How we cite our quotes: (Act.Line)
Quote #7
CYRANO
Christian, be quiet!
ROXANE (Leaning over.)
What is that you say
To yourself?
CYRANO
I am angry with myself
Because I go too far, and so I say
To myself: "Christian, be quiet!" (III.350-353)
Cyrano is quick enough on his feet to keep from revealing his true identity and he manages to convince Roxane it is truly Christian speaking, even while he is holding an argument with the real Christian underneath the balcony.
Quote #8
CYRANO (The theorbos begin to play.)
Hark—someone
Is coming—
(Roxane closes her window. Cyrano listens to the theorobos, one of which plays a gay melody, the other a mournful one.)
A sad tune, a merry tune—
Man, woman—what do they mean?—
(A Capuchin enters; he carries a lantern, and goes from house to house, looking at the doors.)
Aha!—a priest! (III.354-355)
Rostand shows a bit of his own cleverness here by playing on the celibacy of the monks. Thus, even though the Capuchin is undoubtedly male, he does not have sex and his gender is therefore somewhat ambiguous. Thus, Rostand has the musicians indicate that both a man and a woman are approaching.
Quote #9
ROXANE (In a tragic tone)
Oh, this is terrible!
THE CAPUCHIN (Turns the light of his lantern on Cyrano.)
You are to be—
CHRISTIAN
I am the bridegroom!
THE CAPUCHIN (Turns his lantern upon Christian; then, as if some suspicion crossed his mind, upon seeing the young man so handsome.)
ROXANE (Quickly)
Look here—
"Postscript: Give to the Convent in my name
One hundred and twenty pistols"—
THE CAPUCHIN
Think of it!
A worthy lord—a very worthy lord!...
(To Roxane, solemnly)
Daughter, resign yourself! (III.441-446)
Roxane improvises to change the contents of the letter to her advantage. The simple Capuchin is completely taken in and agrees to marry the two, especially when Roxane adds a postscript (another clever device) detailing a donation to his convent.