Chapter 3

MUSIC MASTER, THE DANCING MASTER, THE PUPIL OF THE MUSIC MASTER, A LADY SINGER, TWO MEN SINGERS, DANCERS, TWO SERVANTS.

MR. JOUR. Well, gentlemen! and what have you got there? Are you ready to show me your little drollery?

DAN. MAS. How? What little drollery?

MR. JOUR. Why, the ... what do you call it? Your prologue or dialogue of songs and dancing.

DAN. MAS. Ah, ah!

MUS. MAS. You see we are quite ready.

MR. JOUR. I have kept you waiting a little, but it is because I am to be dressed to-day like a man of rank, and my tailor sent me a pair of silk stockings which I thought I should never be able to get on.

MUS. MAS. We are here only to await your leisure.

MR. JOUR. I hope you will both stop till they have brought me my clothes, so that you may see me.

DAN. MAS. As you please.

MR. JOUR. You will see me equipped fashionably from head to foot.

MUS. MAS. We have no doubt of it.

MR. JOUR. I have had this dressing gown made for me.

DAN. MAS. It is very handsome,

MR. JOUR. My tailor told me that people of quality are dressed like this in the morning.

MUS. MAS. It becomes you wonderfully well.

MR. JOUR. Hullo! fellows! hullo! I say; my two lackeys, here!

1ST LACK. Do you want anything, Sir?

MR. JOUR. No; it was only to see if you heard me readily. (_To the_ TWO MASTERS) What do you think of my liveries?

DAN. MAS. They are magnificent.

MR. JOUR. (_opening his gown, and showing his tight breeches of scarlet velvet, and a green velvet morning jacket which he is wearing_). This is a kind of deshabille to go about early in the morning.

MUS. MAS. It is charming.

MR. JOUR. I say! lackey!

1ST LACK. Sir.

MR. JOUR. The other.

2ND LACK. Sir.

MR. JOUR. (_taking off his dressing-gown_). Hold my dressing-gown. (_To the_ TWO MASTERS) Do you think I look well so?

DAN. MAS. Perfectly well; nothing could be better.

MR. JOUR. Now let us see a little of this affair of yours.

MUS. MAS. I should like, first of all, for you to hear an air which he (_pointing to his_ PUPIL) has just composed for the serenade you asked of me. He is one of my pupils, who has an admirable talent for this kind of thing.

MR. JOUR. Yes; but you should not have had it done by a pupil; you were not too good for the business yourself.

MUS. MAS. You must not be deceived, Sir, by the name of pupil. These kind of pupils know sometimes as much as the greatest masters; and the air is as beautiful as possible. Only just listen to it.

MR. JOUR. (_to his_ SERVANTS). Hand me my dressing-gown, so that may hear better.... Stay, I believe that I shall be better without.... No, give it me back again; that will be best.

THE PUPIL All night and day I languish on; the sick man none can save Since those bright eyes have laid him low, to your stern laws a slave; If thus to those you love a meed of care you bring, What pain, fair Iris, will you find your foemen's hearts to wring?

MR. JOUR. This song seems to me rather dismal; it sends one to sleep; could you not enliven it a bit here and there?

MUS. MAS. We must, Sir, suit the air to the words.

MR. JOUR. I was taught a very pretty one quite lately; stop a moment ... ahem ... What is it? How does it begin?

DAN. MAS. Upon my word, Sir, I do not know.

MR. JOUR. There is some lamb in it.

DAN. MAS. Lamb?

MR. JOUR. Yes, ah! I have it. (_He sings._) /

When I had Jenny seen, I thought her kind as fair, I thought she'd gentler been Than lambkin on the green; But ah! but ah! she's far less mild, Far sterner, I declare, Than tigers are in forests wild.

Now, isn't it pretty?

MUS. MAS. The prettiest thing in the world.

DAN. MAS. And you sing it very well.

MR. JOUR. Do I? I have never learnt music.

MUS. MAS. You ought to learn it, Sir, as you do dancing. These are two arts which are closely bound together.

DAN. MAS. And which open the human mind to the beauty of things.

MR. JOUR. Do people of rank learn music also?

MUS. MAS. Yes, Sir.

