A large and wonderful hall of an austere, rigid, metallic and sepulchral
magnificence, giving the impression of a Greek temple with columns, architraves, flagstones and ornaments of black marble, gold and ebony. The
hall is trapezium-shaped. Basalt steps, occupying almost the entire width,
divide it into three successive stages, which rise gradually toward the
back. On the right and left, between the columns, are doors of sombre
bronze. At the back, a monumental door of brass. The palace is lit only
by a vague light that seems to emanate mainly from the brilliancy of the
marble and the ebony. At the rise of the curtain, NIGHT, in the form
of a very old woman, clad in long, black garments, is seated on the steps
of the second stage between two children, of whom one, almost naked, like Cupid, is smiling in a deep sleep, while the other is standing up, motionless and veiled from head to foot.
magnificence, giving the impression of a Greek temple with columns, architraves, flagstones and ornaments of black marble, gold and ebony. The
hall is trapezium-shaped. Basalt steps, occupying almost the entire width,
divide it into three successive stages, which rise gradually toward the
back. On the right and left, between the columns, are doors of sombre
bronze. At the back, a monumental door of brass. The palace is lit only
by a vague light that seems to emanate mainly from the brilliancy of the
marble and the ebony. At the rise of the curtain, NIGHT, in the form
of a very old woman, clad in long, black garments, is seated on the steps
of the second stage between two children, of whom one, almost naked, like Cupid, is smiling in a deep sleep, while the other is standing up, motionless and veiled from head to foot.
Enter from the right, in the foreground, the CAT
NIGHT
Who goes there?
Who goes there?
THE CAT (sinking heavily upon the marble steps)
It is I, Mother Night. I am worn out.
It is I, Mother Night. I am worn out.
NIGHT
What's the matter, child? You look pale and thin and you are splashed
with mud to your very whiskers. Have you been fighting on the tiles
again, in the snow and rain?
What's the matter, child? You look pale and thin and you are splashed
with mud to your very whiskers. Have you been fighting on the tiles
again, 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! I have managed to escape for a moment to
warn you; but I greatly fear that there is nothing to be done.
It has nothing to do with the tiles! It's our secret that's at stake!
It's the beginning of the end! I have managed to escape for a moment to
warn you; but I greatly fear that there is nothing to be done.
NIGHT
Why? What has happened?
Why? What has happened?
THE CAT
I have told you of little Tyltyl, the woodcutter's son, and of the magic
diamond. Well, he is coming here to demand the Blue Bird of you.
I have told you of little Tyltyl, the woodcutter's son, and of the magic
diamond. Well, he is coming here to demand the Blue Bird of you.
NIGHT
He hasn't got it yet.
He hasn't got it yet.
THE CAT
He will have it soon, unless we perform some miracle. This is how the
matter stands: Light, who is guiding him and betraying us all, for she has
placed herself entirely on Man's side, Light has learned that the Blue
Bird, the real one, the only one that can live in the light of day, is
hidden here, among the blue birds of the dreams that live on the rays of
the moon and die as soon as they set eyes on the sun. She knows that she
is forbidden to cross the threshold of your palace, but she is sending the
children; and, as you cannot prevent Man from opening the doors of
your secrets, I do not know how all this will end. In any case, if,
unfortunately, they should lay their hands on the real Blue Bird, there
would be nothing for us but to disappear.
He will have it soon, unless we perform some miracle. This is how the
matter stands: Light, who is guiding him and betraying us all, for she has
placed herself entirely on Man's side, Light has learned that the Blue
Bird, the real one, the only one that can live in the light of day, is
hidden here, among the blue birds of the dreams that live on the rays of
the moon and die as soon as they set eyes on the sun. She knows that she
is forbidden to cross the threshold of your palace, but she is sending the
children; and, as you cannot prevent Man from opening the doors of
your secrets, I do not know how all this will end. In any case, if,
unfortunately, they should lay their hands on the real Blue Bird, there
would be nothing for us but to disappear.
NIGHT
Oh dear, oh dear! What times we live in! I never have a moment's
peace. I cannot understand Man, these last few years. What is he
aiming at? Must he absolutely know everything? Already he has
captured a third of my Mysteries, all my Terrors are afraid and dare not
leave the house, my Ghosts have taken flight, the greater part of my
Sicknesses are ill.
Oh dear, oh dear! What times we live in! I never have a moment's
peace. I cannot understand Man, these last few years. What is he
aiming at? Must he absolutely know everything? Already he has
captured a third of my Mysteries, all my Terrors are afraid and dare not
leave the house, my Ghosts have taken flight, the greater part of my
Sicknesses are ill.
THE CAT
I know, Mother Night, I know, the times are hard and we are almost alone in
our struggle against Man. But I hear them coming. I see only one way: as
they are children, we must give them such a fright that they will not
dare to persist or to open the great door at the back, behind which they
would find the Birds of the Moon. The secrets of the other caverns will
be enough to distract their attention and terrify them.
I know, Mother Night, I know, the times are hard and we are almost alone in
our struggle against Man. But I hear them coming. I see only one way: as
they are children, we must give them such a fright that they will not
dare to persist or to open the great door at the back, behind which they
would find the Birds of the Moon. The secrets of the other caverns will
be enough to distract their attention and terrify them.
NIGHT (listening to a sound outside)
What do I hear? Are there many of them?
What do I hear? Are there many of them?
THE CAT
It is nothing; it is our friends, Bread and Sugar; Water is not very well
and Fire could not come, because he is related to Light. The Dog is
the only one who is not on our side; but it is never possible to keep him
away.
It is nothing; it is our friends, Bread and Sugar; Water is not very well
and Fire could not come, because he is related to Light. The Dog is
the only one who is not on our side; but it is never possible to keep him
away.
(Enter timidly, on the right, in the foreground, TYLTYL, MYTYL, BREAD, SUGAR and the DOG.)
THE CAT (rushing up to TYLTYL)
This way, little master, this way. I have told Night, who is delighted
to see you. You must forgive her, she is a little indisposed; that is
why she was not able to come to meet you.
This way, little master, this way. I have told Night, who is delighted
to see you. You must forgive her, she is a little indisposed; that is
why she was not able to come to meet you.
TYLTYL
Good-day, Mrs. Night.
Good-day, Mrs. Night.
NIGHT (in an offended voice)
Good-day? I am not used to that. You might say, Good-night, or, at
least. Good-evening.
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 two CHILDREN.)
Are those your two little boys? They are very nice.
I beg your pardon, ma'am. I did not know. (Pointing to the two CHILDREN.)
Are those your two little boys? They are very nice.
NIGHT
This is Sleep.
This is Sleep.
TYLTYL
Why is he so fat?
Why is he so fat?
NIGHT
That is because he sleeps well.
That is because he sleeps well.
TYLTYL
And the other, hiding himself? Why does he veil his face? Is he ill?
What is his name?
And the other, hiding himself? Why does he veil his face? Is he ill?
What is his name?
NIGHT
That is Sleep's sister. It is better not to mention her name.
That is Sleep's sister. It is better not to mention her name.
TYLTYL
Why?
Why?
NIGHT
Because her name is not pleasant to hear. But let us talk of something else.
The Cat tells me that you have come here to look for the Blue Bird..
Because her name is not pleasant to hear. But let us talk of something else.
The Cat tells me that you have come here to look for the Blue Bird..