Libretto of the Opera "The Madmen" by Félix Máximo López - Part I
- Cochuchi
- Apr 12
- 26 min read
Updated: Apr 18
"Nonsense or the Work of Madmen"
by Félix Máximo López (1742-1821)
Spanish opera in three acts
Discovery of superopera.com published since 2001.
The MADMEN - The FOOLS - The Work Of The Lunatics
PART I [Scenes I to XIV]
Classified as an original scientific work. Creative reconstruction of an illegible draft, transforming a "hieroglyph" into a playable score, a complete work with complete individuality in itself.
THE CRAZYMEN
(The Nonsense or The Work of the Madmen)
(The Fools)
by
Félix Máximo López
(1742-1821)
LIBRETTO
Opera in three acts
[Stage directions in brackets by Alberto Cobo]
[The action takes place in the early 19th century. The setting can be temporal, that is, as the years go by. Four friends and companions, or neighbors in a tenement, whose identities and professions are unknown, although evidently related to López's profession and the Royal Chapel, so they could well be four monks, realistically represent their existence and identity as people. López, in the form of experimental theater, also calls them "Madmen" and usually changes their characterization, at times becoming: a lame man, a mute, a blind man and a deaf man. Under the precedent of Calderonian lyric theater, the singers are above all actors. The 1st Madman and the 2nd Madman are interpreted by women who take both male and female roles according to the scene, normally acting, in the whole work, as males. Thus they will be designated in that order as 1st Madman: Soprano, 2nd Madman: Contralto, 3rd Madman: Tenor and 4th Madman: Bass.
The meaning of the text often consists of the musicality of the phrase or burlesque irony.]
ACT I
SCENE I
(Set of a house from the early 19th century)
MADMAN 3
Who goes there?
Answer quickly
MADMAN 4
Are you talking to me?
MADMAN 3
No sir.
[Turning towards the noise of someone
appearing from the right.]
Who are you?
Say it quickly.
MADMAN 1
Don Paralipomenon.
I speak to you in Dutch
as a gentleman I speak.
Yes should be that,
no should be that.
MADMAN 4
Pirpirigaña
sweep this house for me.
With what shall I sweep it?
With the cut hand.
That I do not know.
MADMAN 3
If they squeeze your neck,
I'd like to see it.
MADMAN 1
Oh! Be quiet, oh! Be quiet,
Oh Tatius! I swear.
Ah he deserves respect
both as a guest and friend.
To anger me
Oh Dionysus!
MADMAN 3
All that is straw,
take out the box,
give us some snuff
and goodbye to you.
MADMAN 1
You have a hymn father
and from some enemy
I will defend you.
Oh! If all were similar
I am full of fury.
Beast, tell me worse
in the world is not seen.
MADMAN 3
Decodin, decodan,
from the Cordoban rod.
The third crossbowman,
you are a great liar,
but I am a greater one.
Decodin, decodan,
from the Cordoban rod.
The third crossbowman,
you are a great liar
and pardon your mercy.
(Pause)
SCENE II
[They organize themselves into a tenement in the courtyard. Madman 2 appears imitating a newspaper vendor]
MADMAN 2
Gazette, great news,
many lies and few truths.
MADMAN 1
I have a knitter
working in my doorway
who is of the street and neighborhood
the most punctual Gazette.
And so, sister,
with the music
go elsewhere to deceive.
MADMAN 2
Here's the account
that has come out new
and curious ballad
in which it tells and declares...
MADMAN 4
Ah! old iron.
MADMAN 3
Friend, there's nothing else.
One should not be frightened
because old iron
spreads like oil,
like oil and even more.
And if you want more portion
in jail you'll find it.
[recited]
MADMAN 2
To the new little paper,
where the curious will see
the most tremendous case
and most noisy
that has happened in
the city of Palermo
with an English veterinarian
and a sick ox.
They'll see the great cure
that the Marshal made
giving it a fire button
on the heel.
They'll see the story
of little Balthazar and
his gypsy sister.
They'll see the good fortune
she told the sultana.
With other famous incidents
that the curious will see here.
They'll also see the history
of the Medes and the Pants,
of the Goths and the Persians,
for two quarters
that will bloom from the pocket.
To my new,
to my new little paper.
MADMAN 1
(faking a woman's voice)
Dozen eggs.
MADMAN 4
(faking a voice)
Toytuea.
Apatuitea.
MADMAN 1
Let's go to bed
because it's very late already,
for the prayer has already rung
and we must rest,
because if not Paulina
will read to us at once.
ALL
That barbarous murderer,
that cruel Barabbas,
that wicked Nero,
the blessed Fierabras.
Let's get into the slammer
since we have to get up early.
If we don't fall asleep soon
we'll try to snore.
(they pretend to snore)
SCENE III
[In the shared room they wait, while the music plays, for the feared Paulina to make the inspection, and on the scene they improvise some beds. After the ordeal...]
