This is John Philip Sousa’s typescript of The Victory, transcribed and edited by Arthur O’Dwyer (2025).
Many small corrections, especially to punctuation, have been made quietly. Larger corrections, issues, and notes are marked in the text like this, with further details in the mouseover text.
The typographical presentation is inspired by Asimov’s Annotated Gilbert & Sullivan (1988).
See also The Victory’s entry in Paul E. Bierley’s The Works of John Philip Sousa (1984); Ruth Helen Davis’s finished version of The Supreme Victory (1920); and newspaper clippings about the 1915 production.
According to Paul Bierley (1984), “Evidently while still working on The Irish Dragoon, Sousa commenced work on The Victory. [...] The two-act work was scheduled to be produced in August, 1915, but for reasons never explained publicly it was not completed. None of Sousa’s music has ever been found, but a typed libretto was among volumes of his personal library which his family bequeathed to the U.S. Marine Corps Museum in 1969.”
The operetta (purportedly) was to be based on the musical entertainment The Victory, written by Ruth Helen Davis with lyrics by Ella Wheeler Wilcox. That play, in a Prologue and two Acts, was produced for a poverty benefit at Long Branch, New Jersey, on Labor Day 1915; and was later published in print as The Supreme Victory (Gay & Hancock: London, 1920).
The typescript discovered among Sousa’s effects (and transcribed below) is essentially identical in plot and lyrics to The Supreme Victory, and large swaths of the dialogue and stage directions are identical, too. Thus I conclude that what Sousa possessed was an early draft of The Supreme Victory, possibly the one produced at Long Branch, but perhaps earlier or later. It has no obvious contribution from Sousa.
The draft is missing its Prologue (probably by accident — each scene is page-numbered
individually so the page numbers give no hint to its loss).
The house-fire sequence in the draft’s scene I.1 is replaced with a briefer attack
by Amor Proprio himself on the Princess.
Most minor characters are only sketched in the draft; for example, Innocenza’s attendant
here is unnamed and non-speaking;
in The Supreme Victory she is named “Fidelita” and given lines.
Book by Ruth Helen Davis
Lyrics by Ella Wheeler Wilcox
Music (if any) by John Philip Sousa
(Written circa 1915; never produced as an operetta)
The first scene has speaking roles for four Rustics, four Peasants, a Peasant Woman, and an Old Man.
Act II, scene 2, has speaking roles for three Courtiers, two Court Ladies, a Major-Domo, a Lord High Chamberlain, and Mentitore’s Attendant.
There are four instances where a rapid succession of lines are not assigned to any particular named role but rather spoken “variously” by the Chorus.
The Princess has a non-speaking Attendant.
[Note.—Ruth Helen Davis’s play The Supreme Victory has a Prologue with dialogue and lyrics equal in style to Acts I and II. This Prologue is missing from Sousa’s typescript of The Victory; likely it got separated accidentally. In The Supreme Victory, the Prologue takes place outdoors, under the oak tree. Amor Proprio was imprisoned in the tree by King Allegro’s grandsire one hundred years ago for unspecified crimes. His five minions and Mentitore appear and try to set him free (that is, Mentitore is established as a conscious partisan of Amor Proprio). Innocenza is brought to be christened under the tree, and receives gifts from twelve named Fairies. Lightning rives the oak. Amor Proprio debates the King, then vengefully curses Innocenza: “If yonder babe lies, or stands, or sits or walks alone for one brief instant ever in her life, my curse shall fall upon her.” Felicita gives her a “wishing ring”—“Three times this ring shall save her from despair”—and urges the royal family to have faith. Curtain.
[Before reading The Supreme Victory, I (Arthur O’Dwyer) wrote this short dumb-show Prologue—heavily influenced by the plot of “Sleeping Beauty”—as a substitute for the missing section, based only on internal evidence from Sousa’s typescript. In particular, Act I scene 2 takes place in the palace, and in the draft is notated “Same as Prologue,” so the typescript’s Prologue should have taken place indoors rather than out.]
Scene.—Interior of King Allegro’s palace. Grand staircase U. R., practical. French windows at back show a verdant landscape. Large oak tree seen through French window L.
Courtiers and Rustics gathered to celebrate the christening of Princess Innocenza. Also present are a number of Good Fairies.
Enter the villainous Amor Proprio with his minions Jealousy, Avarice, Conceit, Deceit, and Temper. They cow the Good Fairies and menace the King and Queen. Amor Proprio approaches the bassinet, uncorks a potion, and with dramatic lighting and music indicates an evil curse.
The beautiful Fairy Queen, Felicita, now opposes Amor Proprio. His minions flee, and he shrinks back. Felicita and the Good Fairies overpower him. Good Fairies force him out through the window and bundle him, struggling, into the heart of the oak tree, where he disappears.
Felicita, at bassinet, indicates that she cannot lift the curse but she can at least offer her own gift: a magic ring. Places ring on baby Innocenza’s finger. King sorrowful, Queen distraught. The party breaks up. Exeunt omnes. Evening falls. Stage empty.
Amor Proprio at back escapes from the oak tree; he stealthily crosses and exits R.
Time.—Twenty years later. Late afternoon in early fall.
Place.—A leafy glade in the royal park.
In the background the walls of a cottage are seen: the
house of the gatekeeper.
[Enter a Crowd of Harvesters, returning from the field. Some are dancing, others walking and talking.]
First Rustic Fine weather for the harvest work.
