Erusicqwn

(E.ri.sik.thon)

Readers’ Theater Version

Cast of Characters

Narrator

Erysichthon – brother of the King of Thessaly

Mestra – his daughter

Woodcutter 1 / Poseidon

Woodcutter 2

Woodcutter 3 / Slave Trader

Woodcutter 4

Servant 1 / Dryad 1

Servant 2 / Dryad 2

Servant 3 / Dryad 3

Dryad 4

Solones – Mestra’s boyfriend

Act I

Chorus enters with masks. Narrator enters without mask. While he speaks, a musical cue will be given and all readers will sing the Hunger theme (C-G-Ab-G), holding each pitch as long as desired and moving between the three tones as desired.

N: (Gives an introduction.)

When the Narrator has finished his introduction, the voices will fade to nothing and the Narrator will give 5 beats on a drum which will announce the beginning of the following chorus. (last beat on the drum should coincide with the beginning of the chanting of the text). The chorus is to be chanted rhythmically by all except the Narrator who is not in the chorus. As they speak their lines, they lower their masks. A fairly rapid tempo is recommended.

All: Sing of joy and sing of sorrow

Sing today and sing tomorrow,

Sing of times past and hereafter

Sing with weeping , sing with laughter,

W’s and E: Sing of pain and sing of pleasure,

Sing of labor and of leisure,

Sing of building and destroying

Sing with loathing, sing enjoying

E: Sing of sanity and madness,

M. and S.: Sing of happiness and sadness,

D’s: Sing of silence, sing of speaking

E, M, and S: Sing of losing and of seeking.

E: Sing of taking

D’s and M: sing of giving,

All: Sing of dying, sing of living.

E: Sing of selling, sing of buying

D’s: Sing of praying,

W’s, M, and S: sing of lying.

E and W’s: Sing of ripping and of rending,

D’s, S, and M: Sing of joining and of mending

All: Sing of fixing, sing of breaking,

Sing of having and forsaking.

The following are chanted in 4-part canon, first begun by D1 – D4 chanting their lyrics and immediately followed by W1 – W4 chanting their lyrics (in canon). When W4 reaches the end of his lyrics, the piece continues with Mestra maintaining the rhythm.

D’s: Sing of planting and of growing,

Sing of harvesting and sowing.

Sing of hurting, sing of healing

Sing of pains and joys of feeling.

W’s: Sing of pain and sing of pleasure,

Sing of labor and of leisure,

Sing of building and destroying

Sing with loathing, sing enjoying.

M: Sing of father,

E: sing of daughter,

M and S: Sing of marriage

E and S: and of slaughter;

E: Sing of famine, sing of feasting,

E, M, and S: Sing of passions never ceasing.

All:(slowly ) We, the shadows of the living

From the past, these songs are giving,

Hark unto our ancient noises:

Joyful cries and weeping voices.

At the conclusion of the Prologue the players will all sit down with their masks raised, with the exception of Erysichthon and Mestra.

N: Erysichthon is standing alone in a room in his palace, having just retuned from a month-long stay with his brother, Triopas, King of Thessaly. His daughter, Mestra has seen his retinue returning to port while she was in the forested hills above the town. She has just run down the mountainside to greet her father on his return.

Scene 1

E: Mestra!

M: Father! I heard you returned!

E: I missed you, my child.

M: For your smile have I yearned!

E: My sweet daughter, come, there’s much to be told.

Oh, yes, love from your uncle. Now I’m eager to hold

A brief conference with you.

M: I gladly will hear

Whatever you say.

E: Well, then, draw near. (pause)

Since you saw your mother last

Ten silent, mournful years she’s passed

I Hades’ realm. Yet even now

I still recall the sacred vow

I made to her before she died:

That I would keep you safe beside

Me and protect you with my power

And might until your wedded hour.

This I have done. But there was more

Which to your mother I duly swore.

So now I shall fulfill her last request:

To grant the bridal dowry you deem best.

Speak your desire –

M: But father, I can’t –

E: Whatever you wish, I gladly will grant!

M: Sweet Papa! My dowry? What more can I say?

For you’ve already given me all I desire.

You’ve given your kindness and care day by day

With a love which seems never not ever tire.

E: But surely there is some direction

Through which I might display affection

I’ll offer you a golden crown,

A silver fountain in the town.

A necklace made of sapphires:

Whate’er your heart desires.

M: I’ve all that I could ever need

To ask for more would be sheer greed,

Yet I could wish

For a beautiful home

In which to raise children of my own

Showing them the love which you shown

To me these many years.

E: My dearest child, our minds are one –

At your command, it shall be done.

To show the love

And the care I have for you

Tomorrow we will build with strength anew:

a mighty palace with a splendid view

Of all the lands around.

M: Oh Papa! Why, thank you! A palace for me!

E: A proof of my love for the whole world to see.

Let its fountains be lined with lapis lazuli.

In silver and gold let the halls be tiled

Let princes from near and far to see

The dowry entrusted to you, my dear child.

So to the gods who’ve blessed our days

A sacrifice shall we prepare.

M: An offering of thanks and praise

To sanctify our house in prayer.

E: The gods shall hear your prayers, my child,

And that which we’ve begun

Let us continue to build upon,

For long generations to come.

So now my faithful men I’ll call

And offer them employment

In this monumental work which shall

Serve us all in life’s enjoyment.

N: She kisses her father’s hand and he bestows a gentle kiss on her forehead. She then turns and runs off excitedly to share her good news. (M. raises mask. ) Erysichthon sends for his servants to announce in the town his plans to build a magnificent palace for his daughter. Soon the workmen of the town arrice:

Scene 2

A percussion flourish (by Solones,) announces the arrival of the woodcutters who lower their masks, mumbling softly amongst themselves until, led with ssshhhh’s from W1, they become silent.

E: Good men of the city, I bring you good news

I offer employment to those who so choose!

A palace, a mansion of great wealth and beauty

I have promised my daughter. Now to build is my duty,

And not only my daughter this palace shall own

But the name of each workman shall be carved in stone

A remembrance of the craft and the skill

Of the workers of Thessaly shall stand on our hill.

W1: That’s the best offer I’ve had in several years.

W2: It seems too ambitious. Don’t you have any fears?

W1: You know we’ve worked for him before.

W3: And certainly he’s not too poor!

W4: I’d rather hammer, saw, and carve

Than watch my family slowly starve.

W3: But we do not want to appear

So desperate as to take the pay

Of whatever offer first we hear

Let’s see what else he has to say.

Brass coins, like gold, make lots of clatter

But my work’s only with the latter.

All W’s: Brass coins, like gold, make lots of clatter

But my work’s only with the latter.

E: For your wages I offer you silver and gold

I have faith in the craftsmanship skills that you hold,

But more than just recompense will I provide:

I will work with you faithfully and build by your side.

Our labor is one, we will work hard together

Our success is assured in this noble endeavor.

All: Our labor is one, we will work hard together

Our success is assured in this noble endeavor.

W1: This offer seems to be quite fair.

W4: Agreed.

W2: So when do we begin?

W3: Let’s start right now!

W2: But starting where?

W4: Who cares? So long as now is when.

E: I have searched the land for the finest wood

With which to make the framework good

It lies not far away at all

This wood which shall adorn our hall.

In Ceres’ grove the timber’s found

Beyond the river, on higher ground.

W2: The goddess’ grove? Did I hear right?

W4: That’s how he just described the site.

W3: It’s just a stand of oak and pine.

W2: But don’t you worry - ?

W3: (cutting him off ) - We’ll be fine.

W3: I’d bet old Ceres doesn’t know

She’s even got trees there to grow.

W1: Although we have no cause of fear,

We shouldn’t be too cavalier.

E: At noon tomorrow our work begins,

I’ll meet you there, in Ceres’ wood.

I hope to see you there, my friends,

I’m sure you’ll find the wages good. (Exits, walking offstage. )

W1: He seems to have it all in hand.

W2: I’m just not sure, where do you stand?

W4: I’m for the work, I’ll see you there. (exits, offstage. )

W2: And you? (to W3, who nods in agreement and exits offstage waving goodbye. )

You too? (to W1 )

W1: Of course. We’ll share

The labor of this noble task.

W2: There’s nothing better we could ask. (exeunt offstage. )

N: When the last of the workers leaves, the household servants return to the area to clean it up and, of course, gossip about the recent extraordinary events:

Scene 3

The three servants, wearing aprons, lower their masks and address each other.

S2: Ariadne!

S3: Ariadne!

S2: Our master’s gone out!

S1: I’m standing right here, girls there’s no need to shout.

S2: Well, were you listening?

S3: Did you hear what he said?

S1: I heard every word and I nearly dropped dead!

He has promised, at last to let Mestra be wed!

S3: (Jowfully ) Do you mean it?

S2: You’re certain?

S1: It’s amazing but true,

And there’s something else that he’s going to do.

He’s going to build her a palace!

S3: (Incredulously ) You lie!

S1: I said when I heard it I thought I would die!