MADMAN 1
With so much spitting.
(spits)
MADMAN 3
With this dripping.
(gargles)
MADMAN 2
With so much mouth opening.
(crosses mouth)
MADMAN 4
With this itching.
(scratches)
MADMAN 2
I couldn't go to the Council.
MADMAN 1
I couldn't go to the tavern.
MADMAN 3
I haven't left the house.
MADMAN 4
I'm a real fatso.
MADMEN 1 AND 2
What a prodigy!
MADMEN 3 AND 4
What a marvel!
MADMEN 1, 2 AND 3
What could it be?
MADMAN 4
What do I know.
ALL
(thoughtfully)
A-E-I-O-U
[They fall asleep, and singing in dreams...]
ALL
In a deep sleep
the heart is sighing,
lamenting day and night
for his beloved Liberta.
But, since there's no remedy,
eyes weep, weep.
[Madman 1 gets up and transforms into Liberta, singing in the foreground, immediately returning to his character and lying down again]
MADMAN 1
Woe is me who shattered
my wooden casseroles.
When the godfather finds out
what a good beating awaits me!...
SCENE IV
[In the Chapel]
MADMAN 4
Here are some verses
of great delight
to serve as an exordium
for my sermon.
MADMAN 3
Who is to sing them?
MADMAN 4
This scullion who is by direct line
grandson of Absalom.
[Pointing to Madman 3]
MADMAN 3
I have a cold.
MADMAN 2
Well, let it go between two,
for two mules pull
a coach.
[Madman 1 and Madman 2 dance a minuet]
MADMAN 1
Subject to the chain.
MADMAN 2
The girl.
MADMAN 1
Cries her sad fate.
MADMAN 2
Of death.
Tiruri, tiruri.
MADMAN 1
Without being able to find relief.
MADMAN 2
Be quiet.
MADMAN 1
Oh! Curse the destiny.
MADMAN 2
Cucumber.
MADMAN 1
That ill-fated prepared me.
MADMAN 2
Theatine.
Tiruri, tiruri.
MADMAN 1
To despair.
MADMAN 2
To rage.
MADMEN 1 AND 2
And eat cucumber for breakfast.
[End of Minuet]
MADMAN 4
Now it's my turn
MADMAN 3
I'm first.
MADMAN 1
Well, what are you going to do?
MADMAN 3
My Kyrie Eleison,
which is in most feasts
before the sermon.
MADMAN 1
As I'm a mule
you're right!
But take it as done,
the sermon will be said.
MADMAN 3
My credit comes first
than the preacher.
MADMAN 4
Glory in excelsis Deo.
MADMAN 3
There's always very little peace
where there are many for one bread.
And this happens without a but
where money is scarce.
How many truths like these
could be said today!
But it's not necessary to be short
like a measuring rod.
And so dear brethren
the glory is about to conclude.
MADMAN 4
If they don't close the windows
I'll get lost in the sermon.
MADMEN 1, 2 and 3
Pericon, pericon, pericon.
MADMAN 4
Well the subject I bring,
The story is of Pygmalion.
MADMEN 1, 2 and 3
Partridge, partridge, partridge.
MADMAN 4
Silence faithful, silence.
MADMEN 1, 2 AND 3
Silence,
it will be a grumbling sermon.
MADMAN 4
Along the banks of the Nile
a phaeton was spotted
and five triumphal chariots
of Prince Agamemnon.
MADMEN 1, 2 and 3
Chilindrín, chilindrín, chilindrón;
if you're red
it's from red ochre.
MADMAN 4
The seven cows followed
that Joseph deciphered there
and twenty-two elephants
loaded in Santa Fe.
MADMEN 1, 2 and 3
With coffee, with coffee, with coffee;
if you're angry
I don't know why.
MADMAN 4
Oliver and Roland
became Capuchins.
And they say Longi cured them
of some tertian fevers.
MADMAN 1, 2 and 3
With cumin, cumin, cumin;
may those assassins die at once.
MADMAN 4
Convoy to where this train
of Balaam's donkey.
Without stumbling in Esquivias
they entered Tetuan.
MADMEN 1, 2 and 3
Without passing through the bar of Maudes
they all halted in Fuencarral.
MADMAN 4
Towards the Damascene field
ladies go very little
because the word "supper"
makes many tremble.
MADMEN 1, 2 and 3
Poor Adam, poor Adam, poor Adam;
how foolish you were
to let yourself be deceived!
MADMAN 4
Open your eyes, they're roasting meat.
Deceitful and false world!
And from what I've said
deduce well the moral.
MADMEN 1, 2 and 3
Trickster, trickster, trickster;
if you have diarrhea,
it will pass.
MADMAN 4
The prophet Mohammed says,
speaking of eunuchs,
what very educated people are
to play trucos.
MADMEN 1, 2 and 3
Pajarru, pajarru, pajarrucos;
that nobody wants them
because they are very cunning.