Second Rustic Yes, and for our Lady’s birthday ball.
Third Rustic If it do but last till then.
Peasant Woman It is sure to last.
First Rustic And why, then?
Peasant Woman Because our Princess is good to everybody and even the weather is good to her. Did you never notice how she is always favored with fine weather when she gives parties?
Fourth Rustic Dost think the weather has a mind?
Peasant Woman Our good King and Queen say everything has a mind; that we are all part of the Great Mind.
Second Rustic They treat us all like that.
Peasant Woman Yes, just as if we were as good as any.
First Rustic It makes one love God more when folks are kind.
[The Rustics begin to dance; others join them.]
Third Rustic Pipe up a tune, sonny, and let us all dance a bit.
Fourth Rustic Yes, we must limber up our joints for the Princess’ ball.
[A lad with some simple musical instrument begins to play. Orchestra plays a rustic dance. All the people join in picturesque folk-dance. As the dance is concluded, one elderly man speaks.]
Old Man It seems but a span since the Princess’ christening ball. I do remember it well.
First Rustic That was twenty years ago.
Old Man Our land was very prosperous then.
Second RusticOld Man Yes, but we never knew a day’s unhappiness then, and there has been much uneasiness since the night Amor Proprio was liberated from the oak tree.
Third Rustic He has done no harm yet.
Old Man No, save that he has marred the peace of mind of the King and Queen regarding the Princess.
Fourth Rustic She must always be attended by someone, they say.
Old Man She is never alone one instant. They fear otherwise Amor Proprio’s curse may fall.
[Enter a group of Peasants, who pause in animated conversation.]
First Peasant They say Disinteresso seized a mad dog by the throat and saved the life of a poor child this morning.
Second Peasant I hear many such things of him. He must be brave and kind.
Third Peasant Ah, you may be sure he is not all he is said to be.
Fourth Peasant Nobody is; not the best or the worst.
Second Peasant The child he saved from the dog has a rich godfather; perhaps he knew of this.
First Peasant [angrily] This lad Disinteresso is not a man like yourself.
Second Rustic You think this Disinteresso an angel, then.
First Rustic No, a thing more needed on earth—a man!
Second Rustic He is but one. Yes, one, but different from the many.
Third Rustic He has a good word for everybody; an open palm lined with coin for the needy; and a double fist for the oppressed.
[Enter Mentitore. All courtesy to him. He conducts himself in the manner of a haughty sovereign. He has overheard mention of Disinteresso.]
Mentitore You were talking of the youth Disinteresso, a conceited coxcomb, as I understand, full of pretty poses and always playing to the gallery. Let no one take him seriously.
First Rustic You must take a man seriously when he risks his life for others.
Mentitore [sneeringly] None do it save for some self-seeking purpose.
First Rustic I do not believe that.
Mentitore But it is true, nevertheless, and right as true. Men should be self-seeking.
Old Man By what argument can you convince us of that?
Mentitore The progress of the world. All great achievements have come from man seeking some selfish end—glory, gold, or power.
Old Man Disinteresso sought none of the three when he saved the peasant’s child from the mad dog.
First Rustic Nor when he saved a lad from drowning.
Fourth Rustic Nor when he stripped off his coat on a bitter day to wrap a poor old woman from the cold.
First Rustic And he a country lad, too, like many of us, and with no coats to spare.
Mentitore All deeds for theatrical effect. He would love to hear you talk about it.
First Rustic We would love to have him hear us. We are proud of him.
Mentitore Why praise a man who does the thing he likes to do?
Old Man We praise him for liking to do brave deeds.
Second Rustic I agree with my lord Mentitore. He had some axe to grind. All men are alike.
Old Man [looking at Mentitore] I would commit suicide if I believed myself to be like some men.
[Enter Disinteresso. Mentitore looks at him disdainfully. Several Rustics led by Old Man approach him with friendly greetings.]
Rustics Well done, my lad.—We are proud of you, my son.
Mentitore [insultingly] Are you just arrived from some great deed of valor, brave youth?
Disinteresso [with surprise] I? Why, no; I am from the harvest field.
Mentitore Then you are bound on some rescue of the oppressed, no doubt.
Disinteresso I fail to understand you.
Mentitore [with insulting look and tone] I have been told that your whole life was given to saving children and old people from dangerous situations.
Old Man [to Mentitore] Take care! He has been known to deal roughly with ugly dogs.
Disinteresso [ignoring the insult of Mentitore, abruptly turns away and speaks to a group of Rustics] I was told the Princess would pass this way, on a visit to the sick daughter of the gatekeeper. I hoped I might be so favored as to catch a glimpse of her. Has she arrived?
First Rustic She went into the house half an hour ago with her attendant.
Mentitore [who has been listening, swaggers up and speaks haughtily] I was sent here by His Majesty the King to watch over the Princess. There is need of no other.
Disinteresso [still ignoring him, speaks to the group] I am told she is passing fair.
Rustics [in one voice] She is angelic, lovely, beautiful.
Disinteresso I hope it may be my good fortune to see her when she comes forth.
[At this moment flames leap from the roof of the gatekeeper’s house. Cries for help are heard and excited people run about the house.]
Disinteresso The Princess is in the burning house. She is calling for help to save the sick child. Who will go to the rescue?
[The group of Rustics led by Disinteresso hasten to the house. Mentitore brings up the rear. Princess is seen at an upper window, holding the child in her arms.]