MR. JOUR. I will learn it, then; but I hardly know how I shall find time for it; for, besides the fencing master who teaches me, I have engaged a professor of philosophy, who is to begin this morning.

MUS. MAS. Philosophy is something, no doubt; but music, Sir, music....

DAN. MAS. Music and dancing, Sir; in music and dancing we have all that we need.

MUS. MAS. There is nothing so useful in a state as music.

DAN. MAS. There is nothing so necessary to men as dancing.

MUS. MAS. Without music no kingdom can exist.

DAN. MAS. Without dancing a man can do nothing.

MUS. MAS. All the disorders, all the wars that happen in the world, are caused by nothing but the want of music.

DAN. MAS. All the sorrows and troubles of mankind, all the fatal misfortunes which fill the pages of history, the blunders of statesmen, the failures of great captains, all these come from the want of a knowledge of dancing.

MR. JOUR. How is that?

MUS. MAS. Does not war arise from a want of concord between them?

MR. JOUR. True.

MUS. MAS. And if all men learnt music, would not this be the means of keeping them in better harmony, and of seeing universal peace reign in the world?

MR. JOUR. You are quite right.

DAN. MAS. When a man has committed some fault, either in the management of his family affairs, or in the government of a state, or in the command of an army, do we not say, "So-and-so has made a false step in such an affair"?

MR. JOUR. Yes, we do say so.

DAN. MAS. And from whence can proceed the false step if it is not from ignorance of the art of dancing?

MR. JOUR. This is true, and you are both right.

DAN. MAS. This will give you an idea of the excellence and importance of dancing and music.

MR. JOUR. I understand it now.

MUS. MAS. Will you look at our two compositions?

MR. JOUR. Yes.

MUS. MAS. I have already told you that it is a short attempt which I made some time since to represent the different passions which can be expressed by music.

MR. JOUR. Very well.

MUS. MAS. (_to the_ SINGERS). Come forward. (_To_ MR. JOURDAIN) You must fancy that they are dressed like shepherds.

MR. JOUR. Why always shepherds? One sees nothing but that everywhere.

DAN. MAS. When we make people speak to music, we must, for the sake of probability, adopt the pastoral. Singing has always been affected by shepherds, and it is not very likely that our princes or citizens would sing their passions in dialogue.

MR. JOUR. Well! well! Go on.

LADY SINGER. The realm of passion in a loving heart Full many a care may vex, full many a smart; In vain we fondly languish, softly sigh; We learn too late, whatever friends may cry, To value liberty before it fly.

1ST MAN SINGER. Sweeter than liberty are love's bright fires, Kindling in two fond hearts the same desires; Happiness could never live by love unfed, Pleasure itself would die if love were dead.

2ND MAN SINGER. Love would be sweet if love could constant be, But ah! sad fate, no faithful loves we see! The fair are false; no prayers their heart can move, And who will love when they inconstant prove?

1ST SING. Ah! love, how sweet thou art!

LADY SING. Ah! freedom is happier!

2ND SING. Thou inconstant heart!

1ST SING. To me how dear, how blest!

LADY SING. My soul enraptured see!

2ND SING. I shrink, I turn from thee!

1ST SING. Ah! leave this idle strife, and learn to love.

LADY SING. I will show thee one who'll constant prove.

2ND SING. Alas! where seek her?

LADY SING. To defend our name, I offer you my heart, nor heed your blame.

2ND SING. But, Lady, dare I trust that promise blest?

LADY SING. Experience will decide who loves the best.

2ND SING. Who fails in constancy or depth of love The gods from him their favour will remove.

ALL THREE. Such noble feelings should our souls inspire, And melt our heart beneath love's gentle fire. For love is sweet when hearts are true and pure, And love shall last while earth and heaven endure.

MR. JOUR. Is that all?

MUS. MAS. Yes.

MR. JOUR. I think it very well turned out, and there are in it some pretty enough little sayings.

DAN. MAS. You have here from me an essay of the most beautiful movements and most graceful attitudes with which a dance can be varied.

MR. JOUR. Are these shepherds also?

DAN. MAS. They are what you please. (_To the_ DANCERS) Ho! ho! here!

_Entry of the_ BALLET.

FOUR DANCERS _execute the various movements and steps which the_ DANCING MASTER _orders them_.