and eminently

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The Blue Birdrespectable elements; and I ended bydeclaring that, under those condi-tions, I should refuse to be seen withher. . . .

FireThey ought to have bought her a lamp-

shade . . .The CatAnd what answer did the Fairy make ? . . .The Loaf

She hit me with her stick on my head andstomach. . . .The Cat

And then? . . . BreadI allowed myself to be convinced; but, at

the last moment, Light decided on themoonbeam dress at the bottom of thechest with Catskin's treasures. . . .

The CatCome, stop chattering, time presses. . . .Our future is at stake. . . . You haveheardthe Fairy has just said sothat the end of this journey will, at thesame time, mark the end of our lives.


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The Blue BirdThe Dog (indignantly)

What's the fellow saying? . . . Just saythat again, will you, to see If I heardright? . . .

BreadOrder Order . . . It's not your turn

to speak . . . I'm In the chair atthis meeting. . . .

FireWho made you chairman? . . .Water (to Fire)

Hold your tongue . . . What are you In-terfering with ? . . .

FireI shall Interfere w^here I choose. . . . And

I want none of your remarks. . . .Sugar (conciliatorily)

Excuse me. . . . Do not let us quarrel.. . . This Is a serious moment. . . .We must, above all things, decidewhat measures to adopt. . . .

BreadI quite agree with Sugar and the Cat. . . .

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The Blue BirdThe Dog

This is ridiculous . . . There is Manand that's all . . . We have to obeyhim and do as he tells us . . . Thatis the one and only fact . . . I recog-nise no one but him . . . Hurrahfor Man . . . Man for ever . . .In life or death, all for Man . . .Man is God . . .

BreadI quite agree with the Dog.The Cat {to the Dog)But at least give your reasons. . . .The DogThere are no reasons . . . I love Man

and that's enough ... If you doanything against him, I will throttleyou first and I will go and tell himeverything. . . .Sugar {intervening sweetly)

Excuse me. . . . Let us not embitter thediscussion. . . . From a certain pointof view, you are both of you right.. . . There is something to be said onboth sides. . . .

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The Blue BirdBread

I quite agree with Sugar . . .The CatAre we not, all of us, Water, Fire and

you yourselves, Bread and the Dog,the victims of a nameless tyranny?. . . Do you remember the time when,before the coming of the despot, wewandered at liberty upon the face ofthe earth? . . . Fire and Water werethe sole masters of the world; and seewhat they have come to . , .As forus puny descendants of the great wildanimals. . . . Look out . . . Pre-tend to be doing nothing ... I seethe Fairy and Light coming. . . .Light has taken sides with Man; she isour worst enemy. . . . Here theyare. . . .

Enter, on the right, the Fairy, m theshape of an old woman, and LiGHT,followed by Tyltyl and Mytyl.

The FairyWell? . . . What is it? . . . What are

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The Blue Birdyou doing In that corner? . . . Youlook like conspirators. . . . It is timeto start. ... I have decided thatLight shall be your leader. . . . Youwill obey her as you would me and Iam giving her my wand. . . . Thechildren will pay a visit to their lategrandparents this evening. . . . Youwill remain behind; that is more dis-creet. . . . They will spend the even-ing in the bosom of their dead family.... Meanwhile, you will be gettingready all that Is wanted for to-mor-row's journey, which will be a longone. . . . Come, up, be off and everyone to his post . . .The Cat {hypocritically)

That is just what I was saying to them,madam. ... I was encouraging themto do their duty bravely and conscien-tiously; unfortunately, the Dog, whokept on interrupting me. . . .The Dog

What's that? . . . Just wait a bit . . .{He is about to leap upon the

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The Blue Birdthat this silver cage, which was en-trusted to my care by . . .The Fairy (interrupting him)Enough . . . No speeches . . . We willgo out this way and the childrenthat. . . .Tyltyl (rather anxiously)

Are we to go all alone? . . .Mytyl

I feel hungry . . .Tyltyl

I, too . . .The Fairy (to Bread)Open your Turkish robe and give them a

slice of your good stomach. . . .(Bread opens his robe, draws

his scimitar and cuts twoslices out of his stomach andhands them to the Chil-dren.)

Sugar (approaching the Children)Allow me at the same time to offer you a

few sugar-sticks. . . .(He breaks off the five fingers of

his left hand, one by one,


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The Blue Birdand presents them to theChildren.)Mytyl

What Is he doing? . . . He Is breaking allhis fingers . . .

Sugar {engagingly)Taste them, they are capital. . . . They'remade of real barley-sugar. . . .

Mytyl {tasting one of the fingers)Oh, how good they are . . . Have you

many of them? . . .Sugar {modestly)

Yes; as many as I want. . . .Mytyl

Does that hurt you much, when you breakthem off ? . . .

SugarNot at all. . . . On the contrary, it's agreat advantage; they grow again at

once and so I always have new, cleanfingers. . . .The Fairy

Come, children, don't eat too much suga^.. . . Don't forget that you are to64


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The Blue Birdhave supper presently with your grand-papa and grandmamma. . . .

TyltylAre they here ? . . .The FairyYou shall see them at once. . . .

TyltylHow can we see them, when they aredead? . . .The FairyHow can they be dead, when they live inyour memory? . . . Men do notknow this secret, because they knowso little; whereas you, thanks to thediamond, are about to see that thedead who are remembered live as hap-pily as though they were not dead. . .

TyltylIs Light coming with us ?

The FairyNo, It Is more proper that this visit shouldbe confined to the family. ... I willwait near here, so as not to appear In^discreet. . . . They did not inviteme. . . .

