Out of the Wings

El gran galeoto (1881), José Echegaray y Eizaguirre

The Great Galeoto, translated by Gwynneth Dowling

CONVERSATION, Scene Two

Context:

Ernesto struggles with a play he is trying to write. The play’s protagonist is ‘everyone’. This points to the drama itself, in which it is ‘everyone’ – in the form of society’s gossip –which brings on tragedy for the characters.

Sample text

DON JULIAN:: So, what’re this play and the impish powers of inspiration doing to cause you such distress, my dear Ernesto?
ERNESTO:: It’s just that – when I first thought of it … pictured it in my head … the play had some weight, some body to it. But when it comes to shaping it and dressing up it in stage clothes, it becomes something strange … difficult … undramatic … impossible.
DON JULIAN:: Well, what’s impossible about it? Come on, tell me. I’m interested now. (He sits down on the sofa.)
ERNESTO:: What you’ve got to understand is that the protagonist, the one who makes the play work and sets things in motion. The one who causes the tragedy – the one who is caught up in this tragedy, feeds off it and enjoys it – can’t appear on stage.
DON JULIAN:: Is he that ugly? That bad? That disgusting?
ERNESTO:: It’s not that. Ugly certainly, but just like anybody else … like you or me. Bad, not really. Neither good nor bad. Not really disgusting either – I’m not such a cynic or misanthropic or so disillusioned with life that I would ever go so far as to say that.
DON JULIAN:: Well, what’s the problem then?
ERNESTO:: The problem is this, Don Julian. The protagonist we’re talking about won’t physically fit on stage.
DON JULIAN:: Mother of God, you come out with some things! You aren’t by any chance writing some sort of myth? With Titans?
ERNESTO:: They are indeed Titans. But modern ones.
DON JULIAN:: And in conclusion…?
ERNESTO:: ‘And in conclusion’… this person is … Everyone. That’s some conclusion!
DON JULIAN:: Everyone? Well, you’re right. ‘Everyone’ will not fit on stage. That’s an undisputable fact, proven many times over.
ERNESTO:: So you see, I was right.
DON JULIAN:: Not exactly. Everyone can be condensed into a few characters or types. I’m not an expert, but I hear that the great masters have done that on more than one occasion.
ERNESTO:: Yes, but in my case – I mean, in my play, that’s not possible.
DON JULIAN:: Why not?
ERNESTO:: For a lot of reasons that would take too long to explain. Especially at this time of night.
DON JULIAN:: Don’t worry about the time. Give me a few of them.
ERNESTO:: Look at it this way – each individual, each head that makes up the many-headed beast, this modern-day Titan that I’m calling ‘Everyone’, has a brief part to play in the drama. They might say one word and nothing more, give one look. Perhaps all they do is flash a smile, or appear at one point and then leave – all done without passion, or cruelty – just indifferently, absent-mindedly. Very often without a second thought.
DON JULIAN:: So?
ERNESTO:: So all that loose talk, the fleeting looks, the impassive smiles, all those little bits of gossip and slightly unpleasant comments …. All these … what we might call insignificant flashes of dramatic lighting – when focused on one point and on one family – are what lead to the fire and brimstone, the conflict and the suffering. If I represent the entirety of the people involved by a few stock types or symbolic characters, I’d have to share the actions out among them, whereas in reality they’re the actions of many, many people. It would be misleading – a few characters on stage who are unlikable because they’re so malicious; unbelievable because there’s no point to their malice. And also I’d run the risk of people thinking that I’m painting society as vicious, corrupt and cruel. When really I just want to show that not even the most insignificant actions are insignificant. They don’t just fade away – be that a good or bad thing. Because when some mysterious force in the universe puts them all together, they can have a huge impact.

Copyright

The above sample taken from the translation The Great Galeoto by Gwynneth Dowling is licensed under a Creative Commons License.

