The corsair; or, the little fairy at the bottom of the sea
Date: 2025-09-29T00:00:00+00:00
Keywords: Burlesques; English drama -- 19th century; Pantomime (Christmas entertainment)

The Project Gutenberg eBook of The corsair; or, the little fairy at the bottom of the sea

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The corsair; or, the little fairy at the bottom of the sea

A new Christmas burlesque and pantomime, founded upon the ballet of "Le corsair"

Author: William Brough

Release date: September 30, 2025 [eBook #76960]

Language: English

Original publication: New York: Samuel French, 1856

Other information and formats: www.gutenberg.org/ebooks/76960

Credits: Mairi and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK THE CORSAIR; OR, THE LITTLE FAIRY AT THE BOTTOM OF THE SEA ***

THE MINOR DRAMA.

The Acting Edition.

No. CXXXI.

THE CORSAIR;

OR, THE

LITTLE FAIRY AT THE BOTTOM OF THE SEA.

A New Christmas Burlesque and Pantomime,

Founded upon the Ballet of “Le Corsaire.”

BY WILLIAM BROUGH, ESQ.,

Author of Perdita, or the Royal Milkmaid, Prince Prettypet and the Butterfly, Trying It On, Phenomenon in a Smock-frock, A Comical Countess, &c., &c.

TO WHICH ARE ADDED

A description of the Costume—Cast of the Characters—Entrances and Exits—Relative Positions of the Performers on the Stage, and the whole of the Stage Business.

AS PERFORMED AT THE

PRINCIPAL ENGLISH AND AMERICAN THEATRES.

NEW YORK:

SAMUEL FRENCH,

122 Nassau Street; (Up Stairs.)

Cast of Characters.—[The Corsair.]

| Royal Lyceum, London, Dec. 26, 1856. | Wallack’s Theatre 1857.
Conrad, the Corsair, (“a notable Pirate and salt water Thief,” gloomy, misanthropical, ironical and Byronical,) | Mrs. A. Melion, LATE Miss Woolgar. | Mrs. John Wood.
Birbanto, (his Lieutenant—an Officer, but not a Gentleman,) | Mr. J. L. Toole. | Mr. John Wood.
Seyd (or Seedy) Pasha, (a terrible Turk,) | Mr. Barrett. | Mr. H. B. Phillips.
Syng Smaul, (a General Officer—Major-domo, Head Cook and Bottle-washer to the Pasha,) | Mr. Holston. | Mr. Holmes.
Yussuf, (in his own country Joseph—or familiarly, Old Joe—a renegade Slave Merchant,) | Mr. S. Calharm. | Mr. Peters.
Hassan, (a Boatswain,) | Miss Goward. |
Medora, (a Grecian Maiden, Niece and Ward to Yussuf—a sacred pledge intrusted to her uncle,) | Mrs. C. Dillon. | Miss J. Manners.

Gulnare, (the reigning Beauty of the Pasha’s Harem, his favorite, and most other people’s, it is hoped—including the audience,)

Mrs. B. White.

Mrs. Vernon.

Zuliema, (a “light of other days” a little “faded,”) | Mrs. C. Melville. | Mrs. Cook.

Submarina, (the Fairy guardian of the Deep, Deep Sea, Chief Inspector of the Ocean Police, and Deputy Ruler of the Waves,)

Miss J. Ryder.

Mrs. H. B. Phillips.

Serena, (the Little Fairy at the bottom of the Sea,) | Mrs. M. Wilton. | Miss Emily Milton.
Corsairs, Slaves, Odalisques, Almas, Water Nymphs, Fairies, Guards, Attendants, &c.

THE CORSAIR.

Scene I

SCENE I.—Marine Aquarium, or Naiad’s Coralline Temple—Water Spirits discovered sleeping in shells; Tritons come in and arouse them, by sounding their conches; Spirits rise and dance; a coral grotto rises, having in it Submarina, Coralia, Azurina, Tempestia, &c.

Sub.Friends, mermaids, sprites and guardians of the sea,

Leave off your dancing and attend to me;

This is a public meeting, not a ball;

Here come, I’ll take the chair—now silence, all.

All.Hear! hear!

Sub. [C.]Hear! hear!Do let me speak, I say, once more—

Friends, sprites and guardians,

Cor.Friends, sprites and guardians,That you said before.

Sub.Another interruption of this sort,

And I’ll—

Cor. [R. C.]And I’ll—Well, well, go on—but cut it short;

Sub.Friends, sprites, et cetera—We’ve assembled thus,

The state of our dominions to discuss;

Each day we read, in the Subaqueous Times,

Of murders, robberies, and other crimes,

Daily committed with impunity,

In open day—upon the open sea—

Till none are safe who roam the ocean o’er.

Cor.They’re just as safe as if they stayed on shore;

There, too, I’m told, you’ll find on the increase—

Burglaries—robberies—but not police.

Sub.Pray, what’s the shore to you—

Cor.Pray, what’s the shore to you—I but to tell ye meant.

Sub.Pooh! pooh! on land we’re quite out of our element;

What we’ve to do, is to find out some plan

To rid the ocean of that bad young man,

Conrad the Corsair.—None can safety gain

Until, like gas, he’s turned off from the main;

At all attempts to do so, he has laughed,

While his great cunning saves his little craft;

All commerce doth he from the waters sweep—

Cleans out the simple ones and scours the deep;

None cross the seas thro’ fear of this vile rover—

Their spirits fail, ere they get half seas over—

In short, unless mankind from him we save,

There’ll soon be no life on the ocean wave.

Cor.What shall we do, in his career to check him—

Azurina.Hang him!

Sub.Hang him!Can’t catch him.

Tempestia.Hang him!Can’t catch him.Raise a storm and wreck him.

Sub.A good idea, most reckless of all men;

His ship destroyed, he’ll not be wreckless then.

About it straight.

Music.—Serena rises through trap, L. C.

Serena.About it straight.One moment hear me, pray.

Sub.A motion, an arrest of judgment, eh!

Serena.Not only that, but one for a new trial.

Sub.Nay—his guilt’s plain.

Serena.Nay—his guilt’s plain.Too plain for my denial.

But ’stead of punishing, could we reclaim him—

Sub.Can you reclaim a tiger?

Serena.Can you reclaim a tiger?You can tame him!

Let me attempt the task.

Cor.Let me attempt the task.Nay, have a care,

We don’t want Conrad made a tame affair.

Sub.Say by what potent magic will you try?

Serena.One which the rudest breast can purify—

Lifting the soul all meaner thoughts above—

The magic influence of woman’s love.

Cor.Ho! ho! I see—the Corsair’s handsome face

And figure, eh?

Azurina.And figure, eh?A most decided case.

Cor.You’re smitten, miss.

Serena.You’re smitten, miss.I scorn the imputation;

I am a fairy, and I know my station!

Sub.No quarreling—I own your plan seems strange;

Think you that love can work this mighty change?

Serena.Madam, I’ve heard of fast young men on town,

Desperate dogs, by marriage settled down—

Men, who for years would not go home till morning,

Found the domestic tea-table adorning;

Smokers, I’ve heard, have put their pipes out—nay

I’ve even heard of latch-keys thrown away.

Can love do this, and yet be unavailing,

To cure a paltry pirate’s little failing?

Let Conrad only get a loving wife,

And, on my word, he’ll lead another life.

Sub.Enough—we’ll try your plan.

Serena.Enough—we’ll try your plan.I ask no more,

Than leave of absence for a month on shore—

If, ere that time be passed, I don’t succeed,

Then wreck him, or whate’er you please—

Sub.Then wreck him, or whate’er you please—Agreed!

[Music.—The Spirits form a group, and Serena is seen darting up towards the earth as the scene closes.

Scene II

SCENE II.—Market Place in Stamboul, and Oriental Slave Bazaar.

Cheering outside.—Enter Corsairs, L.

1st Cors.Come lads, our Captain’s given us a holiday

On shore to-day, and so let’s have a jolly day—

We’ve been of late so close to business sticking,

We want some change.

2d Cors.We want some change.Let’s try some pocket-picking—

1st Cors.You’d find small change in that—

2d Cors.You’d find small change in that—Yes, ’twould be strange,

In people’s pockets not to find small change.

