I cannot believe how cryptic this is! By good fortune 1999 it turned out that both “My Muse” and I were planning independently to go to Dublin for St Patricks day. It seemed the perfect place to meet up, give her her birthday present and complete what had remained unsaid for a whole year (she was still with her boyfriend but may be just desperation or a sense that it was ending made me change my approach). The issue of being in love without a word of it ever having been said remained and I believed that true love would never need to be spoken because a true flower is what it is whether you name it or not (to paraphrase less poetically Shakespere ;-). Thinking about this and having re-read the text it seems to remain true that, while impractical, a love which has been declared and officialised in words cannot be “true”… “I Love You“ is the greatest lie we ever speak because while we may be motivated to say such a thing by love such an utterance is not love and speaks of no such thing. Isn’t silence the true voice of love? Looking into a girl’s eyes, every time I know it is. Anyway I decided to break my silence but in silence so I wrote this as a follow up to the “Book of Seven Stories” the month before.
Even had she gone to Dublin I doubt in reflection she would have gone to the Ha’penny bridge at midnight as I remember being the meeting message – at least in this version of the play it is not obvious. On the plane over I read a letter that had arrived that morning explaining a change of plan – that was the end for me destiny had abandoned me and the heart ache was complete.
Also, I cannot believe how bad my dialogues are – this is a weakness I have to strengthen before I ever write for real. The rhyming couplets are quite juvenile as well; can’t remember what I was thinking. I knew nothing of iambic meters or anything and this is just a brute force attempt at copying Shakespere. Not too bad but misses the technical details. I only know this because I’ve come to tutor GCSE English this year (for which I got a U at o-level!!!) and have had to learn it ALL!
Kind of obvious but maybe cryptic names of Irish writers here: James Joyce, Oscar Wilde, Jonathan Swift, Yeats
Walk J.J., and read the streets, which boast
Names none more wilde and swift
Than when they ask whY he eats:
p.s. bridges = passage over water. Water = emotions, time, mortality, difficulty, separation. Meeting on a bridge is meeting between worlds and times… this is the kind of constellation of ideas I think I meant.
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That we mortals do become poised on the bridge of indecision,
Reflecting on the waters of our dreams and memories below,
Should carry no odds with the reading eye; for this is the bridge of Stories,
And o’er mighty Time it flow.
ACT 1
SCENE 1 – Unlit room in early morning.
Ris. Oh my dear Imia.
If only it were that my words were as lucid as the starlight in yonder frame,
Which o'er remoteness so great as to quake mere mortal mind,
Still she hath impressed mine eyes so certainly
With the impassioned song of that fervent heavenly creature.
If only it were that shadow's mischief I could tame:
Find these words that quell, naturally as spring-water on my lips
A channel in which to run, a dew upon morning gossamer come,
A freedom for the dove of a heart's intricate construction.
But alas, poor fortune! I strain against the hidden canvas
As the seas lapping waves do roll upon silence shores:
For I am before the meter of the world, and in that I am every man.
Damn these words which do taint me most horribly:
What foreign food can there be in my mouth, which
With such nourishment, poisons so sweetly?
Silence I hesitate not! You are a friend I have not recognised:
Yet now come the twist; today you ally with mine enemy!
Sorry-day it is when I am supposed at odds with brethren
Now that our country Atlar is torn by war.
Imia, there was no midnight toll in the land between Miou and Amindor -
Fickle time he serves only History -
And our ancestral quarrel is now our own
Come from the waters on which this world stands
To turn back the clocks and cast silence between lands
Now that words between friends means death.
Speak Silence! Why so forsake me?
Why leave me alone in this terrible night?
SCENE II – On wooden steps of a house.
Imia. Solis, Your cheerful gaiety this morning sweetens my sorrow
Each day, you rise and fall to be just as bold in the morrow
But your light today alas, has cast a fearful new shadow,
There are not one to pass through, but two skies for you now.
And it is as though your face is doubled
And your hidden light falls on memories troubled.
You remember once childhood days found Riswey's seat by my side:
We are still friends, and I know he still watches your mornings rise
And I am so happy that to another soon I am to be married;
But now I have a pained thought: A separation for life?
No sign in earthly form is there now between us
But we are free still to think of each:
And as friends? that they cannot deprive us:
Are yesterday's ways still within our reach?
Oh Riswey! No! Look! where have you gone?
Life! Life, blood and bone! They are one!
Land without war or bloodshed? There is none!
