Scene—Before the Door of the Lions of the Cathedral of Toledo. At the right, the portal in front of which are a number of steps. In the foreground, an alley. There are two other alleys: one very narrow, but passable, leads obliquely past the church; the other, at the left, faces the scene, is wider and sloping. At the left, in the foreground, is a house beyond which is a street and a pyre for burning victims. It is near the close of day and the heavens are red with the glow of the setting sun. Two archers guard the pyre. Two others stand at the entrances of the alleys at the foot of the stage.

Scene One

DoÑa Rufina, DoÑa Syrena, Ramiro, Rioubos, Velasco, Ambrosio, Cristobol, Torillo, later Cleofas, people, monks, soldiers, women and children.

There are few persons in the scene, with the exception of some men conversing near the doors. A group of gentlemen, among them Cristobol, Velasco and Rioubos, enter from the alley at the foot of the scene and stop to look at the pyre. DoÑa Serafina, DoÑa Rufina and DoÑa Syrena, preceded by Ramiro, enter from the other alley at the same time that Don Ambrosio and DoÑa Fabia come out of the house at the left. Men, women and children are coming out of the Cathedral.

Ramiro. Here is the pyre!

DoÑa Rufina. They intend to burn her tonight, do they not?

Ramiro. In a short time, SeÑoras—have patience. I have seen them come out of the prison.

After examining the pyre, they join Fabia and Ambrosio in front of the house.

DoÑa Syrena. (To Ramiro) Is there anything new concerning Don Enrique?

Ramiro. Yes, good news!—His Lordship is free!

DoÑa Rufina and DoÑa Syrena. Ah! so much the better!

Ramiro. His Eminence has gone to carry the news to the king, leaving, as always, his business in secular hands—that is to say, leaving His Excellency, the Governor, the task of fulfilling the sentence:—for the Church will not spill blood!

DoÑa Syrena. Where is Don Enrique?

Ramiro. At this moment, I do not know. (Cleofas comes out of the church with two persons, who salute him and bow.) Here is Cleofas coming out of the church. He will tell you. (He calls.) Master Cleofas!

Cleofas. Ah! at your service! (He approaches.) Charming ladies!——

DoÑa Rufina. We were speaking of Don Enrique.

DoÑa Syrena. Saved, by the grace of God!

Ambrosio. Was he released without punishment?

The young men form in groups round Cleofas and the others in the foreground at the left.

Cleofas. Pardoned!—This evening he will enter the Franciscan cloisters to do penance for three months. He will live on bread and water, wear hair-cloth and sleep on cinders.

DoÑa Rufina. That is a jolly honeymoon!

DoÑa Fabia. And what does his young wife say?

Cleofas. DoÑa Joana?

DoÑa Fabia and DoÑa Rufina. Yes.

Cleofas. She says nothing! Since yesterday she has been in such a deep sleep that they cannot awaken her.

All. (Turning) Since yesterday! Is that possible!

Cleofas. His Excellency, the Governor, was rejoicing this morning because his daughter knew nothing of what had happened during the night. But they are now very much concerned. She had these sleeps in the convent. But this is a longer sleep than the others, they say. Cleofas is the only one to work over her.

All. Naturally.

Cleofas. Naturally!—I cannot make her show a sign of awakening.

All. Ah!

Cleofas. Pinchings, prickings! I have tried everything except the red-hot iron, to which His Excellency objects! Pain has vanished! As the Mooress has bewitched the poor child, my art is ineffective. I have advised the only effective remedy: exorcism in the same church, before the highest altar. (They hear the chants of young girls.) His Excellency and Don Enrique have had the patient carried into it—and they are praying that the demon which possesses her will be chased away. Master Oliveira, whom I left there, will be likely to profit and become an exorciser himself.

He salutes and takes leave.

DoÑa Rufina. And you are going?

DoÑa Syrena. Without seeing them burn the Sorceress?

Cleofas. Pooh! I have seen such things as those so often that I no longer find them tasteful.

He leaves by the alley at the right. The others, grouped at the left, look at Don Enrique, who comes out of the church and slowly descends the steps.

Scene Two

The same, without Cleofas. Don Enrique, Ramiro, Torillo

Enrique. (Calling Ramiro, who is giving some orders to his archers) Ramiro!

Ramiro. (Turning and quickly going to him) Ah! my lord! What a relief your deliverance is to those who love you! (He kisses his hand.) And what joy you, yourself, must feel!

Enrique. I am very sad, Ramiro, at the sight of the pyre.

