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Scene Second.

—Chamber in the Palace.
Enter Arietta, Chatterina, and Skipperella.
Ar.

Well, Chatterina, you may talk about talking as long


262

as you please; but how you can prefer it to singing I cannot
imagine. (singing)
“Sing! sing! music was given,” &c.


Chat.

And you may sing about singing as long as you
please; but you'll never persuade me it's half as agreeable
as talking.


Skip.

For my part, I like talking very well—but I like
singing better—and I like dancing more than either. (pirouetting)


Chat.

Stop! stop!—one word before you go any further.
Let me understand your argument. What is the first
position?


Skip.

This.


(placing her feet in the first position)
Chat.

How absurd! Instead of replying with your
tongue, you answer with your toe.


Skip.

I find it answer so well that I make a point of it. (suiting the action to the word)


Chat.

I've heard of people talking with their fingers;
but this is going to extremities! You'll tell me next that
conversation can be carried on better without words than
with them.


Ar.
Words are well enough if they're set to music.
(singing)
“Bid me discourse, I will enchant thine ear.”

Skip.
“Or like a fairy trip upon the green.”
(dancing)
That's the best line in the song.

Chat.

Very well, very well: as you like, ladies; I give it
up. Go on in your own ways; only answer my questions
somehow. I'm perfectly ready to hear you: indeed I'd
much rather, because if I were to keep on talking, and not
shew myself ready to listen to you, I know very well what
you'd say. There's Chatterina, as usual, you'd say, talk, talk,
talk, talk,—and nobody can get a word in: so let there be
an end of the argument, and please to answer the question
I asked more than half an hour ago,—What can be the
reason of our young mistress remaining so long single?


Ar.
(singing)
“There's nobody coming to marry her,
Nobody coming to woo.”

Chat.

Not at this moment, perhaps: but she has had
many suitors, and always refused them.


Skip.

She cast off two couple last week.


Chat.

There'll be another chance for her to-day, for the


263

King is out hunting, and he generally brings some new members
of the hunt home with him,


Ar.
(singing)
“If he have luck,
He'll bring a buck,
Upon his lusty shoulders home.”

(horns without)
Chat.

Talking of bucks I hear the horns. He's returning
already,


Skip.
Then we must dance attendance on the Princess.

Chat.
Here's Baron Bagshot coming from the chase
He's neither bagg'd nor shot much, by his face!

Enter Baron.
All.
Baron, good day.

Bar.
Sweet ladies, how d'ye do?
We've seen no game to-day so fair as you!
Such beauty is a most refreshing sight.

All.
Oh, Baron! you are always so polite.

Chat.
Pray tell us, Baron, what sport have you had?

Bar.
To tell you the plain truth, ma'am, shocking bad;
So bad that (though I grieve to spread the rumour)
His Majesty is in an awful humour.
Quartette—Rossini.
Quickly, ladies, change your faces,
'Twouldn't do at court, to see ye
Full of smiling airs and graces,
When the King is in the dumps.
No more singing, no more dancing,
Staidly walk instead of prancing,
Move about with solemn faces,
Mute as though you'd got the mumps.
Chatterina! Skipperella!
Tongue and foot alike must fetter,
There's an end, poor Arietta!
To your re, mi, fa, sol, la!
But though so wretched we
Must appear to be,

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Fortune will speedily
Treat us less cruelly;
Sorrow at court will be
Soon out of season,
Music and revelry
Cease to be treason.
Once again merrily
We'll sing and bound,
Carnival keeping
All the year round.

 

From glee in Colman's drama “The Iron Chest.”