S2: Incredible!

S3: Fantastic!

S1: It’s hard to believe it.

S2: SO he knows about Solones?

S3: How did he receive it?

S1: That’s the dilemma; he’s not yet aware.

S2: She hasn’t yet told him?

S1: I don’t think she’d dare.

S2: When she tells him I don’t think I’ll want to be here.

S1: True, our master’s hot-tempered.

S3: She has nothing to fear!

He’ll accept him.

S1: Do you mean Solones?

S3: He just radiates charm.

And I’m sure Erysichthon would not want to harm

His own daughter’s lover.

S1: I wouldn’t be sure.

His love is so jealous, he might not endure

That his daughter has chosen a love of her own.

S2: It just seems like something he’d never condone.

S3: But he’s a good father.

S1: And a good master too,

But when he finds out, heaven knows what he’ll do.

S3: I think they should tell him. They’ve nothing to hide.

Things will all turn out well if they let Love be their guide.

S1: Letting Love be you guide is a noble ideal.

But the world demands that we live in what’s real.

For if Love makes us blind, it’s a deadly disease

Which gives the illusion we can do as we please.

S3: You’re just being a cynic. You’re afraid to get burned.

S1: Well, I might not be wise, but there’s one thing I’ve learned:

When desire’s our guide, it devours and consumes

It’s a hunger that carries men down to their tombs.

S3: But Love is the fire which keeps us alive.

S1: But control of our passions’ what we need to survive.

For when desire’s unfettered, whatever its aim,

Be it noble or righteous or pure,

It’s a dangerous path, it’s a perilous game

Which none but the strongest endure.

S2: You’ve a very good point . . .

S3: True, we’d better get working.

S2: Yes, it wouldn’t be good if we’re all caught here lurking.

The servants exit offstage .

Scene 4

The stage is now bare except for Mestra and Solones. They turn lower their masks.

S: Mestra my darling? (cautiously )

M: (with enthusiasm ) Solones, here!

Father’s in town - -there’s nothing to fear.

S: You know when I come here I must always be wary,

M: But, Solones, listen: Papa’s letting us marry!

S: He’s letting us marry? Well, that’s a new tune!

When did he tell you?

M: This past afternoon!

S: He knows about us?

M: Well, I haven’t quite told him.

S: So what did you say then?

M: Just a little to hold him,

I said nothing I thought might arouse his suspicion

It’s better that way – Trust my intuition.

But he promised to build a new palace for us.

Isn’t it wonderful? (pause )

S: (pause, then, hesitantly, ) No.

M: Why the fuss?

S: It’s just that I heard an odd rumor in town

That your father has ordered our groves be cut down.

M: Our groves? Cere’s grove? Where we first met? (S. nodes and um-hmps agreement )

But they can’t!

S: Well, they’re going to.

M; We can’t stand by and let

Them destroy it! All those trees are so ancient!

S: They’re cutting tomorrow, your father’s impatient.

M: Perhaps we could stop them!

S: I don’t see quite how!

M: We must think of a way!

S: Well, there’s not much time now.

S: You could speak to your father-

M: No I can’t! I don’t dare!

I could never oppose him. He might think I don’t care,

That I don’t like his gifts, that I don’t want his love.

S: But we can’t simply let him just butcher the grove.

That leaves only one option, and it won’t involve you:

I’ll go myself.

M: But what will you do?

S: Your father’s no fool, he will listen to reason,

I will try to persuade him not to cut down the wood.

Perhaps I can only delay him a season,

But then, maybe he’ll give up the project for good.

I’ll go up there tomorrow, I’ll go straight to the grove

Engaging your father with some reas’nable words.

I’m sure it won’t be very hard just to prove

That the forest has value to more than some birds.

You’ve become such a part of that place now to me,

Like the nightengale singing her songs to us there.

Perched high in the limbs of an ancient oak tree,

With her beautiful voice floating sweet through the air

Remember when we’d meet up there

Within the sacred grove?

Our eyes and hearts met joyously

Entwined in raptur’ous love.

M: And nightingale would fill the air

Singing sweetly from her nest

When beneath the mighty oak we kissed

And our love was there by blessed.

S: The bird and tree have now become

Two symbols of our life

The tree is to the nightingale

As husband is to wife

For like the tree I wait for you

My branches open wide

In hopes that you, my nightingale,

Will join me at my side.

M and S: We sing praises to the nightingale

We give thanks unto the tree

That the two of us shall soon be wed:

Wife and husband we shall be. (They kiss and exit, leaving the stage barren. )

Scene 5

While the Narrator gives the following speech, the Woodsmen will enter with instruments and begin a rhythmic percussion improvisation which will continue throughout the Latin chant. When the chant has ended, the group will fade out its improvisation.

N: The following day, Erysichthon’s woodsmen have agreed to meet in the Sacred Grove. Solones has promised Mestra to try to stop them from cutting down the ancient trees. But before any of them arrive, the priestesses of Ceres’ grove assemble as is their daily custom to dance beneath the limbs of the oaks and sing praises to the goddess, Ceres. Our story continues as these women, though the superstitious in town refer to them as those magical tree-spirits, dryads, emerge and perform their solemn ceremony of praise.

The Dryads enter the stage wearing robes and garlands, and take their seats and begin, in a slow, chanting chorus, in unison:

Salve Regina,

Mater misericordiae,

Vita, dulcedo

Et spes nostra.

The following verse is to be cried out individually, spontaneously accompanying the percussion improvisation.

Ad te clamamus

Et suspiramus,

Gementes et flentes

In hav lacrimarum valle.

D1 will begin chanting “O Clemens” 4 times when all have finished with the preceeding verse. The Dryads join her and all continue in unison.

O clemens, O clemens, O clemens, O clemens

o pia, o dulcis

mater nostra.

Return to original tempo and rhythm.

Salve Regina,

Mater misericordiae,

Vita, dulcedo

Et spes nostra.

Pause to allow the percussion group to fade out and end.

D1: Sisters, hide quickly! Here come four men!

Woodcutters pick up chainsaws and whistle Tamino’s aria “Wie stark ist nicht dein Zauberton” from The Magic Flute, as they re-take their seats.

W1: This is the place.

W3: Where should we begin?

W4: Who cares? Let’s just cut.

W2: Are you sure that we should?

We might offend Ceres if we chop down her wood.

W3: I wouldn’t worry. We are getting paid.

So it doesn’t matter which tree first gets flayed.

W4: Who believes in the gods anymore anyway?

W1: Enough of this chatter, we don’t have all day.

D1: (whispered) I’m sure they don’t realize what they are doing.

D2: It’s alarmingly reckless, this course they’re pursuing.

D4: They show little regard for the heavenly laws.

D3: Perhaps if they see us, they’ll put down their saws.

D1: Watch me.

W2: (Surprised ) Ceres’ handmaids!

W3: It’s an illusion.

W1: Ladies, forgive us. We meant no intrusion,

D1: Welcome, kind gentlemen. You are not from this place.

You appear to be strangers – I do not know one face.

By the looks of your tools you have business out here?

W1: It’s our first good employment in over a year.

We’ve been sent to cut wood for our master’s new house,

It’s designed for his daughter and her future spouse.

It will be a construction to behold and take pride in.

W3: (sotto voce ) Or a stronghold for old Erysichthon to hide in.

D1: (laughs nervously ) Bur surely you don’t think to cut down this grove?

‘tis sacrilege! None of the gods would approve!

W4: We are paid to do more than just thinking about it.

W3: We’ll be starting today. I don’t think you could doubt it.

W4: There’s only one sacrilege that I can see

Without money I can’t feed my own family.

D1: (to the other D’s ) Sisters, come join me. We are all Ceres’ servants.

And our lives are committed to Ceres’ observance.

Do you wish to risk her divine retribution?

W2: They’re right. We should look for some other solution.

W3: You give in too easily. They’re telling us lies.

They’re afraid of our chain-saws. I see fear in their eyes.

W2: Divine retribution? What do you mean?

W3: Oh, stop your sniveling! Don’t make such a scene!

Erysichthon can worry, don’t be such a jerk.

W4: Who cares about goddesses, I’m here for the work.

D1: Have you never endured the cold Winter’s cruelty?

You shall suffer it more if you cut down this tree.

Our sacred boughs offer your shelter from storms.

Fallen branches and bark feed the fire that warms,

D4: From a hot Summer’s day, have you never sought shade?

D2: Never tasted the harvest in the Fall that’s displayed

In our branches?

D3: Nor breathed the sweet perfume

Of gentle Spring’s blossoms when they waft through a room?

D1: You sweet, gentle men, can you finally see

What the price of dismemb’ring this forest would be?

Destruction of our grove destroys

The blessed fruit which Man enjoys.

All D’s: You sweet, gentle men, can you finally see

What the price of dismemb’ring this forest would be?

Destruction of our grove destroys

The blessed fruit which Man enjoys.

W1: Their case is persuasive.

W2: I agree.