3d Cors.But see, our noble Captain comes this way—

1st Cors.Three cheers for Conrad—Hip, hip, hip, hurray!

Enter Conrad, L.

Conrad.There, that’ll do—Hip, hip, indeed—what stuff—

As if I’m not already hipped enough.

[Crosses R.

1st Cors.Cheer up, my hearty—

Conrad.Cheer up, my hearty—Man! I’m not your hearty,

And to cheer up, I’m not at all the party.

1st Cors.Why is great Conrad ever sad?

Conrad.Why is great Conrad ever sad?Ah, why?

Who can explain this secret grief; not I—

That secret kept so dark, none e’er saw through it—

I don’t believe that even Byron knew it.

[Crosses, L.

Go, go, poor giddy things, employ your leisure,

In seeking what the thoughtless world calls pleasure.

1st Cors.Say, is there aught you’d like, that we can bring,

To soothe your grief—

Conrad. [L.]Tosootheyourgrief——I don’t like anything;

The gloomy spirit in this aching breast,

Despises most things, and can’t bear the rest;

Deems happiness an empty sound, no more;

The world a humbug—life itself a bore—

There’s nothing in it! Leave me.

[They are going.

There’s nothing in it! Leave me.Tell me, though,

Hast seen Birbanto our lieutenant?

1st Cors.Hast seen Birbanto our lieutenant?No.

[Exeunt, R.

Enter Birbanto, L.

Birb.Behold him, here! What would great Conrad—Eh?

Anything wanted in my little way?

[Drawing his dagger.

If so, just give your orders and it’s done—

From pitch and toss to manslaughter, all’s one.

Conrad.Thou art the best o’ the cut-throats—

Birb.Thou art the best o’ the cut-throats—I’m no bragger,

But, I must say, I’m not bad at a dagger,

I’ve one to serve you with in any way,

[Aside.] And serve you out with, too, I hope, some day.

Conrad.You’re very kind.

Birb.You’re very kind.But pardon the suggestion—

My dagger’s point was not the point in question.

You asked for me—

Conrad.You asked for me—I might have done. Heigho!

Birb.Pooh! try some drink—you’re several cups too low.

Conrad.Nay, I have tried—I drained a flask this minute⸺

Birb.Well, when you’d drained it?

Conrad.Well, when you’d drained it?There was nothing in it.

All things I’ve tried, but they bring no relief

To the used-up, bored, blase pirate chief.

Travel I’ve tried, from place to place still dodging,

You’ll find me bored where’er you find me lodging.

The stormy waves no change to me afford,

For if I’m shipwrecked, still I’m overboard;

I’ve sought excitement east, west, north, and south,

In battle-strife—e’en at the cannon’s mouth,

But all in vain: amid the battle’s roar,

I found the cannon’s mouth was but a bore!

Enough of this.

Birb. [Aside.]Enough of this.Too much for me to stand;

A pretty fellow to command our band.

Oh, I should like to⸺

[Raises dagger; Conrad turns round; Birbanto

bows after the approved style of melodrama.

Conrad.Oh, I should like to⸺Where’s my galley?

Birb. [Pointing off R.]Oh, I should like to⸺Where’s my galley?Sir,

The galley’s there—that buoy’s attached to her.

Conrad.Keep her in readiness to sail to-night,

In case of accidents. D’ye hear?

[Same business with the dagger.

Birb. [Bowing.]In case of accidents. D’ye hear?All right!

[Exit Conrad, R.

It shall be so. We’ve stood him long enough—

A spoony, pining, sentimental muff;

He’s not at all my notion of a Corsair—

I like black worsted curls and beard of horsehair;

The good old heavy style of melodram,

More like the individual I am.

Yet the band love him. Well, it is but right

To own he is the very deuce to fight,

When he begins. No matter! we shall see

Which they prefer to lead them—him or me!

To sound them on the point, at once I go forth.

[Shaking his fist towards where Conrad has gone off.

Tremble! Despair! Ha, ha! Revenge! and so forth!

Song.—Birbanto.—Air, “Dusty Bob’s Hornpipe.”

Scruples, lie down—for in guilt I’m dyed so deep already;

Harder ’twould be to go back than to proceed.

After the scores that this dagger’s sent to sleep already

Why should I pause at one other little deed?

Tremble, proud Conrad—a foe you don’t expect in me;

Tremble—despair—as, I think, I said before.

You once removed—as their leader—they electing me—

Crown all the hopes that so long I’ve pondered o’er.

Let them consent, and but once transfer the rule to me,

I’d show them how they their work should go about;

A ticket-of-leave man himself would be a fool to me;

Garotters confess that I beat ’em out and out.

Robbing, attacking all—plundering, whacking all—

I get the lion’s share, of course, of all the dibs;

If they’ll fall in with it, now I’ll begin with it,

Sticking at nothing except our leader’s ribs.

[Exit R.

Enter a number of female Slaves, followed by Yussuf, L.

Yussuf.Now then, you tarnal critters, look alive.

I have had many lots of slaves to drive,

Of all sorts and complexions—black, white, and red;

You whip them all—from Uncle Tom to Dred!

Come, look alive, I tell you. Take your places,

None of your airs—but plenty of your graces.

Be careful of your smiles, and mind your eyes;

It’s market-day, remember. Come, who buys?

March.—Enter Pasha, Syng Smaul, and Guards, R.

Pasha.Halt! curs!

Syng.Halt! curs!Halt, curs—d’ye hear?

Pasha.Halt! curs!Halt, curs—d’ye hear?Of course they hear.

Syng. [L.]

Great Pasha!

Pasha.Great Pasha!Slave, who bid you interfere?

Syng.I’m dumb.

Yussuf. [R.]I’m dumb.Great Brother of the Sun and Moon,

How do you find yourself, this afternoon?

Pasha. [C.]

We thank thee, dog, we’re pretty well.

Syng.We thank thee, dog, we’re pretty well.Rejoice!

Let all the earth raise high its joyful voice;

All care and grief from every heart abolish,

Our mighty Pasha, feels himself tol-lol-ish.

Shout all of you.

[All shout.

Pasha. [Striking him.]

Shout all of you.Be quiet—

Syn. [Striking another.]Shout all of you.Be quiet—Slaves, be dumb.

How dare you make this row—

Pasha.How dare you make this row—But business—come—

What hast thou got to sell, dog?

Yussuf.What hast thou got to sell, dog?Sire, I deem

These here Circassians, the Circassian cream

Of excellence, in all points—figures—faces—

Trot out, you critters, come, and show your paces.

Music.—The Slaves dance out one by one, and pass before the Pasha.

Pasha. [Looking at them one by one.]

Too dark! too fair! too red! too short! too tall!

Too lean! too fat! pooh! pooh! won’t do at all.

Hast thou no others, pig?

Yussuf.Hast thou no others, pig?No, sire; you see

My wholesale merchant disappointed me;

I’ve ordered in some beauties.

Pasha.I’ve ordered in some beauties.Reptile, peace!

Who’s this?

Yussuf.Who’s this?That, sire? Medora, my young niece.

Enter Medora, dancing, L.

There, that’ll do—just cut these capers—stop!

Must I for ever catch you on the hop?

Medora.Nay, be not angry, uncle—

Yussuf.Nay, be not angry, uncle—Then stand still!

Medora.With pleasure, if it pleases you, I will;

But I’m so happy—feel my heart so light;

The air’s so balmy, and the sun so bright.

The gladness that’s inspired by all around,

Finds vent in jumps, because it knows no bound.

Pasha.She’ll do! Come hither, dog, a word with you.

[Yussuf approaches, they whisper, L. C.

Medora. [Uneasy.]

What’s that dark stranger, whispering?

Pasha.What’s that dark stranger, whispering?Pooh! pooh!

Yussuf.But, sire, to sell one’s niece, like any nigger!

’Possums and rattlesnakes! Say what’s the figure?

Pasha. [L.C.]

Name your own price.

Yussuf. [L.]Name your own price.My niece—so good, so true—

So dear to me. Well, she’ll be dear to you,

What say you to one thousand chequeens?