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The Blue BirdTyltyl

Which way are we to go ? . . .The Fairy

Over there. . . . You are on the thresholdof the Land of Memory. ... Assoon as you have turned the diamond,you will see a big tree with a board onit, which will show you that you arethere. . . . But don't forget that youare to be back, both of you, by a quar-ter to nine. . . . It is extremely im-portant. . . . Now mind and be punc-tual, for all would be lost if you werelate. . . . Good-bye for the present. . . (Calling the Qat, the DoG,Light, etc.) This way. . . . Andthe little ones that way. . . .

{She goes out to the right, withLight, the Animals, etc.,while the Children go outto the left.)

curtain

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The Blue BirdScene 2. The Land of Memory.

A thick fog, from which stands out, on theright, close to the footlights, the trunkof a large oak, with a board nailed toit. A vague, milky, impenetrable lightprevails. Tyltyl and Mytyl are atthe foot of the oak.

TyltylHere is the tree . . .Mytyl

There's the board . . .Tyltyl

I can't read It. . . . Wait, I will climb upon this root. . . . That's it. . . . Itsays, Land of Memory.

MytylIs this where it begins ? . . .

TyltylYes, there's an arrow. . . .MytylWell, where are grandad and granny? . . ,0;

TyltylBehind the fog. . . . We shall see. . . .

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The Blue BirdMytyl

I can see nothing at all . . .1 can't see myfeet or my hands. . . . {Whimper-ing) I'm cold ... I don't want totravel any more. ... I want to gohome. . . .

TyltylCome, don't keep on crying, just like

Water. . . . You ought to be ashamedof yourself. ... A great big littlegirl like you. . . . Look, the fog islifting already. . . . We shall seewhat's behind it. . . .

( The mist begins to move; itgrows thinner and lighter,disperses, evaporates. Soon,in a more and more trans-parent light, appears, undera leafy vault, a cheerfullittle peasant's cottage, cov-ered with creepers. Thedoor and windows are open.There are bee-hives under ashed, flower-pots on thewindow-sills, a cage with a

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The Blue Birdsleeping blackbird. Besidethe door is a bench, onwhich an old peasant andhis wife, Tyltyl's grand-father and grandmother,are seated, both soundasleep. )Tyltyl {suddenly recognising them)

It's grandad and granny . . .Mytyl {clapping her hands)Yes Yes . . .So It Is So it is . . .

Tyltyl {still a little distrustful)Take care . . . We don't know yet if

they can stir. . . . Let's keep behindthe tree. . . .

(Granny Tyl opens her eyes,raises her head, stretchesherself, gives a sigh andlooks at Gaffer Tyl, whoalso wakes slowly from hissleep.Granny Tyl

I have a notion that our grandchildren whoare still alive are coming to see us to-day. . . .

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The Blue BirdGaffer Tyl

They are certainly thinking of us, for I feelanyhow and I have pins and needles inmy legs. . . .Granny Tyl

I think they must be quite near, for I seetears of joy dancing before myeyes. . . .Gaffer Tyl

No, no, they are a long way off. ... I stillfeel weak. . . .Granny Tyl

I tell you they are here; I am quitestrong. . . .

Tyltyl and Mytyl {rushing up frain he-hind the oak)

Here we are . . . Here we are . . .Gaf-fer Granny . . . It's we . . . It'swe . . .

Gaffer TylThere . . . Ycu see? . . . What did I

tell you ? . . . I was sure they wouldcome to-day. . . .Granny Tyl

Tyltyl . . . Mytyl . . . It's you . . .70


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The Blue BirdIt's she I . . . ( Trying to run to meetthem) I can't run . . . I've still gotthe rheumatics . . .

Gaffer Tyl {hobbling along as fast as hecan)No more can I. . . . That's because of my

wooden leg, which I still wear insteadof the one I broke when I fell off thebig oak. . . ,

(The Grandparents and theChildren exchange franticembraces.)

Granny TylHow tall and strong you've grown, Tyltyl IGaffer Tyl {stroking Mytyl's hair)

And Mytyl . . . Just look at her. . . .What pretty hair, what prettyeyes . . .

Granny TylCome and kiss me again . . . Come on tomy lap. . . .

Gaffer TylAnd what about me? . . .

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The Blue BirdGranny Tyl

No, no. . . . Come to me first. . . . Howare Daddy and Mummy Tyl? . . .Tyltyl

Quite well, granny. . . . They were asleepwhen we went out. . . .Granny Tyl (gazing at them and cover-

ing them with caresses)Lord, how pretty they are and how niceand clean . . . Was it mummy whowashed you? . . . And there are noholes in your stockings . . . I usedto darn them once, you know. . . .Why don't you come to see us oftener?. . . It makes us so happy . . . It ismonths and months now that youVeforgotten us and that we have seen no-body. . . .

TyltylWe couldn't, granny; and to-day its only

because of the Fairy. . . .Granny TylWe are always here, waiting for a visitfrom those who are alive. . . . Theycome so seldom . . . The last time

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The Blue Birdyou were here, let me see, when wasit? . . .It was on All-hallows, whenthe church-bells were ringing. . . .

TyltylAll-hallows? . . . We didn't go out that

day, for we both had very badcolds. . . .

Granny TylNo ; but you thought of us. . . .TyltylYes. . . . Granny TylWell, every time you think of us, we wake

up and see you again. . . .Tyltyl

What, is it enough to . . .Granny Tyl

But come, you know that. . . .Tyltyl

No, I didn't know. . . .Granny Tyl {to Gaffer Tyl)It's astonishing, up there. . . . They don't

know yet. . . . Do they never learnanything? . . .

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It's as In our own time. . . . The Livingare so stupid when they speak of theOthers. . . .

