Bartolomé Román

Prec. (with emotion). Oh, I beseech thee!

If my obedience and blameless life,
If my humility and meek submission
In all things hitherto, can move in thee
One feeling of compassion: if thou art
Indeed my father, and canst trace in me
One look of her who bore me, or one tone
That doth remind thee of her, let it plead
In my behalf, who am a feeble girl,
Too feeble to resist, and do not force me
To wed that man! I am afraid of him!
I do not love him! On my knees I beg
thee

To use no violence, nor do in haste
What cannot be undone !

Cruz.
O child, child, child!
Thou has betrayed thy secret, as a bird
Betrays her nest, by striving to con-
ceal it.

I will not leave thee here in the great city

To be a grandee's mistress. Make thee ready

Το go with us; and until then remember
A watchful eye
is on thee. [Exit.
Prec.

Woe is me! I have a strange misgiving in my heart! But that one deed of charity I'll do, Befall what may; they cannot take that [Exit.

from me.

your eyes behold

In what angelic yet voluptuous shape The devil came to tempt Saint Anthony. mantle (Enter PRECIOSA, with a

thrown over her head. She advances slowly, in a modest halftimid attitude.)

Card. (aside). Oh, what a fair and ministering angel

Was lost to heaven when this sweet woman fell!

Prec. (kneeling before the ARCHBISHOP). have obeyed the order of your grace.

If I intrude upon your better hours,
I proffer this excuse, and here beseech
Your holy benediction.

Arch.

May God bless thee, And lead thee to a better life. Arise. Card. (aside). Her acts are modest and her words discreet!

I did not look for this! Come hither,

child.

Is thy name Preciosa?

The forest where we slept; and farther back,

As in a dream, or in some former life, Gardens and palace walls.

Arch. 'Tis the Alhambra, Under whose towers the Gipsy camp was pitched.

But the time wears; and we would see thee dance.

Prec. Your grace shall be obeyed. (She lays aside her mantilla.

The

music of the cachucha is played, and the dance begins. The ARCHBISHOP and the CARDINAL look on with gravity and an occasional frown; then make signs to each other; and, as the dance continues, become more and more excited; and at length rise from their seats, throw their caps in the air, and applaud vehemently as the scene closes.)

SCENE III.-The Prado. A long avenue of trees leading to the gate of Atocha. On the right the dome and spires of a convent. A fountain. Evening. DON CARLOS and HYPOLITO meeting.

But what of that?
Hyp.
I am that wretched man.
Don C. You mean to tell me yours
have risen empty?

Hyp. And amen! said my Cid Campeador. †

Don C. Pray, how much need you? Hyp. Some half dozen ounces. Which, with due interestDon C. (giving his purse). What, am I a Jew,

To put my moneys out at usury?
Here is my purse.

Hyp. Thank you. A pretty purse,
Made by the hand of some fair Madri-
leňa;
Perhaps a keepsake?

Don C. No; 'tis at your service. Hyp. Thank you again. Lie there,

good Chrysostom,

And with thy golden mouth remind me

Hyp.
Did I say she was?
The Roman Emperor Claudius had a
wife

Whose name was Messalina, as I think;
Valeria Messalina was her name.
But hist! 1 see him yonder through
the trees,

Walking as in a dream.
Don C.
He comes this way.
Hyp. It has been truly said by some
wise man,

That money, grief, and love cannot be hidden.

(Enter VICTORIAN in front.) Vict. Where'er thy step has passed is holy ground.

These groves are sacred! I behold thee walking

Under these shadowy trees, where we

To Paris for the ears of Oliver, Were nothing to him! Oh! hot-headed youth!

But come; we will not follow. Let us join

The crowd that pours into the Prado. There

We shall find merrier company; I see The Marialonzos and the Almavivas, And fifty fans, that beckon me already, [Exeunt.

SCENE IV.-PRECIOSA'S chamber. She is sitting, with a book in her hand, near a table, on which are flowers. A bird is singing in its cage. The COUNT OF LARA enters behind unperceived.