Professional Documents
Culture Documents
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BY
B.
Professor and
ROLAND LEWIS
Department
of English in the University of
of the
Head
of the of "
Utah;
Author
The Technique
One-Act Play
"
BOSTON
COPTBIQHT, 1922, BT
The
plays in this book are fully protected by copyright and the professional and amateur stage rights are reserved by the authors. Applications for their use should be
made
lOAN STACK
Z a^.'
TO
THE MEN AND WOMEN
WHO
ME TO
PREFACE
This collection of one-act plays appears because of an
creasingly large
in-
demand
The
plays have
who
The
ultra-realistic.
The unduly
avoided.
Comedies, tragedies,
farces,
been included; but the chief concern has been that each play
should be good dramatic art.
volume are
sufficient material,
carefully
studied, for
Roland Lewis.
CONTENTS
Introduction
LIST OF PLAYS
Sir Javies
M.
Barrie
17
George Middleton
43
61
The Exchange
Sam Average
Hyacinth Halvey
AUhea Thurston
Perq^ Mackaye
.
85
103
139
155 175
Anion Tchekov
Bosworth Crocker
Alfred Kreymborg
197
White Dresses
Moonshine
Paul Greene
215
Arthur Hopkins
239
.
Modesty
Paul Hervieu
Jeannette
^55
Marks
Wolff
.
273
.
Where but
in
America
Oscar
M.
301 321
A Dollar
The Diabolical Circle The Far-Away Princess The Stronger
David Pinski
Beulah Bornstead
343
365
Hermann Sudermann
August Strindberg
.
393
CONTENTS
BIBLIOGRAPHIES
PACK
405 406
.
408 409
HoW
TO PRODUCE Pl.\YS
INTRODUCTION
THE ONE-ACT PLAY AS A SPECIFIC DRAMATIC TYPE
The one-act play
It
is
is
with us and
is
we
will or no.
In both
and
presence as a
vital force.
and ama-
this shorter
form of drama.
has achieved that
is
may
was once an embryo and an experiment; but few nowadays would care to hold that it has not developed into a specific and worthy literary
distinction.
The
form.
fiction
it
now
is
come
its
into
own.
the
No
longer
is it
wholly an experiment.
Indeed,
it is
succeeding
in high places.
The
one-act play
is
taking
place
among
and
literary expression.
is
Artistically
quite as
much a
In writing
either, the
that he will get his central intent to his audience and will pro-
voke
their interest
thereto.
Both aim
INTRODUCTION
and dramatic
is
at a singleness of impression
eflFect;
both aim to be
a high order of
densed,
diflPerent
it
art.
Yet
shorter
dramaturgy
of the
one
somewhat
statue.
cameo
is
full-sized
The
ting":
must
effectively to
a cruof
movement without
A careful analysis
any one
this fact.
volume,
like
M.
The shorter form of drama, like the short a technical method characteristically its own. It is a truth that the one-act play is well made or it
at
all.
is
nothing
made and
is
good one-act
play
artistry
has, of course,
but
it is
is
delicately finished
cameo
quite as
much a work
of art as is
the larger statue; both have mechanics and design in their structure,
but those of the cameo are more deft and more highly spethan those of the statue, because the work of the former
cialized
is
The
is
one-act play
at
best
is
cunningly wrought.
a bit episodical.
in this
volume
no whole
life's
employed.
man
sig-
moment
or experience,
a significant character-trait.
However
and
INTRODUCTION
the one-act play must be vivid
imagination.
It
is
5
be
left
much
will still
to the
may
ingly
be intensified.
The
isolates so that
he
may throw
ment
He
presents in a
vigorous, compressed,
simplification
and
life.
Often he opens
but a momentary
significant that a
little vista of life, but it is so clear-cut and so w hole life is often revealed thereby. The student must not think that because the one-act play
it
is
therefore
weak and
inconsequential.
On the contrary,
it
since only
makes
turning-point or end of a
life
history.
portunity for striking analysis, for emotional stress, for the suggestion of a whole character sketched in the act of meeting
test.
its
is
To
segregate a
and to present a
finished picture of
aspects
and
effects; to dissect
charac-
sudden and
brief human crisis; to tell a significant story briefly and with suggestion; to portray the humor of a person or an
these are
some
when handled by a
master dramatist.
INTRODUCTION
THE PROPER APPROACH TO THE STUDY OF THE
ONE-ACT PLAY
To
read a one-act play merely to get
of
its
story
is
not
in itself
an exercise
to
any form
much
appreciation of
much
intelligence.
its
expenditure
mental
eflFort.
aim
is
no more than
form of drama
it
is
to be appreciated properly as a
must be approached from the point of view of its artistry and technic. This means that the student should understand its organic construction and technic, just as he should understand the organic construction and technic
real literary form,
if
he
is
to appre-
them properly. The student should know what the dramatist intends to get across the footlights to his audience, and should be able to detect how he accomplishes the desired result. It must not be thought that the author urges a study of construction at the expense of the
human
values in a play.
is
On the human
values are
made
that the
able
is
less
not too
much
to
no one can
really appreciate a
dramatic organization.
fact,
In
its
construc-
it
for
INTRODUCTION
workmanship.
its
The
one of
its
greatest
assets.
And
the student
who
will
in arriving at
a proper appreciation of
this shorter
form of drama.
DRA]VL\TIC ANALYSIS
I.
The
poem
making a 5m-
a statue, or a poem, or
of any
isolated part of
it,
of a one-act play
that
shall so present
who
it,
George MiddIeton*s
life
made
to see
and
feel
that the
of a
daughter
This
This
is
is
is its
theme.
reader or observer to
what the author of the play wished his see and feel. When one reads Bosworth
been
Crocker's The Last Straw, one feels that a reasonably good and
is
aroused.
effect is
This
is
And when
INTRODUCTION
woman, even though she may
This
is
lead
and even
is its
flattery.
by
intent; this
is its
theme.
first
considera-
what the purpose and intent of the play is to determine its theme. This demands that the play be read through complete at one sitting and that no premature conclusions be drawn. Once the play is read, it is well to sub-
What
What
.-^
is
AVhat
is its
Is
it
in life, or
a bit of
fancy
didactic
and moralizing?
it
fundamental element
Patriotism
?
.?
in
human
nature does
have to do
Fear ?
Sacrifice ?
Faithfulness
Or what ?
word
good play
may
its
descending to
commonplace moralizing.
of morals, theories,
Good
and propagandas.
Art concerns
with
how
effect.
He
a skilled workman;
audience to think,
feel,
or understand,
all his
that
end
is
his technic.
Technic
INTRODUCTION
which an
public.
artist
and stage
in
direction.
If
he
is
he
elements
such a
way
be an
artistic whole,
a singleness of
effect,
an organized unit
A.
The Characters
speaking,
in the One- Act Play. Generally drama grows out of character. Farce, melodrama, and
means
His
his
be
in direct ratio
almost to
attention
Any
were.
Circle,
Thus, Adonijah,
is
in
who has
little
about his
Lady
Sims, in Sir
James M.
is
woman who
independence
really
is a some human
husband, "Sir'*
Harry
borg's
Sims.
in Alfred
Kreym-
Manikin and Minikin, are conventionalized puppets representing the light yet half-serious bickerings, jealousies, and
quarrellings of
human
will
nature.
The student
deliberately
for
and
specifically.
He
should not
in
now value
himself
working
done
He must
In
analyzing a character
specific
the elemental
?
human
tic?
Loving ?
Trusting
Egotis-
Superstitious?
?
contented
Optimistic
Romantic ?
Or what ?
10
INTRODUCTION
and
dislikes
?
upon each other and upon situation? Do they provoke one's dramatic sympathy ? Do they make one feel their own point of
view and their own motives for conduct ?
B.
^Plot
and character
series of closely
every-day
life,
The dram-
a sequential and
or crucial moment.
Plot
may be
own
said to be the
end, but
is
From
ma-
very end.
Careful attention should be given to the plot.
The student
?
should question
it
carefully.
life ?
theme ?
been
Reconstruct
Since the
may have
built.
Does the
1.
and end ?
The Beginning of the One- Act Play. ^Having but a relatively short time at its disposal, usually about thirty minutes and sel-
dom more
play
is
very short.
characterized
is
by condensation, com-
pactness,
and brevity.
Seldom
got under
way
in
two or
INTRODUCTION
three speeches.
11
The student
been
will
Whatever
else
may
matically effective.
ception by making
Instantly
it
them aware
good be-
ginning makes one feel that suddenly he has come face to face
final result.
is
made suddenly to
their
feel
feel
that
human
if
qualities,
exchange,
humankind, and
Here
is
a situation;
In the begin-
brought suddenly
Hyacinth Halvey
instinctively rebels
name
of
This situa-
suddenly presented,
is
Out
Too long?
Does
it
How
is
clear
and
effective
Just where
beginning ends, usually one can detect where the one ends and
the other begins.
It
is
draw
12
INTRODUCTION
setting of the
?
The
play
is
Is the set-
ting realistic
Romantic ?
in
and
especially the
and
color
scheme
it?
an organic part
of the play or
in italics.
The Middle of
is
the
play
climax and the dramatic movement that from the beginning leads
up up
to
it.
minor
is
crises leading
It
it is
as
moment
is
This
M.
Look
"Sm"
Harry Sims in his self-centred egotism discovers that his wife's. Lady Sims's, heart-longing could easily be satisfied if she were
permitted no other freedom than merely operating a tj'pewriter.
when
ill
who
that they must endure the torments and displeasure of the newly
acquired
ill
throughout
is
?
life.
Just where
consideration
the crucial
moment
up
to the crucial
for
moment.
moment
good dramatic
is
efifect ?
Or
is it
play
it
Does
by
INTRODUCTION
acter on situation
?
13
For purposes
a one-act play,
Keep
in
mind,
it
moment
is
not the
end
of the play as
it is
The End of
It
the
One-Act Play.
The end
often
an important consideration.
is
Too
it is
of.
makes
is
or
mars a play.
When
The
the crucial
of the play
moment
is
In
life
the actual
crisis in
human
in
affairs
is
chiefest interest,
after the crisis
has occurred.
moment and
the more or
moment must be
the one-act play
For
this
constructed.
The end
of
usually
moment than
dialogue.
Thus,
in Sir
end consists of
James M. Barrie's The Twelve-Pound Look, the but pantomime, in which "Sir" Harry expresses
upon
human
would provide
The end
of
is
heard: "Fritz!
didn't do
it,
Speak to
I
me
Look
it
at me, Fritz
!
You
know you
didn't do
Is the
" etc.
of the play
end
under consideration
in
terms of dialogue ?
14
In pantomime ? dramatic
C.
?
INTRODUCTION
Or both ?
Is
it
too long
? ?
Too
short ?
Is it
Is
it
Dialogue of the One-Act Play. Dialogue, like plot is another means whereby the theme of the play is got to the reader or audience. Good dramatic dialogue is
and characterization,
constructed to this very end.
bling, uncertain,
life.
It
is
and
realistic
crisp, direct,
condensed.
It
is
spontaneity.
The
ideas
and emotions
functioning.
in a play
is
necessarily dramatic.
and the crucial moment that go to make up the dramatic movement of the play. Often there is much dialogue in a play that
essentially
is
not dramatic at
all. it is
and emotions
Is
it
of char-
advance
Wit,
the plot,
direct,
(3) to
brief, clear,
spontaneous?
Or
is
it
careless,
loose,
insipid.'*
repartee.'*
Didactic, moralizing?
Satirical, cynical?
D.
Play.
drama.
not be ignored
a play.
crete objective
eye.
play
is
events, but
it is
it
can
a series
INTRODUCTION
of
15
minor
crises leading to
a major
crisis,
presented to a reader or
to an audience
by
characters, dialogue,
pantomime.
direction.
For purposes
of indicating the
and stage-
Does the
stage-direction aid in
making
(4)
it
(1)
dramatic action, or
?
Does
it
Does
ations
more
were used ?
is in,
And,
imtil
finally,
detail It
is
and have
fully
not a question
it
in the
same way
in
way make
theme
clear
The author has conceived a dramatic problem in his The question is, oion mind and has set it forth in his own way. does he make you see his result and his method ? Do you like the play ? Or do you not like it ? State your reason in either case.
of the
Is
it
it
Is it because
theme ?
Is
Is
it
because of your
Is
it
it
because of
the acting?
press
?
Does
uplift or de-
Does
"Though
and
it
oft expressed,
who
says
best."
is
reprinted
by permission
works of
Sir
of Charles Scrib-
America
of the
James M.
Barrie.
James M. Barrie is rated as the foremost English dramathe day; and his plays, taken together, make the most significant contribution to EngHsh drama since Sheridan. Practically his entire life has been given to the writing of novels and
Sir
plays,
cially for
many of the latter having their heroines conceived espeMaude Adams, one of America's greatest actresses. He was born in Kirriemuir, Scotland, in 18G0. He received his
education at Dumfries and Edinburgh University. His first work in journalism and letters was done at Nottingham, but soon he took up his work in London, where he now resides. Sir James M. Barrie's literary labors have been very fruitful. His The Professor's Love Story, The Little Minister, Quality Street, The Admirable Crichton, Peter Pan, What Every Woman Knoics, and Alice Sit-hy-the-Fire are well known to every one. In 191-1 there appeared a volume of one-act plays. Half Hours, the most important of which is The Twelve-Pound Look. And in 1918 appeared a volume. Echoes of the War, the most important one-act play therein being The Old Lady Shoivs Her Medals. Barrie is a great playwright because he is so thoroughly human. All the little whimsicalities, sentiments, little loves, and heartlongings of human beings are ever present in his plays. He is no reformer, no propagandist. He appeals to the emotions rather than to the intellect. He continues the romantic tradition in English drama and gives us plays that are wholesome, tender, and human. And with all this, he has the added saving grace of a most absorbing humor. While Barrie is not a devotee of the well-made play, his The Twelve-Pound Look is one of the most nearly perfect one-act plays of contemporary drama. His interest in human personalities is not more manifest in any of his plays than in Lady
Harry Sims
in this play.
CHARACTERS
"Sir" Harry Sims
Lady Sims
Kate
TOMBES
Harry Sims
a
trifle
you.
Perhaps
ostentatious, but if
rate
:
you
cavil at that
we
you dont
Harry
on a mere matter
city
It pleases us to
make him a
man,
what
but {rather than lose you) he can be turned with a scrape of the
pen
you
We
conceive
him
It is that
when
In Harry's case
to
it
the mischief.
She came
him in
him
again, but
Of course he turned her out of the house and was soon himself it spoiled the morning for him. This is the subject and
quite enough too.
is to receive the
of the play,
Harry
discover
him in
the
it
Kensington
{or is
the
morning, a pleasing
for the last time,
is
Mrs. Sims
and
strictly as
{as
we may
call her
cw
it tcere,
a good-natured joke)
wearing her
presentation gown,
to
and personates
She
who
is
about
dub her
Harry knight.
is seated regally.
Her jewelled
She rmist
22
be
SIR
JAMES BARRIE
yet she has
whom
she is afraid.
Harry.
He
the leg.
lie is
and with a graceful swerve of only partly in costume, the sword and the real
enters bowing,
that
up on
on one knee,
raises her
hand superbly
to
a paper-knife and
bows, and glides
says huskily
He
to
rises,
and
scene,
rises from each a knight. It is a radiant domestic and Harry is as dignified as if he knew that royalty
it
was rehearsing
Sir Harry.
[Complacently.]
all right,
eh?
Lady
Lady
Sims.
Sir Harry.
Sevis.
perfect.
And
it will
be
still
more
so
when you
it
an
air.
to the
word]
the
glide
the
the
it's
It's short,
but
Anything you
can suggest?
Lady
Sims.
No
to
oh, no.
You
[Nervously, seeing
him
paiise to kiss
till
the tassel of
a cushion.]
any man.
Sm
Harry.
is
do not.
Wait
till
your
opinion
asked
for.
Lady
Sims.
[Abashed.]
[A perfect butler
23
one.
Ah,
yes.
I telephoned
them
to send
some
woman, I suppose, Tombes ? ToMBES. Yes, Sir Harry. Sir Harry. Show her in here.
And, Tombes,
till
[lie
strictly speaking,
you know,
us.
am
Thursday.
sir,
Tombes.
do they ?
Beg pardon,
but
it is
such a satisfaction to
Sir Harry.
[Good-naturedly.]
Ah, they
like it down-stairs,
Tombes.
hutler departs
[Unbending.]
Sir Harry.
Exactly.
on his
for,
You can show her in, Tombes. [The mighty task.] You can tell the woman what
while I change.
she
is
wanted
Emmy,
and
tell
[He
is too
modest
to
purpose.]
You can
me
that will
come better from you. [Smiling happily.] You heard what Tombes said: "Especially the females." And he is right. Success! The women like it even better than the men. And rightly. For they share. You share, Lady Sims. Not a woman will see that gown without being sick with envy of it. I know them. Have all our lady friends in to see it. It will make them
ill
for a week.
him
off light-heartedly,
and presently
a mere
typist^
shown
in.
taste,
She
is
dressed in
uncommonly good
and she
is
but at contemptibly
smxill expense,
friendly way rather than as a badge of slavery, as of course it is. Her eye is clear ; and in odd contrast to Lady Sims,
she is self-reliant
and
serene.
Kate.
to.]
spoken
Good morning, madam. Lady Sims. [In her nervous way, and
little
typist is a
Good morning.
[As
first
24
though
it is
SIR
JAMES BARRIE
Lady Sims
has a maid for buttoning and unbuttoning her, and probably another
for waiting on the maid, and she gazes with a
little
envy perhaps at
woman who
Kate.
machine ?
[Who
it
is getting it to be.]
ready for
if
use.]
Yes.
to
[Not
*'
Yes,
madam,"' as
take this
ought
I suppose
am
it.
work here
may
off.
I get
on better without
[But the hat
I
Lady
I
Sims.
Certainly.
is
already of.]
ought
to apologize for
my gown.
on.
is
am
and
was trying
it
[Her tone
She
is rather
clinging to
gown, wistfully, as
that
if
you know,
is
it is
a glory.
to say so.
best
Kate.
It
beautiful,
may presume
it.
and a
sec-
ond
best of her
own;
it
Lady
Sims.
Yes,
it is
very
beautiful.
Sit
down, please.
Kate.
case.]
have sat
I suppose
I
particulars.
was
told to
Lady
Sims.
it is
for
my
not
proud of Harey.]
He
wants a number of letters answered hundreds of them and telegrams of congratulation. Kate. [As if it were all in the day*s work.] Yes ?
letters
Lady
Sims.
[Remembering that
Harry
her duty.]
My
husband
is
a remarkable man.
does not fall to
[on reflection]
He
tJie
is
about to
be knighted.
[Pause, but
Kate
floor.]
He
is
Harry justice.]
He
can ex-
so
much
25
And
a hard
am
to
answer the
congratulations
Lady
Kate.
Sims.
[Afraid that
It
is
it
will be
task.]
Yes.
of.
[Blithely.]
work
Lady
I
Sims.
But you
can't begin
till
to say.
Kate.
Only a specimen
Sims.
letter.
Won't
a new
Lady
thing?
K.\TE.
[To
whom
this is
idea.]
a usual
Oh,
yes.
Lady
The
Sims, half-mesmerized,
useless
woman
tell
watches
and she
why.
delightful
Lady
KLA.TE.
Sims.
How
quickly you do
It
must be
to be able to do something,
[Thankfully.]
and to do
it is
it
well.
Yes,
delightful.
Lady
wants
Sims.
My husband
case.
me
to explain to
you that
his
is
an exceptional
It
He
sur-
was a complete
K1\TE.
him [Who
is
a practical
Kate and
no dealer in sarcasm.]
That
is
Lady Sims. [In whom sarcasm would how could you know ?
Kate.
I only guessed.
But
Lady
Kate.
Sims.
Oh,
Sims.
I
Lady
Kate.
letters.
letters
Lady
Sims.
I should explain
26
that
SIR
my
husband
is
JAMES BARRIE
man who
cares for honors.
not a
So long as
Kate.
in.
it
Lady Sims. Have you? But he particularly wants known that he would have declined a title were it not
Ka.te.
I have got
it
to be
here.
Lady
Ka.te.
Sims.
got ?
al-
[Reading.]
lowed to
decline had
my wife."
was that ?
ask
qties-
Lady
Sims.
Is
[Heavily.]
it ?
it
Kate.
Lady
tions.]
Sims.
[WhOy
all
is
to
Do
they
accept
Kate.
That
Sims.
what we
Lady
Kate.
[Thoughtlessly.]
quite as
if
you knew
my
husband.
I assure you, I don't even
know
his
name.
Lady
Sims.
Oh, he
wouldn't
like that
it is
[And
here that
Harry
we
Katherine
is to get
a shock
also.
Lady
Sims.
This
is
Sir Harry.
Yes, yes.
Good morning,
my
dear.
other,
and
their
humor in
cloud.
Lady
Sims.
[Who has
seen nothing.]
explain to her
Sir Harry.
Eh^what ?
attend to her.
goes, with
Leave
it
to
me,
Emmy;
I'll
[Lady Sims
Harry
27
You
it's
Kate.
[As
Yes,
of
funny.
Sir Harry.
The shamelessness
it is
Kate.
you.
I
Believe me,
not
less
a surprise to
me
than
it is
to
in the
ordinary
way
I
of business.
was not
told
Sir Harry.
[Withering
her.]
of business
This
what you have fallen to a typist Kate. [Unicithered.] Think of it Sir Harry. After going through worse straits, I'll be bounds Kate. [With some grim memories.] Much worse straits, SiR Harry. [Alas, laughing coarsely.] My congratulations I
is
K.\TE.
her abject.]
as any man would he, not to find What was that you called me, madam ? K1\TE. Isn't it Harry ? On my soul, I almost forget. Sir Harry. It isn't Harry to you. My name is Sims, if you
Sir Harry.
Eh ?
please.
Kate.
you
see.
It
was
my name,
till
too,
Sir Harry.
It
you
Kate.
Exactly.
[Gloatiiig.]
it
Sir Harry.
was
furious to find
you
here,
but
on second thoughts
nature.]
pleases me.
[From
moral
There
is
Kate.
Kate.
knight,
lation.
[Sympathetically.]
me ?
You have been made a
Sir Harry.
I I
and
was summoned
That's
Sir Harry.
it,
that's
it.
You come on
this
day as
my
servant
I,
Kate.
Sir Harry.
who might have been Lady Sims. And you are her typist instead.
And
she has
28
SIR
JAMES BARRIE
am
glad you saw her in her presenta-
four men-servants.
tion gown.
Oh, I
Kate.
wonder
if
me do
[With dignity .]
my
innocent children
light
.?
Kate.
[Slowly.]
You have
children
Sir Harry.
[Inflated.]
Two.
is so
long in answering.
Kate.
Kate.
Harry ?
[Resorting to impertinence.]
Sir Harry.
Both boys.
like
Successful in everything.
Are they
you. Sir
Sir Harry.
[Expanding.]
They
Kate.
That's nice.
[Even on such a subject as this she can be ribald.
Sir Harry.
Kate.
Kate.
will accept
Heigho
What
is
shall I say to
affair of
my
employer ?
Sir Harry.
That
no
mine.
^\liat will
Sir Harry.
without comment.
[She smiles, heaven knows why, unless her next remark ex-
plains
it.
Kate.
Kate.
Still
Sir Harry.
your pro-
[Beginning
think as
little
of her intellect as of
I suppose I
know my
wife.
Kate.
[Hopelessly dense.]
I suppose so.
29
knew her
in the
days when I
was
tlie
lady.
[He
is
She
Won't you
?
ring,
me
out
Sir Harry.
As you
is
something
eagerly.]
want
less
Tell me,
[The strange
the
it
man ?
now
that she has
smiles
is evident
always
tolerantly.
Kate.
You
Sir Harry.
Kate. [Reflectively.] I thought that would worry you. Sir Harry. [Sneering.] It's plain that he soon left you. Kate.
Very soon.
Sir Harry.
As
I could
[But
still
she surveys
him u^h
treat.]
the smile of
Monna
It
The badgered
man
has
to
en-
Who
was
he.^
me who
he was ^
Kate. Kate.
Sir Harry.
It
is
do ask.
Tell me.
tell
kinder not to
[Violently.]
it
you.
it
Sir Harry.
Then, by James,
Roche.'*
was one
of
my
It
own
pals.
W'as
Bernard
may have
Kate.
found
who comes
my
house
still.
think
not.
[Reflecting.]
Fourteen
years!
You
Sir Harry.
Yes.
I thought you was a room not unlike this, and the furniture was arranged in the same attractive way. How it all comes back to me. Don't you see me, Harry, in hat and
I
Kate.
propped
it
there.
30
SIR
JAMES BARRIE
and then
meet
no sound
in the
Sir Harry.
\Miom?
Hours
pass,
Kate.
Him.
tick-
tack of the clock, and then about midnight you return alone.
You
take
[Grnfflij.]
Sir Henry.
I wasn't alone.
Kate.
have
his face.]
No? Oh.
it
[Plaintively.]
Here
been conceiving
wrongly.
[She studies
Sir Harry.
[Growling.]
Kate.
[Coaxing.]
Do
tell
Sir Harry.
We
Kate.
[Who
is detestably
ready
her tongue.]
Surely the
bargaining comes
to
fair
exchange.
You
tell
me
.^
Very
He
is
is to tell her,
K.\te.
from her
indignantly.]
Go
on, Harry.