MADMAN 4
The seven Infants of Lara
entered the tavern,
and it was much murmured
by Cleopatra's Asps.
MADMEN 1, 2 and 3
Patatin, patatin, patarata;
eat pigeon
which is better than sweet potato.
MADMAN 4
Titus Livy married
a tripe seller
and of four children he had
they were born with four ears.
And four hundred hermits
were in prayer,
and they fell asleep
as proof of their fervor.
Very irritated the Bishop,
who found out the next day,
decreed that on Good Friday
they should not taste the blood sausage.
Four tailors gathered
at the gates of Hell
and could not enter
for it was already all full.
MADMAN 3
This one is taking it too far,
I don't want to listen to him anymore;
for today is mail day
and Mustafa awaits me.
(Exits)
MADMAN 2
The preacher is a bore,
I can't stand him;
golden-mouthed he is, but let him go
preach to a bramble.
(Exits)
MADMAN 4
On the night of the arrest
Judas played the vihuela
and upon grabbing the money
he got erysipelas.
The most just king of Greece
was an honest Asturian,
who hunted mosquitoes
with twenty-four pound bullets.
At the Trujillo fair
fifteen horses are sold
and it's a wonder
to see them walk upside down.
MADMAN 1
I'm a theology lecturer.
The classroom is waiting.
I'll leave without him noticing.
What a singular sermon!
(Exits)
MADMAN 4
Any Saturday of the year
it's difficult to find
a thousand reales on a bricklayer
even if he's just been paid,
even if he has five children,
even if he eats only bread
and his wife is sick,
they won't be found on him either.
If Saint Paul saw heaven
from inside from the earth,
we without going so high
look at it from outside.
The Council of Stockings says,
called Chalcedonian,
that walking shod is healthy,
and in leggings indecent.
(he gets fervent)
Men who wear gaiters,
watch well where you go.
Women who are discreet,
always say scissors.
Husbands who are stubborn,
be a little patient.
Friars, nuns and devout women,
abbots, errand boys,
physicians, jurists,
the courtiers, the troops,
craftsmen, students,
never miss the soup.
And the diplomatic State,
all these truths
hear so that...
(looks)
(Recited)
But what is this?
And the audience?
Fled.
I preached in the desert.
The fault is mine.
Among all the beasts there are,
I believe I am the greatest.
MADMAN 4
I'm alone like an asparagus.
What do I have left to wait for?
The fruit of my prayer
I have already gathered.
And so, piano, piano,
(He leaves slowly)
I want to leave too
for I have to go eat
in the valley of Jehoshaphat,
where the Great Prior of Paular
has invited me.
Piano lontano he goes.
(Exits)
(darkness and silence)
END OF THE FIRST ACT...
SCENE V
PAROLA BETWEEN 4 MADMEN IN THE STREET
WITH SECRET MUSIC IN THE HOUSE
[At night, at the foot of the barred window of the young gypsy Blasa's house, the four Madmen have gathered to accompany the courtship that the 4th Madman intends. The 3rd Madman carries a guitar.]
MADMAN 1
Good evening.
MADMAN 2
Uncomfortable night.
MADMAN 3
Holy night. (Christmas Eve)
MADMAN 4
Bad night.
MADMAN 2
Don't you feel the chill
that covers your whole face?
MADMAN 4
The chill I feel
is because of this girl
who I think will make fun of me.
MADMAN 3
The music will swallow her.
See what she was born for.
MADMAN 2
Would it be right to bother her?
MADMAN 4
I ask: Are we, perhaps,
beasts of burden
for this trick to be played on us?
A curse upon it!
MADMAN 1
I, who am Don... I don't know what.
MADMAN 2
I, father-in-law of Doña Urraca,
must I suffer this bad time?
MADMAN 3
And I who am...
MADMAN 4
Beast. Shut up.
I am Don Agamemnon,
and I won't say another word,
having come from Acapulco
on horseback on a cow
not to conquer lordships,
only to see that girl,
that Blasilla, that fury,
that great rascal!
And I have patience, and I suffer.
MADMAN 3
This is the grating.
MADMAN 4
Then be quiet
And with the greatest silence
play that guitar hard
for it is the lure
with which elephants are hunted:
and I swear if she doesn't come out
I will go inside to find her.
(Pause for a while)
Blasa?
(Louder)
Blasa?
(Even louder)
Blasa?
MADMAN 1
Press on.
MADMAN 2
Man, if she's in bed, why are you shouting?
MADMAN 3
I say: is this the much-
praised lady you court?
MADMAN 4
She herself.
MADMAN 3
Is this the appointed hour?
MADMAN 4
She said a quarter past twelve.
MADMAN 1
Well, half past has already well passed.
MADMAN 2
I praise punctuality.
MADMAN 4
Shall I tear off this grating, Blasa?
MADMAN 3
Four men of good
are waiting for you.