Pasha.What say you to one thousand chequeens?Done.

Yussuf. [Aside.]

I wish I’d ask’d him five, instead of one.

Medora.What strange presentiment of woe comes o’er me?

Pasha.Conduct her home.

Syng.Conduct her home.Fair slave, just march before me!

Medora.Slave! knave! behave! I am no slave—I’m free!

You are deceived;

Syng.You are deceived;Nay, you are sold—not me;

Medora.I sold! Who’d dare to sell me?

Syng.I sold! Who’d dare to sell me?Can’t you guess—

Medora.Oh, my prophetic soul! my uncle—

Yussuf.Oh, my prophetic soul! my uncle—Yes;

I’m very sorry, but—

Medora.I’m very sorry, but—You sorry—stuff!

Yussuf.I guess I am. [Aside.] I didn’t charge enough.

Medora. [To Pasha.]

I am no slave, good sir, I’m free—then please ye,

To calm my fears, and make me free and easy.

Yussuf.There! don’t orationize the case about.

Medora.If you’re my uncle, you will let me spout.

Pasha.No words—you are my slave.

[Seizes her.

Medora.No words—you are my slave.Help! help!

Enter Conrad, R.

Conrad.No words—you are my slave.Help! help!How now?

Some work for me it seems; I like a row.

[Draws sword.

Villains!

Pasha.Villains!Holloa!

Medora.Villains!Holloa!Sir, save me if you can—

Conrad.Yes, I’ll see fair; I’m a sea-faring man;

And on the stage no sailor can do less,

Than rescue lovely women in distress:

And so here goes.

[Throws Syng Smaul across to R.—Tableau.

Pasha.And so here goes.Guards, hew him limb from limb!

Medora.No, mercy! take my life, but pardon him.

Conrad.Pooh! pooh! fair maid, let them come on—they dare not;

Come—the whole lot of you at once—I care not.

Song.—Conrad.—Air, “La tremenda ultrice Spada.”

Ten to one, now come on to the attack, sirs,

Were it ten times ten I’d not yield, sirs,

What’s the odds, I myself still back, sirs,

Ten to one on the favorite ’gainst the field.

Ten to one—who says done?—still no takers,

Ten to one—you, my friends, are quakers,

Ten to one—you’ll say done in a crack, sirs.

When my name and my address I have revealed.

Yussuf. [R.]

Go at him—all at once.

[Guards rush forward.

Conrad.Go at him—all at once.Stay! by-the-bye,

You’d like to know, p’rhaps, who I am?

Pasha.You’d like to know, p’rhaps, who I am?Not I!

Conrad.Well, mind you, I can fight—I give you warning.

Medora.Who can it be, these fearful odds thus scorning?

Pasha.My guards are ready.

Medora.My guards are ready.Stay—your name avow!

Conrad.Conrad the Corsair!

[Guards shrink away.

Conrad the Corsair!Are they ready now?

Yussuf.Jerusalem!

[Exit, R., followed by the Girls.

Pasha.Jerusalem!The Corsair! murder! fire!

[Runs out, followed by Guards, L.

Conrad. [L.]

Fair maid, you’re safe—permit me to retire.

Medora. [R.]

Nay, fly not yet, or else let me fly too,

I’m not safe here—they’ll soon return.

Conrad.I’m not safe here—they’ll soon return.That’s true,

And doubtless, though the case I’ve yet to learn,

You’ll get small profit by their quick return;

But still to come with me⸺

Medora.But still to come with me⸺Oh, take me hence!

I will not put you to the least expense;

I’ll work my passage out—wash, cook, bake, brew for you.

Will be your slave, and regularly do for you.

Conrad. [Aside.]

I fear you would, if long at you I looked,

And my own goose be the first thing you cooked.

[Aloud.] But think upon the dangers of the sea.

Medora.Those dangers have no terrors, sir, for me.

Conrad.A common boast—the would-be yachting man,

Who talked so bravely ere the trip began,

I have seen rush, at the first lurch, to leeward,

His boasting sunk in one faint cry of “steward.”

Medora.Fear not my courage; take me with you, do.

Conrad.I’ve half a mind.

Medora.I’ve half a mind.I should be safe with you;

But if left here alone, then should I be

Alone without the least security.

Conrad.Enough! it shall be so—your words prevail.

The best security is power of sail;

So, to set sail at once must be our plan,

The crew may follow the best way they can.

Song.—Conrad.—Air, “My Skiff is by the Shore.”

My skiff is on the shore, she manned must be,

By one little boy, yourself, and me;

Can I call it manned, though, when of the three,

One is a small boy, and another a she.

One is a small boy, and another a she.Fa, la, la, &c.

My skiff is on the shore—then come with me,

Since here with you ’twould be all U P.

[Medora dances to chorus—exeunt, L.

Serena rises from trap, R. C.

Serena.So far, so good! my plans are working nicely;

That’s just the sort of girl he wants precisely,

Modest, sportive, happy, kind, affectionate;

With heart as light as a cheap grocer’s weight.

He’s half in love as ’tis—but to make sure,

All sorts of dangers they shall first endure;

For true love’s course, in palace, cottage, booth,

Like omnibuses, never yet ran smooth;

And of all plans to win a man’s affection,

The surest is, to trust him for protection.

To aid my plans, first, shipwrecked he shall be;

When the ship sinks, all must go swimmingly—

To raise the wind, at once the seas I’ll cross,

And set the waves all playing pitch and toss.

Song.—Serena.—Air, “Over the Sea.”

Over the sea!—now will I flee—

Mind, it’s a secret between you and me;

Soon you will see—don’t say ’twas me—

Somebody coming it strong!

Even March! March! March!

With his winds and rough weather,

Such storm ne’er could gather:

Old March! March! March!

Shall confess himself beaten ere long.

It’s over the sea! Over the sea!

Like Mother Carey’s bird now will I flee—

Over the sea! Over the sea!

Raising the wind pretty strong.

[Exit R.

Scene III

SCENE III.—A Storm at Sea, with the wreck of the Golden Mary.

Conrad’s vessel discovered, surrounded by the raging waters. Conrad, Medora and Sailor, discovered on the deck.

Conrad.Courage, Medora, all will yet be well;

I s’pose you ne’er saw such a heavy swell?

Cheer up! you’re pale—you must be ill, I’m thinking?

Medora.No, no! I only feel a little sinking.

[Noise of ship striking.

Hark! the ship’s striking—we are lost!

Conrad.Hark! the ship’s striking—we are lost!Pooh! pooh!

Who cares, if the effect is striking too,

If with the public we go down to-night!

Medora.She sinks! we’re going down!

Conrad.She sinks! we’re going down!We are? All right!

[Ship sinks. Scene closes.

Scene IV

SCENE IV.—The Pirate’s Home.—A large arch in C., with curtains closed. Music.

Enter Birbanto and Yussuf, stealthily, L.

Yussuf. [L.]

Say, stranger.

Birb. [R.]Say, stranger.Hush! don’t speak,—don’t breathe—don’t wink!

Yussuf.All slick, old coon, we see’d the critter sink

In last night’s storm.

Birb.In last night’s storm.He’s saved tho’, I’ll be bound;

Men born for his fate, never can be drowned.

Yussuf.How was it we escaped?

Birb.How was it we escaped?Because, you see,

We were not born for drowning more than he.

But come, to business! where’s the cash? fork out!

Yussuf.I’d rather have the gal back, first.

Birb.I’d rather have the gal back, first.No doubt.

Yussuf.I’ll liquidate, safe as the bank.

Birb.I’ll liquidate, safe as the bank.Just so;

But then banks are not always safe, you know.

No trust.

Yussuf. [Gives money.]

Well, there. Now, how d’ye mean to fix him?

Birb.A sleeping draught I’ll go at once and mix him,

So strong, that if his food in it you steep,

You’d even catch a weasel fast asleep.

Yussuf.I see. So then, when he this potion drinking,

Goes off like nodding, we go off like winking,

And take the gal.

Birb. [Aside.]And take the A rash step, p’raps, I’ve taken;

I’d take a rasher, could I save my bacon,

And settle him at once, clean out of hand,

But that I fear the vengeance of the band.