Sir H,\rry.
thing that
is to his
[Who has a manful shrinking from saying anydisadvantage.] Well, as you know, I was din-
Kate.
was with
Yes.
Sir Harry.
us,
Jack
Lamb
drove
me home.
.^
Mabbett Green
them to come in Kate. Jack Lamb, Mabbett Green them. Jack was in Parliament.
and
I asked
remember
31
into the
They came
it
house with
Ka-TE.
me and
sudden horror]
?
was
him ?
[Bewildered.]
\^^lo
Sir Harry.
KL\TE.
Mabbett.^
What ?
The man ?
man.?
[Understanding.]
Sir Harry.
Kate.
you
What
Oh, no.
thought
came into the house with you. Sir Harry. It might have been a blind. Kate. Well, it wasn't. Go on. Sir Harry. They came in to finish a talk we had been havsaid he
KL\TE.
An
of
Sir Harry.
elopement
her
The papers had been full that evening of the some countess woman w ith a fiddler. What was
it
name ?
Does
matter
.'*
IZate.
Sir Harry.
No.
We
had been
and
[he pulls
a wry face]
rather
w arm
[With horrid
relish.]
Kate.
saying
it
I begin to see.
It w^as
it
w^as that
Sir Harry.
It
Kate.
none
tell
And
of
Harry,
it is
sweet of you to
has used the
me.
not sweet.
The
illiterate
woman
But
I
wrong
adjective.]
I forget
what
Sir Harry.
[Pulverizing her.]
So do
I.
it
have
it still.
Kate.
[Not pulverized.]
Do
let
me
it
see
again.
Sir Harry.
You
are
welcome to
as a
gift.
32
SIR
[The fateful
JAMES BARRIE
a poor
little
letter,
dead thing,
is
brought to light
from a
locked drawer.
it.]
Kate.
crumple
[Talcing
it!
Yes, this
is
it.
"Dear husband
call
you that
time
am off.
am what you
call
making a bolt of it. I won't try to excuse myself nor to explain, for you would not accept the excuses nor understand the explanation.
your pride;
what
astound you
is
that any
I
woman
to leave such a
man
as you.
am
me
You
that
belongs to you.
May
Your
is.
ungrateful
will
Kate.
try,
P.S.
who he
little
thing up.]
may
my
very
own ?
would
care
for
Sir Harry.
You
really
may.
If
Kate.
copy
?
[Impudently.]
you
typed
Sir Harry.
grandmother].
None
of
your sauce!
[Wincing.]
had
to let
them
see
it
in the end.
KL^.TE.
Lamb
eating
it.
Sir Harry. Kate. That is all I was. Sir Harry. We searched for the two of you high and low. Kate. Private detectives ? Sir Harry. They couldn't get on the track of you. Kate. [Smiling.] No ? Sir Harry. But at last the courts let me serve the papers by advertisement on a man unknown, and I got my freedom. Kate. So I saw. It was the last I heard of you.
penniless parson's daughter.
Sir Harry.
her.]
And
I married again
ICate.
wife.
They say
that
is
first
33
showed them.
if
You soon
them
see that
one
woman was
fool,
you
still
Sir Harry.
KLvTE.
By
James, I did.
to earth again.]
[Bringing him
who he
like
was.
I suspected their throats
Sir Harry.
everybody
even
my
jumping at
pals. !"
I felt
Kate.
you
Sir Harry.
I thought,
it
it
Some
dolly face.
up all that you had with me. Kate. [As if he was the stupid one.] Poor Harry. Sir Harry. And it couldn't have been going on for
I
long, for
in you.
Kate.
Sir Harry.
so well.
You amazing man. Sir Harry. So who was he ? Out with it. Kate. You are determined to know ? Sir Harry. Your promise. You gave your
Kate.
Kate.
If I
word.
it
must
mu^t
I
am
sorry I promised.
Harry; no one at
me
Katb.
I told
like
it.
Sir Harry. [Rasping.] It is unbelievable. Kate. I suppose it is; but it is true. Sir Harry. Your letter itself gives you the lie. Kate. That was intentional. I saw that if the truth were known you might have a difficulty in getting your freedom; and
34
as I
also.
SIR
was getting mine
So
I wrote
it
JAMES BARRIE
seemed
fair
my
good-by
in
knew
your opinion.
[Trying
like
I don't believe
Per-
the best
way
to take
it.
It
is less
unflattering than
her
life.]
one.
[Summing up
You
suflSced.
Sir Harry.
ICate.
year.
It
it
out for a
Sir Harry. A year? [Dazed.] One would think to hear you that I hadn't been a good husband to you. Kate. [With a sad smile.] You were a good husband according to your lights.
Sir Harry.
[Stoutly.]
I think
so.
Kate.
thropist.
And
Sir Harry.
All
women
envied you.
Kate.
Kate.
How
you
in luxury.
[Making her
great revelation.]
That was
it.
[Blankly.]
What.^^
it is all over.]
be serene because
How
in
you
I sat at the
my
Sir Harry.
They weren't
Kate.
[A side
Have you
many
?
jewels
Sir Harry.
[Shouting.]
have not.
[Is
worth while to
35
We
had
all
men.
There were
Oh, the
hit
poli-
Kate.
while
fat talk
we
much
slipping back, and what the noo house cost and the noo motor and the gold soup-plates, and who was to be the noo knight. Sir Harry. [Whoit will he observed is unanswerable from first Was anybody getting on better than me, and conseto last.]
quently you ?
Kate.
religion.
Consequently
me
Sir Harry.
[Honest heart.]
My religion ?
I never
was one
Kate.
be
till
One's religion
is
is
most interested
[Quoting
and yours
Success.
Sir Harry.
it is
from
his
morning paper.]
Ambition
EIate.
Noble minds
[At last grasping what she is talking about.]
Sir Harry.
You
me
because of
my
success
Kate.
it.
revealed to him.]
I couldn't endure
If
but
The passionate craving I had to be done with it, to find myself among people who had not got on. Sir Harry. [With proper spirit.] There are plenty of them.
Kate.
There were none
[Clenching
in
our
set.
When
you I
they began to go
Sir Harry.
of a million.
it.]
tell
am
worth a quarter
Kate.
[Unabashed.]
That
is
what you
36
I'll tell
SIR
JAMES BARRIE
you what you are worth to me: exactly twelve pounds. my mind that I could launch myself on the world alone if I first proved my mettle by earning twelve pounds; and
For I made up
as soon as I
had earned
is
it
I left you.
Sir Harry.
Twelve pounds
If
Kate.
That
she can't
make
it
Sir Harry.
You
valued
me
If only Kate. you had been a man, Harry. Sir Harry. A man ? What do you mean by a man ? Kate. [Leaving the garden.] Haven't you heard of them ? They are something fine; and every woman is loath to admit to
more than that when you married me. [Seeing it also.] Ah, I didn't know you then.
at
husband
is
not one.
When
though she has been a very trivial person, there is in her some vague stirring toward a worthy life, as well as a fear of her capacity for evil.
lies in
him.
If there is
it,
somejoin
good
in her finds
and they
So I didn't give
you up
willingly,
Harry.
I invented
all sorts of
Your
hardness I said it was a fine want of mawkishness. Your coarseness I said it goes with strength. Your contempt for the weak Your want of ideals was clear-sightedness. I called it virility. Oh, I tried to think them funny. of w^omen Your ignoble views had only go; you to let I had But myself. save clung you to to I
it
so strong that
it
swal-
lowed
all
the others.
Sir Harry. [Not to he diverted from the main issue.] How did you earn that twelve pounds ? Kate. It took me nearly six montlis; but I earned it fairly.
[She presses her hand on the typewriter as lovingly as
many a woman
has
self.
'pressed
rose.]
I learned this.
I hired
it
I ^ot
friend,
and with
my first twelve
37
was
my
machine.
Then
I considered that I
free to go,
and
Sir Harry.
my
[She nods.]
By God, you
were de-
termined.
K.\TE.
[Briefly.]
By God,
I was.
Harry. [Staring.] How you must have hated me. Kate. [Smiling at the childish word.] Not a bit after I saw that there was a way out. From that hour you amused me, Harry; I was even sorry for you, for I saw that you couldn't help
Sm
yourself.
Success
is
Sir Harry.
Kate.
two
of
knew
if
them used
they thought
Sm
Harry.
live
crew you
among now
failed ?
it;
[Who has a horror of sacrilege.] The battered what are they but folk who have tried
to succeed
and
Kate.
That's
they
try,
but they
fail.
Sir Harry.
And
always
will fail.
Kate.
of them.
Always.
Poor souls
say of them.
Poor soul
I never tire
It keeps us
human.
That
is
why
[Comprehensively.]
Bah
Kate, I
tell
you
I'll
I'm sure you will. You're getting stout, Harry. Harry. No, I'm not. Kate. What was the name of that fat old fellow who used
Kate.
Sm
lo
fall
you mean Sir William Crackley Kate. That was the man. Sir William was to me a perfect picture of the grand success. He had got on so well that he was very, very stout, and when he sat on a chair it was thus [her hands
Sir Harry.
38
SIR
JAMES BARRIE
if
as
That is what you are working for, Harry. and the half million about the same time.
Sir Harry.
please to leave
You
will
have that
Will you
[Who has
my house ?
But don't
in
let
Kate.
us
part in anger.
How
do
j^ou think I
am
looking, Harry,
com-
pared to the
that used to
roll
round
your pad-
ded carriages ?
Sir Harry.
like.
I forget
I'm very sure you never could have held a candle to the
present
Lady Sims.
That
is
Kate.
gown.
a picture of her,
his
is it
not ?
Sir Harry.
[Seizing
chance again.]
In her wedding-
Painted by an R.A.
[Wickedly.]
Kate. Kate.
part.]
knight.?
Sir Harry.
[Deceived.]
likes
Yes.
[Who
is
Lady Sims
face.
It
a very pretty
Sir Harry.
be a beauty everywhere.
Kate.
chin.
There
is
a merry look
in
Sir Harry.
[Like
life
an
auctioneer.]
Noted
Kate.
first
All her
before her
painted.
It
is
Sir Harry.
[Staggered.]
Eh.?
Kate. That dear creature, capable of becoming a noble wife and mother she is the spiritless woman of no account that I
saw here a few minutes ago. I forgive you for myself, caped, but that poor lost soul, oh, Harry, Harry.
for I es-
Sm
Harry.
[Waving her
to the door.]
I'll
thank you
If
39
in her
married
life,
that w
Kate.
Kate.
of
I wonder.
Sir Harry.
them
I was a husband my advice to I would often w atch my wife quietly to see whether the
[Slowli/.]
all
you
say,
and both
like
you ?
is
Sir Harry.
What
that to you
eyes].
Kate.
[With glistening
little girls
to
who
are
all
meant
little
for the
men
on
Sir Harry.
feared.]
[Showing a
human
weakness^
it
is
he
sorry.
Sir Harry.
That you
left
me.
it
bitterly.
You know you do. [She smiles and shakes her head. He is pettish. He makes a terrible announcement.] You have spoiled the
day for me.. Kate. [To hearten
a pin-prick, Harry.
of your
him.]
am
it is
it is
only
I suppose
a
is
little
jarring in the
will
Who cares
what a typist thinks ? Sir Harry. [Heartened.] Nobody. A typist at eighteen shillings a week Kate. [Proudly.] Not a bit of it, Harry. I double that. Sm Harry. [Neatly.] Magnificent!
[There
is
a timid knock
at the door.
.]
It
won't
tell.
She
is
afraid to
40
SiK Harry.
SIR
She
is
JAMES BARRIE
not.
[Uxoriously.]
Come
in,
dearest.
the
it
is here.
Lady
Sims.
her.]
Sm
with
Harry.
Sims.
Lady
it.
[Who will dote on it presently.] Oh, But I thought you were so eager
at this.
all right.
to practise
He
it
to
was smiling.
Sib Harry.
[Sharply.]
Put
down.
as she lays the sword aside.
It
is
little
Kate.
sword,
if
a beautiful
may
say
so.
Lady
Sims.
[Helped.]
Yes.
[The person thinks she can put him in the wrong, does she?
He'll
show
her.
Sir Harry.
Emmy,
more
jewels.
[Faltering.]
More!
I'll
Some
[Kate
ropes of pearls.
see to
it.
It's
a bag-
me.
shown
the door.
Kate.
I won't detain
you any
longer, miss.
Lady Lady
Kate.
Sims.
Going already ?
very quick.
Sir Harry.
doesn't suit,
Emmy.
Good-by,
So
am
madam, but
it
can't be helped.
your ladyship
good-by,
Sir Harry.
Tombes.
Sir
by her going.
Harry
at once.
Lady
Sims.
[Whose tendency
is to
She
41
Lady
Sims.
is the right
kind of woman.
Lord, how when I said I was to give you those ropes of pearls. Lady Sims. Did she.'' I didn't notice. I suppose so. Sir Harry. [Frotvning.] Suppose ? Surely I know enough about women to know that. Lady Sims. Yes, oh yes. Sir Harry. [Odd that so confident a man should ask this.] Emmy, I know you well, don't I I can read you like a book, Sir Harry.
[Rather anxious for corroboration.]
she winced
.^
eh?
[Nervously.]
Yes, Harry.
an inquiring
eye.]
What a
Lady
Sims.
Sm
Harry.
Sims.
put on.
'WTiat.'*
Lady
Lady
alive.
Sir Harry.
Sims.
It
[Snapping.]
One
w^ould think
you envied
her.
Envied ?
Oh, no
Sir Harry.
[Curtly.]
was while she was working the machine. Alive That's no life. It is you that are alive. I'm busy, Emmy. [He sits at his writing-table.
!
Lady
Sims.
[Dutifully.]
I'm sorry;
I'll
go, Harry.
[Incon-
sequentially.]
Sir Harry.
Lady
Sims.
Those machines
him.
.''
[When
startles
be sure that he
mil soon
you and
be bland again.
I, that there is
We
have a com-
fortable feeling,
nothing of
Harry
Sims in
us.
TRADITION
BY
GEORGE MIDDLETON
Tradition is reprinted by permission of the author and the publisher, Henry Holt & Company, New York City. All rights reserved. For
permission to perform, address the author, in care of the publisher. The author and publisher of this play have permitted this reprinting of copyrighted material on the understanding that the play will be used only in classroom work. No other use of the play is authorized, and permission for any other use must be secured from the holder of the acting rights.
GEORGE MIDDLETON
George Middleton, one of the
ume
1902.
Jersey, 1880.
He
to write and publish a volwas born in Paterson, New was graduated from Columbia University in
first
Since 1921 he has been literary editor of La Follettes Weekly, and, in addition, has been a frequent contributor to magazines and reviews on dramatic and literary subjects. During the last few years he has spent much of his time abroad. George Middleton's chiefest interest has been in the one-act play. He has been an ardent champion of the shorter form of drama. Among his three volumes of one-act plays are Embers
(including The Failures, The Gargoyle, In His House,
Madonna,
and The
Man
On
Bail, Their
Wife, Waiting, The Cheat of Pity, and Mothers), and Possession (including The Grove, A Good Woman, The Black Tie, Circles,
Reason.
Other one-act plays are Criminals and The His longer plays are Nowadays and The Road Together. IVIr. Middleton has lectured widely on the one-act play before colleges, in Little Theatres, and clubs. Perhaps his most notable article is The Neglected One- Act Play, which appeared in The New York Dramatic Mirror in 1912. Tradition is one of Mr. Middleton's best and most popular one-act plays; and it most nearly conforms to the organic technic of the one-act play.
FIRST PERFORMANCE AT THE BERKELEY THEATER, NEW YORK CITY, JANUARY 24, 1913.
(Produced under the personal direction of Mr.
Frank Reicher.)
THE PEOPLE
George Ollivant
Emily,
his wife
.....
. .
.
Mary,
his daughter^
an
actress
TRADITION*
SCENE
A
:
The sitting-room
It is
at the
State,
an evening
simple room
is disclosed,
now
concealed by an em-
and a woodcut
There
is
a lamp on the
table,
and
Moonlight
filters
together.
Mary, a
rather plain
woman
bilities, is
trimming a
hat.
The
silence con-
tinues for some time, broken only by the rattle of the town paper
which
life,
He
is well
on in middle
of kindness
When
paper, puts
on
the table,
pipe into his hand, and throws them behind the screen; takes
* Copyright, 1913,
by George Middleton.
47
48
GEORGE MIDDLETON
off his spectacles
toward
his daughter,
after
still
Finallyy
and puts
his
arm about
her; she
Ollivant.
[Affectionately.]
Mary.
[Evasively.]
The garden
so pretty.
Ollivant.
Mary.
It
it's
the night.
Ollivant.
isn't
up
to
its
usual standard.
Haven't
Emily.
[Quietly.]
It's
is
Ollivant.
when
to
hardy
in
my
on the
hill.
[Turning
Emily and
patting her.]
?
Is there
any
Emily.
Ollivant.
daughter,
Think
it
would be a good
idea,
The bugs
Emily.
Where's
my
it
tobacco
On
the mantel.
Ollivant.
know how
I hate to
[Ollivant goes
back
is turned,
Mary
who
to her
mother,
sighs helplessly.
moment.
Mary.
INIary.
years, father
Ollivant.
^when I
left
home; he disapproved,
too.
Ollivant.
care of you,
Had
Mary.
TRADITION
Mary.
and money
JVIary.
he.'
49
Yes; I know.
How's he doing ?
feet.
Ollivaj^t.
for
Takes time
isn't
But
in partnership
Ollivant.
in
Yes.
if
he'd worked
with
me
as I did with
my
father.
down.
make him
take
it,
as
nice enough
all
fellow,
turned
his
and
puffing slowly.]
It's best to
humor a young
have had us
fellow's ideas
if
like to
here together
The place is big enough even if he should want to marry. Your mother and I came here, you know, when your grandfather
now.
was
still
alive.
Mary.
Emily.
Then Ben
[Quietly.]
isn't
Ollivant.
[Reluctantly.]
Not yet
to speak
pay
of.
But
he's promised to
Mary.
^Iary.
I see.
[Thoughtfully.]
more help
man.
He'll
in
Ollivant.
[Complacently.]
some
daj^; I've
mind.
Mary.
Emily?
Emily.
I'd like to
real talk
Ollivant.
When
The fifteenth. Not till then ? That's too bad, Ollivant. Eh? Mary. [After exchanging a quick glance
Mary.
gaining courage.]
my
coming back ?
Ollivant.
Not
at
all.
We
all
make mistakes
especially
left
when
we're young.
50
GEORGE MIDDLETON
right.
if
I didn't think
it
but perhaps
I told your
I'd written
you before
mother
I'd like to
make
it
Mary.
ways
to
felt
Ollivant.
Mother suggested that you write me ? Well, I suppose you might put it that way, I alshe thought I was a bit hard on you, but I'm not one
easily.
back down
Mary.
daughter.
Don't blame
me
then, father,
if
Ollivant.
back.
Let's forget
my
feeling;
Mary.
my my
was actually
Ollivant.
into
where
you have everything. You don't know how lucky you are or maybe you have realized it. Look about you and see what other girls have. Is it like this ? Trees, flowers, and a lake view that's the best in the county. Why, one can breathe here and even Every time I come back from a business trip it taste the air. makes a new man of me. Ask your mother. Eh, Emily ? When I sit out there on the porch in the cool evenings it makes me feel at ease with the world to know that the place is viine and that Ben had to I've raised a family and can take care of them all.
go, I suppose
least,
it's
the
way with
all
would stay
Mary.
[Shuddering.]
I hate associations.
Ollivant.
get thai from.
[Eying
W^ell, I'd like to know where you Not from your mother and me. We like them,
her.]
left
here
up and get
out.
to.
IVIary.
TRADITION
Ollivant.
to
?
51
at her sharply. \
Had
Who made
you
Mary.
IVIary.
[Reluctantly.]
It
was something
inside
me.
Ollivant. Ollivant.
Tush
it
that foolishness.
[Quicldy.]
Don't make
it
made
hard,
Mary?
I
Because I objected to
"stage-struck"
was a
foolish,
Ollivant.
Mary. That's just where you are mistaken, father. [Slowly.] That's why I asked you if you hadn't misunderstood my coming
back.
Then why did you come at all.? [Suspiciously.] Mary. I'm human; I wanted to see you and mother, so I came when you generously wrote me. I'm not going to stay
Ollivant.
roses.
me ?
Mary.
and
come
see
you as often as
I can
Ollivant.
silent.]
and
?
make a
[IVIary is
getting older
and needs
somebody
Emily.
and contented.
Ollivant.
[Tenderly.]
know
?
better,
Now,
this, dear.
It's
girl's
feelings
about that.
Mary.
So
it's
Ollivant.
[Tersely.]
I'm thinking
of
my
daugh-
52
GEORGE MIDDLETON
own
living as
Emily.
George
I thought
it
was only because I was on the stage. not the most heavenly place, is it ? A lot of narrow-minded fools here in town thought I was crazy to You let you go; I knew how they felt; I grinned and bore it.
Mary.
Ollivant.
Well,
it's
were
my
think any less of you by their finding out you were leaving against
my
wish.
[Slowly, with comprehension.]
Mary.
Ollivant.
them
myself.
me and
I've
merely be
Ollivant.
for
[Persuasively.]
Why, Mary.
made
it
easy
for
you
to stay.
good.
They'll think
Mary.
father; but
that.
I'm
Ollivant.
senses.
Mary.
[Firmly.]
I never
saw so
clearly as I
do now.
Ollivant.
[Bluntly.]
failure.
not to admit
Mary.
to me.
plain stubborn
Ben
sent
[Startled.]
Failure
Ollivant.
know what
them
Mary.
W^hich ones ?
Ollivant.
Why,
all of
them, I guess.
Did he send you the good ones.'' Ollivant. Were there any ? Mary. Oh, I see. So Ben carefully picked out only those
Mary.
Please
me ?
TRADITION
Mary.
you think
Yes; because you and he didn't want
53
let
never come
never.
I only
want
to protect you,
Mary.
]VL\RY.
to protect
women ?
still
Ollivant.
Mary.
I'm only a
Father, you
think
and
my name
It isn't that.
Ollivant.
what
is it,
then ?
artist.
first.
Mary.
understand
didn't
Oh I want to
it;
be an
I don't suppose
I didn't, myself, at
it
know what
So
was
till
that
first
me
to the
theatre.
Ollivant.
it
was
all
my
fault
Mary.
it's
just a fact.
knew from
create.
if
wanted
to act
to
I I
can do
it
Ollivant.
much
of either,
have you
What have
of
you ?
Mary.
Mary.
Nothing
definite.
Ollivant.
[Incredulously.]
it ?
Yes.
Ollivant.
Mary.
get there
?
Olliv.\nt.
But what
hunt a
will
Mary.
call at
What
job,
by
office-boys
keep
at
it till
something to do.
54
GEORGE MIDDLETON
Ollfvant. Come, come, Mary; don't make me lose patience. Put your pride in your pocket. You've had your fling. You've Give it all up and stay home here where you tried and failed.
can be comfortable.
Mary. [With intense feeling.] Father, I can't give it up. It doesn't make any difference how they treat me, how many times I get my ''notice" and don't even make good according to their
standards.
ing inside
I can't give
it
up.
on.
gnaw-
me and
driving
me
always
there,
and
know if I keep at work I will succeed. I know it; I know it. [Mary throws herself into the chair, much stirred. Emily's
eyes have eagerly followed her throughout this as though
responding sympathetically
silence,
but
Olliyant has
inside.
stood in
Ollivant.
Something
Huh
Have you any clear idea what [Mary gives a short, hurt
Emily.
[Softly,
Emily ?
window,
cry
to the
effort.
I think I understand.
Ollivant.
I don't.
Something
inside.
it all
I never
had any-
What's
mean ?
Emily.
[Quietly.]
Ollivant. Well, you seem to think it's mighty important Mary, whatever it is; but it's too much for me. If you had something to show for it I wouldn't mind. But you're just where you started and you might as well give up.
Emily.
George
OlLaVant.
but Ben does.
Now
He
I don't
know much about the stage, Emily, made for an actress, Mary;
[Turning.]
Father!
failure isn't
Ollivant.
If
TRADITION
**
55
stars"
ing
and
Mary. [With bitter vehemence]. Oh, don't go any further. I know all that. But I don't care how I look off the stage if only I can grow beautiful on it. I'll create with so much inner power and beauty that people will forget how I look and only see what I can do it; I have done it; I've made audiences I think and feel.
feel
my
Helen Safford
what's she
Wait
till
A professional
You
think of
in.
her eyes, her mouth, and her profile; but does she touch you so
you remember ?
good-looking
ten minutes
Safford
.'*
know
her work.
I get a chance to
I'll
make them
yes,
!
you'll
come.
Helen
she's
Huh
Why,
me when
only a lithograph.
Ollivant.
Well, then,
why
Mary. [QuicJdy.] Because most managers feel the way you and Ben do. And not having a lovely profile and a fashion-plate
figure stands
between
me and
let
alone play
it.
my
down
to put on the
Ollivant.
me
who
for that.
Mary.
[Going
her mother,
You can
why is such beauty given to women like Helen who have no inner need of it, and here am I, with a real
wrapped up
in
creative gift,
between
me and
everything I want to do
I will
[With determination.]
But I
artist.
will
ultimately
make
good, in spite of
my
looks;
others have.
And what
make me a
greater
56
Ollivant.
isn't
GEORGE MIDDLETON
[In a matter-of-fact tone.]
all this
Mary.
working.
what you
call
it.
what keeps me
Ollivant.
[Quickly.]
?