MADMAN 1
My dear Mariblanca,
do you want to have
a cigar,
Morning Star?
MADMAN 4
Come on, monkey,
inside or outside,
and come out here if you're a man.
MADMAN 2
A very good way to force her!
MADMAN 3
Well, if she hears you, I bet
she turns over in bed
to the other side.
MADMAN 1
You express yourself very foolishly to force her.
MADMAN 4
Well, what should I do?
MADMAN 1
You don't understand a word
of this point,
nor do you know if the cattle
are of good breed or not.
If you said to her: my dear!
my enchantment?
MADMAN 3
Tarraraza! (Nonsense!)
MADMAN 1
My that, my life, my everything!
Come out here with the lamp
to illuminate this room.
MADMAN 2
She doesn't answer?
MADMAN 3
Ah! It's another door.
MADMAN 1
The night is needlessly cold!
MADMAN 4
Blasa, woman, or poison!
MADMAN 1
Play, play that guitar.
Let's give the music, for this
we have come;
tomorrow, if she didn't hear it,
your friend Blasa
will thank you.
MADMAN 2
She will know it
as soon as she opens the window
by the color of the bars.
MADMAN 3
Then leave it stuck to her
with a wafer.
MADMAN 1
Let's go, let's go.
MADMAN 4
Let's go
for time is passing.
(Old music continues)...
SCENE VI
[In the study room, Madman 1 studies mathematics, Madman 2 philosophy, Madman 3 Latin, and Madman 4, in another area, looks for his relative Gertrudis]
(PAROLA)
MADMAN 1
What a wandering,
what a silly solution.
How much is there,
that I no longer understand
how the equation goes?
A thousand one hundred are left over
and I'm almost done.
I don't know what sum this is.
(Sits down)
(Leaves little by little)
MADMAN 2
What a fulminating synderesis
seizes my breast.
With so much piropopar
my viscera are altered.
Philosopher.
MADMAN 1
I'm carrying five from ninety,
I subtract three. Nor does
zero with zero equal a thousand.
MADMAN 2
Rutilant sign, don't scold me
for Morpheus bothers me
and Phaeton teems.
Rays, may the spheremaker
not try to eclipse
such a regal dawn with your austere fate.
MADMAN 3
(Leaves little by little)
Quintus Curtius, great book
more difficult to chew over,
I cannot translate you
without stumbling a hundred times.
Cuius. Verb.
Who doubts it?
Circumda, circumcise.
Aliquid, Neuter.
Lacks. The sentence
is formed:
Aeneas sat in the sun
one morning to pick fleas
and the lice he killed
he then ordered embalmed.
It's first of active,
there's no doubting this,
epistolam petrigo ego,
ego Paulo in Astracan.
It came out, it came out, it came out, it came out.
Come on, there's no need to do
that nothing will resist
my expert science
and guttural eloquence.
(Sits down)
MADMAN 2
[Amidst the verses of the 3rd Madman]
What synderesis
Leave me.
Morpheus.
It bothers me.
Phaeton.
MADMAN 1
[Amidst the verses of the 3rd Madman]
I multiply
Half is left over.
It's fourteen.
Zero kills zero.
Five and three?
MADMAN 4
Where could my Gertrudis be
who left very early?
Now that this right sleeve
has left me without a button,
well, that's good for sure.
I swear I'm the biggest rascal
that can be found
of all those warmed by the sun.
If I knew where she was?
I would go look for her.
He ordered the carriage readied
and combed his hair a little before.
Then I have no doubt
that he left for a visit.
Yes, could she have gone to the river
to wash the clothes
that got dirty?
But no, what nonsense,
she must be listening to the sermon,
and since she's so hardworking,
she forgot the button.
MADMAN 1
[Amidst the verses of the 4th Madman]
Five and seven?
That's good.
I carry two.
MADMAN 2
[Amidst the verses of the 4th Madman]
Rays
What synderesis!
Rutilant sign.
Don't scold me.
Synderesis.
MADMAN 3
[Amidst the verses of the 4th Madman]
Quintus Curtius
Great book!
Aliquid.
Neuter.
Lacks.
Aeneas.
MADMAN 1
Thirty and thirty, twenty-five.
Could this be an accurate sum?
MADMAN 2
I am in pure equilibrium
with so much diaphaneity.
MADMAN 3
I can be from the Sorbonne,
master of Latinity.
MADMAN 4
My Gertrudis doesn't appear
and the button needs sewing on.
MADMAN 1
I subtract twenty.
MADMAN 2
Great synopsis.
MADMAN 3
Quisbelquid. (Quidquid)
MADMAN 4
She'll come.
MADMEN 1 AND 2
My talent falters.
MADMEN 3 AND 4
What a great pity I feel!
MADMAN 1
What a mistake of mine
so difficult to save!
MADMAN 2
What sublime phenomenon
has come to disturb me?
MADMAN 3
What elevated Latin
have I come to decipher!