Love without flesh! It is words without breath - alone.
Now there is war between these lands
Silence fallen, no pen, command only your hands!
Animal! strain your sinews and muscular limbs
Life has always lived in the light of our sins.
How can you be gone my fool, if you were never here?
How do you think the separation of war, if you were never near?
ACT II
SCENE I – Meeting in suburban street.
Will. How now Riswey, why your wistful countenance?
Be cheery today for I did certainly spy spring dancing
Through the cherry blossoms and doves courting,
And my path along the daffodils of the green
Was checked by a hare -
Who had the most distinct air of madness,
And if pushed I would say the fair mademoiselle Roche
Had designs for your family name.
Ris. William why speak of marriage and public display,
Privately my heart is bleeding in such taught disarray.
And I would give the world, for me, this not to say
But I fear most horrid fate, that I have lost a friend today!
Will. Pray you do not bear ill news of Pierre or his battalions
Who have fought to see this very day.
And, you to be called to join the fight?
What greater honour could they pay.
Ris. William, Tell me: what is there in knowing?
When 'now' leaves? Knowing is king,
How pointless! such words befriend a thing.
As friend I know you, your name, your face
Know that we have shared both time and place.
Roll the die! see what changes
Before the words come the pages
Of a city of ten thousand stories.
We turn the corner, we turn the page.
I ask you, immediately, what colour the sky?
'Tis blue and no mistake. Now look with thy eye!
I would have the sky no other way
'Tis truly perfect as she looks today.
She is as a friend I know.
Will. Riswey thou art in love?
Ris. Beneath summer trees moss and grasses grow
To make tender cushion and soft pillow,
And on the meadow breeze sweet scents come
- O'er a brook absorbed in song, never sung -
To play kiss-chase with the leaves
Translucent, and glowing with summer sun;
As these, her face is radiant.
And where she stands the ground bows down
On golden sunbeams she walks without a sound
And as the night entwines the moon so curles her raven hair
Around a smile borne only by the spirits of the air,
And around her teeth silent snow-falls, even whiter
Each sound the first exquisite from beauties writer
And was the evening dew ever so soft as her lips,
Or her skin: rich partner to gold; complexion of petal;
And her nose of softest proportion most gentle:
Oh her eyes, in whose sparkle shines the cosmos
No less! she is a child of the stars
For she surely hath been blessed by the moon,
And where Amrit mere mortals rejoice even to touch
She has been bathed and upon it excess been drunk.
Like armies she has stormed the plains of my heart
But ne'er in grace would she and water nymphs be apart.
I remember, as always has its way, when days were young,
Upon desert beaches naked in the freedom of this sun
Caressed and chased by sea-forest scents and laughter tears
As we played under skies that burned out our years.
In words, never she speaks: and hear? I simply understand,
For I am happy to be by her side, for a moment her man.
Oh how I wish it to be yes: Do I speak of a friend?
But if no then apart we must stay, forever 'till the end.
Oh what cruel devices play with our hearts?
I once thought man were the wolf and love the child
Oh no! It is I who is scared and runs in the wild.
Love is a book we can't put down:
Freedom submit chained, whipped till you can utter no sound
Or hide as Love shakes the earth to which our mortal root is bound
And although Heaven be so close and in our grasp
What tragedy when it is death to which we clasp.
Now that there is war and death has finally come
Reason sees clearly my choice of Heaven or Freedom:
But choice is freedom! And Wo! Death you have already won.
Will. Riswey we are but actors in the Almighty’s design
We have no sway in our hearts fortune or rhyme
But I know what's best for you as for any man!
I am travelling with friends to an Island off Atlar's coast,
Where celebrate my people a great festival of good host.
For a week we can forget all that is here at home
Join us in an ancient land, my guest, you are welcome.
SCENE II – In a Park
Imia. Katrin, I am at a loss as to where she escapes winter,
But as though nature was only sleeping
She is out merrily busying herself today.
Like the morning that follows the virgin night
I swear she is with renewed vitality,
And so joyfully unashamed is she in her one intent.
Either Eros has spilled his store of arrows
Or whichever God breeds sobriety he is terribly drunk,
But from the trees around the croaking lakes
To the birds gathering twigs in the skies
Without ceremony, ever creature I would say
Was in love: nothing more simple or ordinary.
I am envious. If only it were so plain.
That nature chooses silence: that is her key!
But one wonders how any creature does know
That the amorous eye is upon them.
Katrin? Has Love ever declared himself to you?