No matter, time will come. Hah! hah!

Yussuf.No matter, time will come. Hah! hah!I say.

Birb.I beg your pardon. Come—away! away!

[Exit melo-dramatically, followed by Yussuf, R.

Music.—The curtains in the arch, C., are raised, and discover Conrad reclining on a couch of tiger skins, smoking a chibouque, Medora seated at his feet.

Conrad.And so your uncle sold you into slavery?

The monster!

Medora.The monster!Had it not been for your bravery⸺

Conrad.There, that’s enough; these fervent thanks withhold.

Medora.Say, are you sure you haven’t caught a cold,

Last night when struggling with the waves so cruel?

Do let me make you just one drop of gruel.

[Rises.

Conrad.A pirate taking gruel! doubtless you

Would like my feet put in hot water, too?

Medora.I should, ’twould do you good.

Conrad.I should, ’twould do you good.And I suppose

You’d further counsel tallowing my nose?

Medora.’Twould be as well. Nay, come, from laughing cease;

Were you a patriot, you’d stick up for grease.

Conrad.Her care for me is really charming! Come,

Sit down, Medora—make yourself at home.

Medora.Nay, I’m your slave.

Conrad. [Aside.]Nay, I’m your slave.My love for her gets stronger.

Medora.Your waiting maid.

Conrad.Your waiting maid.Nay, you shall wait no longer.

[He rises; she dances away coquettishly, he following—

Conrad sings to music of dance.

Air.—“The Fan Dance.” (Spanish.)

Sweetest, your charms have restored me,

All once bored me—ennui floored me.

Oh, my heart now you’ve fill’d with gladness,

Away have you chased its sadness!

Medora, oh! don’t say me no.

Say you’ll be mine—then pray do, love!

For ’tis you, love, are my true love;

Oh! don’t turn away your face, dear,

But do grant me one embrace, dear,

You will not refuse me, I know.

Come, sweet Medora—say that you’ll be mine!

Birbanto crawls on from R.

Birb.Now, how to do it—hah, the wine! the wine!

[Pours liquid from vial into Conrad’s

glass, and exit at back. Medora sinks

into Conrad’s arms; he kisses her.

Conrad.No more a slave—this liberty affords you;

Your lover, not your master, looks towards you.

[Drinks—chord.

How’s this? a sudden drowsiness, methinks;

Would you excuse me just for forty winks?

[Sleeps.

Medora.Sleep—I’ll hold watch, so shall no harm befall him.

Holding the watch, I shall know when to call him.

Soft music.—Enter Yussuf and Birbanto, stealthily, R.

Birb.There lies the man of mystery, dark and deep,

So slow when waking—yet how fast asleep!

Now is your time—quick to your task allotted.

[Gives him scarf.

Yussuf.Slick as greased light’ning.

[Throws scarf over Medora’s head.

Birb.Slick as greased light’ning.Cleverly garrotted.

Medora. [Struggling:]

Help! Murder!

Birb.Help! Murder!Silence her—choke—muzzle—gag her.

Or, stay—let me assist you with a dagger.

Yussuf.No. No.

Medora.No. No.Help! Conrad!

Yussuf.No. No.Help! Conrad!Silence—come along!

[Drags her out, R.

Medora.Help!

Birb. [Calling after him.]

Get a pitch-plaster and pitch it strong.

Enter Corsairs, L.

1st Cors.What noise was that? A cry for help we heard—

Birb. [Aside.]

So just in time—[aloud]—a cry—pooh! pooh! absurd!

2d Cors.I’m sure I heard a voice for aid imploring—

Birb.Pshaw! you’re mistaken—’twas our captain snoring.

1st Cors. [Seeing Conrad.]

Conrad asleep!

Birb.Conrad asleep!Yes, that’s a pretty way

For a great pirate chief to pass the day!

Hear me, my friends—our captain is a do.

1st Cors.How?

Birb.How?Not the leader for brave men like you.

1st Cors.Nay, have a care how Conrad you abuse—

Birb.A spooney humbug—always in the blues—

Pining and sighing—

2d Cors.Pining and sighing—Well, that’s true enough—

He is too sentimental.

Birb.He is too sentimental.He’s a muff!

Not fit to be our leader.

1st Cors.Not fit to be our leader.P’raps you’re right.

Birb.Didn’t he leave us all on shore, last night,

To get home as we could?

2d Cors.To get home as we could?That was a fault.

Birb.Let’s give him pepper—he’s not worth his salt.

Corsairs.We will—we will.

Birb.We will—we will.Said like brave men and true!

You mean, though, what you say?

Corsairs.You mean, though, what you say?We do—we do.

Birb.One blow and we are free—we then can take

Another leader—come—

[Music.—They approach Conrad, with daggers raised. The Scene opens and Serena appears behind.

Serena.Another leader—come—Wake, Conrad, wake.

Conrad. [Starts up.]

Methought I heard a voice cry, sleep no more—

[Sees Corsairs.

Halloa! [They slink away.] Here, stop! don’t go. Ho! guard the door.

This looks like a rebellion, eh, my men?

[Corsairs kneel.

1st Cors. [L.]

Pardon us, mighty Conrad.

Birb. [Aside, R.]Pardon us, mighty Conrad.Sold again!

2d Cors.It was Birbanto, here, that drove us to it.

Birb.Pardon, great chief, I didn’t go to do it.

Conrad.Kneel, traitor!

Birb. [Kneeling.]Kneel, traitor!Can you, then, forgive?

Conrad.Kneel, traitor!Can you, then, forgive?Ne’er doubt it.

[Throws money amongst them.

Go drink my health, and say no more about it.

All.Long live great Conrad. Hip! hip! hip! hurrah!

[Exeunt Corsairs, L.

Birb. [Aside.]

Defeated, foiled—no matter—hah! hah! hah!

[Exit Birbanto, L.

Serena. [Advances R.]

Bravely done, Conrad, this great generosity.

Conrad.Beg pardon! you’ll excuse my curiosity—

But whom have I the honor to address?

Serena. [R.]

I am a fairy.

Conrad.I am a fairy.You then saved me?

Serena. [C.]I am a fairy.You then saved me?Yes.

Conrad.Speak! where’s my love—my Venus—my Medora?

Serena.Your Venus! nay, prepare to meet a floorer!

She’s gone!

Conrad.She’s gone!Gone?

Serena.She’s gone!Gone?Nay, don’t start; yet p’raps you’d better,

And start at once, if back you hope to get her.

Conrad.Tell me, where shall I seek my priceless treasure?

Serena.Promise me one thing first.

Conrad.Promise me one thing first.I do with pleasure.

What is it?

Serena.What is it?That when you’ve regained this maid,

You will retire from the Corsair trade;

Marry, and live respectably.

Conrad.Marry, and live respectably.Agreed!

I’ve long been weary of the life I lead—

So I’ll reform.

Serena.So I’ll reform.This is indeed felicity!

Conrad.Turn steady, and go in for domesticity:

Stand for churchwarden, and the vestry sit on;

Aye, and pay rates and taxes like a Briton.

Duet.—Air, “Home, sweet Home.”

Serena.All pleasures are fallacies for those who roam;

Howe’er folks may grumble, there’s no place like home.

Conrad.Tho’ duns may come daily—tho’ poor’s rates may call—

Give me them and the butcher’s bill dearer than all.

Serena.Home, home, sweet home,

There’s no place like home;

Whoever deny it, there’s no place like home.

Conrad.Home, home, sweet home,

A slow place is home;

However, I’ll try it, and go in for home.

}

[Together.]

Both.Farewell! Farewell!

[Serena sinks, R. C.

Song.—Conrad.—Air, “My Mary Ann.”

Fare you well, my own Mary Ann,

Or whatever your name may be;

These fairies seldom give their names,

And so I christen she, “Mary Ann.”

Let me once more see my own turtle-dove,

I’ll keep my word with you;

Excuse me if I’ve named you wrong,

And still assist me, do, Mary Ann.

Fare you well, my own Mary Ann, &c.

[Exit, R.

Scene V

SCENE V.—The Harem, with the Gardens of the Pasha’s Palace.

Odalisques dancing. Enter Gulnare, L., and Zuliema, R.; the Odalisques dance round Gulnare.