W3: I don’t know –

If we don’t log this timber, then where should we go?

W4: Yes, we’ve got to do something, I’ve an income to make.

W1: But it’s not just our livelihood here that’s at stake.

We could look for a groove somewhere else to cut down.

They’d never know differently back in the town.

W3: I suppose we can leave this old grove here to rot.

W2: We won’t cut down these trees?

W1: No, I guess not.

All D’s: Blessing on you gentlemen

Your wisdom has shown clearly

You shall enjoy the fruits again

Of this which we love dearly.

All: (Chorus) We/You shall enjoy the fruits again

Of this which we love dearly.

Dryads call their farewells to the woodcutters and raise their masks.

Scene 6

The woodcutters pause to look around them for a moment.

W2: So where do we go now?

W4: We’ve reached no decision.

W3: But we’d better say nothing or we’ll face sure derision.

I can see them all laughing away in the town:

How we gave in to women and had to back down.

W1: Sshhh! I hear noises.

W2: Oh, great!

W4: Erysichthon!

W3: We’re doomed if he sees just how little we’ve done! (E. enters and sits facing the

audience he holds a chainsaw. )

E: I’ve come to join you, to share your toil

To help you build my daughter’s house

With the sweet of my brow and my hands in the soil –

What’s this? . . . Why have you stopped before you’ve begun?

W1: Perhaps there’s another location that’s better,

For instance the mountains where the climate is wetter.

W2: You’re not going to fire us, are you?

W4: I hope not.

Since these are the only good job prospects I’ve got.

W1: Really, sir, isn’t there some better way?

We’ll cut your wood elsewhere without a delay.

E: Look at these trees! Strong, straight, and tall.

If you don’t cut down these, you’ll cut nothing at all.

W1: You see, sir, we thought, since this is holy ground

(You can see that it’s sacred just by looking around)

Well, perhaps we might find someplace else we could cut.

That’s why we’ve done nothing – we’re in kind of a rut.

E: I’m not paying woodcutters for moral conclusions.

Sacred grove? Holy ground? Absurdist delusions!

These trees are the oldest and best in the region,

If you seek sacred groves, you can find them – they’re legion

You say you want work? You can have it from me

But you’ll have to start working by felling this tree.

W2: But sir, I believe in the gods, and I care

for my family who lives in our village down there.

I don’t want to neglect them, and I do need the wages.

But I won’t set the goddesses off into rages.

W3: Hold your tongue.

W1: Let him speak.

W4: I can’t see where he’s going.

W2: If it’s sin to destroy these, then who will be owing

The debt to the future, to the goddess, to life.

Will I suffer? Will my daughters? My sons or my wife?

E: You fear the gods’ wrath? I think that I see.

But now my good man, you must listen to me:

Behold the world in which we dwell

Is filled with beauty overflowing:

The dancing winds, the deep sea’s swell

The flowers, trees and grasses growing.

The gods have given earth to Man

For our enjoyment and our pleasure

To use the very best we can

This gift, this sacred, precious treasure.

E and W’s: Behold the world in which we dwell

Is filled with riches overflowing

The golden fish, a deep, sweet well,

The autumn sunshine warmly glowing.

E: If we should perish in the night,

Who would appreciate earth’s beauty?

To harvest it becomes our right

To use it clearly is our duty.

The world provides an endless store

From which we gather up our forces

To clothe the needy, house the poor

And feed the hungry takes resources.

E & W’s: Behold the world in which we dwell

Is filled with bounty overflowing

The running stream, the oyster’s shell,

The pastured cattle gently lowing.

W1: We apologize, sir, for our fruitless delay

And with speed in our saws, we hope to repay.

E: Very well, begin here, where I first cast my eyes.

This venerable oak is an excellent prize.

Are you ready?

W1 – W4: We’re ready!

E: Then let it begin!

Scene 7

(W1 Starts up his chainsaw when suddenly Solones comes running in from the back of the theater, screaming at the top of his lungs: )

S: STOP! STOP! BY HEAVEN’S LAWS

I BEG OF YOU, PUT DOWN YOUR SAWS!

(S. climbs onto his chair, panting and our of breath, and W1 turns off the saw. NOTE: Throughout this scene percussion played by the Dryads will be playing increasingly aggressively and increasingly loudly. )

E: Come good fellow, catch your breath.

You’ve nearly scared my men to death.

You’re here to work?

S: (courteously to E. ) Your Lordship, no.

E: Then why have you been shouting so?

S: I’ve come to ask your Lordship’s grace,

And beg you spare this peaceful place

From what you are about to do.

E: From logging trees?

S: Yes, Lord.

E: It’s true

I’ve planned to cut these trees

And I will do just as I please

With these estates, my brother’s land,

I’ll harvest it as I have planned.

S: With due respect, I beg you hear

My reasons why you should not clear

Away these oaks and pines.

E: Speak on.

(Chorus begins light, rhythmic drumming )

S: The time will come when we’ll be gone,

When all our bones will fall to dust,

Our swords and saws will cake with rust,

When royal estates shall be forgot

And power and might be brought to nought.

And though our ports shall launch no ships,

And though our names shall cross no lips,

From plain to hill, from stream to sea,

The land itself will testify

Of us and be our legacy

Forever in eternity.

E: You speak with passion – that is good,

You speak as young men do, and should.

But praising only Nature’s glory

Ignored the might of Mankind’s story.

The works of Man are great as well,

And last as long, for who can tell

If Thodes’ Colossus will be gone

Before the wood of Lebanon.

S: But Nature bears a beauty rare

To which Man’s work can not compare.

E: It’s true this is the finest grove

For miles about: a treasure trove

Of planks and boards, of twigs and sticks

But you are not the one who picks

The timber for my daughter’s home.

W4: (To S. ) You’ve talked enough.

W3: Leave us alone.

(Chorus shifts to regular thrumming punctuated by sudden strikes )

S: You claim the right to log this spot,

But if this is yours, then what is not?

Do you own all the stones up here?

The air as well?

E: I think it’s clear

I have the right to take what’s mine:

Those stones, this oak, that field, that pine.

S: That’s arrogance! Or surely greed –

When you take more than what you need.

E: I take no more than what I want.

S: But palaces are made to flaunt

Man’s wealth, Man’s power, Man’s pride –

E: Man’s Art!

The beauty which comes from Man’s heart.

Man is the keeper of the earth

Without our care, it has no worth.

S: Man’s care for earth is poor indeed,

He scars her flesh and makes her bleed,

And furthermore destroyed the places

Her children dwell. When Man erases

Forest land, he takes the birds

And beasts and drives them out. Man’s words

Spell death for both the wolves and deer,

Whose numbers drop from year to year.

W1: Perhaps he’s got a point.

W3: No way!

I’m not about to waste all day

To hear his talk concerning owls.

It makes me sick.

W4: Churns up my bowels.

S: (To the W’s ) But more than beasts and birds survive

On what makes your axes soon fell:

Our healers frequently derive

Their cures from sources here as well.

W2: (timidly ) We’re just doing our jobs.

W4: And we all need to work.

W3: Ignore this idealistic, intellectual jerk.

W1: Besides, we could replace these trees

With saplings grown from hybrid seeds

S: (Turning to W1) Replace, what did you say?! Replace this wood!

W1: It has been done.

W2: You think we could?

(Chorus moves to crecendoing rolls with sudden bursts)

S: I’m sure you can’t – You’ll lose the soil

As soon as Winter’s rains come down.

However much you strain and toil

These slopes will wash right into town.

E: (Shouting over S.) We’ve all heard enough. Now, quickly, please go!

S: (Shouting over E.) And then, when your saplings will no longer grow,

What next? You can’t replace these trees.

W4: (Angrily) We’ve got a right to work as we please.

S: (Wheeling on W4) Your right to work? That means a lot.

What of my right to enjoy this spot?

And will my children have the right

To see a forest on this site?

W3: We might as well clear-cut this hill:

If we don’t log it, someone will.

S: There’s fine thinking! (Mimicking) “We might as well,

‘Cause if we don’t then who can tell

Who’ll get the chance which we would pass

To kiss our Lord and Master’s ass.”

E: (Clearly angry) Leave now! Before I drive you out!

This is not the reason which you shout.

It’s plain invective sophistry,

As base as any words can be.

S: My lord, I meant not to offend! (Chorus backs down)

I only seek to try to end

Your plans to cut and trip this land.

E: You’ve said enough! I will not stand (Chorus resumes)

To hear your wild impertinent speech.

If what you want to do is preach

Obscenity don’t do it here.

S: Perhaps I’ve not made my point clear.

W3: Perhaps you’d better clear out now.

S: I only wanted to show how

These trees are better left alone.

W4: I think you’ve really only shown

Yourself to be a pompous prick.

S: Oh, be the gods your skulls are thick!

Why can’t you see we all depend

On what I’ve come here to defend:

This grove is yours as well as mine.

A sacred place! A gift divine!

W2: (To the other W’s) Perhaps the gods have sent this man

To warn us any way they can

Against our logging off this spot!