MADMAN 4
What a filthy shirt!
Gertrudis, you'll remember!
[Madman 4 enters the area of the study room, frightened]
MADMAN 4
I'm hopelessly lost.
MADMAN 1
Well, why?
MADMAN 4
You'll see.
From this done
honor to God.
MADMAN 2
The reason?
MADMAN 4
It will tell,
with such unheard-of pain.
MADMAN 3
What happens?
MADMAN 4
It will tell.
My mind is lost.
MADMAN 1
I don't believe it.
MADMAN 4
It will tell.
MADMEN 1, 2 AND 3
If you don't explain yourself clearly
no one understands you.
MADMAN 4
Better
MADMAN 1
Is it the six-month
anniversary of your wedding?
MADMAN 4
Much worse.
MADMAN 2
Is justice pursuing you
because of a woman?
MADMAN 4
Much worse.
MADMAN 3
Do you have challenges,
debts and traps?
MADMAN 4
Much worse!
MADMEN 1, 2 AND 3
To give you some consolation
tell us clearly your pain.
MADMAN 4
Oh, oh, oh, oh,
for one with great secrecy
told me this morning,
upon leaving the tavern:
Your mother-in-law has resurrected!
MADMEN 1, 2 AND 3
Shhh...
[Finger closing mouth]
MADMAN 1
Well, just in case it's true
it's best to keep silent.
MADMAN 2
And because if she hears us here
we'll have an apparition.
MADMAN 3
I think I glimpse her
underneath the door.
MADMAN 4
Oh, oh, oh, don't say that.
I no longer know where I am.
MADMAN 1
Look, don't despair,
do you want to escape the terror
and for her to die again
if by chance she resurrected?
Then let's cast a spell
all together in one voice.
MADMAN 4
What spell should that be?
MADMAN 1
A fierce racket
of great shouts and voices,
all commotion and confusion.
A chapel flight.
It has been said in conclusion
that it is capable of killing
your mother-in-law and Samson!
MADMAN 4
Then let's go with the spell.
May it take effect, God willing.
[For the spell they spread out some blankets and sit in a circle]
ALL
Mother-in-law, if you have resurrected,
die again another time.
And may this spell serve
for double suffering.
(Pause)
SCENE VII
[Madman 3 and Madman 4 stroll down the street with their wives, Rosaura (Madman 2) and Gertrudis (Madman 1), respectively.]
ALL
What a lovely afternoon!
Let's go to the theater,
and seeing what it is,
we'll pass the time.
MADMAN 1
What comedy is playing?
MADMAN 2
The Gazofilacio.
MADMAN 3
That's a new piece.
MADMAN 4
Of rare merit.
ALL
Oh! What a tonadilla,
what a handsome gallant,
what a charming bolero.
Let's go listen to it.
SCENE VIII
[In the theater]
MADMAN 1
Good stuff.
MADMAN 2
Bravo, bravo.
MADMAN 3
The stew is to my liking.
MADMAN 4
This is better than Rhubarb.
(Whistling)
SCENE IX
[At the home of Madman 4, they imitate a scene from the play they went to see. Madman 1 plays the empress, Madman 2 the maiden, Madman 3 the servant, and Madman 4 the Emperor.]
MADMAN 1
Valiant Charles V,
valiant Quirlos Canto,
emperor of Russia
and protector of the fandango:
listen, sir.
MADMAN 4
What do you say?
MADMAN 1
That you try this tobacco
that is manufactured in Esquivias.
MADMAN 4
Better would be a stew.
Hello?
MADMAN 3
Sir, what do you command?
MADMAN 4
A light in my study.
[Rosaura appears from behind in a hurry]
MADMAN 3
Very well.
Madam...how...
where are you going in such a rush?
MADMAN 2
I'm going to have curdled milk
before the day dawns.
MADMAN 3
And if your aunt looks for you
to play a trick on you?
MADMAN 2
Let her go to the coal shed;
for fate foretold me
that that would be my destiny,
a rabbit hole, palace,
alcazar, Parnassus, study, mousetrap,
where I teach the arts,
the trades and the abstract sciences,
and where I teach with such skill and dexterity
that even the foundlings
learn to knit.
MADMAN 3
Zapateta! (a type of tap dance)
To earn many ounces of gold
you have struck upon a good trick.
MADMAN 2
I'll be back soon.
MADMAN 3
Don't go
for the Baron of Illescas is coming.
[Rosaura doesn't leave]
MADMAN 1
You are precious!
You are beautiful!
MADMAN 2
I know I'm not ugly.
MADMAN 4
I celebrate that, Rosaura.
[She turns, spinning and spilling Madman 4's coffee.]
MADMAN 2
Forgive me, sir.
MADMAN 4
Hey!...fool;
that's too much familiarity.
MADMAN 1
And great familiarity.
MADMAN 4
You speak well, man.
MADMAN 1
I am sane.