Working?
without an engagement
JVIary.
That
w the hard
part of our
a chance to work.
I stand
when
I haven't
an engagement.
Ollivant.
That's
why
keep at
my
voice
when you have no engagements. Would you mind who is paying the bills ? Mary. [Indignantly.] Father
Ollivant.
I think I
me
that.
Mary.
Have you ?
I
Ollivant.
am
your father.
Mary. [With quiet dignity.] You thought you'd force me here at home to do as you wished because you paid for my food and clothes; when you took that from me you ceased to have that
right.
me
with
my
work
me
a penny.
. . .
No, Ollivant. [Suspiciously.] Mary. you went away from home ? Mary. No. Ollivant. Or you met some man there and Mary. No. Ollivant. There is some man.
.
that's not
why
Mary.
Ollivant.
know them.
. .
.
[Breaking \
Good
Mary.
No,
there's been
TRADITION
Ollivant.
57
?
Ben
Mary.
help
How
me ?
women ?
[Quietly.]
Emily.
Tell limi,
Mary;
it's
Olliv-ajnt.
[Turning slowly
to her
in surprise.]
have kept
Emily.
ming.]
it
from
me ?
down
old
the hat she has been trimskill,
my
though
it's
been a
good
ried,
many
little
George.
paper dolls
anything
with
much
soft.
and children
like
you remember
work.
he was so kind
when you
to
me
years before.
He had
my
He
He found an opportunity to use the dolls as a and when I explained he induced some other firms to
They pay me very well.
she went behind.
I
use
all I
made enough
Mary when
Ollivant.
[Incredulously.]
You
me
say
when
she
left I
cent.^*
Emily.
You were
keeping Ben,
weren't you
Ollivant. Emily.
took
But
that'sthat's
why we
different.
I didn't see
Ollivant.
it?
Mary.]
And you
;\L\ry.
Yes.
Ollivant.
money ?
and
Mary.
you took
Emily.
Yes.
Ollivant.
it ?
I told
Mary,
had
[tiimply.]
what
it
felt.
I I
to study.
I'd
anywhere.
58
had to
your
live.
GEORGE MIDDLETON
You
didn't help me.
Ben and
will,
was
to he struggling
with himself.
He
Ollivant.
to
is silent
Finally
Mary,
me
if
till
till
I thought of
you
without
if
Mary.
Ollivant.
stronger than
Then
I guess
what you
. .
feel is
.
Are
now
Mary.
you back
daughter?
that.
[Simply.]
like
No, father;
till
I succeed.
Then
I'll
pay
Ben promised.
[Hurt.]
Oluvant.
It
You
don't think
it
It wasn't
Mary.
his father.
No;
it
his father
and
And
me who
feeling
were
silent or couldn't
Ollivant.
[With
sincerity.]
you spoke
But
You
the same.
But
they're not.
it,
are different.
You may
not
know
but your
her.
I first
knew
I
her,
and she
had to work
for a living.
when
met her
day while studying. But she was sensible; when a good man came along who could support her she married him and settled down. Look how
been here with a home of her
own
that
is
home
TRADITION
with associations and children.
to-duy trying to paint pictures for a living?
of
59
working, decent
which
you'll
is
God's law.
she did.
want
to
marry
him.
the country
Mary. Mary.
You
Ollivant.
children
Mary.
my
if
life.
Ollivant.
up.
human, I tell you. you think they're easy coming and bringing
you're
Mary.
she to do
?
And now
Well,
they've
left her.
if you ever get a husband with those ideas what a wife has to do. [He goes to her.] Mary, But your mother and I it isn't easy, all this you've been saying. are left alone, and perhaps we have got different views than you. But if ever you do see it our way, and give up or fail well, come
Ollivant.
back to
hard
us,
understand ?
[Going
for
to
Mary.
it
him.]
I understand
was
you to say
And remember
back a success.
Ollivant.
Yes.
I suppose they all think that;
in love
what and
chil-
it all
Mary.
dren
?
Father, what
the
man
or the
answer
Ollivant.
Nonsense.
Why
to
her.]
60
GEORGE MIDDLETON
I wonder.
Mart.
Ollivant.
to
star-
Emily, dear.
No wonder the
flowers
When
feeling
it.
No more
of that, dear;
I shan't let
at.
you
[He
pats her again, looks at his watch, and then goes slowly over to the
window-doors.]
Well,
it's
it
getting late.
will rain
I'll
lock up.
[Looking
up
at sky.]
Paper says
to-morrow.
Emily.
Mary
can
hear.]
At the
father
is
art
Your
so
dolls.
Mary.
Emily.
[Comprehending in surprise.]
[Fearing
lest
Mother
hear.]
You,
too ?
Ollivant should
and eyes
[Ollivant Ollivant.
Good-night.
the
Sh women tJioughtfully.
THE EXCHANGE
BY
ALTHEA THURSTON
The Exchange is reprinted by permission of Althea Thurston. This play is one of the farces written in the Course in Dramatic Composition (English 109) in the University of Utah. For permission to perform, address B. Roland Lewis, Department of English, University of Utah, Salt Lake City, Utah.
ALTHEA THURSTON
Althea Cooms-Thiirston, one of the promising writers of the younger set of American dramatists, was born in Iowa, but soon moved with her parents to Colorado, where she spent her girlhood. She was educated in the public schools of Colorado Springs and Denver. Her collegiate training was received in the University of Utah, Salt Lake City. In 1902 she married Walter R. Thurston, a well-known engineer. At present she resides in Dallas, Texas.
Mrs. Thurston has travelled widely and has resided for periods Mexico City and Havana, Cuba. She is an able linguist and has made a special study of her native English tongue and of Spanish and French, all of which she uses fluently. From childhood she has shown dramatic ability. Her dramatic composition has been more or less directly associated with the courses in pla;y'writing and the history of the drama which she completed in the University of Utah. Among her one-act plays are When a Man's Hungry^ And the Devil Laughs, and The
of time in
Exchange. Mrs. Thurston has an aptitude for delicate and satirical farce. The Exchange is an excellent example of farce-comedy in the contemporary one-act play.
CHARACTERS
Judge,
Imp,
the exchanger of miseries
office
hoy
to the
Judge
A A A
Poor
Vain
Man
Woman
Rich Citizen
THE EXCHANGE*
SCENE
The curtain and a
chair
rises
upon an
office scene.
it
Seemingly there
is
nothing
unusual about
hat-rack.
this office:
has
tables, chairs,
office is
a filing cabinet,
portion of the
Within
;
and
This
Here he
u>rite,
is
wont
to
spend
many
hours
sometimes
a
tall,
Judge.
read or
the
to
vagaries of mankind.
The Judge
man
with
he always icears.
him, he
is
reading a
letter
and
fingers
upon
his desk.
At
an
inner room.
At
Poor
IVIan,
the
Rich Citizen
and we glimpse a
overcoat hanging
upon
it.
Down
stage to the
left is
a fiat-topped desk,
littered
letters.
desk that we
a huge
65
66
ledger,
ALTHEA THURSTON
and he seems
to be
chiicJcles the
while.
Imp
is
little
rogue ; he looks
and
acts
it,
and we feel
He
luears
a dark-green
little
His saucy
is ever
round cap
is
He
chuckling
of
mankind and
Imp.
rungs of his chair and balancing himself against his desk, surveys
the ledger.]
Your honor,
I've
all
choose from.
Judge.
[Scowls
Here
is
another one.
A woman
alliance.
Wants
Wants us
eyesight.
Imp.
lines.]
and running
We
we could
give her.
Judge.
not be
She would
to
his
satisfied.
People never
are.
own
very will-
ing to
make
light of his
shortcomings.
I
He
tried
have
am
growing tired of
it,
it all.
Imp.
I
too.
am
[Knock
is
heard at the
street door.
closes ledger,
answer
THE EXCHANGE
Imp.
67
to
admit the
is
very
He
hesitates, looks
room as
a loud whisper.
Poor
Is
IVIan.
?
[Indicating the
Judge
reply.]
that him
Imp.
Yes, that
is
his honor.
Poor Man.
ness.]
Do
I dare speak to
him ?
still
Imp.
whispering.]
Yes, but
Poor Man.
ing,
throat.]
Your honor,
Your honor,
to ask
of you.
?
Judge.
I've never
Poor Man.]
Well
Poor Man.
You see, your honor, I've been poor all my life. had much fun. I don't ask for a lot of money, but
eat, drink,
I would like enough so that I could have some swell clothes, and
so that I could
know, I
just
You
want
to
fix it for
me. Judge ?
[Gazes at
So you just want away your poverty ? I suppose you have no moral weakness you want to change, no defects in your character that you want to better ? Poor Man. [Stammering and twirling his hat.] Why, w-hy.
Judge.
sternly for
him
a moment.]
Want me
to take
Judge, I
but then
I am not a bad man. Ofof course, I have my I've never committed any crimes. I guess I stack up
faults,
pretty fair as
men
go.
and
me out
Bring
on that point.
Judge ?
Judge.
[Sighs wearily
me the ledger.
Judge opens it, and then speaks sharply to the Poor Man.
68
Judge.
take
ALTHEA THURSTON
You
understand, do you,
give
Poor Man.
I'm
willing.
[Eagerly.]
all
right.
Judge.
paralysis.
[Scanning
ledger.]
Very
well.
Let us
see.
Here
is
Poor Man.
very good time,
[Hesitatingly.]
if
Well, I
couldn't have a
if
was paralyzed.
I suppose not.
Judge.
eye?
[Shortly.]
No.
How
about a glass
Poor IMan.
anything.
[Anxiotisly.]
if
I'm going
to miss
two good
want
Judge.
left his
ledger.]
A man
Poor Man.
twirling his hat.]
to the other
and nervously
I don't
want
anybody's old
cast-off wife.
Judge.
[Becoming exasperated.]
it.
be quick about
Here
is
and
Imp.
[Interrupting,
and walking
Mr. Potter
[Eagerly.]
left
when he took
old
IVIrs.
Pratt's
Poor Man.
fine
!
Indigestion?
Sure!
That
if
will
be
I won't
mind a
of
my
poverty.
[Sternly.]
Judge.
worse as
Very
well.
Re-
me God."
for
Poor Man.
so help
me God."
THE EXCHANGE
Judge.
room.
[To Imp.]
G9
Show
this
[Poor
IVLajnt
follows Imp,
to the heavily
curtained door.
The Poor
as a
swaggers a
bit,
into a fortune.
man might who had suddenly Imp swaggers along ivith him.
time, though.
I'll
Imp.
get you a
menu card, so that you can be picking out your dinner. Poor IVIan. [Joyfully slapping Imp on the back.] Good
and
I'll
idea,
and smacks
Exit.
!
Judge.
[Speaks disgustedly
He's
Has no
to his writing.
slyly.
Vain
Woman
stands
upon
the threshold.
posing
presumably she
it.
and
she is worthy of
rich
and her
gowning enhances
reveals a shallow
upon
its
smoothness.
As Imp
hurries forward
to the centre
of
the stage.
Imp
on his
of her.
to
Judge
rises
and
bows
curtly, she
Vain Woman. Judge, I have heard that you and I have been told that you help people out of
so I have a
little
Judge.
[Coldly.]
Vain Wosian.
[Archly.]
know
that I
am a famous
70
beauty; in
lovely.
fact,
ALTHEA THURSTON
both
my
face
and
my
may
my feet.
I simply
without admiration.
It
is
my very life.
But, Judge
[plaintively], horrid
my
face.
[Intensely.]
away
you and
me
something
Judge.
satisfied
tiful as
Are you
your face ?
Have you no
[Uncertainly.]
you
Why,
am
just as
I go to church,
and
clubs.
[Anxiously.]
Oh, please.
Judge,
make me so unhappy.
exchange them ?
Please take
You
don't want
me
to be unhappy, do
them away.
[Wearily looking over the
ledger.]
Judge.
see
Oh, very
what
I can
do
for you.
[To Imp.]
this
lady.
Imp
returns
perches himself
upon
it
and watches
the
Vain
Woman
ledger.
interestedly.
Judge
Judge.
wrinkles.
Vain Woman.
Oh, heavens, no
!
hands
to her throat.]
my
beautiful throat.
See.
[Throwing back her fur and exposing her neck in a low-cut gown.]
I
to see.
ledger again.]
Well,
THE EXCHANGE
Vain Woman.
[Reproachfully.]
!
71
car-
you
enemy
of
beauty there
want
Judge.
and
to
looks through a
series of cards,
Vain Woman.]
Perhaps this
suit you.
[Refers to card.]
A woman
has
grown very
tired of her
some other burden. I accept a man that Vain Woman. [Indignantly.] What Certainly not I prefer one some other woman doesn't want that some other woman does want. Judge. [Irritated, puts the card back in its place, and turns
!
upon
the
Vain
Woman
crossly.]
you
and
Imp.
and runs
would
like deafness
it
Deafness
wouldn't show, so
Judge.
[Wearily.]
No,
it
Deafness ought to
Vain Woman. [Consideringly.] Why yes that might do. But well, it wouldn't show. I've a notion to take it. [Pau^e The Judge stares at her she seems to consider and meditate. coldly. Lmp grins impudently. She rises leisurely, sighs.] All
right.
I'll
accept
it.
Judge.
hand.]
[Sharply.]
Hold up your
right hand.
[She raises
Do you
you God ?
Vain Woman.
Judge.
Imp.
ence.]
[Sweetly.]
Oh,
yes.
I do. Judge.
[To Imp.]
Show
mock
deferall
all,
and
you'll
have 'em
Take
72
[Vain
ALTHEA THURSTON
Woman
stands posing a moment.
softly with her
antly
exits.
and mockingly
heart.
Judge.
trouble her
[Sarcastically.]
?
Do
!
her
faults
or
shortcomings
Not
sir;
at
all
Vain
women
Bah
women have
queer notions.
We
see
an important-
appearing personage.
manding pose
prompt
well groomed.
attention.
Rich Citizen,
exceedingly
His manner
is lordly, but
he addresses the
Judge in a bored tone. When Imp scampers to meet him, Rich Citizen hands him his hat and cane and turns Imp examines the hat and cane at once to the Judge.
the
critically,
hangs them on
the hat-rack,
and returns
to his
Rich Citizen.
addressing the
Rich Citizen.
Judge,
[Lighting a cigarette.]
am
am
I not ?
[Shortly.]
Judge.
You
are.
Rich Citizen.
Well, Judge,
life
[Languidly,
would drop
Judge.
in
[Wearily.]
Rich Citizen.
ance exactly.
very rich and
[Nonchalantly.]
see,
You
my
dear Judge,
this
way.
am
influential citizen,
and
am
very
much sought
after.
Judge.
[Frigidly.]
Oh, indeed
Yes.
Rich Citizen.
Women
run
THE EXCHANGE
after
73
me day and
I
night.
riageable daughters at
my
Men
seek
my
advice on
all
matters.
am
Judge.
den.
[Sharply.]
Well, go on.
Rich Citizen. Really, Judge, my prestige has become a burI would like to become a I want to get away from it all. plain, ordinary man with an humble vocation, the humbler the
better, so that people will cease bothering
me.
all
Judge.
[Sarcastically.]
Is
your prestige
that troubles
Satisfied
you ?
Rich Citizen.
got to do with
What have my
[Scornfully.]
habits or morals
my
Certainly I
of
am
not
I live as a
man
my
I
station should
of
and
I think I
them.
be
a change.
would
like to
with an humble
I'll
calling.
Judge.
[He looks
[Ironically.]
see
what we have
in
humble callings.
We
have
Rich Citizen.
about
all
[Wearily smoking.]
No.
much
noise.
Judge.
Rich Citizen.
ering at
away
his cigarette.l
No.
bick-
Too
I
confining.
you
all
the time.
want
away
from crowds.
Judge.
hopefully.]
[Sighing,
and turning
postman
to get
in
rural district.
old
Rich Citizen. [Showing vexation.] No, women that want to gossip. I tell you,
no, no.
I
want
74
from women.
ALTHEA THURSTON
Haven't you something peaceful and quiet; some-
me
out
morning,
when the
Judge.
and
rising.]
Well, you're
I bid
you good
Imp.
after
runs
to railing,
and speaks
suavely.]
like the
That
is
early-morning work.
job here
And, you
old,
remember, a milkman
left his
Judge. [Sharply, to Rich Citizen.] Well, how about it.^* Does a milkman's vocation suit you ? It's early-morning hours, fresh air, and no people about.
Rich Citizen.
quietness of
ders a
it is its
[Musingly.]
charm.
[He pon-
moment]
Yes, by Jove,
take
it.
Judge.
[Sternly.]
Hold up your
in life, so help
right hand.
"Do you
sol-
you God.?"
gentleman to the changingYes,
do.
[To Imp.]
Show
this
to the
curtained door.]
fresh milk,
sir,
you
Fresh
air,
no people, just
Third
cows
talk.
booth,
Rich Citizen.
quietness.
[Musingly.]
The
no
use,
simple
life
peace
little
and
[Exit
to
Judge.
[In disgust]
It's
Imp.
They
some
all cling
cross or
them
Imp.
It's
THE EXCHANGE
[Imp ofens a drawer in his desk and takes out a hotth,
dently filled with tablets, which he holds up, shaking chuckling.
it
75
evi-
and
He
Judge.
one to-day.
Imp.
Don't
I
let
any more
in,
Imp.
am
All right,
I
Judge.
tion.
is
am
what
I really need
is
a vaca-
sea-trip
would put me
right.
By
it to
the
it
attentively.
Imp returns
over,
to his
own
grinning mischie-
[The former
Poor
Man
it
re-enters
from
the
changing -room,.
He
is well dressed,
and taking a
gloatingly.
pocket, he looks at
to
and he
to
stomach.
Imp runs
meet
menu
Here's a
menu from
the Gargoyle.
look swell
[Grinning happily. ]
[Looking at menu.]
[Sits
down
at left front.]
have a
cocktail, then
[he
let's see
I'll
have
another cocktail.
keeping
up a massaging
breasts
motion]
Woman
She
(?
76
ALTHEA THURSTON
hand-glass, smiling
delightedly.
it
She walks
over
to the
Judge.
He
looks
up
Vain Woman.
not beautiful
?
[Smiling.]
Oh, I
am
happy
again.
Am I
Judge.
[Pityingly.]
You
woman.
coyly.
[Since she is deaf, she does not hear his words, but thinks he
is
complimenting
her.
She smiles
at
him
Vain Woman.
charms.
my
his desk,
and hurries
to the hat-rack,
and puts on
black hat.
Woman
and begins
put on her
gloves.
He
an
makes
awkward bow.
Excuse me, lady, but I've had a big
I
join
want to celebrate, so I am having a me and help me have a good time ? big dinner. Won't you him blankly, and trying to fathom [Looking at Vain Woman. ^why, what did you say ? Oh what he has said.]
and
[Hesitating,
and a
bit surprised.]
Why
if if
I said that I had a big piece of luck to-day, and I am going dinner, and I just asked to celebrate. I am having a you wouldn't have dinner with me.
fine
Vain Woman.
[Still
looking blank
and a
little
confused, then
smiling archly and acting as though she had been hearing compliments, she speaks affectedly.]
Really, do
you think so ?
[Looking
tells
her dress.]
me
THE EXCHANGE
what
77
help.]
turns to
Imp for
Just
Imp.
write
it.
She
is
stone-deaf.
You had
better
Former Poor
INIan.
Never
No
menu
Vain
Woman
re-enters
from
the
changing -room.
He He
is
and an
old hat.
He
to the Former Poor Man and addresses him. Former Rich Citizen. Give me a light. Former Poor Man. [Trying to live up to his fine clothes and wallet full of money, looks the Former Rich Citizen over snubSay, who do you think you are ? You light out, see ? bingly.]
Former Rich
Citizen.
[Very
much
plussed a moment.]
Well, upon
my word,
I
to the
Former Poor
the
street
Man.
Imp.
I'll sell
Man
starts for
door, but
Imp runs
after
bottle of tablets.
you these
for
two
is
What
that ?
Indigestion tablets.
Former Poor Man. [Puts his hand to his stomach and laughs Keep 'em; I don't need 'em. little lamely.]
[Vain
Woman fastens
Imp
her fur
and
and
giving the
passes him.
Imp.
a dollar.
[She does not hear what he says, but she looks her scorn at
out.
78
ALTHEA THURSTON
Citizen.
is
Former Rich
a watch.]
Imp.
[Fumbling
it?
I haven't
my
watch.
[Grinning mischievously.]
Time
it,
[The
starts angrily
He
pauses with
it
up
haughtily
slamming
the door.
up
SCENE
A fortnight
setting.
II
rises
has passed.
The curtain
is
upon
see
the
same
stage-
The Judge
we
Imp
asleep in a
the street-
chair.
But suddenly
Former Poor
Man
bursts into
He
is
He
the
He
chair, he rushes to
Imp
ivakes
slowly,
is
he
must
Imp.
see
him at
once.
[Yawning.]
He
isn't
to
down
yet.
himself
go to sleep again.
[Walking the
floor,
and holding
his
to
his stomach.]
I'm nearly
What
Where does he
Imp.
Oh, he
for
is
liable to
an hour or two.
THE EXCHANGE
hia stomach,]
79
It's
it
much
longer.
driving
me
Imp.
[Getting
up from
his chair
and keeping
I thought all
you
Eat,
eat, drink,
and be merry.
[Frantically
!
How
I
tell
you
this pain
is
driving
quick.
Oh,
why
Imp.
it?
my
woman
enters.
is
She
is
weeping
softly.
It is the
Vain Woman.
Gone
her posing
the railing,
to
and not
seeing the
Imp.
Man
:
looks at the
Vain Woman,
Then he
"Whafs
I
down
at the left
Vain Woman.
away,
Imp.
please.
[Tearfully.]
must
yet.
see
the
Judge right
[Languidly.]
He
isn't
down
Vain Woman.
portant, that I
once.
[Interrupting.]
Tell
am
in great distress
Imp.
[Loudly.]
I said that he
from
of her, holds
up for
her to read.
80
ALTHEA THURSTON
[After reading.]
Vain Woman.
Oh, when
will
he be here?
so
Oh, I
am
unhappy.
Former Poor
Man grunts
back on her.
Vain Woman. I cannot hear a word that is said to me. No one seems to want me around, and I am not invited out any more. I have the feeling that people are making fun of me instead of praising
[Getting hysterical]
my
I
beauty.
Oh,
it
is
dreadful to be deaf.
to take
away
this deaf-
ness.
my
wrinkles.
*'
Too
Has the Judge given away my wrinkles? I want my very own wrinkles, too. Wrinkles [Beginning to sob.] I don't want to distinguished-looking.
I
[Running over
very bad.
to the
Say, this
lady
feels
own
misery, looks
up
[Who is still rocking back and forth vnth Cheer her up at Imp in disgust.]
Me?
Woman
sits,
weeping
softly.
is
[A peculiar thumping
The Forhoping
mer Poor
it is
Man jumps
Imp,
the
Judge.
also,
stands waiting.
it
The door
did so with
in.
He
is
him
to
use a crutch.
He
He
The Former
THE EXCHANGE
Poor
sits
81
sits
Man
down
again, rubbing
away
at his stomach.
The Vain
Woman
rather
The Former
Rich Citizen
husky
voice.
Imp in a
Former Rich
is
Citizen.
It
most urgent.
Imp.
You
at once.
Former Rich
you
it
Citizen.
[Impatiently.]
Why
not?
told
Imp.
Because he
isn't here.
He
hasn't
come
in yet.
even
proper
rest
I won't stand
want back
my
and
sleep
where I can
[He hobbles
a chair and
sits
down
wearily.
Former Poor Man. [Getting up from his chair, walks over to the Former Rich Citizen, waggles his finger in his face and If you speaks fretfully.] What cause have you to squeal so
.?
had indigestion
raise a holler.
like I
have
all
Why,
most
and
contemptuously.]
If
You
I,
for you.
Now
who
Vain Woman.
82
and speaks in a
[sniff]
ALTHEA THURSTON
voice punctuated ivith sniffling sohs.\
Have-^
[Sniffy
either of
It
is
you gentlemen
[sniff]
sniff.]
a terrible thing
[sniff] for
a beautiful
woman
like I
am
[s?iiff]
to
have such an
affliction.
[Former Rich Citizen shrugs his shoulders indifferently and limps to the other side of the stage, where he sits.
Lord deliver
me from
sniffling
woman.
[Imp,
who
is
sufferings.
Vain
Woman
vacated by the
Former Rich
Citizen.
{A knock
is
Even
from
to see
Vain Woman, seeing the Imp hastily slides hopefully. down his tight little jacket and
the
little
cap a
more
who knocks.
and
silently departs.
Imp.
[Importantly.]
Letter for
me from
the Judge.
letter
Why
doesn't he
come him-
Former Rich
Imp.
[Grins at
Citizen.
Send
in
an
insolent manner.]
writing to
me
for.
It's
me
letter.
;
[He looks
holds
it
up
to
shakes
it.
the
woman
[Extremely
irritated.]
For
goodness'
open
it
and read
it.
Former Rich
it.
Citizen.
[Vain
Woman
Imp
THE EXCHANGE
walks over
looks
letter
83
to his desk,
and
They
draws out
letter,
which he reads
silently to himself.
Imp
Imp.
Well,
of that
[Excitedly.]
What
is
it
why
don't
us
Former Rich
floor.]
Citizen.
Imp.
it is.
All right.
Here
"My
dear Imp:
tried faithfully for years to aid distressed
lot of fools,
"I have
them.
humanity,
and I wash
my
hands of
and
back.