S: (Contemptuously to W2) How pathetic! You have not

Been listening to a single bit

Of what I’ve said.

W3: You’re full of shit!

S: (to W2) I’m not concerned with deities

I’m only trying to save these trees.

By cutting these you all must see,

You’re triggering catastrophe!

E: Men, ignore this foolish man.

Now let’s get working while we can

W4: Go back to town you nature freak!

W3: (to W4) Don’t waste your breath upon that geek.

(begin to build moderate pounding)

S: You dolts! You stupid simpletons!

Can’t you see the way he runs

Your lives to suit his selfish ends.

Of course he treats you now like friends,

But when your work is finally through

It’s clear how he’ll be treating you:

However loyal you remain

He’ll always hold you in disdain.

The same disdain he’s shown these woods:

Disdain for things, for used-up goods.

A tool he’ll use, then cast aside.

W1: He treats us well.

W2: He’s never lied

To us at all about our pay.

S: Just wait and see! There’ll come a day

When you shall reap as you have sown

You’ll all repent with tears and moan

With grief and pain. And all the while,

Your master will look on and smile,

Sitting snug and safe inside

The palace you plan to provide.

He’ll be happily feasting on

Imported fruits and venison,

Thus you’ll become his feast of meat

For it’s your flesh he’ll truly eat.

E: (Barely containing his anger) I’ve had enough! Enough, I say!

If my words won’t drive you away

Perhaps by fists and use of force

You’ll be convinced to leave.

S: (Angrily) Of course

I’ll leave, when I’ve been threatened so;

But hear me well, before I go:

I came here at a friend’s behest

To put your stubborn will to test.

I came to stop your fruitless task.

E: (Menacingly) Who sent you here, if I may ask?

(The percussion which has built up to this point suddenly drops to a low rumble, but will climb to a frenzy as the argument progresses.)

S: (long pause) Your daughter, sir, has bid me come.

E: MY DAUGHTER?! WHAT?! This must be some (D1: o · · )

Demented joke. Who sent you boy?

S: (snidely) Your daughter thought I might enjoy (D1-2: o · · )

A little chat to talk you out

Of cutting down these trees.

E: (With growing anger) I doubt (D1-3: o · · )

My daughter even knows your face

And if she does, it’s her disgrace

That ever she should speak to you.

S: We’ve spoken much, to be quite true. (D1-4: o · · )

And thus on her account I’ve come

To stop you and these filthy scum.

E: (moving aggressively to S., giving him a shove)

My child can speak to me at will (All: o · · )

S: Or so you’d like to think. But still

She’s feared you far too much to say

The truth: We’ve shared our love each day

Since first we met, behind your back.

E: Shut up, you liar! Or I’ll attack (Chorus does long rolls)

You here and now. How dare you claim

The right to use my daughter’s name!

S: I love her, sir, as she loves me!

E: (In a low angry voice) Your filthy tongue does treachery

To your own life. You have no right

To let my daughter in your sight!

S: I’ve held her more than in my eyes,

(sarcastically : ) My lord!

E: You’ll never see your prize (Cresc. rolls)

Again, you wretched son of a whore!

I’ll throw you out, and what is more

I’ll have you whipped if you pass near

My house again!

S: (Backing down) I speak for her –

I have her love as you can never

Dream of having!

E: (Striking S. across the face) Don’t you ever

Speak to me like that again!

You bastard cur! Stand by me men!

S: You pig! You don’t deserve her love!

E: Ill cut you lying tongue

Out of your wretched mouth!

S: I’m not afraid (Pounding and crescendo!)

Of you at all!

E: You can be made

To learn to fear! I think you’d best

Run while you can.

S: Your bluffing jest

Betrays the kind of beast you are!

A monster wallowing in power!

(E. starts up the chainsaw and swings it at S.)

WAKE UP, YOU FOOLS! BEHOLD THE MAN (Wild frenzy!!!)

YOUR MASTER IS!!!

W2: LEAVE WHILE YOU CAN!

S: IT’S BY A MADMAN YOU’RE EMPLOYED!

HE’S GOING TO HAVE YOU ALL DESTROYED!!

W3: SHOVE OFF! (Starts up his saw.)

E: NOW LEAVE!!! (W1 and W2 start up their saws.)

S: YOU WILL NOT CUT

THESE TREES! I SAID-

W4:

WHY CAN’T YOU SHUT

YOUR WHINING MOUTH!? (Starts up his saw.)

W1: (Screaming, pleading, and enraged) GET OUT OF HERE!!

S: (To E.) HER LOVER FOR ME IS WHAT YOU FEAR?

FOR MESTRA’S SAKE I’LL STAY TO PROVE

THAT ONLY I DESERVE HER LOVE!

E: LEVEL THE FOREST!

S: NO!

E: LEVEL IT MEN!! (pause)

I SAID LEVEL IT! NOW!! LET THE CUTTING BEGIN!!! (At the top of his lungs.)

S: (Screaming.) NO!!!!

E: YES!!!!!

(S. lets out a blood-curdling scream accompanied by the D’s, as the percussion and chain saws explode in a frenzy of sound. E or W1 will cut through a board with the saw and when the pieces fall the saws will be turned off and then everyone will fall silent. All characters then leave stage for intermission.)

Act II

Scene 1

The servants, workmen, Mestra, and Erysichthon sit with their masks on and all sing,/ hum the “Hunger Theme” during the narrator’s speech, accompanied by an occasional bell or triangle. When the speech is over, the hum must fade.

N: A week has passed since Solones disappeared in the hills. And, despite Mestra's clear distress, her father has not even seemed to notice her apparent sorrow, so occupied is he with the construction of the new palace. Even so, despite appearances, not all is well with Erysichthon. His sleep grows troubled with fantastic nightmares of a mysterious woman, draped in tattered black garments, who hovers over his bedside at night. She has a terrifying aspect: whisps of grey, matted hair hang limply over her ivory-white eyes, her lips twist into a grimace revealing blackened gums sprouting a few loose, yellow fangs. Her bony hands caress his body as he sleeps, unable to move, unable to resist. AT times he imagines he sees her shriveled breasts hanging like empty sacks from between the filthy shreds of her cloak. Her ribs can be seen protruding through her white, emaciated skin, as she bends over him in his sleep. He is unable to wake from these night-terrors and, by daylight, unable to forget them.

E: (Lowering his mask while the chorus softly hums the “Hunger Hum” until he calls for the servant.)

What a dream! What a nightmare!

I need to clear my mind: forget.

There’s much I wish I could forget.

(But by the gods I’m hungry now!

Such a hunger as might drive

Me to forget these dreams, these strange

And twisted phantoms of my mind.)

Is this guilt? Guilt? For what!?

I bear no guilt nor any shame

For what I’ve done. I was provoked.

(But how a violent hunger strikes!

As if some creature gnaws within,

I must find something I can eat!)

I must collect my thoughts…

(E. Pauses to look about, finds some bread on a plate and begins tearing away at it ravenously. He continues his monologue while tearing at the bread with his teeth.)

Ah, yes

The time has come: I must arrange

To see my precious daughter wed

And so must find a worthy man,

To husband her in bed –

But comes again the hideous pain!

Yet, what of this? Shall hunger reign?

Shall men be paralyzed thereby?

Postpone my plans? Oh no, not I.

I’ll call in the servants and send out the word:

Ariadne, come here! (Chorus ends hum.)

S1: (Lowering mask.) Good morning, my lord.

E: Today is a day of great celebration

I want a feast served, without hesitation.

I’ll want bread dipped in olive oil, basil and sage.

Let the cook kill the pheasant that’s been kept in the cage,

Buy some figs from the market, bring me wine from my cellar

S1: If your daughter inquires, then what should I tell her?

E: You can tell her the feast is to honor her future

For today is the day we’ll start seeking her suitor.

For this we must have something grand:

A lavish feast.

S1: As you command. (Raises mask again.)

E: And thus by words the task is done.

But still my hunger lingers on.

So to the pantry I’ll repair

To satisfy my hunger there

(Raises mask.)

Scene 2

Mestra lowers her mask. Her speech is to be punctuated by extremely spare, quiet and irregular percussion (rattling and shaking) throughout the first three stanzas)

M: A cloud has crossed the face of the sun

By night the ice creeps further down the mountainside

The wind holds still,

Before the gale’s unleashed

And the grove lies broken, silent in mournful death.

The earth beneath me trembles –

But no, it is only I who quake

At what these malevolent symbols imply:

That darkness will devour my joy.

Where is my love? Where has he gone?

I waited for him to return from the hills,

But only heard

The scraping, grinding sound

Of trunks uprooted, of columns stripped, of nature’s temple desecrated.

By might I dream of his voice,

But only a laughing shadow flickers upon my pillow and is still.

I would turn to my father,

But some strange obsession governs him,

Like one possessed,

An evil spirit

Has bent him all out of natural form.

I turned to him for comfort in my grief,

But only found the hungry eyes of a madman

Devouring, devouring, devouring.