TyltylDo you sleep all the time? ...Gaffer Tyl

Yes, we get plenty of sleep, while waitingfor a thought of the Living to comeand wake us. . . . Ah, It Is good tosleep when life Is done. . . . But Itis pleasant also to wake up from timeto time. . . .

TyltylSo you are not really dead? . . .

Gaffer TylWhat do you say? . . . What Is he say-

ing? . . . Now he's using wordswe don't understand. . . . Is It a newword, a new Invention? . . .Tyltyl

The word ^'dead ? . . .Gaffer Tyl

Yes, that was the word. . . . What does itmean? ...

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The Blue BirdTyltyl

Why, It means that one's no longeialive. . . .Gaffer TylHow silly they are, up there . . .

TyltylIs it nice here? . . .

Gaffer TylOh, yes; not bad, not bad; and, if one could

just have a smoke. . . .Tyltyl

Aren't you allowed to smoke? . . .Gaffer Tyl

Yes, it's allowed; but I've broken mypipe. . . .Granny Tyl

Yes, yes, all would be well, if only youwould come and see us oftener. . . .Do you remember, Tyltyl ? . . . Thelast time I baked you a lovely apple-tart. . . . You ate such a lot of itthat you made yourself ill. . . .

TyltylBut I haven't eaten any apple-tart since last

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The Blue Birdyear. . . . There were no apples thisyear. . . .Granny Tyl

Don't talk nonsense. . . . Here, we havethem always. ...

TyltylThat's different. . . .

Granny TylWhat? That's different? . . . Why,nothing's different when we're able tokiss each other. . . .

Tyltyl {looking first at his Grand-mother and then at his Grandfather)You haven't changed, grandad, not a bit,not a bit. . . . And granny hasn't

changed a bit either. . . . But you'rebetter-looking. . . .

Gaffer TylWsll, we feel all right. . . . We havd

stopped growing older. . . . But you,how tall you're growing . . . Yes,you're shooting up finely. . . . Look,over there, on the door, is the markof the last time. . . . That was onAll-hallows. . . . Now then, stand

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The Blue Birdup straight. . . . (Tyltyl stands upagainst the door, ) Four fingers taller I. . . That's immense . , . (Mytylalso stands up against the door,) AndMytyl, four and a half . . .. Aha,ill weeds grow apace . . . Howthey've grown, oh, how they'vegrown . . .

Tyltyl {looking around him withdelight)

Nothing is changed, everything is in its oldplace . . . Only everything is pret-tier . . . There is the clock with thebig hand which I broke the pointoff. . . .

Gaffer TylAnd here is the soup-tureen you chipped a

corner off. . . .Tyltyl

And here is the hole which I made in thedoor, the day I found the gimlet. . . .

Gaffer TylYes, you've done some damage In your


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The Blue Birdin which you were so fond of climb*ing, when I wasn't looking. ... Itstill has Its fine red plums. . . .

TyltylBut they are finer than ever ...

MytylAnd here Is the old blackbird . . . Does

he still sing? . . .{The blackbird wakes and be-

gins to sing at the top ofhis voice.)Granny Tyl

You see. ... As soon as one thinks ofhimTyltyl {observing with amazement thai

the blackbird is quite blue)But he's blue . . . Why, that's the bird,

the Blue Bird which I am to take backto the Fairy. . . . And you never toldus that you had him here . . . Oh,he's blue, blue, blue as a blue glassmarble . . . {Entreatingly) Gran-dad, granny, will you give him tome? . . .

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Yes, perhaps, perhaps. . . . What do youthink, granny? . . .Granny Tyl

Certainly, certainly. . . . What use is heto us? . . . He does nothing butsleep. . . . We never hear himsing. . . .

TyltylI will put him in my cage. ... I say,

where is my cage? . . . Oh, I know,I left it behind the big tree. . . . {Heruns to the tree, fetches the cage andputs the blackbird into it.) So, really,you've really given him to me? . . .How pleased the Fairy will be . . .And Light too . . .

Gaffer TylMind you, I won't answer for the bird.

. . . I'm afraid that he will never getused again to the restless life up thereand that he'll come back here by thefirst wind that blows this way. . . .However, we shall see. . . . Leave

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The Blue Birdhim there, for the present, and comeand look at the cow. . . .Tyltyl {noticing the hives)

And how are the bees getting on?Gaffer Tyl

Oh, pretty well. . . . They are no longeralive, as you call It up there ; but theywork hard. ...Tyltyl {going up to the hives)

Oh, yes . . . I can smell the honey . . .How heavy the hives must be . . .All the flowers are so beautiful . . .And my little dead sisters, are theyhere too? . . .Mytyl

And where are my three little brothers whowere buried? . . .

(At these words, seven littleChildren, of differentsizes, like a set of Pan'spipes, come out of the cot-tage, one by one.)Granny Tyl

Here they are, here they are . . .As soonas you think of them, as soon as you

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The Blue BirdPauline's scissors. . . . He hasn'tchanged either. . . .Gaffer Tyl {sententiously)

No, nothing changes here. . . .Tyltyl

And Pauline still has a pimple on hernose. . . .

Granny TylYes, It won't go away; there's nothing to

be done for It. . . .Tyltyl

Oh, how well they look, how fat and glossythey are . . . What jolly cheeksthey have . . . They look wellfed. . . .

Granny TylThey have been much better since they

ceased living. . . . There's nothingmore to fear, nobody is ever 111, onehas no anxiety. . . .

{The clock inside the cottagestrikes eight.)

Granny Tyl {amazed)What's that ? . . .

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I don't know, I'm sure. ... It mtist bethe clock. . . .Granny Tyl

It can't be. . . . It never strikes. . . .Gaffer Tyl

Because we no longer think of thetime. . . . Was any one thinking ofthe time? . . .Tyltyl

Yes, I was. . . . What is the time? . . .Gaffer Tyl

I'm sure I can't tell. . . . I've forgottenhow. ... It struck eight times, so Isuppose it's what they call eighto'clock up there. . . .