Zuli.How’s this? Am I no longer mistress here?

Gul.Well, don’t be angry with them, there’s a dear;

You can’t put old heads on young shoulders.

Zuli.You can’t put old heads on young shoulders.No.

But you can take the young heads off them, though.

They’d best not slight me!

Gul.They’d best not slight me!Madam, pray control

Your passion; do now, there’s a good old soul.

Zuli.Old soul! No matter—we shall see.

Gul.Old soul! No matter—we shall see.No doubt

With spectacles you might—you won’t without!

Zuli.Proud beauty; though your eye now brightly twinkles⸺

Gul.There—there; don’t frown, it only shows the wrinkles.

Zuli.Dare you thus openly, then, to deride

One whom the Pasha’s chosen for his bride?

Gul.Nay, I’ve no wish a quarrel to be picking;

But you must own, my friend, you’re not a chicken.

Zuli.I blush for you.

Gul.I blush for you.You can’t—your paint beneath⸺

Zuli.’Tis false!

Gul.’Tis false!Just so.

Zuli.’Tis false!Just so.You say this to my teeth?

Gul.To teeth—to hair—to all the charge extending;

That wig—the head and front of your offending.

Zuli.I’ll have you bow-stringed!

Gul.I’ll have you bow-stringed!Yes, a likely thing.

First catch your beau before you talk of string.

D’ye think the Pasha cares for you? Not he.

Zuli.Indeed! But here he comes—now we shall see.

Enter Pasha, L. U. E.—Zuliema runs to him and seizes him by the arm.

Trio.—Irish Air.

Zuli.Mighty Pasha, grant your slave

Vengeance on this beauty bold.

Gul.Mighty Pasha, I would crave

Safety from this vixen old.

Pasha.Will you hold this dreadful row, now?

Zuli.Will you put this upstart down, now?

Gul.Her conceit has grown so big, sir—

Zuli.She declares I wear a wig, sir—

Pasha.How, now, now—will you hold your row?

I’m by no means in good humor—not just now.

Pasha.Leave me.

Zuli.Leave me.Alas! your love for me, then, cools.

[Embracing him.

Pasha.Oh, be off—old fools are the worst of fools!

Come here, Gulnare—the cause of this explain:

Zuli. [R., Mincingly.]

It was my face.

Gul. [L.]It was my face.You see the cause is plain—

She boasted that she was your wife to be,

When you remember, sire, you promised me.

Pasha. [Aside.]

I know, to both of them I’ve pledged my word—

It’s very awkward, for I love a third.

Zuli.Great Pasha, say, shall I not be your bride?

Gul.I’ll leave it to your taste, sire, to decide.

Song.—Pasha.—“Beggar’s Opera.”

How happy could I be with neither;

Now t’other dear charmer’s away,

I don’t care a button for either;

And so what the deuce can I say,

Except tol de rol, oh, my Medora—

Tol de rol, rol de rol lay—

You’ve deserted your ardent adorer,

And left him to misery a prey.

[A loud single knock.

Enter Syng Smaul, L. 1 E.

Pasha.How now, slave?

Syng.How now, slave?Sire, a man is at the door,

He’s got a slave to sell.

Pasha.He’s got a slave to sell.I’ll buy no more.

[Exit Syng Smaul.

I’m plagued to death as ’tis, with those I’ve got.

Re-enter Syng Smaul, L. 1 E.

What now?

Syng.What now?He says you have bought this one.

Pasha.What now?He says you have bought this one.What?

Syng.And though to you such message may sound funny;

He said he would’nt leave without the money.

Pasha.Insolent caitiff! show him in—and stay—

Request our headsman, too, to step this way.

[Exit Syng Smaul.

Gul. [Aside.]

Who is this madman, rushing on to slaughter?

Enter Yussuf with Medora, veiled, L. 1 E.

Yussuf.How are you, Pasha? Here’s the gal; I caught her.

Pasha.What girl, dog?

Yussuf. [Raising her veil.]

What girl, dog?See!

Pasha.What girl, dog?See!Medora!

Medora.What girl, dog?See!Medora!Sire, have pity!

Zuli. [Looking at Medora.]

Young, but uncultivated!

Gul. [Looking at Medora.]

Young, but uncultivated!Plump, but pretty!

Medora.Save me, sir, from this man?

Pasha.Save me, sir, from this man?Nay, sweet—you see⸺

Medora.You won’t? Enough! Thus, then, myself I free.

[Draws dagger; is about to stab herself.

Yussuf.Hold on, until I’m paid—at least. Ho! seize her.

Medora.Villain, for you, then.

[Runs at him with dagger.

Yussuf.Villain, for you, then.Back her! stop her! ease her!

[Runs out, L.

Pasha.Halloa! It seems your dagger you are quick at!

Medora.Yes, for great wrongs I never trifles stick at.

Pasha.But he’s your uncle.

Medora. [L.]But he’s your uncle.Kindred’s no protection.

I raised this knife to cut my own connexion.

Pasha.Nay, sweet Medora.

[Kneels.

Zuli.Nay, sweet Medora.Sir, what are you at?

Kneeling before a little minx like that.

Pasha.Silence!

Gul.Silence!To me can you forget your vow?

Pasha.Somebody stop these women’s tongues.

Enter Syng Smaul, L.

Somebody stop these women’s tongues.How now?

Syng.A wandering dervise, by fatigue oppressed,

Begs you’ll allow him to come in and rest.

Pasha.Admit him.

Syng Smaul goes off, and returns with Conrad, L., disguised as a dervise; he bows to Pasha.

Admit him.Sir, come in, your boon we grant.

An Attendant brings wine.

Drink, sir; this maid will dance meanwhile.

Medora.Drink, sir; this maid will dance meanwhile.I shan’t.

Pasha.No sulks, young woman; we’ve an ugly knack

Of giving ladies who rebel—the sack.

Syng.Into the river, tied in bags, they’re shied.

Medora.Tied in a bag? I care not what betide.

Conrad. [Aside to her.]

Fear naught.

Medora.Fear naught.That voice!

Conrad.Fear naught.That voice!Take heed—don’t shout like that out.

Medora. [Aside.]

Talking of bags, I’d nearly let the cat out.

Pasha.Once for all—will you dance at my command?

Conrad.Stay, you’ve no music; let me call my band.

[Blows horn.] My followers, ho!

Pasha.[Blows horn.] My followers, ho!What mean these rude alarms?

Medora.The trumpet calls, and thus we fly to arms.

[They embrace.

Pasha.Tear them asunder!

[Music.—Syng Smaul seizes Medora—struggle, in which Conrad’s cloak falls off.

Tear them asunder!Ho! the Corsair! murder!

[Ladies scream—all rush off, carrying Medora, struggling, R.

Conrad. [Blows horn.]

My followers, ho!

Enter Birbanto, L.

Birb.My followers, ho!They’ll follow you no furder!

Conrad.You have not dared to tamper with them, slave?

Birb.Well, if you ask the question then—I have.

Conrad.Traitor!

[Draws sword.

Birb.Traitor!I scorn your threats and you alike!

Conrad.This to decide between us then.

Birb. [With the approved Victoria pronunciation.]

This to decide between us then.Ster-ike!

[Music.—They strike attitudes for a broad sword

combat—Conrad stops suddenly.

Conrad. [Looking at his sword, a light elegant one.]

Stop! for stage combats this is not the thing,

Just wait while I exchange it at the wing.

[Goes to wing, R., and returns with

the orthodox basket hilt.

Now then to meet your fate so well deserved.

Come on!

Birb.Come on!Ster-ike, as I before observed.

[Desperate single combat—Birbanto gets the worst of it.

Help! help!

Conrad.Help! help!Take that—in vain for help you call.

Birb. [Falls.]

That cut was the unkindest cut of all.

Conrad.Die, villain!

[Guards rush in and surround him.

Birb.Die, villain!Saved!

Syng.Die, villain!Saved!Ho! guards, to pieces tear him.

Conrad.I’m dished—I ask no quarter.

Medora. [Runs in R., and kneels.]

I’m dished—I ask no quarter.Spare him—spare him.