Consuming the world around him.

End of percussion.

Is there none to whom I might turn?

My lover gone, my father lost –

Who but the gods

Will hear my cries?

To them shall I turn, to them I’ll call for strength.

For so it is when Man by Man’s abandoned

We seek in heaven what we cannot find on earth.

Though flesh shall rot, and Kinships die,

The gods proclaim the Spirit’s worth.

(She raises her mask again.)

Scene 3

W1 – W4 lower their masks.

W2: Have you noticed our lord’s disposition of late?

W3: Have I noticed!? Who hasn’t? Every day he’s irate.

W4: He constantly grumbles about all our wages.

W2: To be truthful, I haven’t worked so hard in ages.

W1: Just because he’s been for this past month or so

Is no reason to threaten to quit work and go

W3: I’m not threatening to leave. But I’m not staying by choice.

So I would like to give my opinion a voice.

W4: (Snidely.) Nobody’s ever been able to stop you.

W3: I’ll ignore that. But I do want to say

I don’t like how he raises our workload each day.

And remember how at first he worked right beside us

But after a while he decided to “guide” us

Now he just checks to make sure we’re not cheating.

W4: It’d be better if he didn’t spend all his time eating.

W2: It’s a sickness! A curse! Due to something he did!!!

W3: Look – we don’t want to hear about goddesses, kid.

W2: I said He did, not WE did! I didn’t mean that!

W1: All of you, stop! (Long pause.) We agreed not to say

Nor to mention a thing in regard to that day.

W2: I didn’t agree!

W4: You did so! (simultaneously) W3: Yes, you did!

W2: (Suddenly in a great rush of words.) I did not!

I wish I had never set foot in that spot!

You’ve all seen his hunger, you’ve seen how it’s grown:

How day after day he does nothing but moan

And devour his food on a horrible rush -

And now I’m afraid it might happen to us!

W4: Get a grip!

W1: Just calm down!

W3: Enough of this chatter!

Although he’s gone mad, it just doesn’t matter

If we were involved. He alone is to blame

Since he gave the orders; so it's not quite the same

As if we went and murdered some stranger up there

Only he could condemn us, and we know he won't dare.

W2: But the gods might inflict us with hunger as well!

They might curse us all! You never can tell!

W3: I can hardly believe that you still fear the gods!

Have you ever considered that the probable odds

Are he cracked from the guilt and went swiftly insane

And his ravenous eating's just to cover the pain?

In any event: SO WHAT? and WHO CARES?

He still hires our labor and he still buys our wares.

Let him sink into madness, just as long as he's able

To provide for my needs and put food on my table.

W4: True, we're still earning money.

W1: Show some respect!

Your attitude's nothing but callous neglect.

W3: Don't start preaching at us!

W1: I'm not preaching at you.

But to show some compassion is the least you could do.

He may treat us badly, all the same, he's our lord.

W4: (Interrupting ) Shit! Here he comes!

W3: (to W2 ) You shut up! Not a word!

(Women's chorus begins the Hum. E. lowers his mask, holding a tray of vegetables in one hand. )

E: (E. pauses and looks around )

You're here to help the work's progression?

Or are vacations your profession?

(to W1 ) You've done no work from what I see,

So nothing's what you'll get from me.

W1: Forgive us, sir, but this wall demands

Careful discussion of our plans.

E: Your plans discussed? That's what you're doing?

I don't believe these lies you're spewing.

You're squandering my money and abusing my trust,

It's employees like you who make businesses bust.

Since I am the victim you're trying to rob,

Consider yourself to be out of a job.

W1: (stunned ) I...I...  But sir, do you mean

I'm not working for you?

E: You are not to be seen!

Get out of my sight!  I'm not willing to pay

For a swindler loafing about all the day!

(E. throws the tray of vegetables at W1 who leaves the stage hastily. )

And as for the rest of you, finish the frame

For the wall or by sundown you'll all get the same.

W4: But sir!  Without our foreman we may err.

E: You're free to quit for all I care.

W2: But -

E: Silence! You're not paid for speeches.

Your grumbling talk's for money-leeches.

Of course you're free to stand about,

And emulate that other lout,

And if you do, I think you see

Exactly what you'll get from me! (The Hum fades away as E. raises his mask again.  )


W3: (Interrupting their stunned silence. )  It's impossible. We can't do it!

W4: (desperate ) But we must!

W2: (also desperate ) Yes, let's get to it!

W4: I've got to keep my family fed.

W2: He might hire someone else instead!

W3: Don't worry. He'll keep us. We're faithful and cheap.

The right kind of worker to work for that creep.

Besides, if he fires us, we'd be better off.

W4: It's easy for you to stand there and scoff,

You've got enough wealth on your farm to survive,

I have to work to keep my family alive.

W3: Are you saying I don't work as hard as you?

W4 and W3 begin quarrelling : No, I didn't say...

What are you saying?

I only...

Well, it just isn't true! (ad lib )

W2: Stop it! Just stop it! We've got to stones to be setting.

W3: You're right. I just noticed how late it is getting.

W4: (grimly )  Maybe that tyrant, Erysichthon's still lurking.

W3: Who cares?

W2: Let's get to it!

W4: Yes, we've got to get working!

(Exeunt Woodcutters from the stage. )

Scene 4

Mestra sings the Hunger Hum to indicate the passage of time. When she finishes, the servants turn around, remove their aprons and throw them down on the stage.

S1: Well girls, that's it.

S2: We're finished.

S1: We're through

all right.

S2: No doubt.

S3: But what will we do?

I feel as if my whole life's been destroyed.

S1: It's not quite so bad - you're just unemployed.

S3: "Just" unemployed?  There's nothing "just" about it!

It's outrageous!  Obscene!

S2: You don't have to shout it,

We all feel the same.

S3: I feel like crying.

I don't want to act strong, and I don't feel like trying.

S1: You've got to pull yourself together.

S2: We’ve all seen this coming, things had got out of hand.

We knew we were screwed when he sold off his land.

S3: All I want to know is whether

He’ll hire us back or whether we’re doomed.

S2: We're finished for sure. The tragedy's loomed

Over our heads for plenty of time.

S1: I don't think that any of us could have been blind

To the fact that the whole kingdom's been in decline.

S3: We all should have left while things were still fine.

S2: Should have left?

S3: Should have quit.

S1: But were would we go?

S3: Somewhere far.

S2: Yes, but where?

S3: How should I know?

In any event, it's clear what took place:

The gods have condemned us: we've fallen from grace.

S1: Just what kinds of proofs of our "fall" have you seen?

S3: Our master's decay.

S2: Ex-master, you mean.

S1: I'm sure you don't need to invoke all the gods

To explain away an extreme case of worms.

S3: But his hunger's insane, beyond any odds

We could lay to disease! It's beyond any norms

That we have to explain.  How could worms explain that?

S2: The worm explanation's a little too pat.

After all, we all share the same drinks, the same food.

S3: And I know that our cooking has always been good.

S2: I don't think he has worms.  I just think he's gone mad

From ambition and stress.

S1: Well it is rather sad.

These things happen. Unfortunately they've happened to us

And our master -

S2: - Ex-master.

S1: And we're paying the price

With our jobs.

S3: I don't think your theories suffice

To explain what has happened to out town, Erysichthon,

And to Mestra and Solones, wherever he's gone.

If you want to think that worms took our jobs

Or blame stress as the culprit who randomly robs

Our master -

S1: Ex-master.

S3: Our ex-master's sanity

And all our good fortune, it's only your vanity

Which prevents you from seeing that the gods sent a curse.

S2: We are out of jobs, but a curse implies worse.

S3: I'm talking about all the droughts and the heat

Which daily diminish what we earn, what we eat.

S2: Maybe it's due to our master.

S1: Ex-master.

S2: He's been logging the woods ever faster and faster,

So perhaps he's to blame for the problem at hand.

S3: I don't think the two of you yet understand -

S1: (Interrupting ) - Besides, you can't claim that by cutting down trees

Erysichthon has triggered all the blight and disease

Which has ruined the harvest and killed off the flocks,

Made infertile the hens and made impotent cocks.

S3: I tell you these plagues are a sign!

S2: (to S3 ) Oh shut up!

(to S1 ) I'm not blaming him, but we shouldn't -

S3: (Overlapping, angrily to S2 ) You shouldn't interrupt !

S2: (Continues without pausing ) -deny the natural balance things

Gets fouled up when you play with the carefully placed strings

Which support the whole system.

S1: It's a big claim to make

To say that these problems rose from human mistake!

S2: (Interrupting ) Are you saying we haven't produced any change?

S1: I'm not saying that, but your theory sounds strange.

S2: These things are related. All things inter-relate.

S3: You both are denying that the gods rule our fate!

S1 and S2: (In unison )  Shut up!

S3: Not a chance!  I've shut up enough:

It's your logic that's flimsy and your tongues which are tough.

There the two of you go, sprouting off speculations

Which both contradict your supposed explanations.