MADMAN 3
It's not jealousy, it's courage.
MADMAN 1
It's love...
MADMAN 2
It's arrogance....
MADMAN 4
It's a fried radish
that breaks my head.
MADMEN 1, 2 AND 3
It is...
that at your feet, surrendered,
we implore your clemency.
MADMAN 4
Rise.
Come into my arms, great scoundrel.
MADMEN 1, 2 AND 3
What refinement!
MADMAN 4
Come now, be quiet and at once
you three go out there
and have the carriage readied for me
for I am going to take a nap.
(Pause)
Alright, here is the translation of Scene X.
SCENE X
[The four Madmen meet in the tavern.]
MADMAN 1
Here is an aria by La Todi
composed by Macanaz,
which, for the Peace of Utrecht,
was sung in Gibraltar.
ALL
It must be a lovely thing,
let's go listen to it.
MADMAN 1
No, it has a recitative.
It's just a cavatina
with a decoration
that makes you laugh and cry.
[After drinking a few glasses...]
PASTORAL "MALBRUK"
ALL
The world is lost,
taranti, taranti, tarantena.
The world is lost,
who knows what will be.
If they make me mayor,
taranti, taranti, tarantena.
If they make me mayor
everything will be fixed.
MADMAN 1
If everyone applies themselves,
taranti, taranti, tarantena.
If everyone applies themselves
to hear, see and be silent.
MADMEN 2, 3 and 4
That is indeed true.
MADMAN 1
And may some try,
taranti, taranti, tarantena.
And may some try
to guard their family.
MADMEN 2, 3 and 4
That is indeed true.
MADMAN 1
And may the young ladies,
taranti, taranti, tarantena.
And may the young ladies
always flee from idleness.
MADMEN 1, 2 and 3
That is indeed true.
MADMAN 1
And may the one who sells,
taranti, taranti, tarantena.
And may the one who sells
not have the urge to steal.
MADMEN 1, 2 and 3
That is indeed true.
MADMAN 1
These four little rules,
taranti, taranti, tarantena.
These four little rules
will make the world good.
MADMEN 2, 3 and 4
That is indeed true.
MADMAN 1
If they know how to practice them,
taranti, taranti, tarantena.
If they know how to practice them
they will see how well it goes for them.
[Dance in bowling alleys]
ALL
Well poised,
well chewed,
well left.
[In the tavern, Madman 2 continues the joke and presents himself as a cupletista.]
MADMAN 2
Here you have, musketeers,
a poor helpless woman
who today presents herself on the boards
to sing her tonadilla.
It is lovely,
it is brand new,
it is somewhat serious,
it is expressive.
And you will have a good time
by my life,
if those who are to hear it
pull out three teeth.
(Canzonetta solo and 4)
MADMAN 2
Know then, my lords,
that the love of my Pascual
is always with kicks and bites
for his beautiful nature.
And he tells me at night
before we go to bed:
ALL
The little Portuguese woman threw me
little oranges from her orange grove,
she threw them to me and threw them back,
and threw them back to me.
He only feeds
on the vine spirit,
and he is so devout that he is always
praying in the hermitage.
And he tells me when he comes
somewhat loaded with more:
ALL
The little Portuguese woman threw me
little oranges from her orange grove,
she threw them to me and threw them back,
and threw them back to me.
MADMAN 2
On Mondays in the morning
he gives me a peseta
for the week's bread,
after grumbling.
And if I don't give him the change
he then begins to intone:
ALL
The little Portuguese woman threw me
little oranges from her orange grove,
she threw them to me and threw them back,
and threw them back to me.
[They all approach the platform to finish together]
ALL
And with this, gentlemen,
the tonadilla ends.
Give us four claps,
and six pounds of egg yolks.
SCENE XI
[Back at work in the Royal Chapel.]
MADMAN 3
From Doña Lucía's house
don't you know the news?
MADMEN 1, 2 and 4
No.
MADMAN 3
This morning she was widowed
at four o'clock or a little later.
MADMEN 1, 2 and 4
Indeed.
MADMAN 3
It's a pity to see her.
MADMEN 1, 2 and 4
Indeed.
MADMAN 3
How devastated she is.
MADMEN 1, 2 and 4
Indeed.
MADMAN 3
The best part is that she was widowed
without being able to prevent it.
MADMEN 1, 2 and 4
Indeed.
ALL
Who would have told her
What you have come to!
Widow of five husbands
with such great skill
that one by one all five
you've managed to dispatch.
Poor little thing,
how devastated you must be!
MADMAN 3
One was a rascal of those
beach wax-makers and hangers-on
who without earning anything, from bulls,
plays,
always enjoyed himself.
He was one of those
of strange custom
whose house smells
of sweaty socks.
He gambled continuously,
won by cheating,
the wife scolded,
shouted and raged.
