Mario's Halloween

Princess Peach In Lulu Part One: Earth Spirit

(A stage-hand with a big paunch carries out the actress of Peach in her Pierrot costume, and sets her down before the animal-tamer.)

he was created to incite to sin,
To lure, seduce, poison-yea, murder, in
A manner no man knows.-My pretty beast,

(Tickling Peach's chin.)

Only be unaffected, and not pieced
Out with distorted, artificial folly,
Even if the critics praise thee for 't less wholly.
Thou hast no right to spoil the shape most fitting,
Most true, of woman, with meows and spitting!
And mind, all foolery and making faces
The childish simpleness of Vice disgraces.
Thou shouldst-to-day I speak emphatically-
Speak naturally and not unnaturally,
For the first principle in every art,
Since earliest times, was True and Plain, not Smart!

(To the public.)

There's nothing special now to see in her,
But wait and watch what later will occur!
Her strength about the Tiger she coils stricter:
He roars and groans!-Who'll be the final victor?-
Hop, Charlie, march! Carry her to her place,

(The stage-hand carries Peach in his arms; the animal-tamer pats her on the hips.)

Sweet innocence-my dearest treasure-case!

(The stage-hand carries Peach back into the tent.)

And now I'll tell the best thing in the day:
My poll between the teeth of a beast of prey!
Walk in! Tho to be sure the show's not new,
Yet everyone takes pleasure in its view!
Wrench open this wild animal's jaws I dare,
And he to bite dares not! My pate's so fair,
So wild, so gaily decked, it wins respect!
I offer it him with confidence unchecked.
One joke, and my two temples crack!-but, lo,
The lightning of my eyes I will forego,
Staking my life against a joke! and throw
My whip, my weapons, down. I am in my skin!
I yield me to this beast!-His name do ye know?
-The honored public! that has just walked in!

(The animal-tamer steps back into the tent, accompanied by cymbals and kettledrums.)

ACT I

A roomy studio. Entrance door at the rear, left. Another door at lower left to the bed-room. At centre, a platform for the model, with a Spanish screen behind it and a Smyrna rug in front. Two easels at lower right. On the upper one is the picture of a young girl's head and shoulders. Against the other leans a reversed canvas. Below these, toward centre, an ottoman, with a tiger-skin on it. Two chairs along the left wall. In the back-ground, right, a step-ladder.

Wario sits on the foot of the ottoman, inspecting critically the picture on the further easel. Waluigi stands behind the ottoman, his palette and brushes in his hands.

WARIO. Do you know, I'm getting acquainted with a brand new side of the lady.

WALUIGI. I have never painted anyone whose expression changed so continuously. I could hardly keep a single feature the same two days running.

WARIO. (Pointing to the picture and observing him.) Do you find that in it?

WALUIGI. I have done everything imaginable to call forth some sort of quiet in her mood by my conversation during the sittings.

WARIO. Then I understand the difference. (Waluigi dips his brush in the oil and draws it over the features of the face.) Do you think that makes it look more like her?

WALUIGI. We can only work with art as scientifically as possible.

WARIO. Tell me-

WALUIGI. (Stepping back.) The color had sunk in pretty well, too.