It's women like you who are faithless and hard

Who've brought this disaster to our own backyard.

Your blasphemies harden the hearts of the gods,

Thus, it is, thanks to you, that we're all out of jobs!

S2: How pious!  How righteous!  How sincere through and through!

And how backwards!  Listen, girl, I've got harsh news for you.

Don't start pinning the fall of the kingdom's economy

On us and then run off claiming moral autonomy!

You talk about faithlessness?  Then look to yourself!

It's thanks to your type there's no food on my shelf!

You lost faith in this world, you don't try to improve it!

You're to blame for our fate, not the gods, I can prove it!

S3: That's a head on your shoulders?  Or is it your bum?

Since your logic is crappy, I'll assume where it's from.

S1: Girls! Please! Calm yourselves! We're all under stress.  (pauses )

We all can agree it's a terrible mess.

S3: I'm sorry I shouted.

S2: I'm sorry I snapped.

S2: I understand -  we all feel trapped.

I didn't deserve to lose my post,

And nor did you.

S1: Let's make the most

Of what we can.

(All the S's nod -  there is a long, reflective pause  )

S3: What should we do?

S1: I've got a last idea or two.  (She beckons her companions to whisper with her in a huddle.  The servants cast fast glances out into the audience as the are whispering.  They come to an agreement, pull out pens, and write on their aprons:  WILL WORK FOR FOOD, and step out of their huddle and face the audience, smiling brightly.  Ad lib./Improvise the following section -make something up - in which you ask the audience for work.)

The Servants exit the stage, waving and saying good-byes to the audience.

Scene 5

E and M. are by themselves.  They face opposite directions until the final verse when they face each other, then leave the stage.

E:  (Entering, gnawing on a bone ) M:  (Standing in a spotlight,

holding a candle )

Now the house is silent,

Save for the howling of the wind,

Oh Lord Poseidon, ruler of the waters

King of the waves and oceans wide:

And shreiking deep within my corpse –

Oh my salvation, thee will I honor

Great Master of the sea and tide.

The searching appetite of pain that's never quenched.

For the land is stripped, infertile, barren

Drought-stricken and diseased.

I, once proud am now laid waste, my kingdom dead;

For once on earth, our mother dies

Destroyed by my own uncontrollable desires.

I have but one resort: We have but one resort:

To gain our living from your realm

To sell my daughter as a slave

And feed upon her profits.

And bring your bounty into port.

Oh Mestra! This is not my heart's desire

To cast your love into my hungry fire.

For when I am well, I'll bring you home

And return to you the love you've known:

"I'll offer you a golden crown,

A silver fountain in the town.

A necklace made of sapphires:

Whate'er your heart desires."

(turns to M. ) (Turns to E. )
Oh Mestra! This is not my heart's desire
To cast your love into my hungry fire.

Oh Father!  It breaks my heart to see you

But if I must, then I shall go.

**And when I am well, I'll bring you home **And when you're well, I shall come home
**We'll share the love we've always known. **We'll share the love we've always known

They may bow and leave and the Narrator may announce the final intermission.

Act III

Intermission II

Introductory Remarks Followed by a Question and Answer Session

This speech can be given from a lectern set up in front of the chairs (now reduced to 4: Erysichthon, Mestra, Merchant, Poseidon.  The chorus will give its choruses from their seats in front of the stage area. )  After the speech is read, the lectern will be removed.

Merchant (ST): Good evening, Ladies, Gentlemen, remaining members of the audience. I am the Merchant mentioned in your program notes. I thought I might take a little of your time between acts to introduce myself, particularly since the program notes have given me a pejorative title* which deserves some formal response.

Being a merchant, I have frequently encountered objections to my line of business. Inevitably somebody raises the point that neither human nor natural resources can belong to anybody and thus these resources should be exempted from the laws of sale and purchase, ownership and property. I'd like to address this contentious issue of ownership of human and natural resources.

In an ideal capitalist model, or any economic model for that matter, human labor is viewed as a natural resource, just as minerals, lumber, soil, marine products, et cetera are natural resources. Initially nobody "owns" them, it is true. These things belong only to those who are best able to utilize them for profit. Human laborers, like trees, are not initially "owned" by anybody, but whoever has the power to capitalize on them thereby becomes the "owner."  What use is gold when it sits 2,000 feet below the ocean surface? Who owns it? Nature? The owner is whoever can get in there and mine it for public sale and use. It does nobody any good when it just sits inert at the bottom of the sea. The same goes for human work potential. Nobody owns it until they invest in and capitalize on it's value. Investors and entrepreneurs (and merchants like myself) help bring these materials, human and otherwise, to the fullest public good – to create commodities which all have access to.

Of course there are those unfortunate periods in which you do not receive high enough dividends from your capital investment to justify perpetuating its ownership. For example, if you are in a ship loaded with sheep and the ship begins to take in water because of the weight, what is the proper thing to do? Correct: begin throwing sheep overboard. You can always breed more later. Now, if you are running a business and your profits are not what they ought to be, what is the appropriate action? Correct: eliminate excess labor costs. If you are not able to capitalize on your human resources, cast them off - they will be more useful to some other entrepreneur in another area of free labor market. When the value of natural or human resources has been negated by the cost of maintaining possessions of the given resource, dump it. This is not at all cruel, as some say, but in fact is beneficial to society as a whole, allowing labor to be used in full in varying areas. This is precicely what my client (Erysichthon) has asked me to help him with. He is no longer able to maintain his capital investment and has thoughtfully contracted me to negotiate a reallocation of his labor resources, which are rightly his as he has developed and maintained them, that is, his daughter, himself. She will be of greater value to society as an additional member of a social collective (some prefer the word "harem" but this is loaded with unnecessarily unpleasant connotations), than she would be if she were simply slowly starving to death and depleting my client's resources further. In short, my client (Erysichthon) needs money. He has invested a certain amount of capital in some property of his. (That is, his daughter, Mestra.) It is his right to dispose of his property as he sees fit. He has contracted me to find a buyer for his property, I have had no part in either making the decision to sell the property nor will I be making the decision to purchase ownership of this particular property. I merely act as a mediator between the seller and the buyer. So, before you start making moral judgments about my business, I'd appreciate it if you took a look at the facts of the matter.

I can tell you are cultured, intelligent people, who have wisely capitalized on the economic principles which govern us all. And you see, here you are, converting your capital into cultural investment, into civic good. So you, like me, are making the world a better place by utilizing your resources and  redistributing capital within the system, keeping the economy going. So next time somebody badmouths a merchant like me, or uses loaded terminology like, "middle man" or "slave trader", remember, we're all in it together, making the world a better place to live.

Thank you.

I'm now free to take any questions which you might have.

There Merchant is free to field questions from the audience. In any event, once the questions have ended, he will return the attention to the program.

N: Our scene opens at the seaside where Mestra, having been sold by her father for a considerable sum of money, is waiting to be loaded onto the slave merchant’s ship.

Scene 1

Only Mestra lowers her mask. During the scene, and all the subsequent scenes, the chorus will make sea sounds with rainsticks, hissing, blowing, and whistling, and rubbing drumheads. They should seek to imitate the sound of gentle waves on the shore - not titanic gales.

M: Farewell, farewell.

Farewell to the city of me childhood.

I never dreamed

How I never dreamed

I never dreamed I’d leave you bound in chains.

Farewell, farewell.

Farewell my darling papa, I still live you.

And I’m weeping

How I’m weeping

I’m weeping more for you than for myself.

Farewell, farewell.

Farewell to the home I’ve always loved.

Abandoned

Abandoned

Abandoned by my father,

And abandoned by my lover,

And abandoned by the gods

By the gods who show no pity

Show no mercy

No compassion

Abandoned by them all.

P: (still behind his mask. ) No, not all.

M: Did someone call?

Who’s there? I thought I heard a noise.

Perhaps it was the merchant’s voice,

He has returned.

P: (still behind his mask. ) No, no. Not he.

M: It’s there again! Who could it be?

P: (slowly lowering his mask. )

You have called upon the gods,

And they have heard your many prayers.

I have come to bring relief

From all your sorrows and your cares.

M: Oh Lord Poseidon! (with awe and astonishment )

P: Rise , my daughter.

I sensed your sorrow in the ocean’s water,

And I searched for something I could do

To dry your tears. And so to you

I offer this emancipation

Through the powers of transformation:

Three pearls here, within my hand,

Hold magic now at your command.

Throw each one into the sea

And you shall then transformed be

Into whatever shape you wish:

A cloud, a horse, a snake, a fish.

But magic such as this is rare.

So with these pearls you must take care.

For only thrice will they conceal.

Three times your form shall be unreal.

Use them wisely, use them well,

And when you wish to break the spell,

Simply utter forth my name,

And your true form you shall regain. (He hands her three pearls )

M: Oh Lord Poseidon,

Ruler of the waters

King of the waves and the oceans wide:

Oh my salvation,

Thee will I honor

Great Master of the sea and tide.