TyltylLight expects me at a quarter to nine. . . .

It's because of the Fairy. . . . It'sextremely important. . . . I'moff . . .Granny Tyl

Don't leave us like that, just as supper'sready . . . Quick, quick, let's laythe table outside. . . . I've got some

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The Blue Birdcapital cabbage-soup and a beautifulplum-tart. . . .

( They get out the table, dishes,plates, etc., and lay for sup-per outside the door, allhelping. )Tyltyl

Well, as I've got the Blue Bird. . . . Andthen It's so long since I tasted cab-bage-soup. . . . Ever since I've beentravelling. . . . They don't have It atthe hotels. . . .

Granny TylThere . . . That didn't take long . . .Sit down, children. . . . Don't let uslose time, If you're In a hurry. . . .

( They have lit the lamp andserved the soup. TheGrandparents and theChildren sit down roundthe talic, jostling andelbowing one another andlaughing and screamingwith pleasure.)H


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The Blue BirdTyltyl {eating like a glutton)How good It Is . . . Oh, how good itis . . .1 want some more More. . . {He brandishes his woodenspoon and noisily hits his plate withit.)

Gaffer TylCome, come, a little more quiet. . . .

You're just as ill-behaved as ever; andyou'll break your plate. . . .

Tyltyl {half-raising himself on hisstool)

I want more, more . . . {He seizes thetureen^ drags it toward him and up-sets it and the soup, which trickles overthe table and down over their kneesand scalds them. Yells and screamscf pain.)

Granny TylThere . . . I told you so . . .Gaffer Tyl {giving Tyltyl a loud box

on the ear)That's one for you . . .Tyltyl {staggered for a moment, next


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The Blue Birdputs his hand to his cheek with an expres

sion of rapture)Oh, that's just Hke the slaps you used to

give me when you were alive . . .Grandad, how nice it was and howgood it makes one feel . . - I mustgive you a kiss . . .

Gaffer TylVery well; there's more where that camefrom, if you like them. . . .

( The clock strikes half-pasteight)

Tyltyl (starting up)Half-past eight . . . (He flings down his

spoon.) Myltyl, we've only just gottime . . .

Granny TylOh, I say . . . Just a few minutes more I

. . . Your house isn't on fire . . .We see you so seldom. . . .Tyltyl

No, we can't possibly. . . . Light is sokind. . . . And I promised her. . * .,Come, Mytyl, come . . .

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The Blue Birdagain alone visible underthe big oak.)Tyltyl

It's this way, Mytyl. . . .MytylWhere Is Light ? . . .

TyltylI don't know. . . . {Looking at the bird in

the cage.) But the bird Is no longerblue . . . He has turned black 1 . . .Mytyl

Give me your hand, little brother. . . .I feel so frightened and so cold. . .

CURTAIN

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The Blue Birdof the second stage, between twochildren, of whom one, almost naked,like Cupid, is smiling in a deep sleep,while the other is standing up, motion^less and veiled from head to foot.

Enter from the right, in the foreground^the CatNightWho goes there ?The Cat {sinking heavily upon the marblesteps)

It is I, Mother Night. . . . I am wornout. . . .Night

What's the matter, child? . . . You lookpale and thin and you are splashedwith mud to your very whiskers. . . .Have you been fighting on the tilesagain, in the snow and rain? . . .The Cat

It has nothing to do with the tiles . . ,.,It's our secret that's at stake . . .It's the beginning of the end . .

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The Blue BirdI have managed to escape for a mo-ment to warn you ; but I greatly fearthat there Is nothing to be done. . . .Night

Why? . . . What has happened? . . .The Cat

I have told you of little Tyltyl, the wood-cutter's son, and of the magic dia-mond. . . . Well, he Is coming hereto demand the Blue Bird of you. . . .

NightHe hasn't got It yet. . . .The Cat

He will have It soon, unless we performsome miracle. . . . This Is how thematter stands: Light, who Is guidinghim and betraying us all, for she hasplaced herself entirely on Man's side,Light has learned that the Blue Bird,the real one, the only one that can liveIn the light of day, is hidden here,among the bkie birds of the dreamsthat live on the rays of the moon anddie as soon as they set eyes on the sun.

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The Blue Bird. . . She knows that she is forbiddento cross the threshold of your palace,but she is sending the children; and,as you cannot prevent Man from open-ing the doors of your secrets, I do notknow how all this will end. ... Inany case, if, unfortunately, they shouldlay their hands on the real Blue Bird,there would be nothing for us but todisappear. . . .

NightOh dear, oh dear . . . What times we

live in . . .1 never have a moment'speace. ... I cannot understand Man,these last few years. . . . What ishe aiming at? . . . Must he abso-lutely know everything? . . . Al-ready he has captured a third of myMysteries, all my Terrors are afraidand dare not leave the house, myGhosts have taken flight, the greaterpart of my Sicknesses are ill. . . .The Cat

I know, Mother Night, I know% the timesare hard and we are almost alone in

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The Blue Birdour struggle against Man. . . . But Ihear them coming. . . . I see only oneway: as they are children, we mustgive them such a fright that they willnot dare to persist or to open the greatdoor at the back, behind which theywould find the Birds of the Moon.. . . The secrets of the other cavernswill be enough to distract their atten-tion and terrify them. . . .

Night (listening to a sound outside)What do I hear? . . . Are there many of

them? . . .The CatIt is nothing; it is our friends. Bread andSugar; \Yater is not very well and

Fire could not come, because he is re-lated to Light. . . . The Dog is theonly one who is not on our side; butit is never possible to keep himaway. . . .