So write 'Finis'
for the
ledger of miseries,
Exchange
closed
forever.
The Judge."
The Vain
[They
all
Woman,
sens-
saying
" What is it ?
"
Imp
gestion
all
My God
Indi-
my
days.
Vain Woman.
Oh, what
This
shall I
do
Former Rich
Citizen.
an outrage.
am
rich
and have
influence,
and
to
The
man
looks
down
at his milk-
84
ALTHEA THURSTON
jail to the floor, sinks dejectedly into
[Imp dangles his keys and opens the street-door, as an invitation for
to start,
them
to go.
him
the
man
grasps them
eagerly,
tipping Imp,
who
money.
exits.
Man
takes a tablet as he
Woman, bowed
Imp
it,
touches her
arm and
offers
She accepts
The
we
see of the
Vain Woman,
The Former
This
his
Way
Out.
takes
The
the
man
up
crutch,
curtain falls
SAM AVERAGE
BY
PERCY MACKAYE
Sam Average is reprinted by special permission of Percy Mackaye. This play first appeared in Yankee Fantasies, Duffield & Company, New York.
Special Notice
No public or private performance of this play professional or amateur of it for money may be given without the written
permission of the author and the payment of royalty. Persons who desire to obtain such permission should communicate direct with the author at his address. Harvard Club, 27 West 44th Street, New York
PERCY MACKAYE
Percy Mackaye, who was born in New York City in 1875, is one of the few Americans whose interest has been almost wholly in the theatre. As a lecturer, writer, and champion of real art in drama, he lias had few if any equals. He inherited his interest in drama from his father, Steele Mackaye, author of Hazel Kirke. He was educated at Harvard, where he studied under Professor George Pierce Baker, and at Leipzig. He has travelled extensively in Europe and at various times has resided in Rome, Switzerland, and London. In 1914 Dartmouth conferred upon him the honorary Master of Arts degree. At present he holds a fellowship in dramatic literature in Miami University,
Oxford, Ohio.
Mr. Mackaye's efforts in the dramatic field have been varied. Masques, pageants, operas, and plays are to his credit. The Canterbury Pilgrims, The Scarecrow, Jeanne D^Arc, Mater, AntiMatrimony, Sanctuary, Saint Louis Masque, and Caliban are among his better-known works. In 1912 appeared his Yankee Fantasies, of which Sam Average and Gettysburg are the more noteworthy. In all of Mr. Mackaye's work he possesses what many dramatists lack a definite ideal. He aims at an artistic and literary effect. His Sam Average is a real contribution to American patriotic drama.
CHARACTERS
Andrew
Joel
Ellen
Sam Average
SAM AVERAGE*
An intrenchment
On
in Canada, near Niagara Falls, in the year 1814.
Near
the centre,
left,
Us standard.
Beside the
fire,
Andrew,
is
reclined, gazes at
On
the
Joel.
[With a singing
call.]
Four
o'clock
^All's
well
the
the
embankment, he approaches
Andrew.
Joel.
By God,
[Looks
A mite
sharpish.
Andrew.
Joel.
up
eagerly.]
What ?
Oh!
[A pause.]
I
Andrew.
meant
Joel.
wonI
You meant
.?
the weather.
[A pause again,
Well, Andy, what'd
Life.
you mean
Andrew.
Joel.
Shucks
[To himself.]
Andrew.
Living
All rights reserved.
by Percy Mackaye.
89
90
Joel.
PERCY MACKAYE
[Sauntering over
left, listens.]
Hear a
?
rooster crow
Andrew.
Joel.
signal.
No.
What
dirt.
That's our
Andrew.
buried
it
buried
for us.
in the dirt
Joel.
I fixed
's
The
rooster crowin'
her
watchword
Andrew.
better.
An
[Rising.]
Ah
Andy!
'em.
Joel.
Hush
You'll
up,
The
it
nearest
low.
men
two rods
away.
Joel.
wake
Pitch
Andrew.
nel this end,
Don't be alarmed.
much
danger.
I'm
senti-
tip at t'other.
Besides,
you may
call it
and none on
off.
When
well,
man don't get his pay for nine months his vacation. Why not ? When Nell
cross over to
up the Niagara,
Tonawanda, and
By
Andrew.
Joel.
shivering.]
I'm
afraid.
'Fraid
Bosh
Andrew.
Joel.
Face what ?
Andrew.
Joel.
get you.^
Your
!
sister
Nell
made up your mind to light out home anyhow ? Andrew. Yes. That's just what she'll never
In her heart
as well as I
she'll
forgive
me for.
never think of
I'll
me
the same.
what pledge
be breaking
SAM AVERAGE
Joel.
91
Andrew.
No
is
gush.
the contents
[He returns
and begins
to
fumble over
idly.
of his knapsack.
One of her curls ? Andrew. [Looking at a lock of hair in the Some day they'll baby's, Httle Andy's.
Joel.
father
firelight.]
tell
Joel.
Listen
Andrew.
Joel.
up
Son
of a traitor
[Tiptoeing back.]
to his feet,
crowed
that's
her.
[Leaping
Andrew
stares
is
closing
and gripping
a young
woman
emerges
from
the
She
is
bareheaded and
clad.
[Joel touches
Andrew, who
down
to
him and
they embrace.
Andrew.
Ellen.
My Nell
Nearly a year
Andrew.
Ellen.
Now,
at last
close,
Hold me
Andy.
Andrew.
Ellen.
You're better ?
Let's forget
Is he grown much ? Grown ? You should could I do You see Andrew. I know, I know.
Andrew.
Ellen.
him
But
so
ill
What
.?
Ellen.
all
gone.
at
Andrew.
Ellen.
92
PERCY MACKAYE
I
Andrew.
pack.
have
all
your
letters, Nell.
Come, help me to
Ellen.
Joel.
What
[Approaching.]
[Absently.]
to the
Ellen.
Ah,
you.^
[Eagerly y following
Andrew
Ellen.
I've
knapsack.]
But,
my
dear
off.
Andrew.
Wait, wait!
You
don't
come instead of writing. Andrew. I can guess. Ellen. But you can't; that's tell you something, and then
what's so hard
[Sloivly.]
Andrew.
Ellen.
ness,
it's
it's
it's
[Gently.]
I guessed that. I
This
is
what
must
tell
you.
It's
money gone
and
all
that;
Andrew.
Ellen.
been insulted.
[Murmurs.]
It's
My
God
what
all
that brings
the
helplessness.
I've
Andy
want a
protector.
Andrew.
dear
sobs.]
There,
Ellen.
You know.
we'll go.
Andrew.
Ellen.
right?
know.
Come, now;
Oh
It's
Dare
angels?
Ha!
Dare? Come,
we're slow.
Time enough.
[Sinking upon Joel's knapsack 05 a seat, leans her
at
Ellen.
Andrew.]
I'd better
afraid.
SAM AVERAGE
Andrew.
way.
[Controlling his emotion.]
it all.
93
don't take
it
Now,
that
I've considered
Ellen.
[With deep
quiet.]
Blasphemously.''
Andrew.
Reasonably,
I
my
brave wife.
When
I enlisted, I
dreamed I was called to love and serve our country. But that dream is shattered. This sordid war, this political murder, has not one single principle of humanity to
did so in a dream.
excuse
its
bloody
sacrilege.
It doesn't deserve
my
loyalty
our
loyalty.
Ellen.
this
for
my
sake?
What
of
"God
and
his angels".?
Andrew.
[Not looking at
her.]
If
we had a
if
just cause
meant to serve God and his angels then, yes; a man might put away wife and child. He might say: "I will not be a husband, a father; I will be a patriot." But now like this tangled in a web of spiders caught in a grab-net of politicians and you, you and our baby-boy, like this hell let in on our home no,
Coimtry be cursed
Ellen.
[Slowly.]
So, then,
when
little
Andy grows up
Andrew.
Ellen.
I
[Groaning.]
am
to tell
him
Tell
Andrew.
try,
sionately.]
[Defiantly.]
him
from
its
standard^
and reaches
toward
[As he
a sound of fifes and fiutes, playing the merry march-strains of " Yankee Doodle.'^
there rises, faint yet close by,
[At the same time there enters along the embankment, dimly,
tall
dawn.
Ellen.
[Gazing at Andrew.]
94
PERCY MACKAYE
[Listening.]
Andrew.
Joel.
Who
He
are they
Where
is it ?
[Starts, alertly.]
hears something.
Andrew.
Ellen.
Joel.
Why
Andy
[Whispers.]
to the
Ssh
Look out
We're spied on
[He points
back.
embankment.
The
it.]
Figxjre.
?
Desartin'
Andrew.
watchword
[Puts
Ellen
behind him.]
Who's there
.^
The
The
Joel.
it*s
Figure.
God
!
[To Andrew.]
He's on to us.
knife.]
Pickle
him
quiet, or
court martial
[Showing a long
it
Shall I give
him this ?
Andrew.
Ellen.
[Taking
from
him.]
No.
will.
Andrew
Andrew.
Let
go.
[The Figure, descending into the intrenchment, approaches with face muffled. Joel draws Ellen away. Andrew
moves toward
Andrew.
You're a spy
Andrew raises the knife to strike, but The Figure, throwing up one arm to
ward
through
glint
told
The
sergeant
round.
!
That's
knife.]
all right,
then.
Andrew.
Who
are
you ?
.'
The Figure.
*
My name's
face of the Figure are partly hidden by a beak-shaped Momentarily, however, when his head is turned toward the fire, enough of the face is discernible to reveal his narrow iron-gray beard, shaven upper lip, aquiline nose, and eyes that twinkle in the dimness.
cowl.
SAM AVERAGE
Average
95
o'
Sam Average.
me.
my
prophetic
friends calls
Andrew.
Joel.
What are you doing here now ? The Figure. Oh, tendin' to business.
Tendin' to other
folks' business,
eh ?
Ye-es; reckon
The Figure.
that
is
my
business.
Some
to
other folks
is
me.
Joel.
[Grimacing
Ellen.]
Cracked
You're a mite back'ard in
The
Figure.
[To Andrew.]
wages, ain't ye ?
Andrew.
Nine months.
What
fit,
of that.?
for.
The Figure.
and calc'lates
Seems
suthin'
like
you have,
he ought to be takin' a
little
hom'
for Thanksgivin'.
Andrew.
Ellen.
My pay
You ?
eagerly.]
[Coming forward,
Andy!
The money,
is it
.''
staieliness.]
[T^o
The Figure.]
down
saying
I were about to say how gold bein' scarce
some
s'curities instead;
some na-
might say.
it
quietly.]
That's them.
Here they
be.
Ellen.
Joel.
Gold,
Andy
!
[With a snigger.]
Gold
nothin'
It's
That's corn
just
Injun corn.
Ha
[Bowing
gravely.]
The Figure.
what
Joel.
The
Figure.
me down
96
PERCY MACKAYE
in
Plymouth way,
like I
can remember.
we had
his
thar.
Me
bein'
this round,
what were
name now ?
Joel.
out.
Massasoit.
like
left.
Thought ye might
pack.
We've got
to
skip.
The sergeant said wait till ye hear his jew's-harp playin' of that new war tune. The Star-Spangled Banner. Then ye' 11 know the coast's clear.
utes
to spare, boys.
Joel.
Gad, that's
pack,
right.
remember now.
knapsack, which they begin
to
tall
to the
Andrew
the cloak.
form in
[Now, as
pahn
Andrew. Andrew.
the horn.]
The Figure.
Those
my pay.
So.
The Figure.
Andrew.
of
[Cheerfully.]
Would ye?
[Handing him
Reckon
that's
enough ?
it.]
[Not taking
make
sure
^first.
The Figure.
Andrew.
me,
sir.
Oh
So ye're
hesitatin'
me
decide.
Pardon
ask your
feel I
may
help.
The Figure.
wa'n't
it ?
jest
now,
knap-
we take a
the
turn.
By
the
sack
Ellen ^nc?5
herself.]
little
frame.
Ellen.
[To
My picture
SAM AVERAGE
[She looks toioard
97
Joel,
lifting the
Andrew
to her.
affectionately.
knapsack, beckons
Joel.
[He goes
off,
right ;
Andrew.
to be one
[To
The
sir.
Figure.]
your experience,
you appear
who has had a great deal of experience. Why, consid'able some. Andrew. Did you happen to fight in the late war
The Figure.
pendence
.f*
for inde-
The Figure.
fight;
Happen
to.^^
[Laughing
quietly.]
N-no, not
was paymaster. Andrew. But you went through the war ? The Figure. Ye-es, oh, yes; I went through
ye see
^I
it.
I took out
my
down
Andrew.
true ?
Tell
that.
roll-call of
The Figure.
fire rollin'
True, boy ?
Have ye
all
way
with their
Andrew.
What
the Americans
The
Figure.
on 'em
set
them
and
it
as weren't
They
a back-fire goin' at
fingers off,
Valley Forge.
their toes
through and
did they
saved
Andrew. But they those others. What reason give to God and their own souls for deserting The Figure. To who
.?
.?
98
PERCY MACKAYE
Andrew. To their consciences. What was their reason ? It must have been a noble one in '76. Their reason then ; don't you I must know what reason real heroes gave see, I must have it.
for their acts.
You were
there.
eh.?
You can
o'
tell
me.
ye, then.
is
The Figure.
market.
i^aZ heroes,
Look around
hero
To-
al'ays in the
in this
war
campaign
monstrous boodle 2
The Figure.
Andrew.
Thar we be
here are only a lot of cowardly half-men, like
Why,
me
Clovers of their
own
folks
They'll
in '76:
make
I
sacrifices for
them.
men
like
our fathers
ficed to her
as you be.
Our fathers, my boy, was jest as fond o' poetry They talked about the beautiful face o' Liberty same's you; but when the hom'made eyes and cheeks of their
The Figure.
sweethearts and young uns took to cry in', they desarted their
beautiful goddess
Andrew.
But
The
Figure.
as don't to-day.
pay-roll. Why, look much on the beauty counter. Muse o' Grammar wa'n't my
Th'
stand.
would
pictur'
me jest like I
give'
my own
I
elbow-grease has
me
manure
my
crops this
and as
arn
swap jokes
And
me,
jest for to
my
wages
gals that's
was
shinin' thar.
SAM AVERAGE
Andrew. [Who
are
99
you ?
The Figure.
Andrew. Andrew.
I
Me ?
want
to serve
you
Nobody
sarves me.
you
for
the others.
for
No, 'twa'n't
me; 'twas
him
as pays
Andrew.
peer in
The
sarve
Figure's face.]
who
he ?
The Figure.
him, think,
if
Would ye
his face
Andrew.
And saw
The
Figure
together.
leads
The
Figure.
Hark a-yonder
Is
it
Andrew. Andrew.
[Listening.]
thunder ?
?
The Figure.
The
[With awe,
Have ye
voice
!
forgot I
remember now
Niagara
stands
Andrew
still,
looks toward
shrouded and
a sound as of falling waters, and with that a deep murmv;rous voice, which seems to issue from The Figure's
cowl.
off
comes
The
of
Voice.
am
and your
fathers' fathers.
Mightier
^mightier, I shall
be heard
am the Million in whom the one is lost, and I am the One in whom the millions are saved. Their ears shall be shut to my thunders, their eyes to my blinding stars. In shallow
your sons.
I
my
With dregs
of
and
me.
In the mystery of
my
100
mountains
strike
PERCY MACKAYE
tliey shall assail
me;
in the
majesty of
my
forests,
me down;
One and
me
me.
their slave.
Some
for a lust,
some
life;
for
fall
away.
shall return to
me
for
mine.
My
my
man.
am
the
One
in
whom
^
am
the Million in
whom
the one
to
is lost.
Andrew.
him,
[Yearningly
Tue
Figxtri:.]
Your
face!
clings to
majestically away.
Andrew
Andrew.
Your
face
The Figure
[Peering^ dazzled,
Andrew
the
left,
thrumming
of a jew's-harp is heard,
The Figure
stands
Joel.
Ellen.
!
Andrew's
prostrate form,
hastens to him.]
Come
here.
I'll
whisper
it.
[He leads her beside the embankment, beyond which the dawn
beginning
to redden.
Joel.
Nell.
So
The Figure.
Andrew.
derstand ?
[Nodding.]
So long, sonny.
You un-
You
do ?
eyes.]
Ellen.
[Looking in his
I understand, dear.
SAM AVERAGE
[They kiss each Joel.
clear.
other.
101
[Calls low.]
turtles.
The
road's
Follow
me now.
and disappears.
[The thrumming of the jew^s-harp continties.
the standard.
[Faintly.]
Andrew.
Ellen.
God
bless
you Good-by
!
[The Figure has remounted the embankment, where the gray folds of his distincter glow of the red dawn
in the
cloak,
an
eagle, the
visor,
The
Figure.
Come,
to
little gal.
[Ellen goes
As
a paper, writes on
it,
and
hands
Andrew,
all
The Figure.
here's
By
and
Them
my
initials;
they're
what's needful.
Jest
file
this in the
right pigeonhole,
lip,
you'll
later,
boy.
I'll
meet ye
Andrew.
[Wistfully.]
The
till
Figure.
Yes; reckon
ye, Nellie.'^
Come, don't
me
Uncle.
ii,
with
reverse side
stars.
By
own
figure is
made
partly visible
the
same
the legs
and
white)
Holding the
girl gently to
him
102
PERCY MACKAYE
while her face turns hack toward
Andrew
he leads
her,
embankment, and
disappears.
that, filling
now
[Andrew
stares
silently
the departed
slowly coming
ground his
down into the intrenchment, lifts from the gun and ramrod, leans on the gun, and read-
mutters
makes a
"''"*
U.S.A.
fist,
wad
of
it,
and rams
it
HYACINTH HALVEY
BY
Hyacinth Ealvey
Sons,
is
reprinted
by
New York
City, publishers of
movement, was born at Roxborough, County Galway, Ireland, in 1859. "She was then a young woman," says one who has described her in her early married life, "very earnest, who divided her hair in the middle and wore it smooth on either side of a broad and handsome brow. Her eyes were
always
full of questions.
...
met men of assured reputation in literature and politics, and there was always the best reading of the times upon her tables." Lady Gregory has devoted her entire life to the cause of Irish literature. In 1911 she visited the United States and at a dinner given to her by The Outlook in New York City she said:
"I will not cease from mental strife Or let the sword fall from my hand Till we have built Jerusalem In Ireland's fair and lovely land."
Lady Gregory, with William Butler Yeats and John Millington Synge, has been the very life of the Irish drama. The literary association of these three has been highly fruitful. She helped to found the Irish National Theatre Society, and for a number of years has been the managing force of the celebrated Abbey Theatre in Dublin. Lady Gregory's chief interest has been in peasant comedies and folk-plays. Her Spreading the News, Hyacinth Halvey, The Rising of the Moon, The Workhouse Ward, and The Travelling
Man
It
a noteworthy fact that most of the plays of the Irish dramatic movement are one-act plays. Much of Irish life lends itself admirably to one-act treatment. Hyacinth Halvey is one of Lady Gregory's best productions. This play contains a universal idea: reputation is in great measure a matter of "a password or an emotion." Hyacinth, having a good reputation thrust upon him, may do as he likes ^his good name clings to him not-
withstanding.
PERSONS
Hyacinth Halvey
James Quirke, a
butcher
telegraph boy
Fardy Farrell, a
Sergeant Garden
Mrs. Delane,
Miss Joyce,
postmistress at Cloon
HYACINTH HALVEY
SCENE:
Outside the post-ofice at the
at post-office door.
little
town of Cloon.
sitting
it,
Mrs.
Delane
Mr. Quirke
on a chair
at butcher's door.
and a thrush
in a cage above.
playing on a mouth-organ.
Train-whistle heard.
Mrs. Delane.
There
Is
it
is
Mr. Quirke.
rising ?
in the night-time.
stags of
makes a man drowsy to be doing the haK of his work Going about the country, looking for little sheep, striving to knock a few shillings together. That
It
me
to.
I suppose so.
who
are the
from
or the cards.
Mr. Quirke. It would be a pity you not to know any little news might be knocking about. If you did not have information of what is going on, who should have it ? Was it you, ma'am,
was
telling
me
?
that the
new
arriving to-day
Mrs. Delane.
was den
in that train.
To-day
it is
he
is
coming, and
it's
likely
he
this
morning.
Mr. Quirke.
he was.
Mrs. Delane.
is,
if
108
all
that
said of
him
is
true, or
if
a quarter of
it is
true,
he will
Mr. Quirke.
Mrs. Delane.
Gregan they were
Is that so
To Father
Would you
pounds ?
believe
me
Mr. Quirke.
Mrs. Delane.
there did.
them
job.
indeed.
He must
many
Fardy.
that.
It
like
Mrs. Delane.
you
Fardy.
If I
am
thinking
it
will
be long before
not here
Fardy
Farrell.
had the
like of that of
It's in
a character
it is
Mr. Quirke.
Mrs. Delane.
while after her.
Here
is
So she
and there
is
the sergeant a
little
[Enter Miss Joyce. Mrs. Delane. Good evening to you, Miss Joyce. What way Did he get any ease from the cough ? is his reverence to-day ? Miss Joyce. He did not, indeed, Mrs. Delane. He has it sticking to him yet. Smothering he is in the night-time. The most thing he comes short in is the voice. Mrs. Dela.ne. I am sorry, now, to hear that. He should mind himself well. Miss Joyce. It's easy to say let him mind himself. WTiat do you say to him going to the meeting to-night ?
[Sergeant comes
in.
Miss Joyce.
Mrs. Delane.
"Freeman"
am
come,
HYACINTH HALVEY
Mrs. Delane. Here eye on it to see was there
Sergeant.
[Holding
it is
109
an
ready.
was
I
just throwing
anj^ news.
Good
evening. Sergeant.
up a
placard.]
Mrs. Delane, the announcement of the meeting to be held tonight in the court-house.
to the window.
I
it
up here convenient
yourself ?
I
it
Mrs. Delane.
Sergeant.
meeting
would do more
about.
Sergeant.
classes.
The Department
of Agriculture
is
sending round
"
Those
will
am
is
all
broken
company taking them to be eggs. The subject "The Building of Character." Mrs. Delane. Very nice, indeed. I knew a girl lost her
and she washed her
feet in a blessed well after,
character,
and
it
Sergeant.
things of the
The arrangements have all been left to me, the He knows I have a good intellect for sort. But the loss of those slides puts a man out.
it is
The
not likely
tableaux
it is
will believe.
call
standing pictures,
is
you know one time in Dundrum Mrs. Delane. Miss Joyce was saying Father Gregan
porting you.
sup-
Sergeant. I am accepting his assistance. No bigotry about me when there is a question of the welfare of any fellow creatures. Orange and green
chair.
will
I,
myself,
and
110
Miss Joyce.
would mind
no more
fit
me
he would not
He
is
to go speak at
to the
Sergeant.
am
He
will
have no speaking to do at
the lecturer a hearing.
unless
it
The
annoyance to
me
and no time
for anything.
Miss Joyce. Who is this coming up the street, Mrs. Delane ? Mrs. Delane. I wouldn't doubt it to be the new sub-sanitary inspector. Was I telling you of the weight of the testimonials he got. Miss Joyce ?
Miss Joyce.
reverence.
them
to his
He must
Mrs. Delane. Indeed, it is what I was saying to myself, he must be a very saintly young man. [Enter Hyacinth Halvey. He carries a small bag and
a large brown-paper parcel.
fully.
He
I
stops
Hyacinth.
post-office
Good evening
I suppose
to you.
Sergeant.
letter
had a
Hyacinth.
Sergeant.
was
my mother got a
He
It
gives
Hyacinth.
ing
is
very kind of him, indeed, and he not knowthe neighbors were very friendly.
me
at
all.
But, indeed,
me
they did
it.
Mrs. Delane.
your parcel
?
I'll
engage
it is
know
Hyacinth.
last.
There
HYACINTH HALVEY
was not one refused me.
good character
is
111
It
is
what
my
no burden.
Fardy.
Sergeant.
and a
large
number of
possesses
Sergeant.
the
fire of
"He
Norman, the
Poor
vigor of the
Dane, the
Saxon
Hyacinth.
wrote that.
It
Law
Guardians
"
Sergeant.
"A
Hyacinth.
Club
De Wet
Hurling
Sergeant.
"A
by an
Hyacinth.
Sergeant.
tary career
That was the national schoolmaster. "Devoted to the highest ideals of his motherland
is
Hyacinth.
Sergeant.
for
Carrow.
"A
The
splendid
Hyacinth.
Sergeant.
all
Carrow Champion."
for the efficient discharge of
"Admirably adapted
may
in future
"
Hyacinth.
Sergeant.
benefit his
The new
station-master.
"A champion of every cause that can legitimately " Why, look here, my man, you fellow creatures
come
to our assistance to-night.
that.
Hyacinth.
doit?
would be glad to do
What way
can I
Sergeant.
weight
you
You are a newcomer your example would carry must stand up as a living proof of the beneficial
112
eflPect
moral
sure
fibre,
temperance
I
there
I
is
something about
**
here I
am
(Looks.)
am
sure I saw
unparalleled temperance" in
some place
Hyacinth.
Sergeant.
It
was
my
am
no
You might take it for the purpose. Mr. Quirke. [Eagerly.] Here is an antitreating button. was made a present of it by one of my customers I'll give it
I to
you [sticks it in Hyacinth's coat] and welcome. Sergeant. That is it. You can wear the button on the
platform
ample
will follow
your ex-
will
Hyacinth.