But she was something
forgotten to him
and in some bullfights
that took place in Fuenlabrada
one of them killed him
with a pair of horn thrusts,
leaving the poor woman free
of such a scoundrel.
ALL
Who would have told her
What you have come to!
Widow of five husbands
with such great skill
that one by one all five
you've managed to dispatch.
Poor little thing,
how devastated you must be!
MADMAN 3
Her blessed second husband was,
a gallant lad like a little cucumber,
sought after by ladies, loved and cherished.
He was like the little lamp in houses:
at home extinguished, outside very bright.
After these things he was jealous:
he leaves Lucía locked in the little room,
our little Cupid going off to have fun.
He complains, they arrest him, he finds himself in shackles,
from grief he catches a great fever,
he dies, they bury him and goodbye little husband.
ALL
Indeed. Who would have told her
What you have come to!
Widow of five husbands
with such great skill
that one by one all five
you've managed to dispatch.
Poor little thing,
how devastated you must be!
MADMAN 3
She marries very briefly a foreigner,
who plays, who sings, who dances the bolero,
and died one night eating fritters.
That year she married an innkeeper:
she took many beatings, a lawsuit was formed,
she won the complaint, the fool dies,
leaving her rich for the fifth, and third
she entered with the fifth who is the fifth dead
of advanced age, extremely mature,
with wealth, without children, very hard-tempered:
and today without knowing how he has become stiff.
ALL
Indeed. Who would have told her
What you have come to!
Widow of five husbands
with such great skill
that one by one all five
you've managed to dispatch.
Poor little thing,
how devastated you must be!
Let's go then to console her
in her mortal sadness.
Be careful not to laugh
for the situation is not for more.
SCENE XII
[At the funeral of Don Diego, the cousin of Rosaura (Madman 2). Madman 4 and his wife offer their condolences.]
MADMAN 1
I deeply regret such a blow,
I accompany the feeling
with the part that I take
of the death of Don Diego!
MADMAN 2
Temper then your affliction,
he was a gallant young man!
When touching his pocket,
he would leap like a roe deer!
MADMAN 3
Calm your great sorrow,
madam, we are nothing!
Before twenty-four hours
you must provide for his place.
MADMAN 4
Console yourself then at last,
since he was so charitable,
if he's not in glory,
he's surely in hell.
ALL
If he has achieved such fortune
he will live for eternal centuries
and as it is hot land
he will spend good winters.
(Pause)
(The street minuet continues)
SCENE XIII
[Ordinary street minuet (instrumental) which follows or goes together with the parola. López now matches the characters with those initially presented: a lame man, a mute, a blind man and a deaf man, in order to Madmen 1, 2, 3 and 4. The relationship is temporal in that the characters have acquired 20 more years each - possibly having taken religious orders then -]
MADMAN 3
The prayer of Saint Hilario,
Saint Gertrude, Saint Diego,
of Saint Francis Xavier,
of Saint Teresa...
MADMAN 2
Blind?
MADMAN 3
Who goes there?
MADMAN 2
Look here.
MADMAN 3
If you know that I don't see.
Why this? To mock?
Saint Cecilia, Saint Peter,
of Saint Anthony, the Souls.
MADMAN 2
That of Saint Cyril,
brief blind man.
MADMAN 3
That's three quarters and seven
if I don't remember but there it goes.
FIRST PRAYER
MADMAN 3
While Saint Peter was in Rome
in the years one hundred and two
a pilgrim appeared
with a pilgrim's cloak and staff
and it was the prophet Cyril.
Then he became known
for his deeds and miracles
achieving good opinion.
And he liked cakes
better than Spanish bread.
Being Numa emperor
they order the man arrested
for curing good and healthy people
taking him to his presence
with the fingers of his hands.
After Numa saw him.
(musical calderón in which the parola is recited)
MADMAN 2
Blind, blind?
Go on with a shorter one,
with less gibberish.
MADMAN 3
The most prodigious black man?
MADMAN 2
Leave it for another day.
Go on with any one.
MADMAN 3
Well, this prayer is very pretty!
So that your grace may know
that the Saint was born in Coimbra,
of noble and rich parents
and that he married Jacinta,
Grand Duchess of Bravante,
and when she was pregnant
she became like a firebrand
without knowing why.
If you could see how pretty!
what miracles in Palermo!
fruit of the young ladies
who marry to their liking
and then after three days
Palermo goes high
without ceasing night and day.
Come on, you will have a good time
with such a little prayer.
MADMAN 2
Brother, that makes me dizzy,
sing that of Saint Rita.
And if not, leave now.
MADMAN 3
I am going to serve your Lordship.
SECOND PRAYER
MADMAN 3
Of Rita the praises,
with the greatest clarity,
I am going to sing stubbornly,
that she knew how to irritate you,
Holy Virgin of the Guide.
All the jewels were
of adornment in her sad cell
a painting that was in it,
being your shell and pearl
the Holy Virgin of the Guide.