First Rustic Leap from the window. We will catch you.
Princess I cannot leave the sick girl here to die. You must save her before I go to safety.
[Flames increase.
[Disinteresso rushes into the house and comes out, bearing in his arms the sick child, who is taken in charge by the Rustics, then re-enters and brings out the Princess in his arms. She has fainted. Disinteresso bends over her; his face is illuminated. Music symbolizing the Awakening of Love is played.]
Mentitore [approaching in anger] How dare you lay your hands upon a Princess of the blood?
Disinteresso [ignoring him, still gazing at the Princess, who opens her eyes; says ecstatically] My Princess!
Mentitore Fool! I demand the Princess as my charge.
Princess [smiling at Disinteresso] Where is the gatekeeper’s daughter?
Disinteresso She is in safe hands, unharmed by the flames.
Princess Will you take me to the palace?
Disinteresso If you will permit me.
Mentitore [pushing him aside] Princess, your royal sire commissions me to guide you safely back to the palace. Princess Yet it was this youth who saved me from the flames. Surely he should take me to my royal sire and receive thanks and his reward.
Mentitore He is a common peasant, not suited to be your escort. Here, lad, take this. [Flings Disinteresso some money]
[Disinteresso flings the money back at Mentitore and bows to the Princess.]
Disinteresso I ask no reward but the happiness of having served my Princess.
[Exit Disinteresso.
[Exit Princess with Mentitore and attendant.
[Rustics disperse, discussing the fire.
[Re-enter Disinteresso. He looks down the path to catch a last glimpse of the Princess.]
Song—Disinteresso
My Princess is the radiant young Dawn And I the humble hill she shone upon. No longer level with the common sod, But lifted up as by the touch of God. Because she smiled on me— My Princess smiled on me.
Like some white star my Princess yesterday Shone in the skies so far, so far away. But now she has revealed herself as Dawn And all the shadows from my path are gone, Because she smiled on me— My Princess smiled on me.
[Slow curtain.]
Scene.—Same as Prologue.
Occasion.—Twenty-first birthday of the Princess.
[As the curtain rises, the King and Queen are seated on the dais—the guests (Courtiers and Rustics) are singing the following jubilant four-part chorus.]
Chorus
Splendor shines from worlds above On the lady of our love. She whom fairies crowned at birth, Sweetest Princess of the earth.
Humble peasant, highborn peer, Welcome to her kingdom here. Ranks are leveled and we stand Comrades in our lady’s land.
King [addressing the assembled guests] Greetings, good friends and citizens. Your King Welcomes his children to this festive scene. The last occasion of such note as this Was when your Princess first received her name And Fairies gathered to bestow their gifts. Since then our Land of Once-Upon-a-Time Has grown and prospered; free from class disputes, Because we meet as brothers. Hands that toil Clasp hands that govern; and on this great day Your happy king proclaims you all his kin. My sons and daughters, I do welcome you.
Old Man [urged by crowd to be spokesman] Our noble ruler, if your fair land thrives, ’Tis through good deeds you bring into our lives, So vast your bounty, we must all grow old Before the half of it could well be told. And under weight of good deeds you bestow, The curse of Amor Proprio’s laid low. Where good seeds fall, good harvest there must grow.
[Theme of Innocenza played by orchestra.]
Whispers among the Guests There she is.—Our Princess approaches.—How beautiful!
[Princess Innocenza appears at the head of the staircase; music continues. She makes an exquisite picture, wearing white, with a delicate crown of silver leaves in her hair and a single red rose at her corsage. As she enters the guests talk amongst themselves.]
Guests [variously]
She still wears the red rose.
Is the rose her favorite flower?
Oh, don’t you know the meaning of it?
No, what is it?
It is the symbol of her love.
The symbol?
She is to bestow it upon the man of her choice.
Yes, and it is said the King has asked her to bestow it
tonight upon her favorite.
Every Prince in the neighboring lands has asked for her
hand.
But she has refused them all.
I have heard it said that Mentitore feels he has been
encouraged.
That is impossible. Light cannot select Darkness for
a mate.
But Light can make Darkness white and then it is a suitable
consort.
But it is whispered she has never forgotten the peasant
lad who saved her life at the fire.
Yes, and she often walks down that same road, as if hoping
to see him again.
Absurd! Our Princess could not love a peasant lad.
And why not? Her father levels all ranks. See how
he welcomes us all here. One is as good as another.
Yes, he ever says it is deeds and hearts, not titles and
rank, which count in his estimation.
Yet I think he would not like his Princess to marry a
peasant.
He would not like her to marry Mentitore.
But Mentitore is a Prince.
A Prince of Selfishness and Deceit. Heaven save our
Princess from such a fate.
Mentitore is much in love with her. When a man is really
in love, he can win if he persists.
Mentitore loves no one but himself. He would not love
the Princess were she a poor girl.
King [addressing Princess] Daughter and Princess, you have reached your prime; Here in the Land of Once-Upon-a-Time We hail you heir apparent to the throne.
[Princess makes a deep courtesy. All the guests bow. King signals that Princess be conducted to the throne at his side. Then turns to her and says,]
King Daughter, make known to me your dearest wish. It shall be granted here upon this day.
Princess [thinking a moment silently; then looks at the King and says] Let me for one day, then, be free like other girls. I am so weary of surveillance.
King But well you know the reason of it all.