Sergeant.
am
in
will
from
of
the
testimonials.
"There he
"an example
and
one
in early life
who
do.
by
I'll
his
own unaided
efforts
profitable situation."
know what
I'll
the sight
to
way
do a tableau
Hyacinth.
Sergeant.
I will go
it
now
and ergagi those lads sixpence each, and well worth ing like an example for the rural classes.
[Goes
off.
noth-
Hyacinth feebly
Mrs. Delane.
himself,
maybe.
Sure they
indeed
it
have
is
their
own bread
And
will,
Mr. Quirke.
Miss Joyce.
Halvey ^
[Gloomily.]
Sometimes they
will
and more
And where
you be finding a
lodging,
Mr.
HYACINTH HALVEY
Hyacinth.
I
113
I don't
know
of a
it is
only a very
man would
be taken into
Mrs. Delane. Sure there could be no objection there to Mr. Halvey. There is no appearance on him but what is good,
and the sergeant after taking him up the way he is doing. Miss Joyce. You will be near to the sergeant in the lodging
I speak of.
The house
is
Hyacinth.
[Doubtfully.]
To
it,
the barracks
Miss Joyce.
Alongside of
all.
And
that's not
It
is
Hyacinth.
Opposite,
will get.
know
it
well.
see
from
his
window.
Hyacinth.
Fardy.
Can he now ?
am
thinking,
went
into
Miss Joyce.
dance.
[Sharply.]
It
If
is
let
John Hart, the plumber, left it Miss Joyce. If he did it was because he dared not pass the police coming in, as he used, with a rabbit he was after snaring
in his
Fardy.
hand.
The schoolmaster himself left it. Miss Joyce. He needn't have left it if he hadn't taken to card-playing. What way could you say your prayers, and shadows shuffling and dealing before you on the blind ? Hyacinth. I think maybe I'd best look around a bit before
Fardy.
I'll
settle in a lodging
Miss Joyce.
the blind.
Not at all.
to pull
down
114
Mrs. Delane. It is not likely you will be snaring rabbits. Miss Joyce. Or bringing in a bottle and taking an odd glass the way James Kelly did. Mrs. Delane. Or writing threatening notices, and the police
Miss Joyce.
Hyacinth.
think.
Or going
I give
good-for-nothing young
girls
you
my
so harmless as
you
Mrs. Delane.
Halvey.''
will
[Touching testimonials.]
Would you be putting a lie on these, Mr. I know well the way you
letters to
your relations
Miss Joyce. Learning O'Growney's exercises Mrs. Delane. Sticking post-cards in an album
vent bazaar.
Miss Joyce. Reading the "Catholic Young Man" Mrs. Dei^^ne. Playing the melodies on a melodeon Miss Joyce. Looking at the pictures in the "Lives of the I'll hurry on and engage the room for you. Saints." Hyacinth. Wait. Wait a minute Miss Joyce. No trouble at all. I told you it was just opposite.
[Goes.
Mr. Quirke.
self for
I suppose I
If it
must go
up-stairs
the meeting.
soldiers'
anear
it.
Mrs. Delane. I should be making myself ready, too. I must be in good time to see you being made an example of, IMr. Halvey. It is I, myself, was the jfirst to say it; you will be a
credit to the town.
[Goes.
Hyacinth.
Cloon.
I wish I
Fardy.
What
is
on you ?
Hyacinth.
I wish I
had never
left
Carrow.
I wish I
had
HYACINTH HALVEY
been drowned the
off.
115
I'd be better
first
day
thought of
it,
and
Fardy. What is it ails you ? Hyacinth. I wouldn't for the best pound ever I had be
this place to-day.
in
Fardy.
I
I don't
Hyacinth.
To have
Carrow,
was a poor
place,
where
had
my comrades,
and an odd
spree,
and a game
of cards
and
I'll
of Cork.
in.
I'll
way I am.
much
closed
it
Fardy.
it?
Sure
Hyacinth.
Fardy.
character
Will you
What
?
is it
Hyacinth.
Fardy.
Will you
me what way
my
To
get rid of
it, is it ?
Hyacinth.
Fardy.
That
is
what
I said.
me ?
the world.
If I
That is a good thing to have. Hyacinth. It is not. It's the worst hadn't it, I wouldn't be like a prize mangold
person praising me.
in
Fardy.
If I
had
If I
it,
Hyacinth.
with
all
hadn't
it,
room
me and
Fardy. If I had it, I wouldn't be but a message-carrier now, and a clapper scaring birds in the summer-time. Hyacinth. If I hadn't it, I wouldn't be wearing this button and brought up for an example at the meeting. Fardy. [Whistles.] Maybe you're not so, what those papers
to be
116
Hyacinth.
Was
there ever
world, unless
would I be what they make me out to be ? any person of that sort since the world was a might be Saint Antony of Padua looking down
If it
is
like that I
was,
isn't it in
Mount
friars at
Esker ?
^\hy would
work ?
?
Fardy.
[Taking up parcel.]
lies in
Who
would be so much
Hyacinth.
to
It
was
He
said I
was
he gave me a new
suit
bors
come back again. I daren't go back to face him knew my mother had a long family bad luck
the neighto
them the
day they gave me these. [Tears letters and scatters them.] I'm done with testimonials. They won't be here to bear witness
against me.
Fardy.
but
will
to be great.
Sure he has
know
to
an
earthly saint.
Hyacinth.
[Stamping.]
I'll
I'll
show
I'll
do some injury.
I'll
The
tell
first
thing
it
I'll
do
I'll
never did
it
before
I'll
do
now.
get drunk
then
I'll
you
life
as
candle.
for.
Hyacinth.
it.
Drunk
or sober,
I'll
break
I'll
do something that
have no excuse.
^Miat would
you say is the worst crime that any man can do.? Fardy. I don't know. I heard the sergeant saj-ing one time it was to obstruct the police in the discharge of their dutj' Hyacinth. That won't do. It's a patriot I would be then,
worse than before, with
my
It's
a red
HYACINTH HALVEY
crime I must commit that will
117
make
all
minding me.
What can
what
do?
Fardy.
It's
Hyacinth.
will leave
I'll
steal a sheep
or a cowor a horse
leave you.
confess
if
that
me
the
Fardy.
I give
It's
Hyacinth.
you
I don't care
I'll
I'll tell
why
I did
it
and
me
or bidding
me
Fardy. Fardy.
far to go.
There
Well,
is
Hyacinth.
Help me,
if it is
you
.^
to steal a sheep
Hyacinth.
sheep.
Where
is it.^
I see
no
Fardy.
Fardy.
Hyacinth.
Quirke's rack
no
living thing
Did
?
I say
it
was
living.?
What
is
that hanging on
Hyacinth.
Fardy.
It's [fingers
it]
Well,
what
ails
away ?
Hyacinth.
Fardy.
It's
a dead one
if it is ?
What matter
If it
Hyacinth.
Fardy.
drive
it ?
was
it
before
me
You
could.
to your
it
own
to be a pet
you brought
from Carrow.
Hyacinth.
Fardy.
behind the bed.
news
of
it
and
it
bleating
Hyacinth.
[Distracted.]
Stop
stop
118
Mrs. Delane.
there,
upper
window.]
Fardy!
Are
you
Fardy
I
Farrell
Fardy,
am, ma'am.
[From window.]
Mrs. Delane.
Fardy.
undressed.
Look and
is,
tell
me
is
that
ma'am.
it,
Mrs. Delane.
Then botheration
I'm coming
! !
to
it's
!
to
me down.
Fardy.
you.
alone.
If
She'll be coming out on Hurry Hurry on, now you are going to do it, do it, and if you are not, let it
Hyacinth.
Fardy.
with
it.
I'll
do
it
I'll
do
it I'll
on his back.]
give
you a hand
Hyacinth. [Goes a step or two and turns round.] You told me no place where I could hide it. Fardy. You needn't go far. There is the church beyond at
the side of the square.
there's nettles in
it.
Go round
Hyacinth.
Fardy.
That'll do.
run
give
run
Hyacinth.
Fardy.
[Runs a step or
it
two.]
it
It's slipping
Hoist
up.
I'll
a hoist
[Halyey runs out. Mrs. Delane. [Calling out.] What are you doing, Fardy Is it idling you are ? Farrell ? Fardy. Waiting I am, ma'am, for the message Mrs. Del.\ne. Never mind the message yet. Who said it
was
ready.?
[Going
to door.]
Go
no,
but
ask news of
Here,
now go
Fardy.
I will,
ma'am.
Mrs. Delane.
No-
HYACINTH HALVEY
body here ? Mr. Quirke
IVIr.
119
Mr. Quirke
James Quirke
Quirke.
suddy face.]
What
Mrs. Delane ^
Mrs. Delane.
[Beckoning.]
I cannot
Come down
I'm not
if
here
till
tell
you.
do
that.
fully shaved.
You'd come
Tell
it
I have.
to
me now.
any
Mr. Quirke.
Mrs. Delane.
may have.
A man in business
this
Mr. Quirke.
Mrs. Delane.
you would know Mr. Quirke.
Why
If
is
in this
envelope
that,
James Quirke.
?
Is that so
And
what, now,
is
there in
it ^
Mrs. Delane.
Mr. Quirke.
Mrs. Delane.
Who do you think now is it addressed to ? How would I know that, and I not seeing it
That
is
"^
true.
Well,
it
is
a message from
Mr. Quirke.
Mrs. Delane.
To
It
Sergeant Carden,
is.
is it ?
And
is it,^
it
concerns yourself.
Mr. Quirke.
bringing against
Myself,
What
me?
Mrs. Delane.
Wait
you hear.
Mr. Quirke.
case
Maybe
Mrs. Delane.
Mr. Quirke.
field
the neighboring cutting up a dead cow, that those never had a hand
I
in
in
Mrs. Delane.
You're out of
Mr. Quirke.
They had
There
is
no
man
120
Mrs. Delane.
IVIr.
Quirke.
them if I did hear them. Mrs. Delane. I tell you it has nothing might be better for you if it had.
It
Mr. Quirke.
Mrs. Delane.
is
What
It
is
is it,
so ?
immediately to seize
all
meat
in
your house.
There
an
officer
coming down.
non Fort Barracks. Mr. Quirke. I'll engage it was that pork. Mrs. Delane. What ailed it for them to find
fault ?
Mr. Quirke.
right to
Mr. Quirke.
it
all
went mad on poor O' Grady that owned it. Mrs. Delane. So I heard, and went killing all before it. Mr. Quirke. Sure it's only in the brain madness can be.
Mrs. Delane.
He
it,
should know.
Mr. Quirke.
went to the
loss of
I give
you
my
it
word
I cut the
head
off
it.
throwing
If
they
had salted the meat, as I advised them, what harm would it have done to any person on earth ? Mrs. Delane. I hope no harm will come on poor Mrs.
Quirke and the family.
Mr. Quirke.
Mrs. Delane.
the sergeant.
Fardy.
HYACINTH HALVEY
the message.
121
put away
There
is
would
like to
Fardy.
Mrs. Delane.
birds yet.
[Fardy
Mrs. Delane.
geant of police.
You have
this
ser-
it's
gives
him
to
the station.
there
he
was
Mrs.
Delajste.
You
off.
will not,
It can
[Fardy goes
Mr. Quirke
was indeed a very neighborly act, Mrs. Delane, and I'm obliged to you. There is just one article to put
It
Mr. Quirke.
welcome.
A con-
The Lord be
consumes ?
praised, isn't
England a
terrible country,
with
all it
Mrs. Delane. Indeed, you always treat the neighbors very decent, Mr. Quirke, not asking them to buy from you. Mr. Quirke. Just one article. [Turns to rack.] That sheep I brought in last night. It was for a charity, indeed, I bought it from the widow woman at Kiltartan Cross. ^Vhere would the poor make a profit out of their dead meat without me Where now is it.'' Well, now, I could have swore that that sheep was hanging there on the rack when I went in Mrs. Delane. You must have put it in some other place.
"^
Mr. Quirke.
not; there
is
I did
no other place
it, it is ?
me
to put
it.
Is
it
gone blind I
am, or
is it
not in
Mrs. Delane.
It's
122
Mr. Quirke.
this
there, yourself,
morning ?
I
Mrs. Delane.
there now.
have
it
in
my
mind that
I did;
but
it's
not
Mr. Quirke.
.?
it
away
.''
Mrs. Delane. Is it me, myself, you suspect of taking it, James Quirke Mr. Quirke. Where is it at all ? It is certain it was not of It was dead, and very dead, the time I itself it walked away.
bought
cuses
it.
Mrs. Delane.
me
have a pleasant neighbor, indeed, that acI wonder, indeed, you to say a
am much
Mr. Quirke.
Mrs. Delane.
Ah, be
quiet,
let
woman; be
tell
And
me
would sooner starve and see every one belonging to me starve than to eat the size of a thimble of any joint that ever was on
your rack or that ever
will
be on
it,
whatever the
soldiers
may
eat that have no other thing to get, or the English, that devour
all sorts,
down by the
sea
Mr. Quirke.
[Stopping
her.]
Don't be talking
foolishness,
me now. woman. Who said you must sergeant The have come. message There must some other message. have got some other Mrs. Delane. [Sulkily.] If there is any way for a message to come that is quicker than to come by the wires, tell me what
Give heed to
it is,
took my meat ^
and
I'll
be obliged to you.
Mr. Quirke.
he was
sticking
The
sergeant was
notice.
up
here,
making an excuse
up that
How
would
HYACINTH HALVEY
Mr. Quirke.
It
Is
123
if
what he
did; he
made
as
to go
away
he
will
have
it
Mrs. Delane.
That might be
it
Mr. Quirke.
Mrs. Delane.
I would sooner
to have been
Mr. Quirke.
ago
I bade the
Widow Early
it ?
to kill
it
a fortaight
Mrs. Delane.
Mr. Quirke.
ever was on
it, it
How
it ?
Whatit
was the will of God put was, and shivering and refusing its share.
upon
it
wasted
like
Mrs. Delane.
The poor
Gone
It
is
thing.
Mr. Quirke.
of thread.
all
to nothing
wore away
a flock
It did not
Mrs. Delane.
lin.?
Dub-
Mr. Quirke.
medicines
The
I
ribs of
it
Mrs. Delane.
brought or
is it
wonder
is it
to the Assizes ?
defense.
Mr. Quirke. I'll speak up to them. I'll make my What can the army expect at fippence a pound ?
Mrs. Delane.
It
is
be no bail allowed ?
Mr. Quirke.
quality
Would they be wanting me to give them good meat out of my own pocket ? Is it to encourage them
me?
Mrs. Delane.
It's
you
be apt to be getting.
Well,
I'll
sits
lU
Halvey
Mr. Quirke.
to rear five
before, striving
Schools ?
Mr. Quirke. My poor wife Mrs. Delane. I'm afraid the workhouse Mr. Quirke. And she out in an ass-car at
ing
this
minute, help-
me
to follow
my
I
trade.
Mrs. Delane.
hope they
give
will
Mr. Quirke.
guilty
!
I'll
myself up to justice.
!
plead
I'll
be recommended to mercy
It
Mrs. Delane.
might be best
for you.
Mr. Quirke.
Who
come upon a family through the bringing away of one sheep Hyacinth. [Coming forward.] Let you make yourself easy. It's easy to say let you make yourself Mr. Quirke. Easy
!
easy.
Hyacinth.
I can
tell
you where
it is.
Mr. Quirke. Where what is? Hyacinth. The sheep you are fretting after. Mr. Quirke. Wliat do you know about it.? Hyacinth. I know everything about it. Mr. Quirke. I suppose the sergeant told you ?
Hyacinth. Hyacinth.
He
told
me
nothing.
Mr. Quirke.
Mr. Quirke.
Hyacinth.
Hyacinth.
the nettles
it is.
town knows
it ?
it,
so
No No
one knows
it,
as yet.
And
one saw
or brought
it
it
away but
all ?
myself.
Mr. Quirke.
Where
Look
at
In among
stung.
HYACINTH HALVEY
Mr. Quirke.
town.
125
In the ditch
The
Hyacinth. I never thought it would bring such great trouble upon you. You can't say, anyway, I did not tell you. Mr. Quirke. You, yourself, that brought it away and that I suppose it was coming in the train you got informahid it
!
Hyacinth.
said as
Mr. Quirke.
if
me ? am as glad to hear what you it was the Lord telling me I'd be in heaven this minute.
^Nhat now do you say to
Say!
I say I
Hyacinth.
going to do to
me ?
Any
earthly
me to do,
you
It's I
I will do
it.
will tell
Mr. Quirke.
It
is
that will
tell
when
all is quiet.
name through
the town
Hyacinth.
[Embracing him.]
The man
that preserved
Mr. Quirke. That kept me from ruin Hyacinth. From ruin ? Mr. Quirke. That saved me from disgrace Hyacinth. [To Mrs. Delane.] What is he Mr. Quirke. From the inspector Hyacinth. What is he talking about ? Mr. Quirke. From the magistrates
Hyacinth.
Hyacinth.
saying at
all ?
He
Is
is
Mr. Quirke.
From
Mr. Quirke.
Hyacinth.
Hyacinth.
Mr. Quirke.
The
Are
my own
126
Mr. QumKE.
Hyacinth.
I repay you
[Slwuting.]
you
Mr.
]VIr.
Quirkje.
You
The
it
did,
Hyacinth.
Hyacinth.
Hyacinth.
I stole
away with
Quirke.
on you
I put
out of sight
blessing of
Mr. Quirke.
I
The
my
five children
may
Mrs. Delane.
Here's the
[Sergeant comes
arranges his
in.
Querke
leaves go of
Halvey, who
hxit, etc.
!
Sergeant.
The dept. tment to blazes Delane. What is it is putting you out ? Mrs.
Sergeant.
To go
to the train to
meet the
Mrs. Delane.
Sergeant.
The
lecturer,
is it ?
To be
sure.
What
else
would I be talkmg
of
.^^
The
and where
am
I to go looking for
Mrs. Delane.
Sergeant.
Isn't
it
And
that's all?
And you
didn't get
any
am surprised
at you,
J\Irs.
Delane.
of
an hour
am
I to
man
acter
]VIr.
[Jumps
up.]
It
is I,
myself, will
tell
you
that.
the back.]
all
Look
at here.
There
is
those papers
there could
about
this j'oung
man
you but
it is
true.
And
be no good thing said of him that would be too good for him.
HYACINTH HALVEY
Sergeant.
It
127
idea.
Mr. Quirke. Whatever the paper said about him, Sergeant, It has come to my knowledge by chance I can say more again. man has saved a young town that to this came since he that
Sergeant.
classes
That
is
much
to his credit
helping
the rural
Mr. Quirke.
sods of turf
little, like
on
his
way
was not
for his
assistance.
wittiest,
Believe me, he
is
Mrs.
Delane ?
Mrs. Delane.
might be that he
is
It
is
true, indeed.
Where he
his information
gifted
from above.
we have
settled that
The
you
speech.
You can
call to
saw a
lecturer
do
it
one
time at Dundrum.
Daniel," he said
"Come up
here," he said;
"Dare
to be a
Hyacinth.
Sergeant.
hand.]
I can't
I won't
I will conduct
You
you to the
platform
settled.
glass of water
that's
Follow
me on
goes.]
to the court-house in
first
^I
half
an hour
a telegram
lane.
Mrs. Delane.
tling myself
time for
me
to
make an end
of set-
128
Mr. Quirke.
had best
Well,
[Turns.]
this day.
Fardy
reappears, whistling.
w^orld
of
it
Hyacinth. [Sitting down.] I don't know in the has come upon the world that the half of the people
.'
what
should
be cracked
Fardy.
Hyacinth.
Found
out,
is it ?
I don't
by being found out. Fardy. Didn't he miss the sheep ? Hyacinth, He did, and I told him it was
at these
?
I took
it
and what
Hyacinth.
They
what
is
worse.
[Gives
a hoarse laugh.]
in
Will you come and see me on the platform these and I speaking giving out advice. [Fardy
didn't
in this
my
hand
whistles.]
Why
that
you
tell
me to steal a sheep,
town
it
would qualify a
on
?
man
to go preaching,
and the
Fardy. The time I took a few apples that had fallen oflf a They welted me stall, they did not ask me to hold a meeting.
well.
Hyacinth.
see them.
[Looking round.]
I wish I
!
I would take apples if I could had broke my neck before I left Carrow, and I wish I had got six months the time I was
Fardy.
Hyacinth.
Fardy.
way,
if
wouldn't be so great a
sin.
it.
It's likely
Anyis
the
handiest.
Hyacinth.
to
do
it.?
HYACINTH HALVEY
Fardy.
[Pointing.]
129
it
and
I noticed
Hyacinth.
Fardy.
the
distiller
It was,
glass in
it
for
Hyacinth.
Fardy.
to get in
Every good.
if
you
is
Whatever
riches there
if
Hyacinth. I don't want riches. I'll give you all I will find you will come and hoist me. Fardy. Here is Miss Joyce coming to bring you to your lodgSure I brought your bag to it, the time you were away ing.
Hyacinth.
[They go
Run
off.
Run
Enter Miss Joyce.
;
Miss Joyce. Are you here, Mrs. Delane ? Where, can you tell me, is Mr. Halvey ? Mrs. Delane. [Coming out dressed.] It's likely he is gone on to the court-house. Did you hear he is to be in the chair and to make an address to the meeting ? Miss Joyce. He is getting on fast. His reverence says he
will
Who would
Carrow
Sergeant
Sergeant.
Mrs. Delane. I couldn't be rightly sure. Sergeant. But sure it's marked on it, unless the clock I have is gone wrong. Sergeant. It is marked on it. And I have the time I got it marked on my own watch. Mrs. Delane. Well, now, I wonder none of the police would
have followed you with
little
it
to do
130
Sergeant.
Well, I
am
sorry
duty.
]Mr.
IVIrs.
Quirke
Mr. Quirke.
Is there
What
is
[No answer.]
any one
inside, I
ask?
[No answer.]
It
must be that
Quirke.
dog
of
Tannian's
wait
It
till
I get at him.
Mrs. Delane.
is
He
out,
something
Sergeant
etc.
conies
up
sacks,
Mr. Quirke.
geant
am
and I'm sorry now to disoblige you, and you not being
me
I should think not, indeed.
Sergeant.
Mr. Quirke.
Sergeant.
I
Looking
am
not.
Mr. Quirke. If I had it now, I'd be proud to offer it to you, and make no charge. I'll be killing a good kid to-morrow.
Mrs. Garden might fancy a bit of
it
Sergeant.
I have
had orders
for unwholesome meat, and I am come here to do it. Mr. Quirke. [Sitting doimi with a smile.] Is that so?
isn't it a
Well,
in the world.
Sergeant.
it will fall
Mr. Quirke.
Sergeant.
could find, and
I
I suppose not.
on
their
own head
at the last
far.
Mr. Quirke.
it
What
is
there
you
Sergeant. Have you no meat at all upon the premises ? Mr. Quirke. I have, iudeed, a nice barrel of bacon. Sergeant. What way did it die ?
HYACINTH HALVEY
Mr. Quirke.
can
it is.
131
Ameri-
It
would be hard
for
me
to say that.
How
?
killing the
steam-hamliving
mers
Sergeant.
Mr. Quirke.
above
in the cage.
I give
you
my
word, there
is
no meat,
or dead, in this place, but yourself and myself and that bird
Sergeant.
ing.
Well, I
must
tell
But mind
Mr. Quirke.
Sergeant.
[Enter Fardy.
I will
do that.
pose ?
It was you delayed that message to me, I supYou'd best mend your ways or I'll have something to say [Seizes and shakes him. to you. Fardy. That's the way every one does be faulting me.
[Whimpers.
[The Sergeant gives him another shake.
falls out of his pocket.
A
!
half-crown
Where, now, Miss Joyce. [Picking it up.] A half-a-crown did you get that much, Fardy ? Fardy. Where did I get it, is it ? Miss Joyce. I'll engage it was in no honest way you got it. Fardy. I picked it up in the street Miss Joyce. If you did, why didn't you bring it to the sergeant or to his reverence ?
Mrs. Delane.
loss of
it.
Miss Joyce.
me, Fardy,
till
to his reverence.
it.
Come
it
with
he
will question
you about
I
Fardy.
It
in the street I
found
it
Miss Joyce.
in
no good
way
Fardy.
won
it
132
like of you,
Miss Joyce. And who would play for half-crowns with the Fardy Farrell ? Who was it, now ? Fardy. It was a stranger Did you see Miss Joyce. Do you hear that ? A stranger
e'er
Mr. Quirke?
Mr. Quirke.
SERGEAJ>fT.
Not a
one.
Mrs. Delane.
knowing
it.
me
Fardy.
erence.
tell
Miss Joyce.
Sergeant.
Come
on, then,
and
tell
who was he
to his rev-
Or to the bench.
Fardy. Fardy.
Fardy.
Fardy.
I did get
tell
Sergeant. Sergeant.
Where
Bring
is
he, so
not
far
away.
me
to him.
here.
it
He'll be
coming
Sergeant.
Sergeant.
Tell
me
will
[Weeping.]
Let
me
[Letting go.]
Now^who
go and I
will.
it
from.^
Fardy.
All.
From
came
Mr. Halvey.
Mr. Halvey
[Indignantly.]
\\Tiat
Mr. Quirke.
young
ruffian,
are
you ?
you
did say
Fardy.
Miss Joyce.
You
!
it.
You
said
it
now.
Mr. Quirke.
Hyacinth Halvey!
