THE MARVELOUS MISADVENTURES OF SEBASTIAN

When the 'marvelous misadventures' in the 18th century mode take on the aspect of a soulful Dance of Death, the fabric is rent; but stay—the telling tells all. How Fourth Fiddler Sebastian, coming afoul of his pomposity The Purse, is turned out, the least clumsiness being deemed devious in Regent Grinssorg's realm; how he saves himself and a blue-eyed white cat from a most unMerry Host, loses his fiddle and almost his freedom, and finds a friend whose name of Nicholas is not the whole of it; and most marvelously "How Sebastian Misjudged His Opponent" who changes in a trice from pugnacious fellow traveler to shrinking runaway apprentice to fugitive servant-girl to fancy-spoken Princess Isabel of Hamelin-Loring—recently betrothed to the Regent. Therein of course lies the tale, lacking only the clown Lelio's "accursed" fiddle (uncovered by Presto the cat at Quicksilver's Gallimaufry-Theatricus) to play out the theme. For in the hazardous course of thwarting the Princess' recapture—and divesting her of illusions about royal beneficence as well as her regal speech—the violin makes Sebastian its instrument, and he surpasses himself: is he not a mere fiddler but a true musician? The violin mesmerizes its hearers also, and providentially dances Grinssorg to his death before Presto shatters it, saving Sebastian from a like fate. Princess Isabel will be a constitutional monarch with Nicholas, otherwise Captain Freeling the legendary rebel, as First Minister until she abdicates all power and marries Sebastian—who meanwhile sets out to become "a noble among fiddlers, not a fiddler among nobles." Well put, and better to linger on than whether "make-believe and moonshine" are "the truth—as they might be." Especially since make-believe and moonshine are the making of The Misadventures.