The Fountain
SCENE I: Courtyard of the house of Ibnu Aswad, Granada, Spain--the
night of the Moorish capitulation, 1492.
SCENE II: Columbus's flagship on the last day of his second
voyage, 1493.
PART TWO
SCENE III: Courtyard of the Government House, Porto Rico, an
afternoon twenty years or more later.
SCENE IV: Cabinet of Bishop Menendez in the Government House--an
evening three months later.
SCENE V: A prisoner's cell in the Government House--the same time.
SCENE VI: Same as Scene Three--immediately follows Scene Five.
PART THREE
SCENE VII: A strip of beach on the Florida coast--a night four
months later.
SCENE VIII: The same--noon the following day.
SCENE IX: A clearing in the forest--that night.
SCENE X: The same, some hours later.
SCENE XI: Courtyard of a Dominican monastery in Cuba--several
months later.
THE FOUNTAIN
SCENE ONE
SCENE--Courtyard of Ibnu Aswad's palace in Granada.
The section forms a right triangle, its apex at the rear, right.
In the left, center, a massive porte-coch�re opens on the street.
On the right, a door leading into the house itself. In the center
of the courtyard, a large splendid fountain of green marble with
human and animal figures in gilt bronze. The peristyle of the
gallery running around the court is supported by slender columns of
polished marble, partly gilded. The interspaces above the
horseshoe arches springing from the columns are filled with
arabesques, texts from the Koran, red, blue and gold in color.
Above are the latticed windows of the women's apartments. Over the
house-top a sky with stars can be seen. It is early night.
As the curtain rises, the court is empty and there is silence
except for the splash of the fountain. Then a loud, imperious
knocking, as of someone pounding with the hilt of a sword, is heard
from the porte-coch�re. Ibnu Aswad enters from the right. He is
an elderly, noble-looking Moor, the lower part of his face covered
by a long, white beard. His expression is one of great pride borne
down by sorrow and humiliation. He goes out through the porte-
coch�re, and returns ushering in Juan Ponce de Leon and his
servant, Pedro. Juan is a tall, handsome Spanish noble of thirty-
one, dressed in full uniform. His countenance is haughty, full of
a romantic adventurousness and courage; yet he gives the impression
of disciplined ability, of a confident self-mastery--a romantic
dreamer governed by the ambitious thinker in him. Pedro is a dull-
looking young fellow.
1007733611
night of the Moorish capitulation, 1492.
SCENE II: Columbus's flagship on the last day of his second
voyage, 1493.
PART TWO
SCENE III: Courtyard of the Government House, Porto Rico, an
afternoon twenty years or more later.
SCENE IV: Cabinet of Bishop Menendez in the Government House--an
evening three months later.
SCENE V: A prisoner's cell in the Government House--the same time.
SCENE VI: Same as Scene Three--immediately follows Scene Five.
PART THREE
SCENE VII: A strip of beach on the Florida coast--a night four
months later.
SCENE VIII: The same--noon the following day.
SCENE IX: A clearing in the forest--that night.
SCENE X: The same, some hours later.
SCENE XI: Courtyard of a Dominican monastery in Cuba--several
months later.
THE FOUNTAIN
SCENE ONE
SCENE--Courtyard of Ibnu Aswad's palace in Granada.
The section forms a right triangle, its apex at the rear, right.
In the left, center, a massive porte-coch�re opens on the street.
On the right, a door leading into the house itself. In the center
of the courtyard, a large splendid fountain of green marble with
human and animal figures in gilt bronze. The peristyle of the
gallery running around the court is supported by slender columns of
polished marble, partly gilded. The interspaces above the
horseshoe arches springing from the columns are filled with
arabesques, texts from the Koran, red, blue and gold in color.
Above are the latticed windows of the women's apartments. Over the
house-top a sky with stars can be seen. It is early night.
As the curtain rises, the court is empty and there is silence
except for the splash of the fountain. Then a loud, imperious
knocking, as of someone pounding with the hilt of a sword, is heard
from the porte-coch�re. Ibnu Aswad enters from the right. He is
an elderly, noble-looking Moor, the lower part of his face covered
by a long, white beard. His expression is one of great pride borne
down by sorrow and humiliation. He goes out through the porte-
coch�re, and returns ushering in Juan Ponce de Leon and his
servant, Pedro. Juan is a tall, handsome Spanish noble of thirty-
one, dressed in full uniform. His countenance is haughty, full of
a romantic adventurousness and courage; yet he gives the impression
of disciplined ability, of a confident self-mastery--a romantic
dreamer governed by the ambitious thinker in him. Pedro is a dull-
looking young fellow.
The Fountain
SCENE I: Courtyard of the house of Ibnu Aswad, Granada, Spain--the
night of the Moorish capitulation, 1492.
