Betrothal -- Fiction; England -- Social life and customs -- 20th century -- Fiction; Families -- Fiction; London (England) -- Fiction
They went downstairs, then found their seats, and the curtain rose on
the ballet. The ballet was concerned with pirates and Venice in the good
Old Days. The first scene was on an island in the Adriatic: there were
any number of pirates and ladies who loved them, and the sun slowly set
and the dancers on the golden sand sank, exhausted, at the feet of their
lovers, and the moon rose and the stars came out in a purple sky. Then
the Pirate Chief, an enormous Byronic figure with hair jet black and
tremendous eyebrows, explained through his hands, that there was a lady
in Venice whom he loved, whom he must seize and convey to his island.
Would his brave fellows follow him in his raid? His brave fellows would!
One last dance and one last drink, then death and glory! The curtain
came down upon figures whirling madly beneath the moon.
There followed then the Doge’s Palace, a feast with much gold plate,
aged senators with white beards, who watched the dancing with critical
gaze, finally a lovely lady who danced mysteriously beneath many veils.
She was, it appeared, a Princess, sought in marriage by the Doge, her
heart, however, lost utterly to a noble Stranger whom she had once seen
but never forgotten. The Doge, mad with love for her, orders her to be
seized. She is carried off, wildly protesting, and the golden scene is
filled with white dancers, then with fantastic masked figures, at last
with dancers in black, who float like shadows through the mazes of the
music.
The third scene is the Piazza. The country people have a
holiday—drinking and dancing. Then enters a magnificent procession, the
Doge leading his reluctant bride. Suddenly shouts are heard. It is the
Pirates! A furious fight follows, the Pirates, headed by their chief,
who wears a black mask, are, of course, victorious. The Princess is
carried, screaming, to the Pirates’ ship, treasure is looted, pretty
village maidens are captured. The Pirates sail away. Last scene is the
Island again. The ladies are expecting their heroes, the vessel is
sighted, the Pirates land. There are dances of triumph, the spoil,
golden goblets, rich tapestries, gleaming jewels are piled high, finally
the captive lady Princess, who weeps bitterly, is led by the Chieftain,
still masked, into the middle of the stage. She, upon her knees, begs
for pity. He is stern (a fine melancholy figure). At last he removes the
mask. Behold, it is the noble Stranger! With what rapture does she fall
into his arms, with what dances are the triumphant Pirates made happy,
upon what feasting does the sun again set. The moon rises and the stars
appear. Finally, when the night-sky is sheeted with dazzling lights and
the moon is orange-red, the Pirates and their ladies creep away. Only
the Chieftain and his Princess, locked in one another’s arms, are left.
Someone, in the distance, pipes a little tune ... the curtain descends.
Public-domain text, read in full here on John Shaqi.
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