The
best
man
that ever
lies
he has
Mr. Quirke. It's my belief the half-crown is a bad one. Maybe it's to pass it ofiF it was given to him. There were tinkers
HYACINTH HALVEY
in the
it.]
133
No, indeed,
town at the tune of the fair. Give it here to me. [Bites it's sound enough. Here, Sergeant, it's best
it.
for
you take
[Gives
it to
it.
Can it be ? Can it be what I think it to be ? Quirke. What is it ? What do you take it to be ? Mr. Sergeant. It is, it is. I know it. I know this halfSergeant.
crown
Mr. Quirke.
Sergeant.
church for the
I
That
is
know
it
it
in the
last
twelvemonth
?
Mr. Quirke.
Sergeant.
It
Is that so
is
we hand round in the Sunday morning. I know it by the dint on the Queen's temples and the crooked scratch imder her
the nest-egg half-crown
collection-plate every
nose.
Mr. Quirke.
Sergeant.
the church.
[Examining
is
it.]
So there
is,
too.
This
a bad business.
from
All.
Oh!
Oh!
Oh!
Sergeant.
[Seizing Fardy.]
the church
Fardy.
[Terrified.]
tell
you
Sergeant.
Fardy.
Say what you like I never put a foot Sergeant. How did you get this, so ? Miss Joyce. I suppose from the stranger f
I suppose
it
in it
Mrs. Delane.
you,
it
to
now ?
It
Fardy.
was
so.
it
Sergeant.
I suppose
Fardy.
You will not believe me if I say it. Mr. Quirke. Oh the young vagabond Let me get at him Mrs. Delane. Here he is himself now [Hyacinth comes in. Fardy releases himself and creeps
[(S065.]
! !
behind him.
134
the
Mrs. Delane. It is time you to come, Mr. Halvey, and shut mouth of this young schemer.
of you,
Miss Joyce. I would like you to hear what he says Mr. Halvey. Pitch and toss, he says.
Mr. Quirke.
Mrs. Delane.
Sergeant.
Fardy.
Robbery, he says.
Robbery
of a church.
He
name
long enough.
Let him
go to a reformatory now.
[Clinging to Hyacinth.]
me
I'm a
if
way
be destroyed
Hyacinth. I'll save you easy enough. Fardy. Don't let me be jailed
Hyacinth. I am going to tell them. Fardy. I'm a poor orphan
Hyacinth.
Fardy. Fardy.
I'll
me
speak ?
in the
more chance
world
Hyacinth.
It will be tasked to
me
always.
?
Hyacinth.
Fardy. Fardy.
Fardy.
Be
quiet, can't
you
me
Hyacinth.
Take
Tell
I
on yourself.
if
Hyacinth.
Hyacinth.
Fardy.
I will
you'll let
it.
me.
am
going to do that.
it
Tell
them
!
in at the
window.
Hyacinth.
Fardy.
I will
it
I'll
Say
Hyacinth.
Fardy.
I'll
!
say
it
It being open
Hyacinth.
Fardy.
Of
Let
all
me
tell, let
me
tell.
that was in
it.
HYACINTH HALVEY
Hyacinth.
Fakdy.
I'll tell
135
them
that.
And gave
it
to me.
Hyacinth.
Sergeant.
me.
[Putting
hand on
speak ?
his
mouth and
drO>gging
him
wp.]
me
We
Hyacinth.
Sergeant.
I can't do that.
[Seizing him.]
He must
be
let alone.
Hyacinth.
Sergeant.
He must
I'll let
no
man
him
get
off.
him
oflF.
Hyacinth.
Sergeant.
I will get
You
will
not
Hyacinth.
Sergeant.
I will.
Hyacinth.
Sergeant.
Hyacinth.
Sergeant.
Hyacinth.
Sergeant.
think to buy him off ? buy him off with my own confession. And what will that be ? It was I robbed the church. That is likely indeed Let him go, and take me. I tell you I did it. It would take witnesses to prove that.
I will
Do you
Hyacinth.
Fardy.
[Pointing to Fardy.]
He
will
be witness.
Get
me
off
and I
say nothing.
Hyacinth.
court.
You
will
Fardy.
I will not!
I will not!
knows
all
I don't
Mr. Quirke.
Mrs. Delane.
[Coming forward.]
Is it blind
ye
.?
are
"^
What
Is
it
are
Mr. Quirke.
Miss Joyce.
fools
ye
are
Speak
for yourself.
Mr. Quirke. Is it idiots ye all are ? Sergeant. Mind who you're talking to. Mr. Quirke. [Seizing Hyacinth's hands.]
136
Was
Mrs. Delane.
say.
Mr. Quirke.
Mrs. Delane.
walking saint he
so.
is
Maybe
The
Mr. Quirke.
martyrs
at
!
Talk
is
!
of the holy
They
what he
going
!
him
To
!
To
!
on himself he
is
going
To
going
!
going
!
To
jail
he
is
go-
ing
his
Takmg
own head
own shoulders
Telling
!
lie
that
it
may
be forgiven him
to
all.
his
own
injury
Doing
[Murmur
of admiration from
Mr. Quirke.
Sergeant.
us
all
a lesson.
To
make no information
I will put
back
[To Fardt.]
You behaved
let
very
never
a word be said
I will
I live to be a
hundred years.
tell
Sergeant.
it
at the meeting.
encouragement to them to
to the priest
build
up
their character.
and he taking
the chair
Hyacinth.
should be.
Oh, stop,
will
you
It's
Mr. Quirke.
The
chair.
in
the
chair
he,
himself,
It's in
a chair we
will
It's to chair
him through the streets we will. Sure he'll be an example [Seizes Halvey and a blessing to the whole of the town.
HYACINTH HALVEY
and
seats
137
Here,
him in
chair.]
Now,
Fardy.
[They
all lift the
chair with
Mk. Quirke.
Come
along
!
Halvey in it, wildly protesting. now to the court-house. Three Hip hip hoora
! !
EUGENE PILLOT
by special permission ol Eugene Pillot. by the author. This play is protected by copyright and must not be used without the permission of and payment of royalty to Eugene Pillot, who may be reached through The 47 WorkThe Gazing Globe
is
reprinted
EUGENE PILLOT
Eugene
of one-act plays,
cated in University of Texas, at Cornell University, and at Harvard University. While at Harvard, he participated in the activities
of
one of the well-known contemporary writers was born in Houston, Texas. He was eduthe New York School of Fine and Applied Arts, at the
Pillot,
The 47 Workshop.
Mr.
Pillot's one-act plaj's are
and well-sustained technic. Among his best-known one-act plays are The Gazing Globe, Two Crooks and a Lady, Telephone Number One (a prize play). Hunger, and My Lady Dreams. Mr. Pillot's plays have been produced frequently in schools and Little Theatres of America. The Gazing Globe originally appeared in The Stratford Journal, and was first produced by the Boston Community Players, February 26, 1920, with the following cast: Zama, Rosalie Manning; Ohano, Beulah Auerbach; and Nuo, Eugene Pillot. The Gazing Globe has unusually sustained tone and dramatic
cellent
suspense.
CHARACTERS
Zama
Ohano
Nijo
soft cream-colored
on
the floor
and
brilliant
cushions.
In
great circular
window
so that
it
may
be used as
a doorway.
gathered shade of soft blue silk covers the opening of the win-
dow.
in a southern sea.
ago.
stage.
Zama, an
old ser-
woman
and
grays, hurries in
from
Zama.
the right.
She stops
at centre stage
and glances
Ohano
Ohano
it
Where do you
drawn shade
starts to raise
be, child
at the rear,
and sighs
as she goes to
and
it.
rolls
out of sight
cliff
we
open win-
dow a
green.
bit
of quaint
At
that holds
afternoon
down to the sea. up to a slender stone pedestal a gazing globe, now a brilliant gold in the late sunlight. Ohano, with hands clasped round
At
the right the rocks slope
it.
She
is
woman
of the early
and gowned in a flowing kimono-like robe of green with embroideries of white and blue.
*
143
144
EUGENE PILLOT
[In a chiding, motherly way.]
!
Zama.
Ohano,
my
child,
you
How many times be I must not be so much at that evil ball not telling you it is an enchanted ball ? Ohano. Yes, Zama, I hope it is enchanted. I've tried every other means to gain the way to my heart's desire and they've
all failed
me.
The
gazing globe
may
be but a
myth
but
if it
my
it
in vain.
Zama.
only the
Ohano.
any
narrow way.
You own
if
you try
heart
Zama.
of Nijo.
Ohano.
help
am
hoping that he
wull
be big enough to
lover has been away so long But to-day he be coming back I came think I saw his boat Ohano. Nijo's boat ? Where ?
me but my
Zama.
to tell
you I
Zama.
where
Ohano.
Zama.
I
Why
came
didn't
to
you
tell
me
before
Ohano.
[All eagerness.]
down near
the sea
come!
is
the
highest rock.]
there
Already there
in the green
water
Zama.
It
do seem to be
so.
!
Ohano. And there is Nijo Zama. Where, where, child ? Ohano. There see, he's just coming ashore
oh,
Nijo!
145
have done
look
Zama.
What?
My
What do
Flame
greet
Ohano. They have put upon him the Robe him with the highest honor of the island.
of
to
So they be. The robe they say the gods themselves when time did first begin. Nijo must come back a great warrior now a great warrior Ohano. Oh, how wonderful to return from the wars like that Zama, I want to I must go out into the world and do
Zajvia.
did wear
Zama.
That do be enough.
Look, what
Ohano.
Why, they
my
red god
it
moon
see,
he holds
out
it
be ?
Zama.
sword
Ohano.
Zama.
they do.
marvellous sword
look,
its
shifting lights,
warm
Ohano,
Ohano.
such tribute
How
way
I seek without
how willingly
this
Zama.
And now
Nijo,
See, he
!
and he looks
way, Ohano
he looks
Ohano.
Zama.
my
mounts
he waves to you
It
is
Ohano. Nijo Nijo Zama. And now he rides oflF to come to you here. we be waiting inside for him when he brings back
better
his love to
his
promised bride.
[As they enter room.]
Ohano.
me
146
EUGENE PILLOT
more than love this time much more. Yes, your little Ohano must have more in her life to-day than just love and Nijo must show her the way to that realm where she may stretch her soul
and
live!
The love of so great a man do be enough for any woman, child. Ohano. Oh, no oh, no Zama. But it do be; and evil will fall, I know, if you do be asking more than love Ohano. But I tell you, Nijo's love is not enough. I must
Zama.
The gods do know of none that be more than love. Ohano. But there must be, else why would I feel the rush
its
of
pulse within
my
veins
for action
the sea?
Why,
?
tell
me why,
would
feel
those things
if
they
were not so
Zama.
It be not for
me to say, child;
It
moon
red
!
know an enchanted
Ohano.
me
the
way
its
to
my
how
tim of
enchantment
Nijo's kiss do be your enchantment, child.
Zama.
of his lips
One touch
all else.
Ohano.
me, I want
this
life.
can make
me
want
it
off right.
!
Zama.
Listen
the horse
to the
Ohano.
Zama.
[Running
window.]
the
He must have
in
way through
cliffs.
Ah,
?
child,
a storm-
wind's blow
147
Yes, I await
my
hero
Zama.
He do
be here
At
last
he
comes back to
my
little
Ohano
!
Ohano.
My
Oh
hope comes
!
to right.]
MyNijo!!
Nuo,
but suddenly
shrinks back.
Zama.
^\Tiat
do be wrong
Ohano.
He's so different
the
what? so changedoh, here he ssh window, where he pauses for a moment. a handsome, brunette man, scarcely
is
thirty
peaked
hilt
He
Ohano.
Nijo
[Unimpassioned.]
[Eagerly.]
Nuo.
Ohano.
Ohano.
Nuo.
Ohano.
Yes
Yes
Nuo.
Ohano.
spring.
The same.
Oh, I
glad as tree-blossoms
my
Ah, Zama.
And Zama
Nuo.
Zama.
[Recognizing Zama.]
[Boiving before him.]
us.
to bring
back a hero to
Nuo.
Za]ma.
Thank
you.
Now
it
do be going
ness; great
must be
148
EUGENE PILLOT
Shall
Ohano.
Nijo.
we not
sit
here ?
sit
the
window^
'partly
Ohano.
They
Nuo.
Ohano.
[Wearily.]
Even from up
[Without
we could
it is
see
its
jewels flash.
Nuo.
Ohano.
interest.]
it
Yes,
cunningly conceived.
How
wonderful
If
must
be.
Perhaps
I may see
it.?
Nuo.
[Still wearily.]
you so
desire.
it
it
[Uiibuckles sword
and holds
examine.
jeivels as she
speaks of them.
!
Ohano.
Magnificent
And here are moonstones and diamonds. How you must prize it. Nuo. [Wearily.] Of course, one must. Ohano. And the very people who tried to stop you from
going across the sea to win your glory have given
it
to you.
the
world.
glory, Nijo.
Ohano.
would travel
it
too.
?
Nuo.
Ohano.
You
Nuo.
Ohano. work now
But there
glory in
grown beyond the people here. the work women must do at home.
And
I have done
my
share of
it.
want bigger
out
But
I
in the world.
Nuo.
Ohano.
sick unto death of doing them But you can't go into the battles of the are an island woman. Ohano. This last war has made all women free.
am
Nuo.
world.
You
If the other
island
women
woman
I shall
them
cling.
149
know
NiJO.
But you
it?
sheltered, protected
all
your
life
how can
by
you do
Ohano.
fettered
of convention.
How
you.
NiJO.
would not
spoil
your
life
by
telling
Spoil it?
What do you
island
life.
think
is
happening to
it
dying
commonplace
Nijo.
when
I started
my
moon had
Ohano.
wish
Nijo.
[Tigerishly.]
all
me from my
of
to have
a mountain.
Ohano.
Nijo.
Ha
lost their perspective.
Ohano.
Nijo.
of the climb
sea.
Ohano.
for myself!
spirit
Do
satisfies
I only
want you
to tell
my blood,
Nijo.
That
I never will.
Ohano. Oh, what shall I do ? I've even implored the sun and the moon [Looks toward sea.] Now I must listen to my
!
dreams
globe
!
my
Look
in the gazing
It will
!"
And
if it
ever does,
leads.
Nijo.
My
journey only
made me want
to
come back
to the
150
EUGENE PILLOT
haven of your love, Ohano. The amber cup of glory left me athirst to be wrapped in the mantle of your boundless love and warmed with the glow of your heart.
OiiANO.
to
[Surprised.]
really led
you back
me ?
NiJO.
[Sadly.]
You're
my
only hope.
I've been as
mad
for
Ohano. [Disturbed.] But you had fire and impulse when you went away; and now well, you do still yearn for me? NiJO. [Quietly, without passion.] The hope for your love has
been the
earth
light of
my
brain, changing
from
life
to dream,
from
to star.
Ohano.
tells
My
is
Zama
me
it
has that
power, I
NiJO.
am
At
my
Ohano
in-
recoils
from him.
Oh, oh,
Nijo sinks into a heap. Ohano. [Rising and turning toward the sea,
oh!
weeping.]
Zama.
[Rushing in from
right.]
What
is
it.?
What
is
it,
Ohano ? Ohano.
Zama.
[Still
weeping.]
it
Oh
ooh.
Ohano ?
kiss
What do
be,
my
little
Ohano. [Turning.] His kiss Zama. Yes ? Ohano. Cold as white marble Zama. Cold as white marble ? Ohano. Oh, Nijo, why do you
Nijo.
all
Nijo's
cold
I
kiss
me
like
a thing of stone ?
pitifully.]
many
Ohano.
The
151
it
thought
it
Ohano.
NiJO.
thinks.
My
my
Only
my
head
Zama.
NiJO.
You
love no
more ?
head,
it
Only with
seems.
but I no longer
it all
anything.
love of
life
And
and
my
done
killed
my
turned
my
Oh,
glory,
why do men
give the
you
you who
last
Ohano.
everything
NiJO.
[Swperhly.]
It takes everything
away
strips
you
nothing to believe.
here,
out to war
Had
know now, how gladly would I have gone as one of the thousands who are known as just soldiers. They are the ones who know the tlu-ob of life and love Ohano. You bring back such a message to me? You who
I knov.-n then
till
NiJO.
Ialight.?
disks of
follow.
Ohano. Whj'- not.^ I've always likened your feet unto the two luminaries, lighting the way for all the world to
[Looks at gazing globe, which
is noio
tell
and
sky.]
And
nov,^
you
me
Perfol-
haps the
low.
light
itself is
NiJO.
ing globe
Why, Ohano,
if
Ohano.
.?
152
NiJO.
EUGENE PILLOT
That without I'm
globe.
[Scornfully.]
all fair, all
wonderful
but within
Ohano.
NiJO.
So does
glory.
Ohano.
NiJO.
now.
me
!
Behold what
It filled
has done to
Already as a child I
it
was a
me
!
me a riotous pain
I
Oh,
it
made ma drunk
wine of glory
I
Ohano.
NiJO.
know
know
Now
you
talk as the
man
I'm dead.
But you have known the glory of life. Shall I never know the way to it ? [Appealingly, to the globe.] The way the way is what I seek Zama. Look not so upon the evil ball, child. It do be enchanted for one thousand years [Ohano moves nearer the globe.]
Ohano.
Go
Evil will
I, if it
fall
and you
me
the
will
be enslaved
Ohano.
Zama.
her.
WTiat care
shows
way ?
to the globe.
[Hands outstretched
[Appealingly
to
Nuo.]
Sir, I
and slowly
it
it
enchanted grasp.
And
do be an
Nuo.
thought.
life's
its
enchantment than I
it's
me
for a victim
and now
freezing her
warmth to the falseness of Orient pearl. Ohano. [Murmuring to the globe.] The way the way? I must have the way Nuo. [Swiftly drawing his sword.] I will not show you but
I'll
save you
[Starts
Zama.
Nijo,
sir,
153
Zama.
NiJO.
It be
an enchanted
ball
!
It will enchant
no longer
Ohano.
NiJO.
No
No, Nijo
steps.]
[Running up pedestal
Yes
Frightened,
Ohano
all
Ohano.
the
[Triumphantly.]
The moon
way
From
last
of glory.
Now
am
free
[Rushes wildly
down
Zama.
Nijo.
Stop her
No,
it is
Zama.
her
!
death
Stop
[Starts forward.
Nijo.
the only
No
way
CURTAIN
THE BOOR
BY
ANTON TCHEKOV
is reprinted by special permission of Barrett H. Clark and Samuel French, publisher. New York City. All rights reserved. For permission to perform, address Samuel French, 28-30 West 38th Street,
The Boor
of
New York
City.
ANTON TCHEKOV
Anton Tchekov, considered the foremost of contemporary Russian dramatists, was born in 1860 at Taganrog, Russia. In 1880 he was graduated from the Medical School of the UniverIll health soon compelled him to abandon his sity of Moscow. In 1904, practice of medicine, and in 1887 he sought the south. the year of the successful appearance of his Cherry Orchard, he died in a village of the Black Forest in Germany. As a dramatist, Tchekov has with deliberate intent cast off much of the conventionalities of dramatic technic. In his longer plays especially, like The Sea Gull, Uncle Vanya, and Cherry Orchard, he somewhat avoids obvious struggles, timeworn commonplaces, well-prepared climaxes, and seeks rather His to spread out a panoramic canvas for our contemplation. It is his interest chief aim is to show us humanity as he sees it. in humanity that gives him so high rank as a dramatist. His one-act plays, a form of drama unusually apt for certain intimate aspects of Russian peasant life, are more regular in Among the five or six their technic than his longer plays. shorter plays that Tchekov wrote. The Boor and A Marriage Proposal are his best. In these plays he shows the lighter side of Russian country life, infusing some of the spirit of the great Gogol into his broad and somewhat farcical character portrayals. With rare good grace, in these plays he appears to be asking us to throw aside our restraint and laugh with him at the stupidity and naivete, as well as good-heartedness. of the Russian people he knew so well. The Boor is a remarkably well-constructed one-act play, and is probably the finest one-act play of the Russian school of drama.
LuKA.
servant of
Mrs. Popov
gardener.
coachman.
Several
workmen
THE BOOR
TIME:
The
:
'present
SCENE A
well-furnished reception-room in
is discovered
Mrs, Popov
a photograph.
LuKA.
It isn't right,
ma'am.
life;
The
maid and the cook have gone looking for berries; everything
is
that breathes
enjoying
happy
but you
a cloister.
you were
in
left this
house for a
should I?
whole year.
Mrs. Popov.
My life
is
over.
And I He lies
shall
never leave
it
why
in his grave,
and
We
Luka.
it
It's
is!
Nikolai Michailovitch
is
dead;
was the
will of the
You have
it's
!
Now
time to
My wife weep and wear mourning forever died a few years ago. I grieved for her. I wept a whole month and then it was over. Must one be forever singing lamentaThat would be more than your husband was worth tions ?
One
can't
[He
sighs.]
You have
forgotten
all
your neighbors.
live
You
don't
We
you'll pardon me
see.
light of
day we never
All the
livery
is
of
160
gentlefolk.
ANTON TCHEKOV
The regiment is stationed in Riblov officers simEvery Friday e One can't see enough of them and military music every day. Oh, my dear, dear ma'am,
! !
ply beautiful
ball,
as
you
are,
if
you'd only
let
your
spirits live
Beauty can't last forever. When ten short years are over, you'll be glad enough to go out a bit and meet the officers and then
it'll
be too
late.
Mrs.
lai
Popov.
[Resolutely.]
Please
don't
speak
of
these
things again.
You know
only seems
Michailovitch
it
I live, but
my life is absolutely nothing to me. You think Do you understand ? Oh, that his so.
see
departed soul
to you; he
faithful,
may
how
I love
him
I know,
cruel,
it's
no secret
and
he wasn't
the
but I
how I can
as I
love.
me
same
was LuKA.
What
is
the use of
all
these words,
much
the neighbors
Oh
is
it?
In Heaven's
He
loved
Tobby
so!
man
with
he was
all his
How
!
fine
might
Tobby, Tobby
of oats to-day
LuKA.
[A
Yes, ma'am.
bell
rings loudly.
[Shiidders.]
Mrs. Popov.
no one.
What's
that.?
am
at
home
to
[He goes out, centre. LuKA. Yes, ma'am. Mrs. Popov. [Gazing at ike photograph.] You shall see, NikMy love will die only with me olai, how I can love and forgive
!
THE BOOR
161
[She smiles through her
when
tears.]
my
And
you ashamed?
wife; I
monster
You
me
[LuKA
LuKA.
ing
you
Mrs. Popov.
I receive
You
told
him that
since
my
husband's death
no
one.''
it is
LuKA.
matter.
a pressing
Mrs. Popov.
LuKA.
I told
I receive
no one
him
that,
now.
Mrs. Popov.
pudent
!
[Excitedly.]
Good.
Show him
in.
The im-
[LuKA goes out, centre. Mrs. Popov. What a bore people are! What can they want with me ? Why do they disturb my peace [She sighs.] Yes, it is clear I must enter a convent. [Meditatively.] Yes, a
.'*
convent.
[Smirnov
Smirnov.
You're an ass
enters, followed
by Luka.
[To Luka.]
!
Fool,
[Discovering
in the Artil!
Mrs. Popov.
wish ?
What
is
it
you
Your deceased husband, with whom I had the left me two notes amounting to about twelve hundred roubles. Inasmuch as I have to pay the interest
Smirnov.
honor to be acquainted,
162
ANTON TCHEKOV
like to
madam,
me
the
money
for
to-day.
and
what was
my
hus-
He bought
Mrs. Popov. [With a sigh, to Luka.] Don't forget to give Tobby an extra measure of oats. [Luka goes out. Mrs. Popov. [To Smirnov.] If Nikolai Michailovitch is indebted to you, I shall, of course, pay you, but I am sorry, I havea't the money to-day. To-morrow my manager will return from the city and I shall notify him to pay you what is due you,
but
until then I
it is
Furthermore, to-
day
I
just seven
months
my
husband, and
am
not in a
Smirnov.
my
I can't lay
row.
They'll seize
my
estate
after
Mrs. Popov.
money.
Smirnov.
need
it
Day
to-morrow you
will
the
money day
after
to-morrow; I
to-day.
Mrs. Popov.
Smirnov.
And
day
if
after to-morrow.
it.?
Mrs. Popov.
Smirnov.
Smirnov. Smirnov.
I haven't
Mrs. Popov.
Hm
Is that
last.
?
your
last
word ?
Mrs. Popov.
My
Absolutely
Mrs. Popov.
Smirnov.
expect
Absolutely.
Thank
you.
all
me
to stand for
The
toll-gatherer just
I
me
in the
me why
THE BOOR
Why,
feel
163
I need
left
in
money, I
the knife at
my throat.
called
!
Yesterday morning I
my house
!
in the early
dawn and
on
all
my
debtors.
If
even one of
I worked the skin off my fingers The them had paid his debt devil knows in what sort of Jew-inn I slept; in a room with a And now at last I come here, seventy versts barrel of brandy from home, hope for a little money, and all you give me is moods
!
Why
shouldn't I worry
I
Mrs. Popov.
Smirnov.
you.
thought I made
it
plain to
you that
my manto see
ager will return from town, and then you will get your money.
I did not
come
came
What
the devil
Really,
am
I shan't listen to
you any
to
left.