Tableau—scene closes.

Scene VI

SCENE VI.—A Corridor.—Practicable door, R., a barred window, L.

Enter Syng Smaul, leading in Medora, L.

Syng.Fair maid, you’ll be a prisoner here confined,

Till in this matter you’ve made up your mind.

If you consent to be the Pasha’s wife,

Conrad the Corsair saves his forfeit life—

If not, the hangman treats him to a drop!

Medora.Marry the Pasha, never.

Syng. [Going.]

Marry the Pasha, never.Good.

Medora.Marry the Pasha, never.Good.Yet stop—

Where is the prisoner?

Syng. [Pointing to door, R.]

Where is the prisoner?In yon cell.

Medora.Where is the prisoner?In yon cell.So near me.

He shall decide for me! Ho, Conrad, hear me!

Syng.He can’t. ’Tis vain, so you may save your trouble!

Your voice is treble, but the doors are double.

I’ll leave you to reflect.

[Exit, L.

Medora.I’ll leave you to reflect.Which can I choose—

The matrimonial, or the hangman’s noose?

The Pasha’s wife—oh, no; yet, if I falter,

’Tis I that lead my Conrad to the halter.

A footstep! who comes here?

Enter Gulnare, R.

Gul.A footstep! who comes here?Hush! not a word!

The Pasha’s proposition I have heard.

Medora.And you advise me to refuse it flat?

Gul.No, to accept it.

Medora.No, to accept it.What! wed a thing like that?

Gul.It is a match most women’s hopes would lean to.

Medora.Indeed! then marry him yourself!

Gul.Indeed! then marry him yourself!I mean to.

Medora.Explain!

Gul.Explain!Nay, Conrad too, must present be.

Medora.Alas! they’ve locked him in, and ta’en the key.

Gul.But I’ve a duplicate!

[Shows key.

But I’ve a duplicate!See, this will pick it.

[Goes to door.

Medora.A duplicate! that is, indeed, the ticket.

[Gulnare opens door, R. 2 E., Conrad comes out, ironed.

Conrad.We meet again, my joy who now can tell?

Medora. [Looking in.]

What a vile dungeon!

Conrad.What a vile dungeon!’Tis an awful cell.

Thus ironed too! these heavy fetters dangling.

Medora.That loved form ironed! Well, it’s saved from mangling.

Conrad.Sweet, ’twas your love that saved me—nothing but it.

Their swords were at my throat—you bid them cut it.

Gul.But come, time flies—

Conrad.But come, time flies—Hah! true, a just remark.

Explain, too long they’ve kept me in the dark.

[Points to cell.

Gul.Kept in the dark—come, there you’re wrong, methinks.

Surely you’d light—those chains have lots of links.

Medora.Conrad, the Pasha offers you your freedom.

Conrad.Hah! on what terms?

Gul.Hah! on what terms?In her confusion read ’em.

Her hand.

Conrad.Her hand.And she consents? oh, no.

Medora.Her hand.And she consents? oh, no.I don’t.

I’d see him further first, and then I won’t.

Conrad.Brave girl, ’twould be, were I of you bereft,

A still more awful sell than that I’ve left.

Gul.But I’ve a plan.

Conrad.But I’ve a plan.Out with it.

Gul.But I’ve a plan.Out with it.’Tis that she

Pretend submission until you are free.

Conrad.Good!

Medora.Good!But suppose he makes me sticks to it?

And marry him.

Gul.And marry him.Nay, trust to woman’s wit,

I mean to marry him myself—I told you;

As the sole obstacle, I now behold you.

You gone, of all my hopes comes the revival,

With your departure, I’ve no more a rival.

But some one comes; they must not here perceive me.

Get in.

[Pushing Conrad in.

Conrad. [Struggling.]

Get in.Get out.

Gul.Get in.Get out.Go, go.

[Locks door.

Medora.Get in.Get out.Go, go.You won’t deceive me?

Gul.Trust me.

[Exit, R.

Medora.Trust me.I will.

March.—Enter Pasha, Syng Smaul, Guards, &c., L.

Medora. [Aside.]Trust me.I will.And now consent to sham!

Pasha.Well madam, are you quite resolved?

Medora.Well madam, are you quite resolved?I am.

Pasha.Pause ere you speak—mind, your refusal crushes

The Corsair’s chance. Your answer!

Medora. [Modestly.]

The Corsair’s chance. Your answer!Spare my blushes.

Pasha.What, you consent?

Medora.What, you consent?Oh, sir!

Pasha.What, you consent?Oh, sir!You do! you love me?

Medora.Can I believe that one so high above me

Can honor thus his slave?

Pasha.Can honor thus his slave?Oh, joy! ’tis true!

Shout dogs!

Syng.Shout dogs!Shout dogs!

[All shout.

Pasha.Shout dogs!Shout dogs!Peace, slave! who spoke to you?

For my sake you give up the Corsair?

Medora.For my sake you give up the Corsair?Clearly.

It can’t be helped—I’m sorry for him, really,

His fate is harsh, but even were it harsher,

Who would compare a pirate with a Pasha?

I like a wealthy husband—he, poor chap,

Comes with a ring, but comes without a rap.

Pasha.Huzza! Shout, dogs!

[All shout.

Enter Gulnare, Zuliema, and Ladies, R.

Gul.Huzza! Shout, dogs!What means this dreadful clatter?

Pasha. [Aside.]

Gulnare, the deuce! There’ll be a scene—no matter.

[Aloud.] Release the Corsair!

Syng Smaul opens door, R. 2 E.; Conrad appears.

[Aloud.] Release the Corsair!Quick—his chains unbind!

Conrad, you’re free!

Conrad.Conrad, you’re free!You’re really very kind.

Pasha.There, there, be off—for thanks you needn’t tarry.

Conrad.But that young person I’m about to marry—

She goes with me, of course!

Medora.She goes with me, of course!Nay, Conrad!

Conrad.She goes with me, of course!Nay, Conrad!What?

You, too, desert me!

Gul. [Aside to him.]

You, too, desert me!Recollect my plot.

Medora.Hear me!

Conrad.Hear me!Away! you’re false—you can’t deny it!

Medora. [Aside to him.]

I’m but pretending.

Conrad. [Aside to her.]

I’m but pretending.So am I—be quiet!

Oh, misery! worse than prison, bonds and fetters!

Pasha.Enough, young man—she is to wed your betters.

Ladies, behold your future queen!

Zuli.Ladies, behold your future queen!What, she?

What’s to become of me?

Gul.What’s to become of me?And me?

Conrad.What’s to become of me?And me?And me?

Pasha.Can’t say, I’m sure.

Zuli.Can’t say, I’m sure.This fills with grief my cup;

Support me! Oh, woe—woe!

[Faints and is borne off, R.

Conrad.Support me! Oh, woe—woe!Gee wo—pull up!

False maid! [Aside to her.] All right. [Aloud.] Can you desert me thus?

Pasha.Of course the girl can’t marry both of us!

Medora.And since my love cannot divided be,

You, Conrad, must give up your chere amie (share o’me.)

Conrad.Enough! I from the unequal contest cease;

My heart is broken, but I’ll keep the peace;

And, since yours is the victory, I’ll be calm.

Thus I give up her hand, and yield the palm.

Medora.Say we part friends.

Conrad.Say we part friends.We do, though grief oppressing.

[Weeping and joining their hands.

Take her, be happy—take a Corsair’s blessing.

Pasha.Thanks! you are free—you now may cut, and when

You have cut, mind, you needn’t come again.

Conrad.Fear not.

Gul. [Aside to him.]

Fear not.Return at midnight—you can save her,

And also do me a great wedding favor.

Conrad.Farewell! away my lonely course I take.

You needn’t trouble to send cards or cake.

[Exit, L.

Pasha.Quick, slaves! make preparation, though ’tis late;

This evening we’ll the nuptials celebrate.

Bright garlands on the walls of every room stick,

And bid the priest prepare the wedding broomstick.

[Exeunt Syng Smaul and Guards, L.

Gul.Come, madam, to your room let me conduct you.

[Aside.] Then of my plans more fully I’ll instruct you.

Medora.Come, come.

[Exeunt Medora and Gulnare, R.