{Enter timidly, on the right ^ in the fore-ground, Tyltyl, Mytyl, Bread,Sugar and the Dog.)


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The Blue BirdThe Cat (rushing up to Tyltyl)

This way, little master, this way. ... Ihave told Night, who is delighted tosee you. . . . You must forgive her,she is a little indisposed; that is whyshe was not able to come to meetyou. . . .

TyltylGood-day, Mrs. Night. . . .Night (in an ofended voice)

Good-day? ... I am not used to that.. . . You might say. Good-night, or,at least. Good-evening. . . .

Tyltyl {mortified)I beg your pardon, ma'am. ... I did not

know. . . . {Pointing to the twoChildren.) Are those your two lit-tle boys ? . . . They are very nice. . . .

NightThis is Sleep. . . .

TyltylWhy is he so fat? . . .Night

That is because he sleeps well. . . .96


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The Blue BirdTyltyl

And the other, hiding himself? . . . Whydoes he veil his face? . . . Is he ill?. . . What is his name? . . .

NightThat Is Sleep's sister. . . . It is better not

to mention her name. . . .Tyltyl

Why? . . . NightBecause her name is not pleasant to hear.

. . . But let us talk of something else.

. . . The Cat tells me that you havecome here to look for the BlueBird. . . . Tyltyl

Yes, ma'am. If you will allow me. . . .Will you tell me where he is? . . .

NightI don't know, dear. . . . All I can say

is that he is not here. ... I havenever seen him. . . .Tyltyl

Yes, yes. . . . Light told me that he washere ; and Light knows what she Is say-

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The Blue Birding. . . . Will you hand me yourkeys? . . .

NightBut you must understand, dear, that I can-

not give my keys like that to the firstcomer. ... I have the keeping of allNature's secrets and I am absolutelyforbidden to deliver them to anybody,especially to a child. . . .

TyltylYou have no right to refuse them to Man

when he asks you for them. ... Iknow that. . . .

NightWho told you? . . .Tyltyl

Light. . . .Night

Light again Always Light . . . Hovydare she interfere, how dare she ? . . .The Dog

Shall I take them from her by force, myhttle god? . . .

TyltylHold your tongue, keep quiet and try to be-

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The Blue Birdhave. ... (To Night) Come,madam, give me your keys, please. . .

NightHave you the sign, at least? . . . Where isit? . . .

Tyltyl {touching his hat)Behold the Diamond . . .NiGFiT {resigning herself to the inevitable)Well, then . . . Here Is the key that opens

all the doors of the hall. . . . Look toyourself If you meet with a misfortune.... I will not be responsible. . . .

Bread {very anxiously)Is it dangerous? . . .

NightDangerous? ... I will go so far as to say

that I myself do not know what Ishall do when certain of those bronzedoors open upon the abyss. . . . Allaround the hall, in each of those basaltcaves, are all the evils, all theplagues, all the sicknesses, all the ter-rors, all the catastrophes, all the mys-teries that have afflicted life since thebeginning of the world. ... I have

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The Blue Birdhad trouble enough to Imprison themthere with the aid of Destiny; and it Isnot without difficulty, I assure you,that I keep some little order amongthose undisciplined characters. . . .You have seen what happens when oneof them escapes and shows itself onearth. . . .

BreadMy great age, my experience and my devo-tion make me the natural protector ofthese two children; therefore, Mrs.Night, permit me to ask you a ques*tion. . . . Night

Certainly. . . .Bread

In case of danger, which is the way ofescape? . . .

NightThere Is no way of escape.Tyltyl {taking the key and climbing the

first steps)Let us begin here. . . . What Is behind this

bronze door? . . .iOQ


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The Blue BirdNight

I think it Is the Ghosts. . . . It is long sinceI opened the door and since they cameout. . . .

Tyltyl (placing the key in the lock)I will see. ... (To Bread) Have you

the cage for the Blue Bird? . . .Bread {with chattering teeth)

I'm not frightened, but don't you think Itwould be better not to open the door,but to peep through the keyhole ? . . .

TyltylI don't want your advice. . . .Mytyl {suddenly beginning to cry)I am frightened . . . Where is Sugar ?... I want to go home . . .

Sugar {eagerly, obsequiously)Here I am, miss, here I am. . . . Don't

cry, I will break off one of my fingersso that you may have a sugar-stick. . . .

TyltylEnough of this . . .

{He turns the key and cautiouslyopens the door. Forthwith,five or six Ghosts of

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The Blue Birdstrange and different formsescape and disperse onevery side. Mytyl givesa scream of affright. Bread,terrified, throws away thecage and goes and hides atthe hack of the hall, whileNight, running after theGhosts, cries out toTyltyl.)Night

Quick Quick . . . Shut the door . . .They will all escape and we shouldnever be able to catch them again . . .They have felt bored in there, eversince Man ceased to take them seri-ously. . . . {She runs after theGhosts and endeavours, with the aidof a whip formed of snakes, to drivethem hack to the door of their prison.)Help me . . . Here . . .Here . . .

Tyltyl {to the Dog)Help her, Tylo, at them . . .

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The Blue BirdThe Dog {leaping up and barking)

Yes, yes, yes . . .Tyltyl

And Bread, where's Bread? . . .Bread {at the back of the hall)

Here. ... I am near the door to preventthem from going out. . . .