Smirnov.
say
!
that
Moods
Seven
interest
months
or not?
since her
Do
I have to
pay the
interest or
not?
devil with
I to
The husband is dead and all that; the manager is the travelling somewhere. Now, tell me, what am him do ? Shall I run away from my creditors in a balloon ? Or
!
knock
my
If I call
on Grusdev he
him out
fcioods
!
of the
and
this
woman
!
has
Not one
them
will
pay up
And
I allow
all
because I've
I'm too
to play
But wait
nobody
all
I'll
budge
until she
pays
Brr
How
ill
angry I
am
Every tendon
!
is
hardly breathe
out.]
Servant
[LuKA
enters.
164
ANTON TCHEKOV
What
is it
LuKA.
you wish?
or water
it
!
Smirnov.
that?
Bring
me Kvas
[Luka
?
goes out.]
Well,
is
what can we do ?
She hasn't
on hand
What
sort of logic
money, he
man's
because she
logic
!
the
That's
it
matters.
to
Wo-
now.
as ice; this
made me
!
so angry.
the calves
It's
[Enter
Luka.
Luka.
All right,
[Hands him
Smirnov.
it
March
[Luka
and
isn't receiving
I'll
isn't necessary.
sit
a week,
here a week.
is
If
you're
ill
a year,
I'll sit
here a year.
As
Heaven
with
dimples
my witness, I'll get the money. You don't disturb me your mourning or with your dimples. We know these
!
window.]
I
Simon, unharness
We
Tell
them
oats.
The
Stop
!
left
I'll
horse
[Imitating him.]
show
you how.
heat,
Stop
[Leaves
window.]
awful.
Unbearable
last night
and now
mourning-
My
a drink.
Ye-s, I
must have a
wish ?
[Calling.]
Servant
Luka.
sits
What do you
and
Smirnov.
doicn
Something to drink
looks at his clothes.]
[Luka
Ugh, a
goes out.
fine figure
!
SaiiRNOV
No
use
denying that.
on
[He
yawns.]
was a
little
impolite to
come
into a receptioti-room
THE BOOR
with such clothes.
guest.
165
I'm not here as a
for
Oh,
well,
no harm done.
there
is
I'm a
creditor.
And
no special costume
creditors.
LuKA. [Entering with glass.] You take great Smirnov. [Angrily.] What ?
liberty, sir.
LuKA.
II just
Whom
are you talking to
?
Smirnov.
Keep
quiet.
!
LuKA.
[Angrily.]
Nice mess
out.
SivnRNOV.
Lord,
how angry
!
am
Angry enough
ill
!
to throw
mud
I even feel
Servant
eyes.
Mrs. Popov. Sir, in my solitude I have become unaccustomed to the human voice and I cannot stand the sound of loud
talking.
my
rest.
Smirnov.
Pay me
my money
you once,
and
I'll
leave.
Mrs. Popov.
morrow.
Smirnov.
but to-day.
I told
plainly, in
money
day
after to-
And
If
I also
of informing
you
in
your
native tongue that I need the money, not day after to-morrow,
I shall
have to hang
myself to-morrow.
Mrs. Popov.
Smirnov.
not?
IVIrs.
do
if
I haven't the
money ?
You're
Popov.
Smirnov.
iown.]
Then
[He
sits
Here I
do I
up.]
I ask you,
Or do you think
This
is
I'm joking ?
Mrs. Popov.
a stable.
Sir,
not
166
Smirnov.
ANTON TCHEKOV
I'm not talking about
stables,
Mrs. Popov.
Smirnov.
gar person
You have no
idea
how
to treat a lady.
Mrs. Popov.
!
not.
You
Smirnov.
to
How remarkable
!
you ?
In French, perhaps
vous prie
Pardon
me
What
beautiful weather
!
we
are
having to-day
And how
Not
at
this
Mrs. Popov.
Smirnov.
don't understand
all
funny
it
vulgar
[Imitating
her.]
Not
at
all
funnj'
vulgar!
company of ladies. Mad-t am, in the course of my life I have seen more women than you have sparrows. Three times have I fought duels for women, twelve I jilted and nine jilted me. There was a time when I played the fool, used honeyed language, bowed and scraped. I
to behave in the
loved, suffered, sighed to the
how
moon, melted
in love's torments.
my
for-
tune in the tender passion, until now the devil knows I've had
enough
of
it.
will let
modI
for
all
that,
madam,
I wouldn't
pay a kopeck
am
women
in general;
from the
my
aforementioned petticoat-philosophers.
When
looking at
some holy
its
THE BOOR
him
in
167
if
one looks
[He
seizes
it's
nothing but a
it
common
crocodile.
the arm-chair
and breaks
in two.]
of all
is
that
it is
has a monopoly on
if
all
May
the devil
there
woman
knows is how to complain and shed If the man suffers and makes sacrifices she swings her tears. train about and tries to lead him by the nose. You have the misfortune to be a woman, and naturally you know woman's nature; tell me on your honor, have you ever in your life seen a woman who was really true and faithful ? Never Only the old and the deformed are true and faithful. It's easier to find a cat with horns or a white woodcock, than a faithful woman. Mrs. Popov. But allow me to ask, who is true and faithful in love ? The man, perhaps ?
she
is
When
Smirnov.
Yes, indeed
The man
!
Mrs. Popov.
The man
[She
!
laughs
sarcastically.]
is
The
man
true
and
faithful in love
Well, that
something new
[Bitterly.]
faithful
may
as well say
best; I
that of
all
men
have known,
all
my
woman may
tune,
love; I gave
my soul, as only a young, sensible him my youth, my happiness, my forhim like a heathen.
my life.
I worshipped
pened.?
This best of
men
betrayed
me
in every possible
filled
with love-letters.
While
he was alive he
think about
ence,
it
left
^he
me
made love to other women in my very preshe wasted my money and made fun of my feelings and in
it is
horrible even to
him and was true to him. And more than that: he is dead and I am still true to him. I have buried myself within these four walls and I shall wear this mourning to my grave.
spite of everything I trusted
168
Smirnov.
ANTON TCHEKOV
Mourning "\^Tiat on As if I didn't know why you wore black domino and why you buried yourself within these
[Laughing disrespectfully.]
!
me
for?
four walls.
Such a secret
So romantic
Some knight
will
Oh, I understand
Mrs. Popov. [Springing vp.] What.'^ \\Tiat do you mean by saying such things to me.^^ Smirnov. You have buried yourself alive, but meanwhile you
have not forgotten to powder your nose
!
Mrs. Popov.
Smirnov.
Allow
How
am not a woman,
So please don't
and
scream.
Mrs. Popov.
ing.
Smirnov.
IVIrs.
Pay me
my money and
I'll
leave.
Popov.
I won't give
Smirnov.
kopeck
You won't?
!
You won't
Mrs. Popov.
!
I don't care
what you
Leave me
Smirnov.
As
it.
band or your
I can't
make a
scene.
[He
sits
down.]
stand
Mrs. Popov.
Smirnov.
Smirnov.
[Breathing hard.]
You
are going to
sit
down ?
I already have.
Mrs. Popov.
Give
me
the money.
Mrs. Popov.
Leave
i
impudent men.
[PauM.]
You
aren't going
Smirnov.
No.
THE BOOR
Mrs. Popov.
Smirnov.
169
No?
No.
[She rings the bell, Mrs. Popov. Very well. [Enter Luka. Mrs. Popov. Luka, show the gentleman out. Luka. [Going to Smirnov.] Sir, why don't you leave when you are ordered ? What do you want ? Smirnov. [Jumping up.] Whom do you think you are talking to ? I'll grind you to powder. [He drops Luka. [Puts his hand to his heart.] Good Lord Oh, I'm ill; I can't breathe into a chair.] Mrs. Popov. Where is Dascha.^* [Calling.] Dascha! Pe[She rings. Dascha lageja I'm ill Water Luka. They're all gone Get out Mrs. Popov. [To Smirnov.] Leave Smirnov. Kindly be a little more polite Mrs. Popov. [Striking her fists and stamping her feet.] You
! !
!
are vulgar
You're a boor
A
?
monster
Smirnov.
Smirnov.
right
What
Mrs. Popov.
I said
me
to ask
what
.^^
Smirnov.
you!
And you
I challenge
Luka.
Merciful Heaven
Water
fists
Smirnov.
neck I
Mrs. Popov.
steer's
Do
and a
am
afraid of
you ?
insult
Smirnov.
tion because
I allow
no one to
to cry
of the
"weaker sex"
Mrs. Popov.
Smirnov.
It
him down.]
high time to do
away with
170
that
there
limit
JVIrs.
it is
is
ANTON TCHEKOV
only the
man who
is
If
equity at
all let
there be equity in
There's a
Popov.
You
Very
well.
Smirnov.
bring them.
it will
Immediately.
Mrs. Popov.
Immediately.
My
husband had
pistols.
I'll
The
devil take
you
Smirnov.
mental
3'
I'm no
is
fiedgling,
!
no
senti-
oung puppy.
Oh,
sir.
For me there
no weaker sex
LuKA.
ready, and
You have
attention.]
frightened
me
to death al-
now you
Smirnov.
emancipation.
her
[Paying no
duel.
That's equity,
equal.
I'll
sexes are
made
shoot
down
as a matter of principle.
[Imitating her.]
What
such a w^oman?
put a bullet
in
"The devil take you. I'll What can one say to that ?
She was angry, her eyes blazed, she accepted the challenge.
On
my
honor,
it's
first
time in
my
life
Oh,
sir.
Go away.
is
Go away
I can understand her.
fire,
Smirnov.
That
a woman.
A
!
real
No
shilly-shallying,
but
It
woman
sir,
like that.
Oh,
go away.
[Enter
Mrs. Popov.
Mrs. Popov. Here are the pistols. But before we have our show me how to shoot. I have never had a pistol in my hand before I'll go and LuKA. God be merciful and have pity upon us get the gardener and the coachman. Why lias this horror come
duel, please
!
to
ufi ?
[He goes
out.
THE BOOR
Smienov.
ent kinds.
[Looking at the
pistols.]
171
see, there are differ-
You
pistols,
ball.
But
tols
!
&
fine pisis
!
This
the
way
real
to hold a revolver.
Those
woman
Like this ?
Yes, that way.
Mrs. Popov.
Smirnov.
Then you
pull the
little.
hammer back
Just stretch
so
So
and that
is all.
cited, don't
doesn't tremble.
Mrs. Popov.
garden.
Smirnov.
the
air.
Yes.
I'll tell
you now, I
am
Mrs. Popov.
Smirnov.
dear
That
is
too
much
Because
because.
are afraid.
That's
Yes.
Why ? my
business.
Mrs. Popov.
sir,
You
!
A-h-h-h.
No, no,
my
no flinching
made a
Smirnov.
Smirnov.
You
are lying.
Why
Because
becauseI
!
like
You
like
me!
He
me
Go.
table, takes his
and
starts.
At
a moment, gazing
Listen
!
at her sistill
lently,
Are you
angry ?
I was
me
how
money ?
[Grasps the
The thing is like this such things are Now, is it my fault that you owe me back of the chair which breaks.] The devil
y
172
ANTON TCHEKOV
furniture
you have
!
I like
you
Do
you understand ? I I'm almost in love I hate you. Mrs. Popov. Leave What a woman I never Smirnov. Lord
!
! !
in
my
life
one
in
like her.
I'm
lost,
ruined
met mouse
a trap.
Mrs. Popov.
Smirnov.
Go, or
I'll
shoot.
Shoot!
You have no
velvet
if
idea
what happiness
Consider
it
it
would be to die
revolver in this
from the
little
hand
I'm
mad
and
I go now,
we
shall
Decide
have an income of ten thousand, can shoot a coin thrown into the air. I own some fine horses. Will you be my wife
Mrs. Popov.
Smirxov.
vant
I'll
shoot
Ser-
My
!
mind
is
not clear
I can't understand.
any young man.
I love
water
[He
takes her
you
[He
kneels.]
you as I have never loved before. Twelve women I jilted, nine jilted me, but not one of them all have I loved as I love you. I am conquered, lost; I lie at your feet like a fool and beg for
I love
your hand.
in love; I
Shame and
disgrace
for
For
five years I
haven't been
it,
and now
am
caught, like a
hand
Yes
door.
Will you
Good
[He
gels
up and
goes quickly
to the
Mrs. Popov.
Smirnov.
ment.
if
Wait a moment
Well
?
[Stopping.]
Mrs. Popov.
Nothing.
You may
I hate you.
!
go.
Or
^wait
a mo-
go.
Oh,
[She throws the revolver you knew how angry I was, how angry [She anon to the chair.] My finger is swollen from this thing.
grily tears her handkerchief.]
for.'*
Get out
THE BOOR
Smirnov.
Farewell
173
Mrs. Popov. Yes, go. [Cries out.] Why are you going.? Don't come too near, Oh, how angry I am Wait no, go don't come too near er come no nearer.
Smirnov.
got a
[Approaching
her.]
[Strongly.]
I love you.
fine
all
I needed
To-morrow I have to pay my interest, the [He takes her in hay harvest has begun, and then you appear
was to
fall in love.
!
his arms.]
you
Go away
is
ofiF
me
I hate
kiss.
[A long
[Enter
Luka
coachman with a
poles.
Luka.
Merciful heavens
[A long pause.
Mrs. Popov. [Dropping her eyes.] that Tobby isn't to have any oats.
CURTAIN
Tell
them
in the stable
BOSWORTH CROCKER
by special permission of Bosworth Crocker. For permission to perform, address the author, care Society of American Dramatists and Composers, 148 West 45th Street,
The Last Straw
Is
reprinted
New York
City.
BOSWORTH CROCKER
land.
Bosworth Crocker was born March 2, 1882, in Surrey, EngWhile still a child he was brought to the United States. He lives in New York City and may be reached in care of the Society of American Dramatists and Composers, 148 West 45th
Street.
In addition to Pawns of War and Stone Walls, he has written a number of one-act plays, The Dog, The First Time, The Cost of a Hat, The Hour Before, The Baby Carriage, and The Last Straw. The Last Straw, produced by the Washington Square Players in New York City, is an excellent one-act tragedy, based upon the psychological law of suggestion.
CAST
Friedrich Bauer, janitor of
the
Bryn Maior
MiENE,
Karl,
his vnfe
SCENE
The basement of a
large apartment-house in
New
York
City.
SCENE:
Mawr.
The kitchen of the Bauer flat in the basement of the Bryn A window at the side gives on an area and shows the
the houses across the street.
to
Opposite the
the outer door,
windows
is
a door
an inner room.
Through
broken milk-bottle
lies
in a puddle of
To
the
on which
there
and
vegetables cooking.
it
To
the left of
an
hangs a picture of
little to
it.
Near
the right,
Ironing-
board
of
is
dampened
under
it.
large calendar
on
the wall.
An
and
Time : a
little
before
noon.
goes to answer
Mrs. Bauer.
the transmitter.]
I'll tell
yet.
[Another pause.]
him
just so soon he
yes, ma'am.
Grocer boy rushes
his basket, goes
[Mrs.
Bauer
down
looks in.
* Copyright, 1914,
by Bosworth Crocker.
179
180
Mrs.
What
you want ?
[He stands looking at her with growing sympathy.
Lane.
wet.
. .
.?
Dumb-waiter's
all
Lot
Mrs. Bauer.
Lane.
[Without
mechanically hands
Here.
Mrs. Bauer.
Lane.
Lane.
Huh?
Oh, I know.
[Significantly.]
Mrs. Bauer. What you know ? About the boss. [Mrs. Bauer Heard your friends across the street talkin'. ;Mrs. Bauer. [Bitterly.] Friends!
Lane.
Rotten trick to play on the boss,
that old maid up to get him pinched.
looks
distressed.]
all
right, puttin*
Mrs. Bauer. [Absently.] Was she an old maid ? Lane. The cruel ty-to-animals woman over there [waves his hand] regular old crank. Nies* put her up to it all right. Mrs. Bauer. I guess it was his old woman. Nies ain't so bad. She's the one. Because my two boys dress up a little on
like
it.
Lane.
Yes, she's sore because the boys told her the boss
Mrs. Bauer.
He
that's
He
it'd
jus' drives it
all.
We
he
license.
But
Fritz
jus'
takes
Lane.
That
ain't
no way.
then
Mrs. Bauer. Don't you go to talkin' like that 'round my man. Look at all this trouble we're in on account of a stray cat. Lane. I better get busy. They'll be callin' up the store in
* Pronounced niece.
181
again.
and
the puddle of
milk inquiringly.
him.]
I'll
Mrs. Bauer.
that up.
I forgot
[Taking the
clean
Lane.
WTiose
mUk ?
Mrs. Bauer. The Mohlers'. That's how it all happened. Somebody upset their milk on the dumb-waiter and the cat was on the shelf lickin' it up; my man, not noticin', starts the waiter up and the cat tries to jump out; the bottle rolls off and breaks. The cat was hurt awful caught in the shaft. I don't see how
it
it
did
into that
woman
street, right
^Fritz after
it.
Then
over.
"You
did
He
went
off,
and then
do anything to him.
!
Hesitatingly.]
Say
He
didn't kick
did he
Mrs. Bauer.
Lane.
Who
said so?
Mrs. Nies
Mrs. Bauer.
Fritz
is
[As though
I dunno.
[Excitedly.]
to herself.]
cat.
[Again, as though
it
'fore
he knew
Fritz
is
No
one'd ever
He
Lane.
dinner
I never
mind
his hollerin'.
Mrs. Bauer.
for
^a
pound.
All right.
Lane.
utes,
it in
wagon.
182
BOSWORTH CROCKER
That'll do.
[She moves about apathetically, lays the cloth on the kitchen
table
Mrs. Bauer.
and begins
to set
it.
Lane
whistles
up
on the
Mrs. Bauer
street
the
Who
A\Tio killed
the rope go
and making a
I'll
Bauer
Mrs. Bauer.
Lane.
if
Regular toughs
it.
Mrs. Bauer. If my man hears them you know be more trouble. Lane. The boss ought to make it hot for them. Mrs. Bauer. Such trouble
Lane.
[Starts to go.]
there'll
Well
Mrs. Bauer. There ain't no such thing as luck for us. Lane. Aw, come on. Mrs. Bauer. Everything's against us. First Fritz's mother Then we We named the baby after her ^Trude. dies. That finished Fritz. After that he began this hollost Trude. And now this here trouble just when things lerin' business. was goin' half-ways decent for the first time. [She pushes past him and goes to her ironing. Lane. [Shakes his head sympathetically and takes up his basket.] A pound, you said ? Mrs. Bauer. Yes. Lane. All right. [He starts off and then rushes back.] Here's
. .
183
and
and
face.
seems
utter
to
have
alertness ; there is
a look of
despondency on his
Mrs. Bauer. [Closing the door after him.] They let you off ? Bauer. [With a hard little laugh.] Yes, they let me off they
let
me
off
with a
Mrs. Bauer. [Aghast.] They think you did it then. Bauer. [Harshly.] The judge fined me, I tell you. Mrs. Bauer. [Unable to express her poignant sympathy.]
Fined you
! . . .
Oh, Fritz
Bauer.
to pieces.]
That
up
yet.
can't stand
it,
tell
Mrs. Bauer. Well, it's all over now, Fritz. Bauer. Yes, it's all over it's all up with me. Mrs. Bauer. Fritz Bauer. That's one sure thing. Mrs. Bauer. You oughtn't to give up like this. Bauer. [Pounding on the table.] I tell you I can't hold up
.
my
head again.
Mrs. Bauer. Whj^ Fritz ? Bauer. They've made me out guilty. The judge fined me. Fined me, Miene How is that ? Can a man stand for that ? The woman said I told her myself right out that I did it. Mrs. Bauer. The woman that had you [he winces as she
!
hesitates]
took
Bauer. Damned Mrs. Bauer. [Putting her hand over his mouth.]
Hush,
Fritz.
184
Bauer.
the job.
ferin'
BOSWORTH CROCKER
Why
will I
hush, Miene
She said
was proud
of
The damned
your
inter-
Mrs. Bauer.
Don't
holler, Fritz.
It's
hollerin' that's
made
lerin'
!
all this
trouble.
Bauer.
.
.
and more.]
My
holit.
Mrs. Bauer. Yes, Mrs. Mohler, he's come in now. Yes. Won't after dinner do ? All right. ^Thank you, Mrs. Mohler. [She hangs up the receiver.] Mrs. Mohler wants you to fix her
Bauer. I'm not goin' to do smy more fixin' around here. Mrs. Bauer. You hold on to yourself, Fritz; that's no way to talk; Mrs. Mohler's a nice woman.
Bauer.
pause.]
eh.'*
I don't
!
want
to see
[After
Hollerin'
hollerin',
out in
j^ou
Mrs. Bauer.
feelings.
They hear
Bauer.
[In utter
amazement
And
damned
Mrs. Bauer. W^hy didn't you tell the judge all about it ? Bauer. They got me rattled among them. The lady was so soft and pleasant "He must be made to understand, your
dumb
animals has
feelin's,
human beings"
Me, Miene
made
!
to under-
stand that
throat.
Mrs. Bauer.
Bauer.
happened.
I'll
my
head
Mrs. Bauer.
[Clatter of feet.
185
killed the cat
Who
Who
[Bauer jumps up, pale and shaken with strange pushes him gently back into his chair, opens
steps out for a
rage ; she
the door,
open behind
her.
.
.
Bauer.
all
You
see.'^
Even the
kids
I'm disgraced
Mrs. Bauer. So long as you didn't hurt the cat Bauer. What's the difference ? Everybody believes Mrs. Bauer. No, they don't, Fritz.
it.
Bauer. You can't fool me, Miene. I see it in their eyes. They looked away from me when I was comin' 'round the corner. Some of them kinder smiled like [passes his hand over his head]. Even the cop says to me on the way over, yesterday: "Don't you
put your foot
in it
it all
thought I did
right.
You
it.
see.?
He
lieve
Mrs. Bauer. [Putting towels away.] Well, then it. The agent don't believe it.
.
let
them be-
Bauer.
Bauer.
.
. .
I dunno.
He'da paid
my
jBne
anyhow.
Mrs. Bauer.
He
we been
here.'*
this busi-
I told
him
it
much surprised." That shows what he thinks. ain't true, I didn't mean to hurt it. I saw by his
W^ell,
Mrs. Bauer.
Bauer.
[To himself.]
Mrs. Bauer.
it
little if
Bauer.
Nothin's goin' to do
me
it
good.
Mrs. Bauer.
You
just put
[The
tele-
186
phone
rings.
BOSWORTH CROCKER
She answers
He'll be
it.]
McAllister.
up
this afternoon.
[She hangs up the receiver, Bauer. And I ain't goin' this afternoon nowhere. Mrs. Bauer. It's Mrs. McAllister. Somethin's wrong with
her refrigerator
off,
she says.
Bauer. They can clean out their own drain -pipes. Mrs. Bauer. You go to work and get your mind
here business.
off this
Bauer.
among
...
to
me
IVIrs.
Bauer.
You want
to hold
if
nothm's happened.
Bauer.
took
off
Nobody spoke
to
me
at the dumb-waiter
when
Mrs. Mohler
al-
ways says, something pleasant. Mrs. Bauer. You just think that because you're all upset. [The telephone rings ; she goes to it and listens.] Yes, ma'am, I'll Mrs. McAllister thinks she Fritz, have you any fine wire ? see. might try and fix the drain w ith it till you come up.
fix it
right
. .
after dinner,
Mrs.
He
soon's he eats
hat.
Fritz, give
me your
Who
Who
[Bauer rushes toward the windoio in a fury of excitement. Bauer. [Shouting at the top of his voice.] Verdammte loafers
Schweine
Mrs. Bauer.
[Goes
up
to
him.]
Fritz
Fritz
187
Bauer. [Collapses and drops into chair.] You hear 'em. Mrs. Bauer. Don't pay no attention, then they'll get tired. Bauer. Miene, we must go away. I can't stand it here no
longer.
IVIrs.
Bauer.
But
.
. .
good
place, Fritz
Bauer. I say I can't stand it. Mrs. Bauer. [Desperately.] It ... it would be same any other place. Bauer. Just the same ? Mrs. Bauer. Yes, something'd go wrong anyhow. Bauer. You think I'm a regular Jonah.
[He shakes his head repeatedly in the
wholly embracing her point of view.
just the
affirmative, as
though
Mrs. Bauer.
hollerin' 'round
Folks don't get to know you. They hear you and they think you beat the children and kick
Bauer. Do I ever lick the children when they don't need it ? Mrs, Bauer. Not Fritzi. Bauer. You want to spoil Karl. I just touch him with the
strap once, a
little
a gesture] to scare
Mrs. Bauer.
Bauer.
mean
it.
That's the
.
way
goes
... a man's
Fritz,
if
own
Mrs. Bauer.
[Attending
to the
dinner.
Irritably.]
you would clean that up out there and Mrs. Carroll wants her waste-basket. You musta forgot to send it up again. Bauer. All right.
[He goes out and
leaves the door open.
up
up
the
188
floor.
BOSWORTH CROCKER
He
disappears for a moment, then he comes in
again, goes to a drawer
'polish.
and
and a
bottle
of
Mrs. Bauer.
Bauer.
That's
so.
putting
the
polish
back
into
the
drawer.]
Mrs. Bauer.
[Comforting him.]
fix
and the drain for Mrs. McAllister. Bauer. [In a tense voice.] I tell you I
I
tell
can't stand
it.
you, Miene.
