he bowl of fruits, the
punch-bowl, may represent the pool of water for Thyrsis; then,
taking the table by the two ends, they set it back against the wall,
right; next, while Corydon places the two pillows from the left wall
on the floor to represent rocks in their pasture, Thyrsis removes
from the table everything that is left on it except the
tablecloth,--this should be only Pierrot's wine-goblet and the flower
in its pot. (The flower is to represent later the poisonous weed
which Thyrsis finds, the wine-goblet a drinking-cup beside the pool,
the flower-pot a bowl in which to mix the poison and bring it to
Corydon.) The two shepherds do this setting of their stage swiftly
and silently, then seat themselves at once, in easy but beautiful
postures, and remain for a moment looking off as if at their sheep
while a complete silence settles over the stage and house,--a
_pastoral_ silence, if it is possible to suggest it--before they
begin to speak.

When Columbine comes in, looking for her hat, she picks up the hat
from her chair, now in the centre of the stage near the footlights,
in a direct line with Pierrot's, which is centre back, just in front
of Cothurnus,--the shepherds having set them in these positions, back
to back, in order to have their aid in weaving the wall. After
taking her hat, Columbine stands looking at the shepherds to see
what is going on. They do not look at her. After a moment Thyrsis,
slowly, with his eyes steadfastly on Corydon's, says, "Take it, and
go." When Columbine comes in in the final scene, she is wearing the
hat. She takes it off, however, as she sits down again at the table,
so that the second beginning of the play may recall as vividly as
possible to the audience the first beginning.

End of the Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay

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