P: Cast the pearl into the sea,

And take what shape you wish to be.

Mestra throws the pearl into the audience.

N: No sooner had the pearl sunk beneath the waves, than Mestra found herself free of the ropes which tied her wrists together. Instead of ropes, they became fishing nets. And where just before her face was soft and smooth, it had turned rought and withered, with a stubbly beard and whisps of coarse, white hair.

Her fine-spun dress lost all its colors and became a fisherman’s tunic, wrapped lightly around her. No sooner had she taken into account the miraculous transformation wrought upon her by Poseidon’s gift, than the Merchant himself came back with a puzzled expression on his face.

P. raises his mask as the merchant lowers his.

ST: Hey there, old man! Perhaps you’ve seen

A slave pass by… a girl, I mean,

Hands bound in cords.

M: (gruffly) I swear to you

By all the gods, one thing is true:

I’ve seen no woman on these sands.

ST: That throws a wrench in all my plans.

Perhaps she ran the other way.

I’ll hunt her down. Farewell, good day.

(He raises his mask. The chorus may cease the sea sounds. )

Scene 2

N: Mestra leaves the befuddled merchant behind her and, in the guise of an old fisherman, crosses the marina, moves through the town, and takes the narrow path up to her father’s now- dilapidated house. As she crosses the threshold, to undo the charm she cries out:

M: Oh Lord Poseidon!

E: quickly lowers his mask and addresses his daughter.

E: My daughter’s here? Oh eyes, do not deceive me!

What joy to have you back again, believe me!

The moment you left I was racked with grief,

For having sold you to that thief.

My hunger robbed me of my sense,

And so I committed the offense.

Can you ever even start

To forgive me in your heart?

M: Oh father! There’s nothing to forgive.

For caring for you is the reason I live.

Oh papa, don’t fear, and besides, I’ve plan:

When the money is gone, you can sell me again!

E: However mad with hunger I become

I’ll not repeat the evil I’ve done.

M: But papa, believe me, you can do as I say.

E: But Mestra, I don’t want to send you away!

There is an angry knock on the door. It is the Merchant. E. calls to him:

E: Who’s there?

ST: It’s me!

E: (to mestra) Quick! Disappear!

That goddamned merchant’s back, I fear.

M: I promise you, I’m not afraid,

I’m sure the gods will come to our aid.

Sell me again, I’m sure he’ll pay.

E: But I can’t let him take you away

A second time!

M: But yes, you can!

You needn’t fear that nasty man.

We might as well give it a try

If he is fool enough to buy.

E: You’re very sure?

M: I am.

E: All right.

( to the merchant ) Come in. What brings you here tonight?

ST: (lowering his mask. ) I really don’t mean to be rude,

I’d no intension to intrude,

Upon this touching family scene

But I wondered where your daughter’s been,

And, despite the love I’m sure you feel,

I must remind you, we’ve a deal.

E: What deal is that? I don’t recall

Having made a deal with you at all.

ST: I’m sure, good sir, you must be joking.

E: I’m sure that you should not be poking

Into my family’s private life.

ST: Just tell me this- is that your wife?

Or is that the girl I bought before?

E: This is my daughter, I’ll say no more.

ST: But I paid money for that child!

I thought she was subdued and mild,

But when I brought her to the shore

She ran away. All gone! No more!

E: Have you a witness to his deed?

ST: I know the truth, that’s all I need!

E: Well truth won’t buy her by itself.

For truth is best backed up by wealth!

ST: (shocked ) I can’t believe you’d be so cold,

As to swindle a poor merchant for his gold.

E: Do you want to buy or just stand and stare,

I don’t care to hear you blow hot air

ST: All right! I’ll pay again! You’ll see!

One piece of gold?

E: looks at M who shakes her head.

Then two? Well, three?

E: If you want her, you must pay-

ST: (interrupting angrily ) All right! The same as yesterday!

M: ( whispering to her father ) Accept the deal!

E: The deal is made

As soon as I am fully paid.

ST: throws a bag of gold on the floor in front of E.

ST: I’m glad to see you’re so compliant.

( To the audience) I hate it when they get defiant.

(pause) Well, well, well.

I have you here at last

I think we both can tell

Your running days are past.

So don’t try to escape again,

Just wait here while I fetch my men.

Scene 3

(Renewal of sounds of the sea indicate a change of scene.)

M: Once again here by the shore,

Breathing in the salty air

As I’ve often done before,

Thinking of my father,

Dreaming of my love,

Hoping for the future,

Praying to the gods.

E: Waiting for my precious daughter,

Waiting for her to return,

Watching ships move on the water,

Still I feel my hunger burn.

M: Dreaming of my gentle lover,

Waiting for him to return,

Then shall he become my husband.

For him alone my heart does yearn.

And I must not forget my darling papa.

I hope and pray that he will soon be healed.

Then we all shall live together,

Casting off our present sorrows.

E: But if my daughter cannot run away again

There’s nothing I can do.

Consumed by hunger pains within,

I’ll have to use my strength to find more food.

ST: I’ve bought her twice but I know she’ll sell well.

She’s beautiful piece but a troublesome girl.

But the moment they see her

They’ll bud up her price

And the profits I’ll make should be handsomely nice.

E: Oh how the hunger returns, like fire inside.

My whole body burns, consuming my pride.

Unhinging my mind, dismembring my life,

Destroying my dignity.

M: I know one day that we will all be happy

And peace and joy will rule over lives.

The sorrows of the past will be forgotten

And our days will shine with radiant love.

ST: Now it’s time to load my cargo

Onto my ship and sail away.

Erysichthon’s daughter surely

Will fetch the highest price they’ll pay.

M: Oh Lord Poseidon.

Hear the prayers of your most greatful daughter.

Transform me now into a swan

As I throw this pearl into the water.

*Oh, Great Lord Poseidon!

P: * Yes, I hear you prayers my child,

But mark this well: you’ve only one pearl left,

So be transformed into whatever shape you desire,

With earth’s power, and with the powers of wind, water, and fire,

As you desire, as you desire.

M: So now with graceful wings I fly to freedom,

Thus to my father I will go.

I know he’ll be there waiting for me to come back.

Because he loves me so.

ST: What could have happened?

She was here a while ago.

I was watching her this time.

She must be somewhere near,

There’s no place she can go

Without her being seen.

(long pause, during which the merchant and E. sit with mask raised, the chorus will stop making its sea sounds and will begin the hunger hum and Mestra will conclude. )

Home again-

Or so I thought…

But my father’s lost in hunger

All his love for me forgot.

Oh gods!

Is this your justice, gods?

Why have you taken away my lover? …

And my father, my poor father,

Why have you destroyed me father? …

My poor father.

(Mestra slowly turns away from the audience and a drumroll announces the change of scene.)

Scene 4

The merchant will face the audience for his final pattersong:

ST: It is difficult to find an honest businessman

Who won’t rip you off or lead you by the horns:

Or takes your horses, give your mules,

Trades you glass beads for you jewels,

Sells you phony medications for you corns.

It is difficult to find an honest businessman

Who can guide you to the most productive stocks

With pecuniary acumen

Who won’t swindle or attack you then

Abscond with your life’s savings in his box.

But IIIIIIIIIIIIII’m an honest businessman.

I’m a merchant and my business is in trade

But there’s one thing that is clear-

I’ll do no more business here

I will not be duped by their obscence charade.

When forst I bought his daughter

I had every good intent to treat her well.

I did not intend to ship her off to Smyrna

Where my clients are barbaric and they smell.

So when we were at the seaside and she vanished

I guessed she’d drown herself beyond the shore

And through her loss did grieve me,

It’s a common loss, believe me,

For I’ve often seen this sort of thing before.

Now I’m a clever merchant,

I can smell a ruse a thousand miles away.

So imagine my surprise

When she showed before my eyes

Looking better than when I led her away.

I realized that she had somehow run off

I’d been cheated -but I thought I’d buy her twice

Since a harem slave is excellent for resale

And in Tarshish she would fetch a pretty price.

So again when we were standing at the shore

I kept a better eye on her than I had (slowing Down) done be-fore.

But the moment that I turned away my head

She just vanished! Disappeared! Away she fled.

But I’m a stubborn merchant

I returned to Erysichthon’s house to plead

And when I saw her standing on the threshold

I summoned all the courage I would need (with a flourish)

I said, (spoken) “Sir, I have bought your daughter, give her to me!”

(to the tune of the Overture from The Barber of Seville: )

He wouldn’t listen.

He wouldn’t listen.

He just ignored me and asked if I’d brought some food.

The man’s obsessive, compulsive, and downright rude.

And in his eating habits he is really crude.

I had to buy her.

Buy her a third time.

And by the third time I have nearly paid her retail price.

But I can sell her off, and make a tidy sum

Because she’s truly, truly, truly, truly

Truly a nice piece of merchandise. (Repeat Stanza)

Now I’m a clever merchant

And I’m binding her in chains to ship her off.

She can try to run but she won’t get too far.