Although I have said so much
I am missing the substantial...
(musical calderón in which the parola develops)
MADMAN 2
Brother, substance for the pot,
and nothing more. Take it and goodbye.
[Giving him some coins]
MADMAN 3
May God repay you.
(Pause)
ACT III
SCENE XIV
[Madman 3 waits for his friends near the bullring, where they have arranged to meet to go see the bullfight.]
MADMAN 3
Two deaf men and a mute
are here curiously
chatting, raging,
like parrots.
Just from hearing them
they already make me foolish
because the three of them
rave like madmen.
They won't be long.
I'll pretend I'm alone.
The revelry is already beginning.
From here I hear them.
(Tercet. Deaf, Blind and Mute)
[Madmen 1, 2 and 4 walk there]
MADMAN 1
[Deaf]
Friend, the years now
weigh too much.
MADMAN 2
[Blind]
I don't like the stew
when it's charred.
MADMAN 1
I don't understand it.
MADMAN 2
Neither do I.
MADMAN 4
[Mute]
U..........aba, aba,
aba, aba, aba, aba.
MADMAN 1
They say that within eight days
the bread is going to rise on us.
MADMAN 2
Many sick people are
with cupping glasses and bloodletting.
MADMAN 1
I don't understand it.
MADMAN 2
Neither do I.
MADMAN 4
U............aba, aba
aba, aba, aba, aba.
MADMAN 1
This whole world is chance.
Virtue is persecuted.
MADMAN 2
In this last bullfight
Costillares was wounded.
MADMAN 1
I don't understand it.
MADMAN 2
Neither do I.
MADMAN 4
U............aba, aba
aba, aba, aba, aba.
MADMAN 1
I have bought a hen
that peels hazelnuts.
MADMAN 2
To cut short tertian fevers
there is nothing like quinine.
MADMAN 1
I don't understand it.
MADMAN 2
Neither do I.
MADMAN 4
U............aba, aba
aba, aba, aba, aba.
MADMAN 1
A man should make an honest
courtesy to the ladies.
MADMAN 2
One was given paralysis
three days after being buried.
MADMAN 1
I don't understand it.
MADMAN 2
Neither do I.
MADMAN 4
U............aba, aba
aba, aba, aba, aba.
MADMAN 1
[Deaf]
I don't understand a word.
MADMAN 2
[Blind]
I don't understand you either.
MADMAN 1
This rogue is mute
so look at that, that's three.
MADMAN 4
[Mute]
Aba, aba, ate, tete.
MADMEN 1 AND 2
Little by little,
so look at that, that's three.
MADMAN 2
If you would listen to me
I will explain myself clearly.
MADMAN 1
Friend, I have an appointment,
I cannot stop.
MADMAN 4
Aba, aba, ate, tete.
MADMAN 2
I was telling you before
that I abhor my wife
for her temper, for being filthy,
for pride.
She stirs up the whole neighborhood
and I have become deaf
from the voices that the cursed
cooking woman gave me.
MADMAN 4
Aba, aba, ate, tete.
MADMAN 1
I already answered you that,
that upon becoming impoverished,
man is a useless piece of furniture
and nobody pays attention to him.
MADMAN 4
Aba, aba, ate, tete.
MADMAN 1
That the one who has no money,
if he has nothing to eat,
to flee idleness,
must dance the cumbé.
See if I understood it.
MADMAN 4
Aba, aba, ate, tete.
MADMAN 2
That's not it.
MADMAN 1
Yes, it is.
MADMAN 2
That I'm angry.
MADMAN 1
Listen to me.
MADMAN 2
I hear very well, my lord.
MADMEN 1 AND 2
I am less deaf than you.
Little noise, my lord,
don't get upset.
MADMAN 2
This mute seems to me
to be the prophet Ezekiel,
cousin of Doña Urraca
and pedestal of Saint Michael.
MADMAN 1
But does he speak Italian
German, and French?
MADMAN 4
Aba, aba,
aba, aba, aba.
MADMAN 2
Don't think he's a rogue,
for example like you.
That he is a man who eats and drinks
and does the rest too.
MADMAN 1
For you there are never reasons.
MADMAN 4
Ate, tete,
ate, tete.
MADMAN 1
That is being a bore.
MADMAN 2
And I will tell you much more,
that when mutes speak,
they have license to...
MADMAN 4
Tete, tete, ate, tete.
MADMAN 1
You are a great talker.
MADMAN 2
You say amen to everything.
MADMAN 1
I am in an inn.
MADMAN 2
I was in Jerusalem.
MADMAN 1
I have sung in Acapulco.
MADMAN 2
And I have danced in Bethlehem.
MADMEN 1 AND 2
And what? And what?
MADMAN 1
What results from what has been said?
MADMAN 2
That I will tell you.
MADMEN 1 AND 2
I don't understand a word.
I don't understand you either,
This rogue is mute,
so look at that, that's three.
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