Enter Syng Smaul and Guards, L.

Pasha.Come, come.How now, slave?

Syng.Come, come.How now, slave?Sire, the broomstick’s ready,

The priest awaits.

Pasha.The priest awaits.Down, throbbing heart—be steady!

Oh, happiness! soon I my wife shall call her.

She comes.

Enter Gulnare, veiled, followed by Women, R.

She comes.Holloa! it strikes me she’s grown taller.

Gul.Sire, can you wonder that I taller stand,

Now you’ve made me the highest in the land?

Pasha.Accept this ring; for ever thus united⸺

Shall we proceed?

Gul.Shall we proceed?Sire, I shall be delighted.

[Wedding March. Exeunt in procession, L.

Enter Medora, R.

Medora.Saved! Saved! Gulnare will marry, in my stead.

Blessed land, where veils are worn upon the head,

Screening the face, secure from all beholders—

Instead of bonnets half way down the shoulders!

But for that fashion, all our plans would fail:

Nought can succeed, when its without avail.

They come!

[Exit, R.

March repeated. Re-enter Pasha, Gulnare; Ladies dancing before them, bearing flowers, &c.; Syng Smaul, Guards, &c., L.

Pasha.They come!’Tis done, the marriage rites are ended!

Go, fellows, and prepare a banquet splendid.

Lights, music, wine, provide in our pavilion;

Wine for ten thousand—music for the million.

[Exeunt Syng Smaul and Guards, L.

Pasha.And you, dear, go remove your veil.

Gul.And you, dear, go remove your veil.I will!

Come, girls.

[Exeunt Gulnare and Ladies, R.

Pasha.Come, girls.Now, how the weary time to kill?

She’ll be at least an hour and a quarter.

She comes!

Enter Medora, R.

She comes!Holloa! it strikes me she’s grown shorter!

Medora.What! wonder if my head less high is carried?

Folks always settle down when they get married.

Pasha.Come to my arms.

[Medora runs towards him and stops, frightened.

Come to my arms.You shun them?

Medora.Come to my arms.You shun them?Nay, my fright

Was at your weapons—not your arms.

[Takes pistols from his belt.

Was at your weapons—not your arms.That’s right.

Say, are they loaded?

Pasha.Say, are they loaded?Powdered, balled, and capped.

Medora.Good gracious!

[Lays them down at window.—Aside.

Good gracious!Now, I think you’re nicely trapped.

[She dances playfully round him, he follows

with his hands raised supplicatingly.

Medora.Oh, what an attitude! stay, keep them so.

[Takes a scarf from her waist and ties them, he laughing.

Beautiful, charming! Hah! he’s there!

[Conrad appears at window, L.

Pasha.Beautiful, charming! Hah! he’s there!Holloa!

Guards! treason!

Medora. [Catching up pistols.]

Guards! treason!Peace! another word, you die!

Conrad.Medora! quick! come, by this window fly!

Say, can you squeeze these narrow bars between?

Medora.I can.

Conrad.I can.Oh, joy! she wears no crinoline.

[Medora gets through window.

Pasha.One word, one question!

Medora.One word, one question!Well?

Pasha.One word, one question!Well?That pistol, drop it.

Medora.Is that the question? peace, then, or I’ll pop it.

[They disappear.—The Pasha goes to the

window.—A pistol is discharged without.

Pasha.Gone!—treason!—murder!—help! My guards, what ho!

Guards rush in, L. 1 E., Gulnare and Ladies, R.

Gul.What means this cry?

Pasha.What means this cry?My bride has fled.

Gul.What means this cry?My bride has fled.Not so;

Here stands your bride.

Pasha.Here stands your bride.’Tis false!

Gul.Here stands your bride.’Tis false!This ring behold!

Ladies, salute your queen.

Pasha.Ladies, salute your queen.Done! swindled! sold!

[Falls into the arms of Syng Smaul.—Ladies kneel to Gulnare. Tableau—closed in.

Scene VII

SCENE VII.—A Wood.

Serena and Submarina rise through traps, R. and L.

Sub.Good night, Serena, how d’ye do?

Serena.Good night, Serena, how d’ye do?Why who

On earth would ever dream of seeing you?

Sub.Why not?

Serena.Why not?I mean the sea’s your proper berth.

So ask who’d dream of seeing you on earth?

Sub.I’ve come to seek you.

Serena.I’ve come to seek you.What for, may I ask?

Sub.To know how you’re progressing with your task.

Have you cured Conrad yet?

Serena.Have you cured Conrad yet?Well, very nearly.

Sub.Your month expires to-morrow.

Serena.Your month expires to-morrow.Does it, really?

To-night then must decide—but see—he’s here!

Let us retire.

Music.—Enter Conrad, supporting Medora, L.

Conrad.Let us retire.Come, come, Medora dear;

Rest here, I’ll call for help.

Medora.Rest here, I’ll call for help.’Twould be no good,

To holloa, till we’re quite out of the wood.

Conrad.Could I but find the path, we’d soon get home;

The way to Greece, should be our way to roam.

Had I a compass, we’d know how to steer.

Medora.Without the needle, we’re sewed up, that’s clear;

But still, I always thought you roving tars,

To find your way, oft had to thank your stars.

Conrad.In this thick wood, my science is at fault,

I cannot see them! Come, let’s on, though.

Enter Birbanto, with Corsairs, R.

Birb.I cannot see them! Come, let’s on, though.Halt!

So, then, we’ve met; at last my turn arrives.

Medora. [Kneeling.]

Mercy! Take all we have, but spare our lives.

Conrad.Medora, rise! Speak, friends—why this hostility?

Birb.You are accused⸺

Medora.You are accused⸺Of what?

Birb.You are accused⸺Of what?Respectability!

Conrad.You’ve heard of it, then?

Birb.You’ve heard of it, then?Yes, and they have picked out

Another leader, vice Conrad, kicked out.

Conrad.And may I ask, who my late post now fills?

Birb.His name’s Birbanto, on the Grampian Hills⸺

Conrad.Indeed! I wish you joy.—Come.

[Taking Medora’s arm

Birb.Indeed! I wish you joy.—Come.Not so fast!

Secure them.

Conrad.Secure them.How?

Medora.Secure them.How?Help! help!

Enter Syng Smaul and Guards, L.

Syng.Secure them.How?Help! help!So caught at last.

Yield, all of you.

Birb.Yield, all of you.Come, my lads, ho! strike for freedom!

You won’t?

Conrad. [Laughing.]

You won’t?Not they, they’ve not got me to lead ’em.

1st Cors.Resume your post, and save us, we implore.

2d Cors.Do, sir; we’ll never disobey you more.

Birb.Cowards!

Conrad.Cowards!Resume my post—’tis a temptation.

Medora.Oh, no! think of your vows of reformation,

For my sake!

Serena appears, watching him with anxiety.

Conrad.For my sake!True! I’ll keep them, love, with pleasure,

Sirs, my reform must be a final measure.

Serena.He’s saved!

Syng.He’s saved!No more discussion. March—yet stay—

What’s that? Another prisoner comes this way

Enter Yussuf chained—two Guards following, L.

Yussuf. [Sings.]

Why did Medora sell me?

Through her these woes befel me.

Why did Medora sell me,

And bolt on her wedding day?

Medora.My uncle, and in chains!

Yussuf.My uncle, and in chains!False critter, see

These fixins. You ’twas forged these bonds for me.

Medora.I am no forger, sir.

Conrad.I am no forger, sir.Cease this debate—

We’ve heard too much of forging bonds of late.

Syng.Now, guards, conduct your prisoners to their gaol.

Serena. [Advances.]

Hold! for this couple, sir, I put in bail.

Conrad.Halloa! my friend, the fairy.

Serena.Halloa! my friend, the fairy.Yes, the friend

Of all who, like you, strive their ways to mend.

You’ve kept your word—with freedom I requite you.

And to the Peri’s home to sup, invite you.

Medora.Oh, joy.

[Conrad and Medora embrace.

Serena.Oh, joy.The rest must undergo their sentence.

Birb.Hold on! I see there’s nothing like repentance—

So I’ll turn steady, too.