ACT ONE Scene Four

Context:

Julian has just offered Ernesto a secretarial position, which will allow the younger man to feel less of a burden on the couple. Julian leaves the room, and Ernesto continues to express his gratitude to Teodora. His words about leaving and moving out are misinterpreted by eavesdroppers who suspect that he wants Teodora to go with him.

Sample text

TEODORA, ERNESTO, DOÑA MERCEDES, DON SEVERO. These last two appear at the back of the stage and stop there before the living room door. The living room is dark, with only a bit of light coming from the balcony, which is where ERNESTO and TEODORA are heading.
ERNESTO:: You’re both angels!
TEODORA:: And you’re such a child! There’s no need for any more upset today.
ERNESTO:: Or ever.
MERCEDES: (In a low voice from behind the door.): It’s very dark!
DON SEVERO: (Similarly.): Let’s go, Mercedes.
MERCEDES: (Going through the door.): There’s no one here.
DON SEVERO: (Holding her back.): There’s someone here. (They both stand at the back, watching.)
ERNESTO:: Teodora, I will be eternally grateful for what you’ve both done for me. Please don’t misjudge my gloomy mood. I don’t like to make a show of love or appreciation. But I know how to love and hate in equal measure, and anyone who looks into my heart will find both.
MERCEDES: (To SEVERO.): What are they saying?
DON SEVERO:: Very strange things … I’m having trouble hearing.; TEODORA and ERNESTO continue to talk quietly on the balcony.
MERCEDES:: Why, that’s Ernesto!
DON SEVERO:: And her. That’s bound to be her.
MERCEDES:: Teodora.
DON SEVERO:: They’re up to their old tricks. Always together, give me strength! And their words … what did I expect?
MERCEDES:: You’re right. Let’s go, Severo, it’s a matter of principle now. Everyone’s saying that …
DON SEVERO: (Moving into the room.): I must speak honestly about this to Julian, this very day.
MERCEDES: (Gesturing to ERNESTO.): That man’s got some cheek.
DON SEVERO:: Heavens above, they both do! Him and her.
MERCEDES:: Disgraceful! She’s a silly little girl. I’ll take her in hand.
TEODORA: (From the balcony.): Another house? No. Move out? What an idea! Julian won’t allow it.
DON SEVERO: (To MERCEDES.): Nor will I, by God! (In a loud voice.) Hey, Teodora! Didn’t you see me? Is this how you greet your guests?
TEODORA: (Coming in from the balcony.): Don Severo, how nice to see you!
MERCEDES:: Aren’t we dining? Are we early?
TEODORA:: Mercedes!
MERCEDES:: Teodora.
DON SEVERO: (Aside.): Look at how she puts on a front! She’s some piece of work.

Copyright

The above sample taken from the translation The Great Galeoto by Gwynneth Dowling is licensed under a Creative Commons License.

The World and His Wife (1908), translated by Pedro Rozo

ACT ONE

Edition

Echegaray, José. 1908. The World and His Wife, trans. C.F. Nirdlinger. New York, Kennerley. Available online at http://www.archive.org/details/worldhiswife00nird [accessed January 2011] (Online Publication)

pp. 69-72

Context:

Teodora wants Captain Beaulieu to accompany the family to the opera Galeoto. In this scene, she and Ernesto outline the plot, which is strikingly similar to what is taking place in the play. Neither Captain Beaulieu nor this conversation appear in the original Spanish version – they were most likely added to inform American audiences of the importance of the Galeoto figure to what subsequently happens to Teodora and Ernesto.