Ramiro. Has Your Honor not come to await the arrival of this creature?

Enrique. Guilty as she is, I have loved her too well not to pity her. Tell Torillo to come here and consult with me. (Ramiro speaks in a low tone to Torillo. The songs in the church cease, Ramiro goes to the archers. Torilla goes to Enrique in the foreground.) Are you the person who compels the condemned ones to mount the pyres?

Torillo. Yes, my lord, and I also light the fires.

Enrique. How can you sleep after doing such work?

Torillo. From habit.

Enrique. You often save the victims from the horror of being burned alive, do you not?

Torillo. Yes, when the Holy Tribunal gives orders to strangle them and attach them to the stake!

Enrique. You have not received such an order for her?

Torillo. No, my lord.

Enrique. They tell me that the parents or friends of the condemned frequently ask such a favor of you?

Torillo. It is true, my lord.

Enrique. And do you consent to give it?

Torillo. For charity.

Enrique. And for your own advantage, also?

Torillo. Those are my little profits.

Enrique. That must be done for her.—What price have you set upon such concessions?

Torillo. I shall leave that to the judgment of Your Grace. But, being an honest man, I must tell you that a similar request has been made.

Enrique. By whom?

Torillo. By a woman-servant, she told me, in the service of the condemned.

Enrique. Aisha?

Torillo. I do not know.

Enrique. Has she paid you?

Torillo. She has given me ten ducats for agreeing to give to the Mooress a little waxen pill the instant that I untie her hands for public penance.

Enrique. Yes! yes! I understand!—You have consented?

Torillo. I promised without fully deciding to do so! But, now that Your Grace desires it also——

Enrique. Ah! God, yes!—and you shall have a thousand ducats tomorrow!

Torillo. The bargain is concluded, seÑor.

He turns to go.

Enrique. (Detaining him with a gesture) But how can you prove to me that you will keep your promise?

Torillo. Because the victim will not utter a cry when I set fire to the pyre; if she restrains then she is dead.

Enrique. If she is unable to utter a cry, or a groan, I will double the sum.

Torillo. The bargain is settled, my lord.

He salutes and goes away. Enrique turns to enter the church. Bells begin to toll. The assistants go to the foot of the stage to await the arrival of the procession. In the distance are heard sounds of the mob preceding the condemned.

Enrique. (With eyes turned toward the upper street) Is that you, Oliveira?—DoÑa Joana?

Oliveira. The same all of the time. (The distant noises are approaching.) Here comes that unfortunate woman.

Enrique. Yes! it is she!—Ah, Oliveira, who could believe, if she had not confessed it herself, that this exquisite creature is a detestable magician?

Oliviera. (In a low voice) Oh! her confessions! (Enrique, surprised, turns and looks at him.) Don Enrique, you are a man who can rely on himself. When night comes, I shall leave Toledo for I have much to fear because I have expressed myself too frankly concerning this poor woman, who is no more a sorceress than we are magicians, you and me!

Enrique. (Troubled) Is it possible!—But her confessions, her confessions?

Oliveira. They wrung them from her when they promised your freedom, her sorcery giving you an excuse.

Enrique. And when she cried to me: “It is false! It is false!”——

The sounds come nearer.

Oliveira. She, you see, had condemned herself to the stake!

Enrique. Oh! brute that I am!—I have not understood!

Oliveira. (Trying to calm him) Be careful! Enrique. Must I be a coward!—I could hack myself into pieces!

Oliveira. (Holding him) In God’s name, do nothing foolish! There remains one more chance for you.

Enrique. (Quickly) Joana?

Oliveira. Yes!—Be careful, or they will hear us!

At this instant the mob invades the place from all sides. The people are impatient and unruly and the archers rush in from the upper street, shouting, and restrain them. The cathedral door opens wide. Calabazas, Albornos, Ibarra and Molina come out, followed by other Franciscan and Dominican monks, who group themselves under the portal, while a funeral march is played on the organ. The bells continue to toll. Oliveira quickly leaves by one of the streets. Enrique crosses the scene and disappears in the crowd. The archers have great difficulty in keeping open a passage for the procession, which slowly enters from the upper street. The clamors of the mob are redoubled. Six archers of the Inquisition, dressed in black, lead the cortÉge, followed by six Franciscan monks carrying candles and murmuring prayers. Then appear two lantern-bearers, followed by a porter carrying a figure of Christ shaded by a small black dais, and Zoraya with hands tied and dressed in san-benito. Gil AndrÈs and his two assistants follow. Behind them come four Franciscan monks carrying torches. The archers and the monks arrange themselves at the left in the foreground. The lantern-bearers and the porter carrying the crucifix stop before the pyre. Zoraya, escorted by Gil AndrÈs and his aides, halts in front of the portal. While the procession is marching, the bells ring, the organ plays and the mob hurls insults at the condemned woman.

Scene Three

The same persons, Zoraya, Calabazas, Albornos, Ibarra, Molina, afterward Padilla.

At a gesture from Calabazas, Zoraya stops, the bells stop ringing, the mob becomes quiet. Indistinct organ music is heard.

Calabazas. (Standing at the head of the steps) Woman, the Inquisition has delivered you over for punishment to Toledo. Before you are purified by fire, make a public penance on your knees, torch in hand. (Torilla unties Zoraya’s hand.) And ask pardon for your crimes from God, from the Church and from the King.

Gil AndrÈs presents the torch to Zoraya.

Zoraya. (Spurning the torch) Ask pardon yourself, priest, for the crime which you are about to commit.

Murmurs from the crowd and the priests.

Calabazas. (To Gil AndrÈs) Do your duty!

When Gil AndrÈs and his men attempt to lead Zoraya away Enrique rushes into the scene. All stop instantly when Padilla, in the church, cries “Wait!” He enters.

Scene Four

The same persons, Padilla, Enrique

Padilla. (Coming quickly out of the church with Enrique) Stop! (The organ ceases to play. Songs of young girls are heard in the church.) Is it you, sorceress, who have plunged my daughter into this awful sleep from which even the prayers of the church cannot rouse her?

Zoraya. It is I! (Exclamations from the crowd.) And I alone can bring her out of it.

More exclamations from the crowd.

Padilla. Do it then, demon!

Zoraya. Obey you?—No!

Padilla. I will force you to do it!

Zoraya. You cannot burn me twice!

Padilla. Ah! wretch!

Zoraya. Like these monks you have had no pity for me! You added to my tortures by bringing my lover to hear me. Now, I will torture you by means of your daughter. Invoke these priests, ring your bells, swing your censers! Chant your canticles! She will awaken only at the sound of my voice! When my body is burned to ashes, she sleeps her last sleep.

Murmurs of indignation from the crowd. Zoraya makes a movement to go to the stake.

Padilla. (Descending the steps furiously) Seize her! (The gaolers move toward her.) No! Wait! (He motions them back.) Wait! (To Zoraya.) Ah! Wretch, I am at your mercy!—Is it a pardon and freedom that you want?

Zoraya. No! life would be only full of sorrow for me! I prefer death, which will give me an opportunity for revenge!

Enrique. (Standing between Zoraya and the pyre) No! No! Do not use her for revenge. And, in exchange for the life, which you will save, I give you mine—give him his daughter!

Zoraya. Ah! poor man, who implores of me a favor for this official—if you could know——

Enrique. (In a low voice) I know all!——

Zoraya. (Looking into his eyes, trembling) Oh!

Enrique. (Tenderly) All!—And it is for the life of this innocent girl that I want your own—Zoraya!

Zoraya. (Moved by his accent) Ah! that word is enough!—This time I have recognized your voice!—Very well, if the governor promises to pardon me.

Padilla. Absolutely!

Zoraya. On your oath!

Mutterings from the crowd.

Padilla. Before God!

Louder mutterings.

Zoraya. I am ready!

Enrique. Come, then!

He turns to enter the church. The Inquisitors at the entrance bar his way.

Calabazas. The sorceress cannot cross the threshold of the church!

Padilla. Very well!—They can bring my child here!

Calabazas and the Inquisitors. Governor——

Padilla. I will be obeyed!

He starts for the doorway. Enrique rushes into the church. Calabazas and the other Inquisitors surround Padilla, while Zoraya removes her cloak.

Calabazas. Padilla!—Such a bargain with this woman!

Albornos. It is a compact with a demon!

Padilla. My daughter! I want my daughter!

Molina. Do you want her before going to Hell, yourself?

Padilla. If that is the price!—Give her to me!

Ibarra. There goes the salvation of your soul!

Padilla. The salvation of my daughter!

Calabazas. It were better that she should die!

Padilla. Ah! priests, you have no children! But the King is a father, he—he will understand me!

Four girls from the convent of Mercy come out of the church followed by two nuns, Enrique and Fatoum, conducting lackeys wearing Padilla’s livery, who carry a kind of easy chair in which Joana is sleeping under a mantle of rich material ornamented with white flowers. The chair is deposited at the foot of the steps. The crowd, murmuring with interest and curiosity, draws near. Far in the church women are singing a canticle. Profound silence follows. All the assistants go forward, stretching their necks to see the women of the first rank. The nuns, the young girls, and Fatoum and Padilla on their knees, are under the portal. To the right, at the entrance of the alley, are Aisha and Zaguir, who witnessed Zoraya’s arrival. Zoraya stands on the steps behind Joana and raises her face to the crowd. They see the young girl pale as death, her eyes closed. Enrique stands at the left, apart from the others.

Zoraya. (Putting her fingers on Joana’s eyelids, then upon her head) Joana! Joana! (Joana moves. Zoraya breathes on her forehead.) Awaken! (With authority.) I want you to!—(Joana moves with effort and opens her eyes. Murmurs from the assistants.) Arise!

With Zoraya’s aid Joana raises herself, puts her feet on the ground and stands. Clamors of admiration from the crowd. Joana looks about with surprise.

Joana. Where am I? (She sees Zoraya.) The Mooress!—Fatoum!—My sisters!

Padilla. Joana!

Joana. My father!

She throws herself into his arms. Exclamations from the crowd.

The People. A miracle! A miracle!

Calabazas. (Forcibly) Silence, people! (The crowd is intimidated.) No miracle is performed by Satan!

Padilla. (At the head of the steps) Go and thank God! (He places Joana in the hands of the nuns, who conduct her into the church. He turns to Zoraya.) Go in peace, Zoraya! And all of you let the Mooress depart. She is free! (To Ramiro.) Ramiro, see her safely home!

He enters the church followed by the Inquisitors. The organs intone the Te Deum. Enrique, under the portal, exchanges a look of farewell with Zoraya, who lingers, crossing to the alley. Before her, the crowd draws back in fright and spreads out at the entrance of the alley to let her pass. The monks quickly cross the scene and bar her egress. Zoraya turns to leave by the other street, but other monks quickly prevent her. All round her is a line of monks.

A Monk. Christians! are you going to let this daughter of Hell go free?

All. No! No!

They crowd upon Zoraya, who retreats toward the church. Enrique, who has seen the movement and heard the words, steps between her and the monks.

Enrique. Out of here, monks!—Make way!

The Monks. No! No! Seize the sorceress!

The Crowd. Upon the sorceress!

The departing crowd, stopped by the movements of the monks, makes a threatening circle, which advances upon Enrique and Zoraya, who retreat toward the portal of the church.

Enrique. You cowardly wretches!

He draws his sword, which checks them for an instant.

A Monk. Palacios! You will not go free a second time!

Enrique. Ramiro! Arias! My archers, help me!

Instead of responding to Enrique’s call for assistance, Ramiro, Arias and the archers join the crowd and shout.

All. (Encouraged by this move) To the stake! To the stake with the sorceress!

Zoraya. (Taking refuge above the steps of the church, then under the portal) They will kill you—Save yourself!

Enrique. (Covering his retreat, sword in hand) Go into the church!—into the church!

Zoraya runs to the closed door, which she shakes in vain.

Zoraya. Open! Open for us!

No response is heard except singing and organ music. The mob laughs.

The Crowd. (Howling and drawing nearer) Death!—to the death!

Enrique meanwhile, facing his assailants, finds himself on the steps. Zoraya is behind him.

Enrique. Ah! Infamous villains!

Ramiro. (Holding back the archers) My lord, we do not want to harm you, but give us that woman!

Enrique. No, ruffians!

The Crowd. To the death!

A Man in the Crowd. (To Torillo) Executioner, prepare your pyre. We shall burn the sorceress in spite of him!

The Crowd. Yes! Yes!

All turn to look at Torillo and the stake.

Zoraya. (Seeing no one looking at her and Enrique) Here they will kill both of us—Will you not save yourself?

Enrique. To me life among such brutes would be horrible!

Zoraya. Then a last kiss!—Give me your lips!——

She puts between her teeth the wax pill. Their lips join. Torillo appears at the pyre, torch in hand, amid shouts of approval from the crowd, which turns menacingly towards Zoraya and Enrique. Suddenly Enrique falls and rolls down the steps of the church, causing the mob to recoil with exclamations of astonishment.

Ramiro. (Seeing Zoraya, who has fallen, on her knees beside Enrique) To the stake with her! The sorceress still lives!

He starts toward her.

Zoraya. (Partly rising) Too late, wild beast!

She falls and dies.

All. To the stake with her body! To the stake!

(Curtain)