For Love of the King: A Burmese Masque

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Wilde Oscar. For Love of the King: A Burmese Masque

ACT I

ACT II

ACT III

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The palace of the king of burmah. The scene is laid in the Hall of a Hundred Doors. In the distance can be seen the moat, the waiting elephants, and the peacocks promenading proudly in the blinding sunshine of late afternoon. The scene discovers king meng beng seated on a raised cushion sewn with rubies, under a canopy supported by four attendants, motionless as bronze figures. By his side is a betel-nut box, glittering with gems. On either side of him, but much lower down, are the two ambassadors of the king of ceylon, bearers of the King of Ceylon’s consent to the marriage of his only daughter to Meng Beng in two years’ time, men of grave, majestic mien, clad in flowing robes almost monastic in their white simplicity. They smoke gravely at the invitation of meng beng.

Round about are grouped the courtiers, the poonygees, and the kneeling servants, while in the background wait the dancing girls. Banners, propelled with a measured rhythm, create an agreeable breeze. On a great table of gold stand goblets of gold and heaped-up fruits. Everywhere will be observed the emblems of the Royal Peacock and the Sacred White Elephant. Burmese musical instruments sound an abrupt but charming discord. The poinsettias flower punctuates points of deepest colour from out of vases fashioned like the lotus. Orchids are everywhere. The indescribable scent of Burmah steals across the footlights. The glow, the colour, the sun-swept vista sweeps across the senses. the king claps his hands. The dancing girls, at the signal, advance. They are clad in dresses made of fish scales, which are fastened with diamonds and pale emeralds, to imitate the upthrown spray on the crest of a wave. The dance concluded, the cingalese ambassadors rise and prepare to take ceremonious leave of the king, who hands to them, through his vizier, his message to His Majesty of Ceylon, inscribed on palm leaves and enclosed in a bejewelled casket.

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the king expresses a desire for rest before starting by the Moon of Taboung 1 for the Pagoda of Golden Flowers.

Exit meng beng (C.), an alcove of satin hangings which commands a view of the great hall.

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