Sample text

BEAULIEU:: Tell me – the opera tonight – in Spanish?
TEODORA:: Oh, no, the original – you know Italian?
BEAULIEU:: Not much – Vostra Eccelenza – and Bella Signorina – and, of course, Chianti and that sort of thing. What’s it about?
TEODORA:: Oh, no, that’ll spoil the surprise.
BEAULIEU:: Yes, but I’ll spoil your evening, with no end of questions – and have them hissing at our box.
TEODORA:: It’s the story of Francesca and Paolo.
BEAULIEU:: I’m lost again.
ERNESTO:: The same story as your English Launcelot and Guinevere.
BEAULIEU:: Oh, yes, I remember – never could spell their names right. But I don’t recall this ‘Galeoto’ Johnny!
TEODORA:: He’s in Dante’s story.
BEAULIEU:: The usual ‘other fellow’, eh? Sings tenor?
ERNESTO:: No, Galeoto is the go-between – the mischief-maker. He brings Francesca and Paolo the gossip of the court – the quips the jests and wanton rhymes that play about them. To each in turn, he tells the general report of the other’s love – meaning no harm, of course! Oh, no! And when they flout his story – he says: ‘Look about you! What does that side-glance mean, as you pass, the nudge – the grin – the shrug of shoulder – the flippant word thrown after?’ Little by little he has Francesco and Paolo seriously concerned – at first each for self, and then for each other!
TEODORA: (Lightly.): That’s the crux of the opera!
BEAULIEU: (Approvingly.): Pretty idea?
ERNESTO: (Continuing with more fervour.): In the end, you see a man and a woman, at first indifferent, thrown into each other’s arms, utterly despite themselves, by the subtle, insidious, fiendish power of trifles. The arch passion flaming up in souls that, unfanned by scandal, would have flickered on forever, harmlessly, innocently – ignorant of evil – except for ‘Galeoto’.
SEVERO:: Who, if the truth were known, only did his duty.
BEAULIEU:: Well, I call him a rotter. A perfect rotter! Sings bass, I’ll wager.
SEVERO: (Drily.): For all that, Captain, the world will always believe ‘where there’s smoke there’s fire’.
BEAULIEU:: Yes – but what the world takes for smoke is very often nothing but dust kicked up by a lot of busy-bodies.

Copyright

The above sample taken from the translation The World and His Wife (1908) by Pedro Rozo is licensed under a Creative Commons License.

ACT TWO

Edition

pp. 142-8

Context:

Teodora has gone to see Ernesto alone to insist he does not fight a duel on her behalf: that is her husband’s job. While she is there she has to hide, as once more her innocent encounter with Ernesto risks being interpreted as scandalous.

Sample text

TEODORA:

Still, I forbid it – you shall not fight it – for me!

ERNESTO:

For a woman then, any woman, held up to scorn – her name tossed from glass to glass – in a group of jeering ribalds – until every nook and corner echoed the insult – clear and insistent above the turmoil of a tipper’s brawl.

TEODORA: (Overwhelmed.)

Great God! Ernesto, was it like that?

ERNESTO: (With clenched fists and in tones of mingled horror and vengeance.)

Oh, Teodora, I only want the picture before me, when I face him!

TEODORA: (Recovering herself.)

But the world will know it is for me – they’ll ask why you defend my good name, and not Julian! And you should have thought of that, Ernesto, you should have avoided the quarrel.

ERNESTO: (Interrupting.)

I tried.

TEODORA: (Continuing.)

At any cost of pride – by any trick …

ERNESTO:

How I sought to avoid it – Beaulieu will tell you – till they threw it into my face – the insult.

TEODORA:

But it was meant for Julian – and me. You have no right – to take this quarrel on yourself. (As if to clinch the matter.) It would be – impertinence!

ERNESTO: (Horrified.)

Teodora!

TEODORA: (Proudly and almost coldly.)

It is Julian’s privilege – and his alone. It is for my husband – and none but him – to guard my good name.

[…]

There is a noise of knocking; then the voices again.

ERNESTO: (Listening.)

That can’t be they! (Goes to the door of the corridor.) It is here!

TEODORA:

Julian’s voice – it is! And Severo’s!

The noise is repeated, with the sound of a knob being turned. TEODORA and ERNESTO stand silent, bewildered. A voice is heard beyond the closed door, crying ‘Open – unbolt the door!’.

PEPITO: