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Scene Study prepares you to perform key scenes for your theater class or audition. We've got all the information you need for a great performance.

Excerpt from Act 2, Scene 2.VI Dialogue: Cyrano, Roxane, Duenna

 

ROXANE

But when 
Last night I saw you,—brave, invincible,— 
Punish that dandy, fearless hold your own 
Against those brutes, I thought—I thought, if he 
Whom all fear, all—if he would only . . . 

CYRANO 

Good. 
I will befriend your little Baron. 

ROXANE

Ah! 
You’ll promise me you will do this for me? 

Read the full dialogue.
 

 

Understanding the Given Circumstances

  • The scene takes place in the early morning hours in Ragueneau’s pastry shop. The smells of roasted meats pervade the air, baskets overflow with food, and fresh pastries abound. In short, the atmosphere is like an appetizing still-life of a fine French kitchen.  

  • Cyrano has composed a letter confessing his love for Roxane in advance of their meeting. He hides it on his person, waiting for the right moment to give it to her.  

  • The duenna, who accompanies Roxane, is a chaperone who has been engaged to accompany an unmarried young woman to protect her virtue. Cyrano buys some time alone with Roxane by sending the duenna off or pushing her out the door of the shop, with a bag of cream puffs and hot cakes. Through most of this scene, the duenna is eating them in the street but could come back and interrupt their conversation at any moment. 

  • Roxane is in love as well and enters the scene with the hope that Cyrano will help her in her own quest for romantic fulfillment. She loves a young soldier in Cyrano’s regiment named Christian and is worried about his safety in battle. Cyrano is a skilled and brave fighter, and Roxane wants Cyrano to protect him. Neither Roxane nor Cyrano knows when the scene starts that they are in a love triangle; by the end of the scene, Roxane remains unaware of Cyrano’s love for her, but Cyrano knows Roxane loves someone else.  

Blocking and Movement

In theater, blocking is the process of planning the actors’ physical movements and positions. Be sure to show respect and establish trust when working with scene partners. As you prepare to block this scene, ask yourself the following questions:

  • When the scene starts, Roxane has just unmasked, revealing her face to Cyrano. How far apart are they standing when the scene begins? How does Roxane’s posture and bearing reflect the intimacy and vulnerability of a secret meeting with Cyrano? What is Cyrano’s reaction to seeing the face of his beloved?  
  • How does Roxane tend to Cyrano’s wound? Does it hurt him, or does it soothe him? If it hurts him, is it the pain of love or a physical pain? Can it be either, or both, or one turning into the other? 
  • During this entire scene, Cyrano has hidden in his jacket an unsigned love letter he intends to give to Roxane. Are there moments when he is about to give her the letter, but something stops him? If so, how does he reach for the letter? When he decides against taking out the letter, how smoothly does he cover up what he was trying to do?  
  • When the duenna enters, she interrupts the intimacy of the scene between Roxane and Cyrano to comic effect. Where are Cyrano and Roxane standing in relation to each other and to the door of the shop, and how does that inform the comedy? 
  • Roxane stamps her foot toward the end of the scene. What does that gesture say about her character? 

 

Meaning in Heightened Language

Edmond Rostand wrote Cyrano de Bergerac using heightened language, which—even in this English translation—may be hard for contemporary audiences to understand. Actors performing the play, therefore, must make this heightened language clear to an audience. This is particularly important because the play is about a poet, and one of its most central themes is the power of language itself.  

For much of the play, Cyrano himself uses language like a rapier, demonstrating as much power and precision in speech as when he is in a duel. In this scene, however, Roxane disarms Cyrano when she speaks of the man she loves. Cyrano’s heightened language falls away at this moment. Cyrano can only repeat a single syllable: “Ah!” In a play filled with complex verbiage, the simplicity of this moment stands out as an example of humanity at its most vulnerable and possibly most universal.  

Consider the following questions: 

  • How does Cyrano sound when he first dares to hope that he is the object of his beloved’s affection? 
  • How do Cyrano’s "Ah"s change as Roxane continues speaking? Does he show pain? Hope? Recognition? Joy? Something else? How might you articulate the different Ahs to show the audience Cyrano’s emotional journey? 

 

Full Act 2, Scene 2.VI Dialogue: Cyrano, Roxane, Duenna

 

CYRANO

Blessed be the moment when you condescend— 
Remembering that humbly I exist— 
To come to meet me, and to say . . . to tell? . . . 

ROXANE (who has unmasked): 

To thank you first of all. That dandy count, 
Whom you checkmated in brave sword-play 
Last night, . . . he is the man whom a great lord, 
Desirous of my favor . . . 

CYRANO

Ha, De Guiche? 

ROXANE (casting down her eyes)

Sought to impose on me . . . for husband . . . 

CYRANO

Ay! Husband!—dupe-husband! . . . Husband a la mode!
(Bowing): Then I fought, happy chance! sweet lady, not 
For my ill favor—but your favors fair! 

ROXANE

Confession next! . . . But, ere I make my shrift, 
You must be once again that brother-friend 
With whom I used to play by the lake-side! . . . 

CYRANO

Ay, you would come each spring to Bergerac! 

ROXANE

Mind you the reeds you cut to make your swords? . . . 

CYRANO

While you wove corn-straw plaits for your dolls’ hair! 

ROXANE

Those were the days of games! . . . 

CYRANO

And blackberries! . . . 

ROXANE

In those days you did everything I bid! . . . 

CYRANO

Roxane, in her short frock, was Madeleine . . . 

ROXANE

Was I fair then? 

CYRANO

You were not ill to see! 

ROXANE

Ofttimes, with hands all bloody from a fall, 
You’d run to me! Then—aping mother-ways— 
I, in a voice would-be severe, would chide,— 

(She takes his hand)

‘What is this scratch, again, that I see here?ֺ’ 

(She starts, surprised)

Oh! ’Tis too much! What’s this? 

(Cyrano tries to draw away his hand)

No, let me see! 
At your age, fie! Where did you get that scratch? 

CYRANO

I got it—playing at the Porte de Nesle. 

ROXANE

(seating herself by the table, and dipping her handkerchief in a glass of water)

Give here! 

CYRANO (sitting by her)

So soft! so gay maternal-sweet! 

ROXANE

And tell me, while I wipe away the blood, 
How many ’gainst you? 

CYRANO

Oh! A hundred—near. 

ROXANE

Come, tell me! 

CYRANO

No, let be. But you, come tell 
The thing, just now, you dared not . . . 

ROXANE (keeping his hand)

Now, I dare!
The scent of those old days emboldens me! 
Yes, now I dare. Listen. I am in love. 

CYRANO

Ah! . . . 

ROXANE

But with one who knows not. 

CYRANO 

Ah! . . . 

ROXANE

Not yet. 

CYRANO

Ah! . . . 

ROXANE

But who, if he knows not, soon shall learn. 

CYRANO

Ah! . . . 

ROXANE

A poor youth who all this time has loved 
Timidly, from afar, and dares not speak . . . 

CYRANO

Ah! . . . 

ROXANE

Leave your hand; why, it is fever-hot!— 
But I have seen love trembling on his lips. 

CYRANO

Ah! . . . 

ROXANE

(bandaging his hand with her handkerchief): 

And to think of it! that he by chance— 
Yes, cousin, he is of your regiment! 

CYRANO

Ah! . . . 

ROXANE (laughing)

—Is cadet in your own company! 

CYRANO

Ah! . . . 

ROXANE

On his brow he bears the genius-stamp; 
He is proud, noble, young, intrepid, fair . . . 

CYRANO

(rising suddenly, very pale)

Fair! 

ROXANE

Why, what ails you? 

CYRANO

Nothing; ’tis . . . 

(He shows his hand, smiling)

This scratch! 

ROXANE

I love him; all is said. But you must know 
I have only seen him at the Comedy . . . 

CYRANO

How? You have never spoken? 

ROXANE 

Eyes can speak. 

CYRANO

How know you then that he . . .? 

ROXANE

Oh! people talk 
’Neath the limes in the Place Royale . . . 
Gossip’s chat 
Has let me know . . . 

CYRANO

He is cadet? 

ROXANE

In the Guards. 

CYRANO

His name? 

ROXANE

Baron Christian de Neuvillette. 

CYRANO

How now? . . . He is not of the Guards! 

ROXANE

To-day 
He is not join your ranks, under Captain 
Carbon de Castel-Jaloux. 

CYRANO

Ah, how quick, 
How quick the heart has flown! . . . But, my poor child . . . 

THE DUENNA (opening the door): 

The cakes are eaten, Monsieur Bergerac! 

CYRANO

Then read the verses printed on the bags! 

(She goes out) 

. . . My poor child, you who love but flowing words, 
Bright wit,—what if he be a lout unskilled? 

ROXANE

No, his bright locks, like D’Urfe’s heroes . . . 

CYRANO

Ah! 

A well-curled pate, and witless tongue, perchance! 

ROXANE

Ah no! I guess—I feel—his words are fair! 

CYRANO 

All words are fair that lurk ’neath fair mustache! 
—Suppose he were a fool! . . . 

ROXANE (stamping her foot): 

Then bury me! 

CYRANO (after a pause): 

Was it to tell me this you brought me here? 
I fail to see what use this serves, Madame. 

ROXANE 

Nay, but I felt a terror, here, in the heart, 
On learning yesterday you were Gascons 
All of your company . . . 

CYRANO

And we provoke 
All beardless sprigs that favor dares admit 
’Midst us pure Gascons—(pure! Heaven save the mark!) 
They told you that as well? 

ROXANE

Ah! Think how I 
Trembled for him! 

CYRANO (between his teeth) 

Not causelessly! 

ROXANE

But when 
Last night I saw you,—brave, invincible,— 
Punish that dandy, fearless hold your own 
Against those brutes, I thought—I thought, if he 
Whom all fear, all—if he would only . . . 

CYRANO 

Good. 
I will befriend your little Baron. 

ROXANE

Ah! 
You’ll promise me you will do this for me? 
I’ve always held you as a tender friend. 

CYRANO

Ay, ay. 

ROXANE 

Then you will be his friend? 

CYRANO

I swear! 

ROXANE

And he shall fight no duels, promise! 

CYRANO

None. 

ROXANE

You are kind, cousin! Now I must be gone.

(She puts on her mask and veil quickly; then, absently): 

You have not told me of your last night’s fray. 
Ah, but it must have been a hero-fight! . . . 
—Bid him to write. 

(She sends him a kiss with her fingers) 

How good you are! 

CYRANO 

Ay! Ay! 

ROXANE

A hundred men against you? Now, farewell.— 

We are great friends? 

CYRANO 

Ay, ay! 

ROXANE

Oh, bid him write! 
You’ll tell me all one day—A hundred men!— 
Ah, brave! . . . How brave! 

CYRANO (bowing to her)

I have fought better since. 

(She goes out. Cyrano stands motionless, with eyes on the ground. A silence.) 

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Next section Dialogue: Act 5, Scene 5.V: Cyrano, Roxane

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