Cincinnati, New York:
Jennings and Pye; Eaton and Mains,
Text on page 58
58 The: Philippines and the Far East.
(of pasteboard) and a magician shepherd who pressed his love upon her. After songs, endless dialogues and marvellous feats of arms, the finale was as follows:
The princess had resisted the magician shepherd inspite of his threats, and had subdued the monsters to her will. Now appeared on the scene the valiant Prince of Tuscany, who alone of all the searchers had been able to find the missing princess in the desert, with whom he is desperately in love. The prince, however, has one capital fault which would forever prevent his marriage with the princess. He is a Moroathat is to say, an infidelawhile the princess is a fervent Catholic, and feels in duty bound to conceal from him the sentiments with which his splendid appearance and valor has inspired her. The prince presses his suit, and falls upon his knees before the princess, who is half won, but still restrains herself sufficiently to say that perhaps she might have listened to the seductive words of her wooer were it not for his wicked religion, which he must renounce if he expects to receive any kindness from her. At this point, says M. Montano, the audience, completely rapt bv the play, held its breath in order not to lose a syllable of the dialogue, and manifested its enthusiasm by following the words of the actors with low-cadenced whistles. The Bicol author knew, that for his audience, non-Catholic and enemy are synonymous terms, and hence the intensity of feeling at the wooing of a Christian by an infidel. The play ended by the conversion of the Prince of Tuscany and his marriage to the princess.
While the characters in this play are European, the ideas of princes, embassies, magic, Christian, and infidel seemed to be familiar or congenial to the native customs and temperament.
With all their limitations, Filipinos are two centuriesWith all their limitations, Filipinos are two centuries