And then we’ll see who has the final laugh.

But if she should get away from me this time

I won’t give this nasty town another dime!

But IIIIIIIIIIIIII’m an honest businessman.

I’m a merchant and my business is in trade

But there’s one thing that is clear-

I’ll do no more business here

I will not be duped by their obscence charade.

The merchant may bow and blow kisses to the audience. He will then traise his mask.

Scene 5

N: He leaves her there, sure of his victory. He leaves her tied, bound, with a meatl brace between her feet to prevent her walking even a few steps away. And as he boards the ship to see if her place is secure in his cargo, he dreams of profit, and dreams of pleasure. And while he dreams, she stands upon the shore, a third time.

Mestra lowers her mask, accompanied by sounds of the sea setting the scence.

M: Oh Lord Poseidon,

Ruler of the waters

King of the waves and the oceans wide:

Oh my salvation,

Thee will I honor

Great master of the sea and tide.

P: I hear you my child, and now you may hurl

Into my waves, the very last pearl

But heed this watnign, hear well what I say:

You must not return to your father today-

Not today, nor tommorow, nor ever again.

If you value your life then you better had run

Far away from the curse which your father’s unleashed

You must flee to wherever you cannot be reached.

M: But I must return, my father still needs me.

He still loves me, protects me, will care for me and feed me.

P: your father is a man accursed

Not by men, but by gods, which is far, far, worse.

I advice you mourn for his spirit and pray

For his tortured soul while still you may.

He shall never return to you,

The gods and fates have decreed it so,

He hath signed their writ and bloodied the land

With the pride and unholiness of his own hand.

Do not go back.

M: But Lord Poseidon,

Of all my hopes there is left only one: (long pause)

Poseidon says nothing.

M: Before you first appeared here at the shore, I

Had given up all hope, of seeing my

Beloved lover Solones again.

I know not where he’s gone, I know not when

He will come back or how he will return,

But how within my aching heart I yearn

To see him once again. So to my home,

I go in hopes that I shall see him soon.

P: Abandon that hope to be burned in fire.

Now I must leave, I’ll say no more.

Conceive the shape that you desire.

And cast your pearl as before;

But hear this truth you deeply dread:

Your lover Solones is dead.

Poseidon will raise his mask and the sounds of the sea will cease, leaving Mestra

facing the audience alone, shocked. She begins to sob. She stops suddenly and dries

her eyes. She murmurs or repeats his name aloud.

M: Once, long ago, the nightingale

Would sing her song to you

She sang of love and happiness

Her words rang clear and true.

When we first met, ‘twas in the grove

Beneath the ancient tree

The nightingale taught us her song

And shared your love with me.

The seasons came and passed again

From winter into spring

While on the highest branch of all

The nightingale would sing

The spring had filled the tree with bloom

And the summer soon drew nigh

The nightingale and the fragrant blooms

Where cast to earth to die.

Now summer’s died and autumn’s filled

The air with whispering sound

The branches of the silver tree

Lay broken on the ground.

I long to hear the nightingale

Sing out her song again

Instead I hear the sighing wing

And weeping in the rain.

Now there isn’t any nightingale

And there isn’t any tree

And now you are gone forevermore

And there’s nothing left of me. (remains with mask lowered.)

Scene 6

During this final scene, the chorus will begin with the Hunger Hum and light

rhythmic percussion. The chorus will build to a pounding, screaming frenzy as the

movement of the murder approaches and will then degenerate into atonal mass of

slow pitch humming accompanied by only an occasional strike of a bell or

triangle.

N: At last she throws her last pearl into the sea. The pearl falls softly onto the

Rippled water and seems to float like a tiny ship before the jaws of the ocean open

Wide and devour the pearl noiselessly. And as the pearl vanishes forever from

view, she is transformed into a deer, a noble buck with power and strength. She

swiftly glides away, leaving the merchant and his boat behind her forever. She

passes along the shore and up the dry, grassy hillsides towards her father’s palace for the final time.

(Chorus makes strange rubbing noises.)

E: The hunger, the hunger.

Like sawblades ripping though my loins,

Craving, devouring, consuming, desiring.

Ah! What fir’y pain within!

The hunger, the hunger.

There must be something here to eat,

Alas, the merchant’s gold is spent.

There’s nought but moldy scraps of bread of bread –

These must suffice – but what is this?

A noble stag ascends the hill

I’m sure it is some cruel illusion.

But no, it comes on steady tread

Straight towards the house.

My knife – my knife!

(pause as he searches and Chorus begins a steady crescendo for sound.)

Ah, here it is, within my grasp

My glistening razor is prepared

To sacrifice this gentle beast

In order to devour the feast

Of sweet, red flesh – my fortune’s made!

(chorus adds voices ascending wordlessly, atonal and errie.)

it stalks straight towards my hungry blade!

I’ll hide beside this done and wait

For it to pass within my reach

N: he stands, half hidden as the stag draws near. He raises the knife and grips it tight. His knuckles whiten around the handle – tight with hope, tight with hunger. And his daughter crosses the threshold she cries Poseidon’s name.

Maximum choral frenzy with percussion and siging here.

- the knife slices through the air and meets its mark – (HUGE cymbal crash!)

The music degenerates into a low atonal wail.

- her words pour out through a crimson stream which rushes from her

throat. She falls and her father drops his knife in terror. He no longer sees the deer.

He no longer sees an object falls beside her, her lifeblood stains his flesh, as he pleads with the gods and begs her forgiveness – but all too late. The lifeless body in his arms

Gives no response.

He cradles his child, her limp, blooddrenched corpse in his arms,

Rocking back and forth. At times he almost seems to sing to it. At times he cries

out, wailing screaming. At times his sobs are merely murmers which the wind

carries off, down the path towards the village. And in time the knowledge of his

crime spreads throughout the land.

Narrator strikes the drum 5 times, the fifth beat coincides with the beginning of the

Chorus.

Chorus (in unison):

Behold this horror, before our eyes:

A father, driven mad by his desires

His daughter, slaughtered by his hand,

A mutilated corpse rots in the grove:

Laid waste, the grove has dried to tinder.

And we, the people of this land,

Are bound in fear. We live in dread,

Lest nest the coming summer’s storm,

Unleash the bolt that lights the flame,

The final flame consuming all.

Our village now, is filled with death,

The children starve, their corpses clog

The streets and paths like splintered logs

The drought and heat are merciless,

And when there’s rain, it falls as floods.

This is Cere’s heartless vengence,

For not one man alone shall bear the pain,

Through by his word the trees were slain,

We served his aims, or stood in silent guilt,

And so we all must bear the blame.

And what is there for us to do?

We learn too late, or not at all,

Our best intents bear evil too,

And so upon us Guilt doth fall.

But let us each restrain desire,

To spare us from the final fire.

Chorus returns to atonal wailings with clenched teeth, sobbings, and other sounds

Of delerium which continue to the end of the Narrator’s monologue.

N: The few survivors in the town below attempt to wrest her body from him.

But he clings to her. His delerium grows, but his voice fades away to a parched,

Mournful whisper. At last he coils himself in a corner, wrapping his arms about

Himself, now rocking his body back and forth, back and forth in his corner. And

Through his ravings, his hunger returns. He stares into the air in front of his. He

Stares at his hands, still smeared with blood. He stares at his flesh, at his own flesh.

And he lifts his right arm to his lips, he presses his tongue against his skin, as if to

Taste it and suddenly, violently tears the flesh with his teeth, clear down to the bone.

He tears away the skin, the tendons, the veins. The blood flows freely from his arm,

Just above his elbow. Yet he seems not even to notice. He opens his mouth wide in

A muted gurgle of agony and penitence. Crimson drops fall from his lips, cascading

Down his and begin to stain his chest anew. His shoulders twitch wildly as he

Raises his other arm to his mouth and bites deep into his own flesh again. Now, an

Odd smile seems to creep across his face – a smile which slowly decays into a scream –

A scream he has neither the voice nor the force left to release. His head flies back

Against the wall and he collapses in the bleeding heap. His breathing slows and fades.

Chorus should fade out their sounds of delerium.

Darkness spreads across the room, devouring the figures on the floor, obliterating

all features of the room. At last there is silence. At last there is darkness. Not even

the wind dares to breathe in the scent of the horror which binds both corpses to the

cold stone floor. They are bound in darkness. They are one in the hungry jaws of

Death’s desire. There is only stillness. Only silence.

After a long pause, four strikes on a gong and the beginning of a dirge played on a

Bass drum by Solones announce the beginning of the final chorus. Phrases in

parentheses are spoken by E., M., and the Slave Trader.

Chorus (in unison) over a funeral drumbeat:

Woe unto them,

Who pay the gods no heed.

Woe unto them

Who revel in their greed.

Woe unto us,

Although our deeds by love be born,

(Woe unto us)

Presuming to be Earth’s master,

(Woe onto us)

Who look not to the coming morn

(Woe onto us)

When we shall meet disaster.

Dirge ends.

The End.