Princess Oh, yes; a bad man, Amor Proprio, threatened some danger were I left alone; but I confess, he seems as mythical to me as those great Fairies I am told came here to aid you at my christening.
King But all were real, daughter.
Princess Well, then, I more rely upon good Fairies’ help than I do fear this evil man. Let me be free to-day.
King Call my counsellors.
[The Counsellors approach and converse with the King.]
Queen [to Princess] Daughter, I pray you, let us guard your steps. You shall not be made over-conscious of our care, but let us send one who will stay in call.
Princess No, no; I would be free like other girls for just one day. It is my wish, my only wish to-day.
[The Counsellors signal their consent.]
King No harm can come to our dear Princess here in this fair land. Daughter, you have your wish.
Queen [detaining the Princess, with an intuitive fear] Daughter, I pray you wait a little yet.
Princess I would be dutiful, dear mother, yet I would be free for once. I fear I more desire my freedom than to show my sense of duty on this great day of days.
King Well, we will humor you, my child. From now until the clock strikes midnight, you are free as any peasant girl in all our realm. Only at midnight be outside my door where your attendant will resume her task.
[Princess starts to descend to the throng, joyfully, when the King detains her.]
King One moment, child. It is my turn to ask a favor now.
Princess What favor, royal sire?
King Bestow your rose upon the favored one tonight.
Princess [looks troubled] I have not made my choice.
King Too many lovers make the fickle maid.
Princess I am not fickle, since I favor none.
King High time you did.
Princess From my first memory you told me, Sire, my choice should be from love.
King And in my heart I feel your choice is made, but since you do not feel the hour is come to make me confidant, then go and choose a partner for the dance and start the ball.
[The Princes rush forward to be first in line.]
Princess [looks them all over and descends] I would do a rustic dance, as once I saw it done.
[She goes toward Disinteresso in the rear of the room and asks him to dance. Guests’ buzz of talk as she passes by.]
Guests [variously]
She did this out of compliment to the peasants.
And so as not to offend the Princes.
She meant to anger Mentitore, I believe.
Mentitore She did it so I need not too publicly be declared her choice; but she felt she could not choose a rival in my presence.
[Princess and Disinteresso dance a rustic dance. General dancing follows. Major-Domo announces supper. All the guests walk away in couples to march music, leaving Disinteresso and Princess. Her Attendant remains in the background.]
Princess [to Attendant, smiling but with authority] You heard the King’s command. Wait for me at my father’s door at midnight. I shall be there. Until then I claim my freedom.
[Attendant goes reluctantly.]
Princess [turning to Disinteresso, smiling] It is so wonderful to feel like other girls.
Disinteresso You could not be like any other.
Princess Am I then so unlike all?
Disinteresso As fixed planets differ from restless little stars, or as great suns are unlike foolish comets.
Princess But I believe I am both restless and foolish sometimes. I confess I like your comparisons, even if I do not deserve them.
Disinteresso You deserve more than I could say in a lifetime; more than I could dare express.
Princess [looking at him and blushing] You may dare say what is in your heart.
Disinteresso [starting] You do not know how rash your words are. Were I to say what is in my heart, you would drive me from the Court in anger.
Princess [in surprise] Then you have some very unkind feeling for me, which you are hiding.
Disinteresso I am hiding something in my heart, it is true. Something I fear to show.
Princess I promise to forgive you. There are to be no secrets from me to-day. Remember, this is my birthday and all my whims are to be granted.
Disinteresso And it is your whim to know what I am hiding in my heart?
Princess Yes, tell me.
Disinteresso That which I have to tell came quickly, but it should be told slowly.
Princess Slowly?
Disinteresso Because each word will be so charged with God’s most wonderful message to the world, that it would be sacrilege to speak them quickly.
Princess You talk in riddles; I have but a woman’s brain, and one not quick at puzzles.
Disinteresso But you possess a greater thing than brain: A woman’s heart; and by its art My meaning should seem plain.
Princess [shaking her head] The riddle deepens; you must needs explain.
Disinteresso If I say more It is mayhap to lose all hope, all joy.
Princess [looking away] Or else all things to gain.
Disinteresso [approaching her eagerly] The night builds dreams the morrow may destroy; Know you how high my bold hopes dare to soar?
Princess That would I know; tell me their altitude.
Disinteresso Words seem rude; But high as your hand, high as your lips, high as your eyes, Yes, high as your heart, my bold hopes dare to rise. Princess, I love you—love you.
[He kneels.]
Princess Love gives no prizes save to those who dare.
[Taking the rose from her corsage, she taps him three times.]
Princess Knight of the Rose of Love henceforth I name you, And Prince of my Heart and Life henceforth I claim you.
[Lovers embrace.
[Cries outside for help.]
Princess Go, my beloved. Someone’s in distress.
[He rushes out, unmindful of her danger.
[Enter Amor Proprio, to appropriate music. He throws a cloth over the Princess’s head.]
Amor Proprio Twenty years and more I waited, But I knew this hour fated. Fairy-guarded Princess—lo, Off with me this hour you go. Vengeance is a mightier thing Than the vanguard of a king.
[Exit with Princess. She is seen rubbing the ring as she goes.]
[Re-enter Disinteresso. Looks for Princess; calls softly]
Disinteresso Princess, my Princess.
[No answer.]
Disinteresso [calls in distress] Fairies who named her and angels who hover Ever about her, list now to her lover; List to the heart that in anguish is crying, Angels and Fairies, from Wonderland flying—
[The Fairy Felicita appears in a vision.]