Serena.So I’ll turn steady, too.You settle down?

Birb.I’ll start a public company in town;

Turn a strict man of business—try stock-jobbery

On the Exchange! My cry—exchange no robbery.

Song and Chorus.—Air, “One Bumper at Parting.”

Birb.A company starting, though many

Have tried it and found it no go;

I’ll endeavor at turning a penny,

We won’t say if honest, or no.

Yussuf.Guess I’m mortal sick of slave driving,

Respectable dodges pay best;

So if this here company’s thriving.

I’m there like a shot, with the rest.

Conrad.A real model husband I mean to be;

All my used-up-ishness past,

I forswear, since the world I have seen to be

Not quite so worthless at last,

One favor I’d ask, do not spurn it, your

Aid, I’m quite strange to it yet—

Do you know a good place to buy furniture.

Or a snug cottage to let?

Enter Pasha and Gulnare, R.

Pasha.Here, stop, I intend, by the wig o’ me,

In this improvement to share,

Henceforward renouncing polygamy,

Stick to my own dear Gulnare.

Gul.New hopes in my breast do you kindle;

I’ll make you the happiest of men;

Having gained all I wished by one swindle,

I’ll never deceive you again.

Serena.Kind friends, in this great reform movement,

No share for yourselves will you find,

In your case there’s no room for improvement;

But be—as you ever were—kind.

And now for the home of the Peri—

Bright scenes, where we’re bidden to sup;

But, remember, the brightest look dreary,

Unless by your smiles lighted up.

[Repeat last verse in chorus.

The scene opens and discovers

Scene VIII

SCENE VIII.—The Home of the Peri and Golden Gates of the Gardens of Perennial Spring.

Submarina appears, and the usual transformation of the characters takes place—Two Clowns, Harlequin, Pantaloon, three whalebone sprites, and two Columbines.

The Largest, Cheapest, and Best Magazine in the World!

THE
New York Journal
OF
ROMANCE, LITERATURE AND ART.

BEAUTIFULLY ILLUSTRATED.

Having purchased the well known New York Journal, the present proprietor will CONTINUE IT PERMANENTLY, and will hereafter issue it with such a liberal regard to its improvement in every branch of Literature and Illustration, as shall make it unsurpassed, in point of Attractiveness and Real Value, by any other Journal or Magazine. The New York Journal WILL APPEAR PUNCTUALLY!

In size, a large quarto, each number will contain sixty-four pages, three columns wide. Its contents will embrace subjects selected and arranged so as to give, in the most agreeable manner, authentic Information and Amusement to every one.

The Journal will have One New and Interesting Novel, continued from number to number, alone worth the price of subscription; besides numerous Tales, Romances, Stories and Poetry.

In the DRAMA, the proprietor presents a most agreeable feature, which does not exist in any other Journal, viz.: that of publishing in its columns an ENTIRE ACTING PLAY. The plays will be carefully and judiciously selected, offering what may be made use of, with a little tact in adaptation, as a very Pleasing and Instructive PARLOR ENTERTAINMENT.

Improvements in AGRICULTURE, GARDENING, the Rearing of Domestic Poultry, etc., will be drawn from all reliable sources.

This Journal will aim at instructive “HINTS for HOME LIFE,” addressed to the Ladies, on Health and Diet, Household Affairs, a Mother’s Cares, Personal Accomplishments, etc. PATTERNS for useful NEEDLEWORK, and HINTS on the ART of DRESS will be accompanied by a description of a choice of the FASHIONS, with illustrations.

SPORTS of the SEASON, illustrated, suited to Children and Young People, in doors and out of doors; and such matters as have a happy influence on their health and intelligence.

Comicalities, Humorous Sayings, Anecdotes, and “Good Things,” will lighten the more solid matter.

TERMS:—Published Monthly, Price, 18³⁄₄ cts. each number; $1 per volume, or $2 per year. Price to Clubs, four copies, $7; six copies, $10; 10 copies, $16, invariably in advance.

S. FRENCH, Publisher, 122 Nassau St.,

⁂ For sale at periodical depots, everywhere. (Up Stairs.)

Transcriber’s Notes

New original cover art included with this eBook is granted to the public domain. Itemized changes from the original text:

title page: Added comma after “Phenomenon in a Smock-frock.”

Cast of Characters: Expanded ditto marks from original for clarity.

Cast of Characters: Changed “wtaer” to “water” in description of Conrad.

Cast of Characters: Changed “Pead Cock” to “Head Cook” in description of Syng Smaul.

Cast of Characters: Changed comma to period after “Mr. Holmes” in entry for Syng Smaul.

Cast of Characters: Changed comma to period after “Mrs. Cook” in entry for Zuliema.

Cast of Characters: Added closing parenthesis after “At the bottom of the sea.”

Cast of Characters: Added comma after “Guards.”

p. 4: Replaced “Iv’e” with “I’ve” in line “Smokers, I’ve heard, have put their pipes out.”

p. 5: Replaced “Serana” with “Serena” in stage direction “Serena is seen darting up towards the earth as the scene closes.”

p. 6: Replaced “its” with “it’s” in line “If so, just give your orders and it’s done.”

p. 7: Replaced “Yussuff” with “Yussuf” before line “Now then, you tarnal critters” and in preceding stage direction.

p. 7: Supplied missing period after character name “Pasha” before line “Slave, who bid you interfere?”

p. 8: Supplied missing period after character name “Medora” before line “With pleasure, if it pleases you, I will.”

p. 8: Replaced period with comma in line “So good, so true.”

p. 8: Supplied missing question mark after line “What strange presentiment of woe comes o’er me?”

p. 9: Supplied leading space before line “Guards, hew him limb from limb!”

p. 9: Replaced “Yessuf” with “Yussuf” in character name before line “Go at him—all at once.”

p. 10: Supplied missing opening bracket before stage direction “Exit, R., followed by the Girls.”

p. 10: removed hyphen from “fly-too” in line “Nay, fly not yet, or else let me fly too.”

p. 11: Added small caps to “Medora” in stage direction “Throws scarf over Medora’s head.”

p. 11: Supplied leading space before line “Hush! don’t speak.”

p. 13: Supplied leading space before line “Help! Conrad!” and expand leading space in following line.

p. 14: Moved stage direction “Throws money amongst them” from before to after first line of speech.

p. 15: Replaced comma with period after phrase “Aye, and pay rates and taxes like a Briton.”

p. 15: Supplied missing opening bracket before stage direction “Serena sinks, R. C.”

p. 16: Replaced “spectales” with “spectacles” in line “With spectacles you might—you won’t without!”

p. 18: Supplied missing opening bracket before stage direction “Runs out, L.”

p. 19: Replaced “Birbbanto” with “Birbanto” in stage direction “Enter Birbanto, L.”

p. 19: Replaced “qustion” with “question” in line “Well, if you ask the question then—I have.”

p. 19: Replaced “villian” with “villain” in line “Die, villain!”

p. 20: Supplied leading space before line “And she consents? oh, no.”

p. 20: Supplied missing period after line “I don’t.”

p. 21: Supplied leading space before lines “I will” and “And now consent to sham!”

p. 22: Supplied missing opening bracket before stage direction “Weeping and joining their hands.”

p. 22: Supplied missing period after stage direction “[Aside to her.]”

p. 23: Supplied leading space before line “’Tis done, the marriage rites are ended!”

p. 23: Removed exclamation point after line “Nay, my fright.”

p. 23: Removed duplicate character identification before line “Say, are they loaded?”

p. 26: Supplied leading space before line “True! I’ll keep them, love, with pleasure.”

p. 27: Replaced period with comma in line “Kind friends, in this great reform movement.”

advertisement: Replaced “proprietod” with “proprietor” in line “the proprietor presents a most agreeable feature.”

*** END OF THE PROJECT GUTENBERG EBOOK THE CORSAIR; OR, THE LITTLE FAIRY AT THE BOTTOM OF THE SEA ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- The Corsair
- Cast of Characters.—[The Corsair.]
- Scene I
- Scene II
- Scene III
- Scene IV
- Scene V
- Scene VI
- Scene VII
- Scene VIII
- THE FULL PROJECT GUTENBERG™ LICENSE