{One of the Ghosts moves inthat direction and he rushesaway at full speed, utteringyells of terror.)Night {to three Ghosts whom she has

seized by the neck)This way, you . . . {To Tyltyl) Open

the door a httle. . . . {She pushes theGhosts into the cave.) There, that'sIt. . . . ( The Dog brings up twomore.) And these two. . . . Come,quick, in with you . . . You knowyou're only allowed out on All-hal-lows. . . . {She closes the door.)Tyltyl {going to another door)

What's behind this one? . . .Night

What Is the good ? . . . I have already told103


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The Blue Birdyou the Blue Bird has never been here.

.. . . However, as you please. . . .Open the door, if you like. . . . It'sthe Sicknesses. . . .

Tyltyl {with the key in the lock.)Must I be careful in opening? . . .

NightNo, It Is not worth while. . . . Theyare very quiet, the poor little things.

. . . They are not happy. . . . Man,for some time, has been waging sucha determined war upon them . . .Especially since the discovery of themicrobes. . . . Open, you willsee. . . .

(Tyltyl opens the door quitewide. Nothing appears,)Tyltyl

Don't they come out?Night

I told you they are almost all poorly andvery much discouraged. . . . Thedoctors are so unkind to them. . . .Go in for ? moment and see for your-self. . . .

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The Blue Bird(Tyltyl enters the cavern

and comes out again im-mediately.)Tyltyl

The Blue Bird is not there. . . . They lookvery ill, those Sicknesses of yours. . . .They did not even lift their heads,. . . {One little Sickness in slippers, adressing-gown and a cotton nightcapescapes from the cavern and begins tofrisk about the hall.) Look I . . .There's a little one escaping- . , Which one is it? . . .

NightIt's nothing, one of the smallest; It's Cold-

in-the-Head. . . . It is one of thosewhich are least persecuted and whichenjoy the best health. . . . {Callingto Cold-in-the-Head) Come here,dear. . . . It's too soon yet; you mustwait for the winter. . . . (CoLD-lN-THE-Head, sneezing, coughing andblowing its nose, returns to the cavernand Tyltyl shuts the door.)


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The Blue BirdTyltyl {going to the next door)

Let us look at this one. . . . What is inhere? . . .

NightTake care . . . It is the Wars. . . .

They are more terrible and powerfulthan ever. . . . Heaven knows whatwould happen if one of them escaped. . . Fortunately, they are ratherheavy and slow-moving. . . . But wemust stand ready to push back thedoor, all of us together, while youtake a rapid glance into thecavern. . . .

(Tyltyl, with a thousand pre-cautions, opens the doorajar so that there is only alittle gap to which he canput his eye. He at oncedoubles his back against thedoor, shouting.)Tyltyl

Quick Quick . . . Push with all yourmight . . . They have seen me

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The Blue Bird. . . They are all coming . . . Theyare breaking down the door . . .

NightCome, all together . . . Push hard . . .Bread, what are you doing? . . .Push, all of you . . . How strongthey are . . . Ah, that's it . . .They are giving way ... It washigh time . . . Did you seethem? . . .

TyltylYes, yes . . . They are huge and awful... I don't think that they have the

Blue Bird. . . .NightYou may be sure they haven't. ... If they

had, they would eat him at once. . . .Well, have you had enough of it?. . c You see there is nothing to bedone. . . .

TyltylI must see everything. . . . Light said

so. . . .Night

Light said so . . . It's an easy thing to107


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The Blue Birdsay when one's at raid and stays athome. . . ,

TyltylLet us go to the next. . . . What is In

here? . . .XlGHT

This Is where I lock up the Shades and theTerrors. . . .Tyltyl

Can I open the door? . . .Night

Certainly. . . . They are pretty quiet;they are like the Sicknesses. . . .

Tyltyl {half-openino^ the door, ic'ith acertain mistrustfulness, and taking alook into the caiern)

Are they not there? . . .Night {looking into the ea-eern in her

turn)Well, Shades, what are you doing? . . .Come out for a moment and stretch

your legs; it will do you good. . . .And the Terrors also. . . . There isnothing to be afraid of. . . . {A fewShades and a fezv Terrors, in the

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The Blue Birdshape of women, shrouded, the formerin black veils and the latter in green'ish veils, piteously venture to take afew steps outside the cavern; andthen, upon a movement of Tyltyl's,hastily run hack again.) Come, don'tbe afraid. . . . It's only a child; hewon't hurt you. . . . (ToTyltyl)They have become extremely timid,except the great ones, those whom yousee at the back. . , .

Tyltyl {looking into the depths of thecave)

Oh, how terrifying they are . . .Night

They are chained up. . . . They are theonly ones that are not afraid of Man.... But shut the door, lest theyshould grow angry. . . .

Tyltyl {going to the next door)I say . . . This is a darker one. . . .

What is here?Night

There are several Mysteries behind f.hlsone. ... If you are absolutely hent

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The Blue Birdupon it, you may open it too. . . .But don't go in. . . . Be very cautiousand let us get ready to push back thedoor, as we did with the Wars. . . .

Tyltyl {half-opening the door; with un-paralleled precautions and passing hishead fearsomely through the aper-ture)

Oh . . . How cold . . . My eyes aresmarting . . . Shut it quickly . . .Push, oh, push They are pushingagainst us . . . (Night, the Dog,the Cat and Sugar push back thedoor.) Oh, I saw . . .

NightWhat? . . .

Tyltyl {upset)I don't know, it was awful . . . They

were all seated like monsters with-out eyes. . . . Who w^as the giantwho tried to seize me? . . .

NightIt was probably Silence; he has charge of

this door. ... It appears to haveno


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The Blue Birdbeen alarming? . . . You are quitepale still and trembling all over. . , .

TyltylYes, I would never have believed. ... Ihad never seen. . . . And my handsare frozen. . . .

NightIt win be worse presently If you

go on. . . .Tyltyl {going to the next door)

And this one? ... Is this terriblealso? . . .

NightNo; there Is a little of everything here.