Felicita She you seek was left alone; Evil sought her for his own. Take this sword and bring her back. We will guide you on the track.
[Felicita gives Disinteresso a sword marked “Unselfishness,” and continues.]
Felicita Yonder waits the magic steed. Mount him and away with speed.
[Enter Mentitore. He hears her last words and is about to rush after Disinteresso, when Felicita disappears and Disinteresso ascends on a wire—Peter Pan stage effect. Mentitore tries to reach him, but fails.]
Mentitore [turns and cries loudly] Your Majesty! your Majesty! Evil has befallen your house. The Princess has been abducted by that base peasant Disinteresso.
[All rush onto the stage.]
Mentitore This base-born creature, a tool of Amor Proprio, has entered your doors and seized your Princess. He has used the arts of black magic to spirit her away. What is to be done must be done quickly.
King [rises unsteadily, to gloomy music] Whoever brings back the Princess shall receive her hand in marriage.
Scene.—Amor Proprio’s home in Evil Land. In the background is a grim, gray castle. In the foreground nettles, stubble, and stunted shrubbery. The whole setting expresses negation and is a vivid contrast to the beauty that has gone before. As the curtain rises, we see the companions of Amor Proprio—Jealousy, Avarice, Conceit, Deceit, and Temper—doing a wild, contorted dance round a fire.
Deceit I am the master of craft; My voice is seductive and sweet; And I lie with such ease it is certain to please The gullible people I meet.
Temper My forte is to frighten and scare; I bluster and bully and shout. And I act so like sin my foes all give in, For I finally frazzle them out.
Avarice My way is to listen and watch, I am silent and deep as the grave; I have only one plan—to get all I can— And to save and to save and to save.
Jealousy When people have pleasure, or place, Or learning, or honors, or wealth, I search till I find something mean or unkind And I hunt them and hurt them by stealth.
Conceit Oh, these are but puppets who talk; They lack all discretion and wit; I am sure it is plain that I have the brain; In truth all must see I am It.
Chorus We are the baleful band Serving our Master, Amor Proprio; Strong with the power of dark realms below, We come and go, and work at his command.
[They stop dancing and sit round the fire.]
Jealousy Our Master tarries late; why did he not take me out into the big world with him?
Conceit A fine companion you’d make for him. You, indeed! It was I who should have been with him.
Temper You! You’d make him so vain of his triumphs, he’d tell them to everyone and that would be his ruination.
Deceit Triumphs! How do we know he’s going to have any? He does not always succeed.
Temper You talk mush against our Master when he is not here, but you cringe to him when he is about.
Jealousy Even he cannot accomplish what he sets out to do on this journey, I’ll be bound. What an idea to believe he can capture the Princess Innocenza. She’s too carefully guarded; he can’t do it, I’m sure.
Conceit No, not without me.
Temper He’s been gathering up strength from me for twenty-one years; think when that vengeance strikes. Ha! ha! If only I could be there to see it! [Rubs his hands and gloats]
Avarice I hope he will bring back much shining gold—gold—gold. [Noise heard off stage] It is he, our Master. I hope he brings much yellow gold.
Deceit Let us dance to receive him.
Temper No, he would think we were playing in his absence.
Deceit That is the way to receive a hero.
[They begin to dance. Temper reluctantly joins.
[Enter Amor Proprio carrying a long whip.]
Amor Proprio Is that the way you spend your time when I am not here?
[Lashes them with the whip. They all cringe and scream hideously in pain.]
Deceit [pointing to Temper] Oh, your Majesty, I told him you would not like it.
Temper [furiously] You, you— It was your thought; you said we should dance, you deceitful wretch! [The two have a tussle. Amor Proprio beats them apart]
Amor Proprio Come, come, we need all our forces. We have great work before us. None of you has asked me if I succeeded.
Deceit We know you couldn’t fail, dear Master.
Temper He said before—
Amor Proprio Silence! I would speak! I have her; she is mine at last. What shall we do with her?
Avarice You should hold her for big ransom.
Temper The girl should be killed at once.
Deceit No, first make her think she is a Queen and we will all bow to her. That will be great sport.
Jealousy Get rid of her as soon as possible. We are sufficient unto ourselves; we want no interlopers. [Temper shouts with laughter]
Amor Proprio Silence! Help me bring her in.
[They rush off and drag her in, place her in the center of the stage, and do a dance of vengeance about her, with weird incantations.]
Incantation
Jealousy [doing a wild dance] Imps of vengeance! Avarice Imps of spite! Conceit Imps of darkness! Temper Imps of might! All Come from underworlds of shade; Come and greet this royal maid.
Jealousy Spoil her beauty. Avarice Take her gold. Conceit Bring her sorrow, Temper Hunger, cold. All Come, ye imps, and join our band; Come and dance in Evil Land.
[A Band of Evil Sprites and Demons appears, as called, and do a wild dance.
[The music suddenly changes to the theme of Victory. They stop dancing, listen, and cringe. Music becomes louder and very quick. Footfalls of a horse are heard outside, approaching nearer and nearer. Amor Proprio, Jealousy, Avarice, Conceit, Deceit, Temper, and all the Sprites show terror. Sprites disappear suddenly, as they came. Amor Proprio pulls himself together.]
Amor Proprio Come, nothing can harm us. The powers of Darkness will protect us.
