Daireen. Volume 2 of 2

by Frank Frankfort Moore

She was not disappointed in her reception by the audience. The ladies in the front stalls who had spoken, it might be, unkindly of her in private, now showed their good nature in public, and the field officers forgot all the irregularities she had caused in the regiment and welcomed her heartily; while the tradesmen in the middle rows made their applause a matter of business. The village maiden with the satin shoes smiled in the timid, fluttered, dovelike way that is common amongst the class, and then went on with her dialogue. She felt altogether happy, for she knew that the young lady who was to appear in the second scene could not possibly meet with such an expression of good feeling as she had obtained from the audience.

And now the play might be said to have commenced in earnest. It was by no means a piece of French frivolity, this drama, but a genuine work of English art as it existed thirty years ago, and it was thus certain to commend itself to the Pietermaritzburghers who liked solidity even when it verged upon stolidity.

Throne or Spouse was the title of the play, and if its incidents were somewhat improbable and its details utterly impossible, it was not the less agreeable to the audience. The two young men who had appeared in top-boots on the village green had informed each other, the audience happily overhearing, that they had been out hunting with a certain Prince, and that they had got separated from their companions.

They embraced the moment as opportune for the discussion of a few court affairs, such as the illness ot the monarch, and the Prince's prospects of becoming his successor, and then they thought it would be as well to try and find their way back to the court; so off they went. Then Miss Vincent came on the village green and reminded herself that her name was Marie and that she was a simple village maiden; she also recalled the fact that she lived alone with her mother in Yonder Cottage. It seemed to give her considerable satisfaction to reflect that, though poor, she was, and she took it upon her to say that her mother was also, strictly virtuous, and she wished to state in the most emphatic terms that though she was wooed by a certain Count Rodolph, yet, as she did not love him, she would never be his. Lottie was indeed very emphatic at this part, and her audience applauded her determination as Marie. Curiously enough, she had no sooner expressed herself in this fashion than one of the Bayonetteers entered, and at the sight of him Lottie called out, “Ah, he is here! Count Rodolph!” This the audience felt was a piece of subtle constructive art on the part of the author. Then the new actor replied, “Yes, Count Rodolph is here, sweet Marie, where he would ever be, by the side of the fairest village maiden,” etc.

The new actor was attired in one of the broad hats of the period—whatever it may have been—with a long ostrich feather. He had an immense black moustache, and his eyebrows were exceedingly heavy. He also wore top-boots, a long sword, and a black cloak, one fold of which he now and again threw over his left shoulder when it worked its way down his arm. It was not surprising that further on in the drama the Count was found to be a dissembler; his costume fostered any proclivities in this way that might otherwise have remained dormant.

The village maiden begged to know why the Count persecuted her with his attentions, and he replied that he did so on account of his love for her. She then assured him that she could never bring herself to look on him with favour; and this naturally drew from him the energetic declaration of his own passion for her. He concluded by asking her to be his: she cried with emphasis, “Never!” He repeated his application, and again she cried “Never!” and told him to begone. “You shall be mine,” he cried, catching her by the arm. “Wretch, leave me,” she said, in all her village-maiden dignity; he repeated his assertion, and clasped her round the waist with ardour. Then she shrieked for help, and a few simple villagers rushed hurriedly on the stage, but the Count drew his sword and threatened with destruction any one who might advance. The simple villagers thought it prudent to retire. “Ha! now, proud Marie, you are in my power,” said the Count. “Is there no one to save me?” shrieked Marie. “Yes, here is some one who will save you or perish in the attempt,” came a voice from the wings, and with an agitation pervading the sympathetic orchestra, a respectable young man in a green hunting-suit with a horn by his side and a drawn sword in his hand, rushed on, and was received with an outburst of applause from the audience who, in Pietermaritzburg, as in every place else, are ever on the side of virtue. This new actor was Oswin Markham, and it seemed that Lottie's stories regarding the romance associated with his appearance were successful, for not only was there much applause, but a quiet hum of remark was heard amongst the front stalls, and it was some moments before the business of the stage could be proceeded with.

So soon as he was able to speak, the Count wished to know who was the intruder that dared to face one of the nobles of the land, and the intruder replied in general terms, dwelling particularly upon the fact that only those were noble who behaved nobly. He expressed an inclination to fight with the Count, but the latter declined to gratify him on account of the difference there was between their social standing, and he left the stage saying, “Farewell, proud beauty, we shall meet again.” Then he turned to the stranger, and, laying his hand on his sword-hilt after he had thrown his cloak over his shoulder, he cried, “We too shall meet again.”

The stranger then made some remarks to himself regarding the manner in which he was stirred by Marie's beauty. He asked her who she was, and she replied, truthfully enough, that she was a simple village maiden, and that she lived in Yonder Cottage. He then told her that he was a member of the Prince's retinue, and that he had lost his way at the hunt; and he begged the girl to conduct him to Yonder Cottage. The girl expressed her pleasure at being able to show him some little attention, but she remarked that the stranger would find Yonder Cottage very humble. She assured him, however, of the virtue of herself, and again went so far as to speak for her mother. The stranger then made a nice little speech about the constituents of true nobility, and went out with Marie as the curtain fell.

The next scene was laid in Yonder Cottage; the virtuous mother being discovered knitting, and whiling away the time by talking to herself of the days when she was nurse to the late Queen. Then Marie and the stranger entered, and there was a pleasant family party in Yonder Cottage. The stranger was evidently struck with Marie, and the scene ended by his swearing to make her his wife. The next act showed the stranger in his true character as the Prince; his royal father has heard of his attachment to Marie, and not being an enthusiast on the subject of simple village maidens becoming allied to the royal house, he threatens to cut off the entail of the kingdom—which it appeared he had power to do—if the Prince does not relinquish Marie, and he dies leaving a clause in his will to this effect.

The Prince rushes to Yonder Cottage—hears that Marie is carried off by the Count—rescues her—marries her—and then the virtuous mother confesses that the Prince is her own child, and Marie is the heiress to the throne. No one appeared to dispute the story—Marie is consequently Queen and her husband King, having through his proper treatment of the girl gained the kingdom; and the curtain falls on general happiness, Count Rodolph having committed suicide.