. . . It Is where I keep the unem-ployed Stars, my personal Perfumes,a few Glimmers that belong to me,such as Will-o'-the-Wisps, Glow-worms and Fireflies, also the Dew, theSong of the Nightingales and soon. . . .

TyltylJust so, the Stars, the Song of the Nightin-

gales. . . . This must be the door. . .1 1


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The Blue BirdNight

Open It, If you like; there is nothing verybad Inside. . . .(Tyltyl throws the door wide

open. The Stars, in theshape of beautiful younggirls veiled in many-col-oured radiancy, escapefrom their prison, disperseover the hall and formgraceful groups on thesteps and around thecolumns, bathed in a sort ofluminous penumbra. ThePerfumes of the Night,who are almost invisible, theWiLL-O'-THE-WlSPS, theFireflies and the trans^parent Dew join them,while the SoNG OF THENightingales streamsfrom the cavern andfloods the Palace ofNight.)

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The Blue BirdMytyl (clapping her hands with delight)Oh, what pretty ladles I . . .

TyltylAnd how well they dance . . .Mytyl

And how sweet they smell . . .Tyltyl

And how beautifully they sing . . .Mytyl

What are those, whom one can hardlysee? . . .

NightThose are the Perfumes of my Shadow.

TyltylAnd those others, over there, In spunglass? . . .

NightThey are the Dew of the plains and forests.

. . . But enough . . . They wouldnever have done. . . . It Is the devil'sown business to get them back, oncethey begin to dance. . . . {Clappingher hands together.) Now then,Stars, quick I . . . This is not the time

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The Blue Birdfor dancing. . . . The sky is overcastand heavily clouded. . . . Come,quick, in with you, or I will go andfetch a ray of sunlight . . . {TheStars, Perfumes, etc., take to flightin dismay and rush back into the cav-ern; and the door is closed upon them.At the same time, the song of theNightingale ceases.)

Tyltyl {going to the door at the hack)Here is the great middle door. . . .

Night {gravely)Do not open that one. . . .TyltylWhy not? . . .Night

Because it's not allowed. . . .Tyltyl

Then it's here that the Blue Bird Is hidden;Light told me so. . . .Night {maternally)

Listen to me, child. ... I have been kindand indulgent. ... I have done foryou what I have never done for anyone before. ... I have given up al^

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The Blue Birdmy secrets to you. ... I like you, Ifeel pity for your youth and innocenceand I am speaking to you as amother. . . . Listen to me, my child,and believe me ; relinquish your quest,go no further, do not tempt fate, donot open that door. . . .

Tyltyl {a little shaken)But why? . . . NightBecause I do not wish you to be lost. . . .

Because not one of those, do you hear,not one of those who have opened it,were it but by a hair's breadth, hasever returned aliVe to the light ofday. . . . Because every awful thingimaginable, because all the terrors, allthe horrors of which men speak onearth are as nothing compared with themost harmless of those which assaila man from the moment when his eyelights upon the first threats of theabyss to which no one dares give aname. ... So much so that I myself,if you are bent, in spite of everything,


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The Blue Birdupon touching that door, will ask youto wait until I have sought safety Inmy windowless tower. . . . Now It Isfor you to know, for you to re-flect. . . .

(Mytyl, all in tears, utters criesof inarticulate terror andtries to drag Tyltylaway.)

Bread {with chattering teeth)Don't do it, master dear . . . {Flinging

himself on his knees) Take pity onus . . .1 Implore you on my knees.. . . You see that Night is right. . . .The Cat

You are sacrificing the lives of all ofus. . . .

TyltylI must open the door. . . .Mytyl {stamping her feet, amid her sobs)I won't . . . I sha'n't . . .

TyltylSugar and Bread, take Mytyl by the hand

and run away with her. ... I amgoing to open the door. . . .

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The Blue BirdNight

Run for your lives . . . Come quick-ly . . . It is time . . . {She flees.)Bread {fleeing wildly)

At least wait till we are at the end of thehall . . .The Cat {also fleeing)

Wait Wait . . .{They hide behind the columns

at the other end of the hall,Tyltyl remains alone withthe Dog by the monumentaldoor.)

The Dog {panting and hiccoughing withsuppressed fright)

I shall stay, I shall stay . . . I'm notafraid ... I shall stay ... Ishall stay with my little god ... Ishall stay . . . I shall stay . . .Tyltyl {patting the Dog)

That's right, Tylo, that's right . . . Kissme. . . . You and I are two. . . .And now, steady . . .

{He places the key in the lock,A cry of alarm comes from117


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The Blue Birdthe other end of the hall,where the runaivays havetaken refuge. The key hashardly touched the doorbefore its tall and insideleaves open in the mid-dle, glide apart and disap-pear on either side in thethickness of the walls, sud-denly revealing the most un-expected of gardens, un-real, infinite and inefable, adream-garden bathed innocturnal light, where,among stars and planets, il-lumining all that they touchyflying ceaselessly from jewelto jewel and from moon-beam to inoonbeam, fairy-like blue birds hover per-petually and har77ioniouslydown to the confines of thehorizon, birds innumerableto the point of appearingto be the breath, the azured

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The Blue Birdatmosphere, the very sub-stance of the wonderful gar-den.)Tyltyl (dazzled, bewildered, standing in

the light of the garden)Oh . . . Heaven . . . ( Turning to thosewho have fled) Come quickly . . .They are here . . . It's they, it'sthey, it's they . . . We have them atlast . . . Thousands of blue birds. . . Millions . . . Thousands ofmillions . . . There will be toomany . . . Come, Mytyl . . .Come, Tylo . . . Come, all . . .Help me . . . {Darting in amongthe birds.) You can catch them byhandfuls . . . They are not shy. . . They are not afraid of us . . .Here Here . . . {Mytyl and theothers run up. They all enter thedazzling garden, except NiGHT andthe Cat.) You see . . . There aretoo many of them . . . They flyinto my hands . . . Look, they areeating the moonbeams . . . Mytyl,

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The Blue Birdwhere are you? . . . There are somany blue wings, so many feathersfalling that one cannot see anythingfor them . . . Don't bite them,Tylo . . . Don't hurt them . . .Take them very gently . . .Mytyl {covered with blue birds)

I have caught seven already . . . Oh,how they flap their wings ... Ican't hold them . . .