SCENE II: Columbus's flagship on the last day of his second
voyage, 1493.
PART TWO
SCENE III: Courtyard of the Government House, Porto Rico, an
afternoon twenty years or more later.
SCENE IV: Cabinet of Bishop Menendez in the Government House--an
evening three months later.
SCENE V: A prisoner's cell in the Government House--the same time.
SCENE VI: Same as Scene Three--immediately follows Scene Five.
PART THREE
SCENE VII: A strip of beach on the Florida coast--a night four
months later.
SCENE VIII: The same--noon the following day.
SCENE IX: A clearing in the forest--that night.
SCENE X: The same, some hours later.
SCENE XI: Courtyard of a Dominican monastery in Cuba--several
months later.
THE FOUNTAIN
SCENE ONE
SCENE--Courtyard of Ibnu Aswad's palace in Granada.
The section forms a right triangle, its apex at the rear, right.
In the left, center, a massive porte-coch�re opens on the street.
On the right, a door leading into the house itself. In the center
of the courtyard, a large splendid fountain of green marble with
human and animal figures in gilt bronze. The peristyle of the
gallery running around the court is supported by slender columns of
polished marble, partly gilded. The interspaces above the
horseshoe arches springing from the columns are filled with
arabesques, texts from the Koran, red, blue and gold in color.
Above are the latticed windows of the women's apartments. Over the
house-top a sky with stars can be seen. It is early night.
As the curtain rises, the court is empty and there is silence
except for the splash of the fountain. Then a loud, imperious
knocking, as of someone pounding with the hilt of a sword, is heard
from the porte-coch�re. Ibnu Aswad enters from the right. He is
an elderly, noble-looking Moor, the lower part of his face covered
by a long, white beard. His expression is one of great pride borne
down by sorrow and humiliation. He goes out through the porte-
coch�re, and returns ushering in Juan Ponce de Leon and his
servant, Pedro. Juan is a tall, handsome Spanish noble of thirty-
one, dressed in full uniform. His countenance is haughty, full of
a romantic adventurousness and courage; yet he gives the impression
of disciplined ability, of a confident self-mastery--a romantic
dreamer governed by the ambitious thinker in him. Pedro is a dull-
looking young fellow.
night of the Moorish capitulation, 1492.
SCENE II: Columbus's flagship on the last day of his second
voyage, 1493.
PART TWO
SCENE III: Courtyard of the Government House, Porto Rico, an
afternoon twenty years or more later.
SCENE IV: Cabinet of Bishop Menendez in the Government House--an
evening three months later.
SCENE V: A prisoner's cell in the Government House--the same time.
SCENE VI: Same as Scene Three--immediately follows Scene Five.
PART THREE
SCENE VII: A strip of beach on the Florida coast--a night four
months later.
SCENE VIII: The same--noon the following day.
SCENE IX: A clearing in the forest--that night.
SCENE X: The same, some hours later.
SCENE XI: Courtyard of a Dominican monastery in Cuba--several
months later.
THE FOUNTAIN
SCENE ONE
SCENE--Courtyard of Ibnu Aswad's palace in Granada.
The section forms a right triangle, its apex at the rear, right.
In the left, center, a massive porte-coch�re opens on the street.
On the right, a door leading into the house itself. In the center
of the courtyard, a large splendid fountain of green marble with
human and animal figures in gilt bronze. The peristyle of the
gallery running around the court is supported by slender columns of
polished marble, partly gilded. The interspaces above the
horseshoe arches springing from the columns are filled with
arabesques, texts from the Koran, red, blue and gold in color.
Above are the latticed windows of the women's apartments. Over the
house-top a sky with stars can be seen. It is early night.
As the curtain rises, the court is empty and there is silence
except for the splash of the fountain. Then a loud, imperious
knocking, as of someone pounding with the hilt of a sword, is heard
from the porte-coch�re. Ibnu Aswad enters from the right. He is
an elderly, noble-looking Moor, the lower part of his face covered
by a long, white beard. His expression is one of great pride borne
down by sorrow and humiliation. He goes out through the porte-
coch�re, and returns ushering in Juan Ponce de Leon and his
servant, Pedro. Juan is a tall, handsome Spanish noble of thirty-
one, dressed in full uniform. His countenance is haughty, full of
a romantic adventurousness and courage; yet he gives the impression
of disciplined ability, of a confident self-mastery--a romantic
dreamer governed by the ambitious thinker in him. Pedro is a dull-
looking young fellow.
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Product Details
| BN ID: | 2940013744431 |
|---|---|
| Publisher: | WDS Publishing |
| Publication date: | 01/13/2012 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 69 KB |
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