(Tickling Lulu's chin.) Only be =unaffected=, and not pieced Out with distorted, artificial folly, Even if the critics praise thee for 't less wholly. Thou hast no right to spoil the shape most fitting, Most =true=, of =woman=, with meows and spitting! And mind, all foolery and making faces The =childish simpleness= of =Vice= disgraces. Thou shouldst--to-day I speak emphatically-- Speak =naturally= and not unnaturally, For the first principle in every art, Since earliest times, was =True= and =Plain=, not =Smart=! (To the public.) There's nothing special now to see in her, But wait and watch what later will occur! Her strength about the Tiger she coils stricter: He roars and groans!--Who'll be the final victor?-- Hop, Charlie, march! Carry her to her place, (The stage-hand carries Lulu in his arms; the animal-tamer pats her on the hips.) Sweet innocence--my dearest treasure-case! (The stage-hand carries Lulu back into the tent.) And now I'll tell the best thing in the day: My poll between the teeth of a beast of prey! Walk in! Tho to be sure the show's not new, Yet everyone takes pleasure in its view! Wrench open this wild animal's jaws I dare, And he to bite dares not! My pate's so =fair=, So =wild=, so =gaily decked=, it wins respect! I offer it him with confidence unchecked. One =joke=, and my two temples crack!--but, lo, The lightning of my eyes I will forego, Staking my =life= against a =joke=! and throw My whip, my weapons, down. I am in my skin! I yield me to this beast!--His name do ye know? --The honored public! that has just walked in! (The animal-tamer steps back into the tent, accompanied by cymbals and kettledrums.) ACT I _A roomy studio. Entrance door at the rear, left. Another door at lower left to the bed-room. At centre, a platform for the model, with a Spanish screen behind it and a Smyrna rug in front. Two easels at lower right. On the upper one is the picture of a young girl's head and shoulders. Against the other leans a reversed canvas. Below these, toward centre, an ottoman, with a tiger-skin on it. Two chairs along the left wall. In the back-ground, right, a step-ladder._ _Schön sits on the foot of the ottoman, inspecting critically the picture on the further easel. Schwarz stands behind the ottoman, his palette and brushes in his hands._ SCHÖN. Do you know, I'm getting acquainted with a brand new side of the lady. SCHWARZ. I have never painted anyone whose expression changed so continuously. I could hardly keep a single feature the same two days running. SCHÖN. (Pointing to the picture and observing him.) Do you find that in it? SCHWARZ. I have done everything imaginable to call forth some sort of quiet in her mood by my conversation during the sittings.