TyltylNor can I . . .1 have too many of

them . . . They're escaping . . .They're coming back . . . Tylo hassome, too . . . They will drag uswith them . . . They will take us upto the sky . . . Quick, let us goout this way . . . Light is waitingfor us . . . How pleased she willbe . . .This way, this way . . .

{They escape from the garden,with their hands full ofstruggling hirds^ and, cross-ing the whole hall amid the

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The Blue Birdmad whirl of the azurewings, go out on the right,where they first entered, fol-lowed by Bread and Sugar,who have caught no birds.Night and the Cat, leftalone, return to the back ofthe stage and look anxiouslyinto the garden.)Night

Haven't they got him? . . .The CatNo. . . . I see him there, on that moon-

beam. . . . They could not reach him,he kept too high. . . .{The CURTAIN falls. Immedi-

ately after, before thedropped curtain. Enter,at the same time, on theleft. Light and, on theright, Tyltyl, Mytyl andthe Dog, who run up allcovered by the birds whichthey have captured. Butalready the birds appear

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The Blue Birdlifeless and, with hangingheads and drooping wings^are nothing more in theirhands than inert remains.)

LightWell, have you caught him? . . .

TyltylYes, yes . . . As many as we wanted . .

There are thousands of them . . .Here they are . . . Do you seethem? . . . {Looking at the birds,which he holds out to LiGHT^ andperceiving that they are dead) Why,they are dead . . . What have theydone to them? . . . Yours, too,Mytyl? . . . Tylo'salso? . . . {An-grily flinging down the dead bodies ofthe birds) Oh, this Is too bad? . . .Who killed them? . . . I am too un-happy . . . {He hides his head inhis arms and his whole frame is shakenwith sobs.)

Light {pressing him maternally in herarms)

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The Blue BirdDo not cry, my child. . . . You did not

catch the one that is able to live inbroad daylight. . . . He has goneelsewhere. . . . We shall find himagain. . . .The Dog (looking at the dead birds)

Are they good to eat ? . . .( They all go out on the left,)

Scene 2. The ForestA forest. It is night. The moon is shin-

ing. Old trees of various kinds, nota-bly an Oak, a Beech, an Elm, aPoplar, a Fir-tree, a Cypress, aLime-tree, a Chestnut-tree, etc.

Enter the Cat.The Cat {bowing to the trees in turn)To all the trees here present, greeting . . .The Trees {murmuring in their leaves)Greeting . . .

The CatThis is a great day, a day of days . . ,.,

Our enemy is coming to set free your121


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The Blue Birdenergies and to deliver himself Intoyour hands. . . . It Is Tyltyl, the sonof the wood-cutter, who has done youso much harm. . . . He Is seekingthe Blue Bird, whom you have kepthidden from Man since the beginningof the world and who alone knowsour secret. . . . {A murmuring in theleaves.) What do you say? . . . Ah,It's the Poplar . . . Yes, he pos-sesses a diamond which has thevirtue of setting free our spirits fora moment; he can compel us to handover the Blue Bird and thenceforthwe shall be definitely at Man's mercy....(// murmuring in the leaves.)Who is speaking? . . . Ah, theOak . . . How are you? . . . {Amurmuring in the leaves of the Oak.)Still got your cold? . . . Does theLiquorice no longer look after you?. . . Can't you throw off your rheu-matism? . . . Believe me, that's be-cause of the moss; you put too muchOf It on your feet. ... Is the Blue

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The Blue BirdBird still with you ? . . . {A murmur'ing in the leaves of the Oak.) I begyour pardon? . . . Yes, there is noroom for hesitation ; we must take theopportunity; he must he done awaywith. . . . {A murmuring in theleaves.) I didn't quite catch. . . . Oh,yes, he is with his little sister; shemust die, too. . . . (A murmuring inthe leaves.) Yes, they have the Dogwith them; there is no keeping himaway. . . . {A murmuring in theleaves.) What did you say? . . .Bribe him? . . . Impossible. ... Ihave tried everything. . . . {A mur^muring in the leaves.) Ah, is that you,Fir-Tree? . . . Yes, get four planksready. . . . Yes, there are Fire,Sugar, Water and Bread besides. . . .They are all with us, except Bread,who is rather doubtful. . . . Lightalone is on Man's side; but she won'tcome. ... I made the children be-lieve that they ought to steal awaywhile she was asleep. . . . There

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The Blue Birdnever was such an opportunity. . . .{A miirmiirmg in the leaves.) Ah,that's the Beech's voice . . . Yes,you are right; we must Inform theanimals. . . . Has the Rabbit got hisdrum? . . . Is he with you? . . .Good, let him beat the troop atonce. . . . Here they are . . .

( The roll of the Rabbit's drumis heard, diminishing in thedistance. Enter Tyltyl,Mytyl and the DoG.)Tyltyl

Is this the place? . . .The Cat {obsequiously, eagerly, mealy-mouthed, rushing to meet the Chil-dren)

Ah, there you are, my little master . . .How well you look and how pretty,this evening

maurice maeterlinck - the blue bird (1) 1911

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