Kat. By my own mouth Imia, I am not sure,
But through other's lips! More often than the Fall.
Imia. Then you believe in Love.
Kat. How empty a temple when the altar is gone
Or lifeless night-seas without moon above.
What is life without a heart?
And what be a heart without Love?
But to rashly answer so old a riddle I would be a fool.
Only the bravest may call themselves fools
And Love is certainly game for only the very bravest.
So send me folly 'till I make only sense and then I say:
I know not my love, but yes I believe in him.
Imia. And if I were to say your words had the ring of truth
Then the flutter of Apollo, for Eros I might mistake.
Let us rejoice that the greatest folly will never be sane
And in madness speak of things words do not forsake.
Kat. It has come to my ears that if we are careful
We can steal away from this war and join friends
In freedom on a misty island where it is said
The people pray for nothing but beer and love.
But we should be quick, for soon I hear there is a festival
And there I fancy Baccus, to be sure at his most majestical.
ACT III
SCENE I – On large ship
Kat. Imia! Come quick! Come brace the bow wind.
Is there nothing more ecstatic, more absorbing
Than in feeling the sea's course hands through ones hair
Feeling! I think fighting through one's clothes.
Liberty! I should become naked and give myself away,
My dolphin-body enter the foaming wake
Swim with love, a merman into the depths to make.
Imia. Katrin! Look! Is that the city to where we head,
That flock of twinkling stars descended to bed?
Oh how peaceful the land in that great valley
And the mountains watching around: serenity.
Already I smell the fires burning in the woodlands
And hear the drunken laughter in the streets
And the stories of strangers surrounding me
As the city breathes long to speak.
Stra- And no better place to hear stories.
-nger. Find a street whose secrets,
Do not die into the night -
But on the breath of a thousand tales:
Feel the Celtic spirit; its strength is here;
Tread well, and know ones foot print
Falls into those of five millennia or more.
In these ancient mountains the Gods have fought,
Here, upon these plains, kingdoms wrought;
Do you smell insurrections gunpowder?
See! a dark lonely gaol: Kilmainham 1916.
Into a candles light a man is thrown
To be married. At dawn a widow is sown –
He was fighting his last stand
In the post office of wide O’Connells Street.
See a 1000 years rise in Christ Church towers
And see the fallen castle, and Royal Crown Jewels
Gone to make a mystery still complete.
Walk J.J., and read the streets, which boast
Names none more wilde and swift
Than when they ask whY he eats:
But this be just the stage
So I bid thee ladies farewell,
To come write on this islands page.
SCENE II – Both dialogues concurrently in various separate streets.
Dialogue 1
Adam. The evening is running out!
What say we make haste to Temple Bar
Meet the others and there forget tomorrow!
Ris: Forget tomorrow?
I have forgotten today!
‘Tis the thirteenth, nay? The day we arrived
And already I feel in the cities sway.
Will: That’ll be the ale Riswey!
Ris: Speak for yourself!
If you think that’s us done for tonight
I proclaim to this city, I’m only begun!
Let me at it! Let me sacrifice myself in Temple Bar!
Adam: I can second that Hurrah!
I spy the lights of the Liffey Bridge
Watch out beer and women
In my pants I feel a twitch!
Will. Adam ! Have no fear, somewhere
There’s bound to be a toilet up here!
Adam. Amusant! Give this a try:
Your round quadruple whisky.
Ris: Go on ahead, mine’s a Stout:
Leave me here silent a moment
To stand upon this iron bridge
And watch the crescent moon
Sail her face upon the river.
That I might hear time, free
In this quite different land
To sing her midnight song.
Dialogue 2
Anna. I fear that Davey Byrne’s will come
To claim me tonight less we move on.
Let us find new sites,
New music, drink and men to merry ourselves!
Imia. I am drunk! and wish to dizzy myself
More! to the tireless jigs that
Flit and dance these city street;
Grafton Street we’ll take a gambolling stroll,
See what delights come and excite our soul!
Kat. Anytime! anywhere!
That is where we are!
Before that splendid custom house
Whose reflection admires it so;
I am a queen and this my Queendom.
My ladies, usher me along my river
That I may explore my freedom.
Anna. With what majesty my mind and that
bridge do greet
It looks as a place where strangers might meet,
Its crescent lights…
A necklace upon the night!
Till another day my Ha’penny bridge
Come girls to these streets, I care not which.
Kat: Where now Anna is Imia?
Imia: Riswey?