[Music continues. Enter Disinteresso on a white horse, looking every inch a king.]
Amor Proprio Pray, who may be my uninvited guest?
[Disinteresso, impassive, with a serene smile on his face, makes no reply.]
Amor Proprio [still laughing] Who comes here uninvited never lives to leave. Know you not this?
[Disinteresso remains silent.]
Amor Proprio Is my intruder dumb? Does he not hear? Can he not answer?
Disinteresso No, I cannot speak your tongue.
Amor Proprio [sneers and speaks to his evil band] Our guest has no spirit. I cannot anger him. [All six men roar with uncanny laughter]
Disinteresso No, you cannot anger me. I need all my forces to fight Anger.
Temper [strutting about] Ha! ha! he would fight me.
Disinteresso If I had but you to fight, my victory were easy. But I must conquer all the evil brood. Temper, Conceit, Jealousy, Avarice, Deceit—all of you must be subjugated at once and forever.
[The evil band indulge in whispered ridicule.]
Disinteresso [speaking to Amor Proprio] When I shall have defeated you, they cannot live.
[All laugh boisterously.]
Conceit He thinks we cannot live without Amor Proprio.
Deceit What? Not I, with my great skill?
Avarice And I, with all my gold?
Jealousy And I, who spur men on to deeds of violence?
Temper And I, who make race war with race?
Conceit We are indeed a masterful brood.
Amor Proprio [who has been studying Disinteresso] And who may be my arrogant adversary, who would kill not only me, but all my valiant band?
[Unselfishness theme in orchestra.]
Disinteresso My parents called me Disinteresso. Their prayer to the gods was that I might live worthy of the name.
[General fear expressed in music. Whispers among the evil band.]
Deceit, Temper, Avarice
[variously]
The prophecy! the prophecy!
What prophecy?
A soothsayer long ago predicted the death of Amor Proprio
at the hand of a humbly born lad bearing that name.
Conceit [sneeringly] I trust we are too sensible to believe in prophecies.
Avarice That peasant pauper!
Jealousy That strutting nobody!
Amor Proprio Disinteresso indeed! And pray what must you do to merit the curious name your parents gave you?
Disinteresso To be deserving of so fair a name I must seek comradeship with goodly friends; Courage and mercy and sweet sympathy, And universal love, must dwell in me; But closer still must stand Abiding faith.
Amor Proprio Faith in yourself, no doubt you mean.
Disinteresso Nay, in the Self behind all other selves.
Amor Proprio [drawing sword] Well, I would match my forces ’gainst your brood Of silly selves. Come now, your sword, your sword!
[Disinteresso draws his sword, bearing the word “Unselfishness,” and the fight begins.]
Amor Proprio Come, mighty Satan, from your nether throne, and nerve my hand To slay this trusting fool.
[Fight continues. Disinteresso remains serene and his thrusts are skilled.]
Amor Proprio Come, all ye devils from satanic realms, and end this scene.
[Disinteresso seems to be losing ground.]
Amor Proprio [gloats] Your faith but poorly matches my strong hand.
Felicita [off] Call on the Self Within, that from the source Renews itself forever with God’s force. Pray to the Self Within; such prayers avail. Call—call—thou canst not fail.
[Disinteresso revives his strength miraculously. There is a final struggle and Amor Proprio is vanquished. The companions of Amor Proprio run to shelter in the castle and are seen at the windows.]
Temper [in a whisper, with his hand to his throat] My voice seems failing.
Avarice [hoarsely] Our Master’s slain. Let us divide his gold. [Tries to struggle to his feet, but falls] Now when I would seize my reward for service, my strength fails. [Dies]
Conceit I, too, am growing weak. Can there be truth in the prophet’s word?
Jealousy There are no prophets who have power over me. I— I— I— [Falls dead]
Deceit You all act strangely, but I feel quite myself. Come— come— [Falls dead]
[During the foregoing, Disinteresso stands with his foot on his foe, praying to Invisible Powers. As the last of the band die, he turns and suddenly sees the Princess lying unconscious. He springs to her side and kneels. Realizing that she must not see the dead form of her captor, he drags the body off stage; then returns and, taking the unconscious form of the Princess in his arms, looses her chains.]
Song—Disinteresso
Heart of my heart, awake from thy sleeping; Soul of my soul, come again to my keeping; Let fond arms enfold thee, Let dear eyes behold thee, Heart of my heart.
Dark were the days when I could not perceive thee; Never again in this world would I leave thee; Waken and cling to me, Smile when I sing to thee, Heart of my heart.
Princess [awakes and sings] Out of the underworld where hate had walled me Into love’s wonderland thy voice has called me. Since thou art near to me, Life is now dear to me, Heart of my heart.
Disinteresso I would hear once again from thy sweet lips The story of thy love; what means that word to thee?
Princess Love is in all things; all things are in love; Love is the earth, the sea, the skies above. Love is the bird, the blossom, and the wind. Love has a million eyes, yet love is blind. Love is a tempest, awful in its might. Love is the silence of the moonlit night. Love is the aim of every human soul, And he who hath not love has missed life’s goal.
Disinteresso Would I were monarch of this whole round earth; Then only could I match thy priceless worth.
Princess When woman loves one born of lowly state, Her thought gives crown and sceptre to her mate. Yet be he king, or chief of some great clan, She loves him but as woman loves a man. Monarch or peasant, ’tis the same, I wis, When once she gives him love’s surrendering kiss.
[Enter Mentitore with Attendants. He rushes in and seizes Disinteresso.]
Mentitore Base-born pretender to a hero’s role, I will unmask thee.
Princess [rushing between] He makes no pretense that he cannot prove; His valiant deeds have won me and my love.
Mentitore [scornfully] Your royal father knows this man to be The wretch who stole you but to set you free. A pretty plot to win a maiden’s hand. [Offers his arm to Princess] Come now with me; this valiant trusty band [indicating Attendants] Will take you safely to your father’s arms.
Princess [drawing back haughtily] As Princess of my realm, I bid you leave; I stay with one I trust in and believe.
[Mentitore hesitates, then suddenly his face lights; he goes, but the audience realizes by his suavity that he has a plot on foot.]
Song—Disinteresso
Come love, with me; the shadowed ways are clearing; The clouds are driven from our troubled skies. Your hand in mine, we will go forth unfearing. Look in mine eyes, And come, love, come with me.
Princess I go with you; I follow where you lead me; There are no dangers that I will not dare. Forever more, say only that you need me And I am there; Lead on, dear love, lead on.
Both Hand clasped in hand, and heart with heart united, We will walk on, in paths dear love has lighted.
Princess Lead on, dear heart, lead on; Disinteresso Oh, come, love, come with me.
[They walk off as curtain falls.]
Scene.—The terrace of King Allegro’s palace. An exquisite exterior scene. At the back is a beautiful lake—boats are lying about—great trees are visible—the marble terrace is flanked by columns. In the foreground is a charming garden. As the curtain rises, Court Ladies and Courtiers are walking about, discussing the affair of the Princess’ disappearance.
First Courtier No word from the messengers concerning our Princess.
Second Courtier No; and all have returned but one, saying the search is hopeless.
First Court Lady No; two, sir, are yet to be heard from.
Second Courtier Two?
First Court Lady The knight Nobilito, who journeyed to the south, and Mentitore, who went north.
First Courtier What a calamity should he prove the rescuer of our Lady.
Second Courtier The King would be obliged to give the Princess in marriage.
First Courtier He has given his royal promise.
Second Court Lady Surely the Fairies who watch over her will save her from such a fate.
First Court Lady Her God-mother, Felicita, will protect her.
[Groups of Guests and Attendants about the stage discussing the subject inaudibly to the audience.]
Major-Domo [in a loud voice] Their majesties, the King and Queen!
[All present make obeisance. Enter King and Queen, dejected and pale. Take their seats on raised dais.]
King [to Lord High Chamberlain] What news of our daughter?
Chamberlain [sadly, with bowed head] Alas, no news, your Majesty.
King Why tarry Nobilito and Mentitore?
Chamberlain They have sent no word to your Majesty.
King [with a gesture of despair, turning to Queen] Alas, my Queen, our future days look dark, Deprived of her who was our light and joy. What have we done or left undone, that God Brings such despair to our declining years?
Queen Although my mother heart grieves with your own, My hope is greater than my misery. I could not lose so quickly my strong faith In those Invisible Great Helpers who Have ever answered when we called to them.
[Hunting horns heard off stage. All rush to side, looking off wings.]
King Who comes?
Crowd It is Nobilito.
King Oh, that he bring us good report!
[Enter Nobilito, a handsome knight, who falls at the King’s feet, on one knee.]
King Rise; we would dispense with all formality. Tell of thy quest.
Nobilito Your Majesty, and you, our well loved Queen, Hear me and know how bitter is my grief; I have gone through the beautiful warm South, And searched in every home, in every nook, In mansions, convents, caves, and even in The records of the dead throughout this land, But I have heard no word, and seen no look, And felt no instinct which has guided me To any clue of this dark mystery. It is with shame and sorrow infinite I make this answer to you, oh my King.
[General gloom of all assembled; and music expressing hopelessness and despair.]
First Courtier [aside to another] There remains but Mentitore.
First Court Lady Behold the Queen; the mother heart is quick to sense that danger.
Second Court Lady Better our Princess die, than live to wed that man.
Chorus of Voices, in a sort of miserere
Sorrow has come to this fair land of ours; Grief has come hence to dwell in these fair bowers. Our Lady of Delight has gone away, Sorrow has come, Sorrow has come to stay.
[The Queen rises; she makes a striking picture. She has been battling with herself, and has conquered.]
Queen Small words are oft with mighty meaning charged; Love, Truth, and Hope, and Grief and Pain and Death Are single syllables; still one more—Faith. And Heaven itself is by that word enlarged. And brought from realms of Things-That-Might-Be-So Into the region of the Things-We-Know.
Faith is not Faith till the heart is shaken; Faith is not Faith till joy is taken; Faith is not Faith till the soul stands stark And nude and alone with itself in the dark. So stands my soul in this desolate hour; But Faith is beside it and gives it power. Though black are the shadows through which I grope And the skies show never a star of hope, Faith lends my vision a deeper sight; And lo, beyond me, the Light, the Light!
[One by one the Guests lift their heads; their expression changes from despair to hope; the King, too, looks encouraged; and the orchestra takes up the Faith motif. Hunting horns are heard again; all rush to see who comes.]
King Who comes?
Chamberlain It is Mentitore, the last of the knights to return.
[Mentitore comes on, with a conceited, self-satisfied manner, followed by a train of attendants.]
First Courtier He simulates the manner of a conqueror.
King Speak, Mentitore.
Mentitore [assuming a braggadocia air and tone] Your Majesty, and all your noble court, behold in me the rescuer of your Princess.
[Great excitement among the Guests, who lean forward and press near, showing more dismay than joy in their countenance and attitude.]
King Speak on, speak on; dispense with all delay.
Mentitore Your Majesty, if in my speech I halt, And sometimes seem confused and lack for words, Pray pardon me and bear with all my faults, For many are the dangers and despairs I have encountered since I last stood here. Hunger and cold, and sleepless nights, and days Filled with strange terrors which might daunt the best And strongest knight, have all been known to me—
King [in suspense, as he pauses] Proceed, proceed.
Mentitore But after weary hours, at last I came Upon the Land of Amor Proprio.
Guests [exclaiming in unison] The curse, the curse! The curse fulfilled at last.
Mentitore The curse, alas, too true. And Fate was wily as she ofttimes is, and chose a comely youth to further her design.
King Explain your words; what comely youth?
Mentitore The youth she chose as partner in the dance.
Queen Surely that kindly lad meant her no harm.
Mentitore Fate often chooses seeming innocence to mislead innocence. So was it here; this lad bewitched your daughter; he was but a tool of Amor Proprio, our life-long foe.
First Courtier [to another] How often have we heard this Mentitore praise And laud the strength of Amor Proprio.
Second Courtier His speech is ever servant to his plan.
Third Courtier Hence is he Mentitore.
First Court Lady His words have not the ring of truth; I doubt his story.
[Mentitore seizes his arm as if in pain.]
King You are in pain?
Mentitore In pain, your Majesty; for I have fought A long and bloody battle with our foe. Ere I was victor, I was well nigh slain; But God is ever with His chosen ones, And Amor Proprio no longer lives! The future of this realm is now assured.
[Making a low bow and falling on one knee] And now with deep humility I claim The hand of Innocenza as reward.
Queen Where is our daughter?
Mentitore She awaits without, your Majesty. To be conducted here by me as befits the affianced bride of Mentitore.
King We have dispensed with all formalities. Bring her at once to our impatient arms.
Mentitore Sire, as you will; I thought if you but knew that she is safe that would suffice; she is much bedraggled by her journey. She would appear before you in attire suited to her estate.
Queen That sounds not like our Innocenza. She does not place false emphasis on outward forms. I am afraid.
King [sternly] Mentitore, have you told us only truth?
Mentitore [with assumed innocence] And you ask that, of one who risked his life to save your child?
King Your pardon; but you know the olden prophecy of the name Mentitore. It signifies False Evidence. We would change that name in recognition of your valiant deed, before you claim our daughter as your bride. Now bring her to us; we have waited long.
Mentitore [whispers to an Attendant] You are sure you saw her following us, mounted on a horse? with Disinteresso?
Attendant Yes.
Mentitore “Yes,” did you dare to say?
Attendant Yes, your Honor; your Majesty; your Grace.
Mentitore That is somewhat better.
[Enter Disinteresso, with Innocenza. She rushes to embrace her mother. Meanwhile Mentitore has signaled to his attendants to make Disinteresso prisoner. They seize and bind his arms.
Princess [after embracing Queen, and before she sees Disinteresso bound] My father, I have found the man on whom I have bestowed the rose!
[She then turns and sees Disinteresso a prisoner.]
King By whose orders is this man made captive?
Mentitore This is the youth who used the arts of magic to bewitch your child. He was the tool of Amor Proprio.
Princess His words are false; this is the man I love; and his the hand that slew your mortal foe.
Mentitore The Princess is bewitched; this youth has evil powers.
King [to Disinteresso] We wait your answer to the charges made: Did you bewitch my daughter and were you The tool of Amor Proprio?
Disinteresso If in my face and my demeanor lie No refutation of these calumnies Then useless were my words.
Mentitore The garb of silence is the coward’s guise.
Queen Yet One who was of all men great and wise Stood silent when accused and spoke no word.
[Meanwhile Princess assumes a reverent attitude, and with uplifted eyes stands rubbing her ring.
[Felicita’s theme is heard in orchestra. She appears, a dazzling vision, radiant with beauty.]
Felicita King, gaze upon the youth In whose face dwell love and truth; Look then on that other face Where dark Falsehood leaves its trace. Choose between them; choose, I say, Who shall go, and who shall stay?
King Truth shall stay with me; Truth and Unselfishness My land, my home, my daughter’s life shall bless.
[Felicita looses Disinteresso’s bonds. At this moment an empty scabbard descends from above on a wire. Roses fall from it.]
Felicita [taking the scabbard] Swords are no longer needed, since earth’s foe, Self-vaunting love, Amor Proprio, Was slain by you. Now kneel before the throne And take the name which henceforth is your own: Knight of the Rose of Love. Your noble worth Makes you the equal of the peers of earth.
[Disinteresso kneels and the King taps him three times on the head.]
King Rise, Knight of the Rose of Love, and take the hand Of Princess Innocenza. [They stand] Each morning of your life I bid you give Your bride a rose, as symbol of your love. [Turning to Mentitore] Banished forever from this Court must be False Evidence, and Selfishness, and Greed.
[Exit Mentitore and Attendants. Fairies rise from floor, filling stage. Dancing and jubilant chorus.]
Song
Hail to the King and Queen, May joy in their hearts prevail; To the Knight of the Rose and his Princess Fair, Hail! hail!—all hail!