Mrs. Bauer. What now, Fritz ? Bauer. People laugh in my face. [Nods in the direction of Frazer's boy standin' on the stoop calls his dog away the street.] when it runs up to me like it always does. Mrs. Bauer. Dogs know better'n men who's good to them. Bauer. He acted like he thought I'd kick it. Mrs. Bauer. You've got all kinds of foolishness in your You sent up Carroll's basket ? head now. Bauer. No. [She checks herself. Mrs. Bauer. Well [He gets up. Bauer. All right. settin' right beside the other dumb-waiter. Bauer. It's Mrs.
.
[He goes
out.]
Oh, Gott
[Enter K1\rl
and Fritzi.
Mrs. Bauer.
Karl.
Fritzi.
[Running
to them.]
and
The boys make fun of us; they mock us. They mock us "Miau! Miau!" they
cry,
and
then they go
like this
Mrs. Bauer.
hear.
Hush,
Fritzi,
you mustn't
let
your father
189
want
Mrs. Bauer.
undertone.]
Why
not?
[In
an
You
way
before your
little
brother.
Have you no
Fritzi.
sense
[Beginning
to
whimper.]
I d-d-d-on't
want
to go to
You
Karl and
Fritzi.
[Together.]
But the
to
boys.
Mrs. Bauer.
attention.
They
ain't
a-goin'
keep
it
up
forever.
Karl.
Fritzi.
fresher.
Then they
get fresher
and
fresher.
[Echoing Karl.]
[Mrs.
Bauer
begins to take
up
the dinner.
The sound of
Mrs. Bauer.
for
your dinners.
Fritzi.
I'm going to
my
papa.
Fritzi,
all
Mrs. Bauer.
tell
shut up.
You mustn't
no one.
Papa'd be disgraced
over.
Disgraced ?
Mrs. Bauer.
in the world.
Because there's
liars,
low-down, snoopin'
liars
Mrs. Nies ?
[Calling out.]
Henny Nies
is
a tough.
Mrs. Bauer.
190
BOSWORTH CROCKER
I give you somethin',
hollerin'
Go
'long
now.
It's
time you
What'd she lie about ? Mrs. Bauer. [Warningly.] S-s-sh! Papa'll be comin' in now in a minute. Karl. It was Henny Nies set the gang on to us. I coulda licked them all if I hadn't had to take care of Fritzi. Mrs. Bauer. You'll get a lickin' all right if you don't keep away from Henny Nies. Karl. Well if they call me names and say my father's
Karl.
killing
a cat
,?
Fritzi.
[Sioaggering.]
in jail
was he,
Fritzi.
mama ?
Karl.
Course not.
[To Fritzi.]
Mrs. Bauer.
[She steers
him
to the
He
exits.
Mrs. Bauer. [Distressed.] Karl Karl. [Turning to his mother.] Was he, mama? IVIrs. Bauer. Papa don't act like he used to. Sometimes I wonder what's come over him. Of course it's enough to ruin any man's temper, all the trouble we've had. Chorus of Voices. [From the area by the window.] Wlio
.
Who
[Sound of feet
Fritzi.
up
Fritzi rushes
in, flourishing
revolver.
I shoot them,
mama.
it
Mrs. Bauer.
Papa's pistol
again and
!
I'll
191
[Sulkily.]
I'll
save up
my money
Bauer.
[Smiling a
little to herself.]
you buyin'
at
one. Fritzi.
[In a loud voice
!
Karl.]
Bang
Karl.
is
he don't mind
me any more. Mrs. Bauer. You wash your dirty hands and
ute
Fritzi
Fritzi.
That's ink-stains.
I got the
highest
N-i-e-s
[Mrs.
Bauer makes
down
?
Karl.
[Sitting
Do we
have to go to
Mrs. Bauer. You have to do what you always do. Karl. Can't we stay home? Mrs. Bauer. [Fiercely.] Why.? Why.? Karl. [Sheepishly.] I ain't feelin' well. Mrs. Bauer. Karlchen schdm dich Karl. Till the boys forget. Mrs. Bauer. Papa'd know somethin' was wrong
.
. . ! . .
right
away.
You mustn't
act as
if
anything was
different
from always.
Karl. [Indignantly.] Sayin' my father's been to jail Mrs. Bauer. Karl. Karl. Papa'd make them stop. Mrs. Bauer. [Panic-stricken.] Karl, don't you tell papa
.
.
nothing.
Karl.
Not tell papa ? Mrs. Bauer. No. Karl. Why not tell papa ?
192
BOSWORTH CROCKER
Mrs. Bauer. Because Karl. Yes, mama? Mrs. Bauer. Because he was arrested yesterday. Karl. [Shocked.] What for, mama ? Why was he Mrs. Bauer. For nothing. ... It was all a lie. Karl. Well what was it, mama ? Mrs. Bauer. The cat got hurt in the dumb-waiter papa didn't mean to then they saw papa chasin' it then it died. Karl. Why did papa chase it ? Mrs. Bauer. To see how it hurt itself. Karl. Whose cat ? Mrs. Bauer. The stray cat. Is Blacky dead.? Karl. The little black cat Mrs. Bauer. Yes, he died on the sidewalk. Karl. Where was we ? Mrs. Bauer. You was at school. Karl. Papa didn't want us to keep Blacky. Mrs. Bauer. So many cats and dogs around.
.?
Fritzi.
Blacky was
did papa
my
cat.
Mrs. Bauer.
Fritzi.
I was listening.
Why
kill
Blacky ?
Mrs. Bauer.
Fritzi.
Hush
was papa took
Fritzi
!
Why
to jail
.''
Mrs. Bauer.
Fritzi.
If
papa was
to hear
[Mrs.
[Sidling
up
to
Karl.]
Miau
Bauer Miau
tell
goes out.
Karl.
Fritzi.
You
shut up that.
Didn't
mama
you?
I'll
When I'm
Nies.
man I'm
shoot
Henny
Karl.
Karl.
Nies.
Fritzi.
[Contemptuously.]
Henny
[Proud of
I'm going to be a
19S
holler
[With conviction.]
and make them stand around. What you need is a good licking.
goes to
it.
[Telephone rings ;
Karl
now.
down
told
Karl.
Fritzi.
Mama
Papa
you not
said I could.
[There
is the
sound of footfalls.
Bauer and
his wife
come
Mrs. Bauer.
dren.
Come,
chil-
[To Bauer.]
down,
Fritz.
own ;
Mrs. Bauer.
Bauer.
sits
Eat
somethin', Friedrich.
I can't eat nothin'.
I'm
full
up
to here.
throat.
nothin' wrong,
why do
Fritzi.
[Suddenly.]
Bauer and Karl look at him warningly. Mrs. Bauer. [Fiercely.] You eat your dinner.
[Mrs.
Bauer.
Fritzi.
[Affectionately,
laying his
Fritzi.
gun, too,
when I'm a man. [Bavbr follows Fritzi's gesture and falls to musing.
is
Karl
nudges
Fritzi
and
watches
his
father furtively.
Bauer
Mrs. Bauer.
ahead of him.
coflFee.
[To Bauer.]
Now
drink your
194
BOSWORTH CROCKER
Don't you
see,
Bauer.
makes
no one.
it
Nothing
right
no one beheves me
Mrs. Bauer. What do you care, if you didn't do it ? Bauer. I care like hell. Mrs. Bauer. [With a searching look at her hushand.] Fritzi, when you go on like this, people won't believe you didn't do it. [She fixes him with a You ought to act like you don't care beseeching glance.] If you didn't do it. [Bauer looks at his wife as though a hidden meaning to her
. . .
mind.
can't stand that.
. . .
Bauer.
I've
[As though
.
to himself.]
.
A man
. .
gone hungry
I've
I've
Mrs. Bauer.
Fritz, while
it's
[Coaxingly.]
Drink your
coffee,
drink
it
now,
hot.
the cup.
swallow a little coffee and then puts down Bauer. I've never asked favors of no man. Mrs. Bauer. Well, an' if you did
[He
tries to
Bauer. I've always kept my good name Mrs. Bauer. If a man hasn't done no thin' wrong
. .
it
don't
matter.
if
if
boys.]
it's
time
[Karl
Fritzi.
to
Fritzi
follow him.
seat.]
[Keeping his
[Suddenly
Do we
Why,
have to go to school ?
Bauer.
Fritzi.
alert.]
in.]
Fritzi
Bauer
collapses again.
Mrs. Bauer.
didn't
at
him
strangely.]
Fritzi
if
you
195
[A
She
under his
gaze.]
She
and he
No
life
one
Even
if
you
kill
IVIrs.
Bauer,
it ?
But you
didn't kill
[A
pay^se.
Did you,
and
Fritz.'*
gets
up
slowly.
He
stands very
still
stares at
Karl's Voice.
Mama,
Fritzi's fooling
Karl.
wants to
You
kill
oughtai lock
it
up.
Mrs. Bauer.
[To Fritzi.]
himself
that's what.
!
Bad boy Go on
!
[To Karl.]
to school.
Fritzi
Voices.
Who
Who
Instinctively
Mrs. Bauer
around
at
lays a protecting
hand on
each.
She looks
tries to conceal
from
the children,
who whisper
together.
Bauer
Mrs. Bauer.
out.]
and walks
staggeringly
Go on
to school.
Bauer
The
Mrs. Bauer
Bauer,
hesi'
and
starts to clear
196
BOSWORTH CROCKER
up
the dishes.
The report of a
Terror-stricken,
revolver
inner room.
Mrs. Bauer
!
Fritz
it,
.
Fritz
!
Speak to me
Look
it
You
bell.
didn't do
Fritz
.
know you
didn't do
After a
few seconds
the tele-
phone
...
Curtain
slowly falls.
BY
ALFRED KREYMBORG
Manikin and Minikin is reprinted by special permission of Alfre<J Kreymborg. All rights reserved. For permission to perform, address Norman Lee Swartout, Summit, New Jersey.
ALFRED KREYMBORG
verse rhythmical drama, was born in He founded and edited The Globe while
Alfred Kreymborg, one of the foremost advocates of freeNew York City, 1883.
it
was
in existence;
and
under
anthology of imagist verse (Ezra Pound's Collection, 1914). In July. 1915, he founded Others, a Magazine of the New Verse, and The Other Players in March, 1918, an organization devoted exclusively to American
its
first
plays in poetic form. At present Mr. Kreymborg is in Italy, launching a new international magazine, The Broom.
in both poetry and drama. has edited several anthologies of free verse, and has published his own free verse as Mushrooms and The Blood of Things. His volume of plays, all in free rhythmical verse, is Plays for Poem Mimes. The most popular plays in this volume are Lima Beans, and Manikin and Minikin. Manikin and Minikin aptly exemplifies Mr. Kreymborg's idea of rhythmical, pantomimic drama. It is a semi-puppet play in which there are dancing automatons to an accompaniment of rhythmic lines in place of music. Mr. Kreymborg is a skilled musician and he composes his lines with musical rhythm in mind. His lines should be read accordingly.
He
BISQUE-PLAY)
The
wall-
a conventionalized pattern.
Only
man-
telpiece shows.
At each end,
Their shadows
In
an ancient
and
clock
whose
voices.
metronome for
sound of
their high
shut,
after the
mode of ordinary
conversation.
She.
Manikin
Minikin
?
He.
She.
That
fool of
it
again.
more than a fool. She. a meddlesome busybody He. a brittle-fingered noddy She. Which way are you looking ? What do you see ? He. The everlasting armchair,
He.
I should say, she's
!
the everlasting tiger-skin, the everlasting yellow, green, and purple books,
the everlasting portrait of milord
She.
And I see
He.
Simpering spectacle
201
202
She.
ALFRED KREYMBORG
What
that
is,
He.
She.
I should say
He.
She.
He.
She.
He.
She.
my
dreams
He.
She.
Her
everlasting
broom
He.
She.
Every
He.
She.
And And
move
rise,
wouldn't
fly-
He.
She.
over
Like a spider-web
ugh
life
He.
She.
He.
She.
You on your lovely blue gown And you on j^our manly pink cloak.
If she didn't sweep,
He.
She.
we wouldn't need
dusting
Nor need taking down, I should say With her stupid, clumsy hands She. Her crooked, monkey paws He. And we wouldn't need putting back She. I with my back to you He. I with my back to you.
He.
She.
It's
203
of
day
made
to see
by
I can't see
you
She.
Manikin
Minikin ?
He.
She.
He.
She.
Why
I
should I say
it
again
He.
She.
Why
Please say
again
He.
She.
What's the use of a sun What's the use of a sun ? That was made to see by
He.
She.
to see
by ?
He.
She.
you
Oh, Manikin
Minikin ?
If
He.
She.
my
He.
She.
a balloon.
?
Your doubt
And
although I can't
He.
She.
Minikin
And
into so
many
fragments,
!
He.
Minikin, Minikin
204
She.
ALFRED KREYMBORG
They'd have to
set another here
!
He.
She.
so ?
my
doubt
am
here with
my
knees in a knot
that that
human
her
creature
loves you.
He.
She.
Loves
me ?
And you
Minikin
He.
She.
When
I'm
I
she takes us
down
much
longer.
He.
She.
Minikin
sufficiently feminine
and
my
see,
I can
me
what she would
!
He.
She.
Minikin
Booby
live
women
When I'm
I can note
blows a pinch of dust from your eye with her softest breath,
holds you off at arm's length
and
fixes
look,
205
am
power
me
in her live
Manikin ?
He.
She.
Minikin ?
If
you could
see
me
the
way you
see her
But I see you see you always see only you She. If you could see me the way you see her,
He.
you'd
still
love me,
you'd love
me
the
Minikin ?
Manikin ?
Will you listen to
He.
She.
me ?
No!
Will you listen to
He.
She.
me ?
me ?
No.
Will you listen to
He.
She.
Yes.
I love
He.
She.
you
No!
I've always loved
He.
She.
you
No.
He.
She.
You doubt
Yes
that.?
He.
She.
You doubt
Yes.
that ?
He.
You doubt
that?
206
She.
ALFRED KREYMBORG
No.
me
yes
but you don't love
me now
no
not since that rose-face encountered your glance
no.
He.
She.
Minikin
If I
if
could
move about
the
way
she can
had
feet
you'd think
if
me
a sun butterfly
my
hair
I could raise
my
black brows
or shrug
like
if
my
narrow shoulders,
a queen or a countess
I could turn
my
head,
tilt
my
head,
this
way and
that, like a
swan
ogle
till
my
you'd marvel,
I could
just the
moment
see
it's
an inch
I could be
!
you would
It's
what
a change,
a change,
!
of
women
He.
She.
change ?
same
a hundred and
fifty,
and
sixty,
and seventy
207
know how
old I
am
!
He.
Not an
Minikin
She.
Manikin ?
Will you listen to
He.
She.
me ?
me ?
me ?
No No
He.
She.
He.
She.
Yes.
I don't love that creature
He.
She.
You You
Yes
if
if
do.
He.
She.
He.
She.
me ?
you'll tell
you'll
prove
me me
dust
so
my
last particle of
He.
She.
Are you
listening
Yes
He.
To
I
begin with
had best
for
what
is
humanity
She.
You
say
again
is
He.
That which
able to
move
208
ALFRED KREYMBORG
Let us consider the creature at hand
to
whom you
have referred
She.
He.
To
begin with
my vision my vision;
wayward.
doomed
to be
She.
He.
commonplace, unsightly.
?
Her
It's
face a rose-face
it
wrinkles-
her movements,
if
unspeakably ungainly
She.
Her
hair
He.
it
down
in the dark,
like tangled
comes down
when
She.
it
looks,
most assuredly,
beautiful,
weeds.
He.
She.
Now
He.
so beautiful as thou
them
a cup two last beads of wine, a stone two last drops of rain,
She.
Faster,
Manikin
209
to
man
you are
inanimate symbols
must
cease.
She.
Manikin
He.
She.
He.
Humans change
That
is
a gray-haired platitude.
my
vision,
you're
She.
And you
He.
Human
deeper
life,
their inner
She.
How
so,
wise Manikin
He.
They have what philosophy terms moods, and moods are more pervious to modulation
than pools to
idle breezes.
These people
I love you.
may
This
may
mood
breathes.
210
ALFRED KREYMBORG
so long as the breezes blow,
They
they
are honest
Or they have
I love you, to
to say,
somebody
else.
She.
To somebody
Now, you and
else ?
He.
and
She.
have to say
it
always.
He.
She.
He.
The
is
life
of an animate
a procession of deaths
life
of
an inanimate
things are.
as serenely enduring
all still
as
She.
Still things.?
He.
museum-
we were moved,
Yankee salon
211
that
little
old
Roman
medallion
She.
Manikin, Manikin
why do
He.
3^ou bring
them back ?
beautiful as thou
recalled, designated
them
and
She.
He.
and
live as long as
!
they
She.
He.
She.
again
He.
She.
I love you.
Manikin ?
Mmikm.?^
He.
She.
me ?
seen
He.
She.
me
weeks
you can
see
me
212
He.
She.
ALFRED KREYMBORG
I can see you.
are
still,
and calm
inside
?
He.
She.
Lovely, yes
but not
still
Which way
I see you.
What do you
see
He.
She.
I look at you.
And
oh,
if
Manikin
He.
She.
He.
She.
But you cannot move The good wind would give me a blow
!
Now
you're a punster
fragments do ?
did.
He.
She.
Minikin?
Shall I
Tell
tell
you something ?
He.
She.
me
something.
listening
?
Are you
He.
She.
With
my
inner ears.
woman
He.
She.
You
weren't jealous ?
He.
You wanted
to hear
me
talk
213
You
talk so wonderfully
He.
She.
Do
He.
She.
indeed ? What a booby I am And I wanted to hear you say You cheat, you idler, you
I,
Woman
Dissembler
He.
She.
Manikin ?
Minikin
?
He.
She.
Everlastingly
Everlastingly.
He.
She.
Say
it
again
He.
She.
I refuse
You
Well
refuse ?
He.
She.
Well.?
He.
You have
I'll
ears outside
your head
but
She.
never hear
ears hear
down one
outside
of the ears
my
head ?
He.
She.
I refuse.
You
refuse
He.
She.
Leave
me
alone.
Manikin ?
I can't say
it
He.
She.
Manikin
[The clock goes on ticking for a moment.
strike the hour. Its
mellow chimes
CURTAIN
WHITE DRESSES
(A Tragedy of Negro Life)
BY
PAUL GREENE
White Dresses is reprinted by special permission of Professor Frederick H. Koch. Copyrighted by the CaroUna Playmakers, Inc., Chapel Hill, North Carolina. For permission to produce, address Frederick H. Koch, director.
PAUL GREENE
Paul Greene, one of the most promising of the University of North Carolina Playmakers, was born in 1894 on a farm near Lillington, North Carolina. He has received his education at Buies Creek Academy and at the University of North Carolina, from which he received his bachelor's degree in 1921. He saw
service with the A. E. F. in France, with the 105th United States
Engineers. In addition to White Dresses, Mr. Greene has written a number of one-act plays: The Last of the Lowries (to be included in a forthcoming volume of Carolina Folk-Plays, published by Henry Holt & Company), The Miser, The Old Man of Edenton, The
Lord's Will, Wreck P'int, Granny Boling (in The Drama for August-September, 1921). The first three plays named above
CHARACTERS
Candace McLean, an
old negro
girl,
Mary McLean,
Henry Morgan,
a quadroon
Candace
lover
the landlord,
a white
man
WHITE DRESSES
TIME:
The evening
:
before
is laid
ChriHmas, 1900.
in a negro cabin, the
SCENE
and
In
The scene
home
of
Candacb
Mary McLean,
room
i^
counterpane.
In
cracked mirror,
to the left
of
it
a door opening
In
A
hang
large chest
the family
and above
it
At
sev-
the right,
is
burning.
Above and at
hang
eral pots
Above
these is
a mxintel,
On
the
the mantel.
newspapers,
to
clipped
centre
from popular magazines. A rough table is in the A lamp loithout a chimney is on it. Sevof the room.
pillow in
it
There
an
air of cleanliness
empty room.
The
fire is
Aunt Candace
and
is
She
dressed in a slat
19
220
maris ragged
She mumbles
PAUL GREENE
coat,
dress.
in.
to herself
With great
difficulty she
and then
in the ashes.
her lip.
As
sunken
cheek-bones,
and
Upon
a pair of steel-rimmed spectacles. She sits down in a rocking-chair, now and then putting her hand
her head,
to
and groaning as
if in pain.
After a
moment
she hobbles to
ing
to
down
in the chest.
it,
She
lifts
black box
and starts
unfasten
when
and
Mart
McLean
ccnnes in.
chest,
Aunt Candace
and
Mary McLean
has a
''turn'''
of collards in one
the collards the bed.
She lays
on
She
a quadroon
an
oval face
is
and a mass of
dress is piti-
There
something in her
Her
this
But even
an almost
perfect figure.
As
she comes
up
any signs of
excitement.
Aunt Candace.
two hours.
Honey,
I's
las'
My
haid's been
bad
Chile,
WHITE DRESSES
Aunt Candace.
Mary.
spareribs,
221
De Lawd
help
my
life,
chile
too.
[She
and some
boiled ham.]
He
Aunt Canplaces
it
dace pays
face.
little
attention to the
to
food as
Mary
Mary's
The
her away.
Aunt Candace.
Whah'd you
git
it.''
[Excitedly.]
Whah'd you
ain't never
git dat,
honey
.f*
Mr. Henry
befo'.
Dey ain't no past Christmas times he was so free wid 'is money. He ain't de kind o' man foh dat. An' he a-havin' 'is washin'
done on Christmas Eve.
[Her look
is direct
and
.''
troubled.]
Chile,
Mary. [Still looking in the fire.] Aunty, I ain't said Mr. Henry sent you this money. Yes'm, Mr. Hugh sent it to you. I done some washin' for him. I washed his socks and some
shirts
pure
me
silk
they was.
An'
he
he give
the
money
an' tole
me
to give
it
to
you
said
takes
money
to
it
Aunt Candace. Help my soul an' body De boy said dat 'is soul He ain't fo'got 'is ol' aunty, even if he ain't been to see 'er since he come back from school way out yander. De Lawd bless 'im Alius was a good boy, an' he ain't changed since he growed up nuther. When I useter nuss 'im he'd never whimper, no suh. Bring me de tin box, honey. An' don't noBless
!
tice
what
I's
been sayin'.
I spects
I's
I dunno.
[Mary
and
gets
money in
returns
it,
and
lights the
Aunt Can-
2
DACB
PAUL GREENE
take* off her bonnet
and hangs
it
rocking-chair.
to eat greedily,
now and
and
beat-
Suddenly she
to
her head
rocking
and fro.
stick
and begins
loud
voice.
Aunt Candace.
Ah-hah,
I'll
git
you
I'll
git
you
rest easy,
[Mary goes to her and pats her on the cheek. Mary. It's your poor head, ain't it, aunty ? You
I'll
and forehead
Set
still till
snow.
begins
[After
Aunt Candace
quiets
down and
eating again.
Mary
goes out
bot-
the mantel,
and
starts to
medicine.
Aunt Candace.
ain't
in dat.
I's better
now, honey.
Put
. . .
it
back up.
D'ain't no use
d'ain't
no use
I's
done
my
las*
my
las'
cotton.
Medicine
no mo' good.
You're alius talkin'
like that,
Mary.
aunty.
You're goin'
to live to be a hundred.
An'
this
medicine
it,
Aunt Candace.
gwine be long.
suh, I don't
I's
I say.
No, suh,
ain't
done
deef.
hipshot now.
I's
No,
want no medicine.
puts the
bottle
[Childishly.]
dese heah spareribs an' sausages, an' I ain't gwine take no medicine.
[Mary
the
mantel and
sits
down.
Aunt Candace
ain't said
stops eating
and
looks at
like
Mary's dream[Excitedly.]
ing face.]
dat?
Mr. Henry
... he
ain't said
to leave, has he ?
WHITE DRESSES
. . .
223
no'm, he Mart. [Looking up confusedly.] No'm, he ... he said to-day that he'd 'bout decided to let us stay right on as long as we please. Aunt Candace. Huh, what's dat ? Mary. He said it might be so we could stay right on as long as we please. Aunt Candace. [Joyously.] Thank de Lawd Thank de Lawd I knowed he's gwine do it. I knowed. But I's been
said
! !
off.
An* he
ain't
never
takin'
I's
up foh
us.
But now I
bones rat
gwine rest
my
stay
till
dey
calls
foh
me up
yander.
[Stopping.]
Mary.
[hesitating]
me
to
come
off
without
[Aunt Candace becomes absorbed in her eating. Mart goes to the chest, opens it, and takes out a faded cloak and
puts
it
on.
to the
of white ribbon,
and
ties it
on her
For a moment
She goes
to the
it.
ment
The
a bang.
Aunt Can-
dace turns quickly around. Aunt Candace. What you want, de li'l box, is you
.?
gal
You
ain't botherin*
Mary.
little.
[Coming back
to the fire.]
it
Lord,
no more
Aunt Candace.
dere.
You quit puttin' you' clothes in What you dressin' up foh? Is Jim
it
up
the
in
chimney corner.
224
PAUL GREENE
[Not noticing the question.]
Mary.
a white person ?
[Taking out her snuff-box.]
Aunt Candace.
dat?
Huh, what's
Mary.
You's
jes'
common
nigger,
do I ?
Aunt Candace.
Lawd
you
is,
as purty as
any white
mammy
you's whiter.
to be comin', ain't
Mary. Yes'm, he'll be comin', I tin' away from him an' his guitar. Aunt Candace. What you got
better nigger'n Jim.
reckon.
They
ain't
no
git-
agin
Jim.^^
Dey
ain't
it's
no
time
done nussin'
my fust chile
[Pausing.]
at yo' age,
my
li'l
Tom
'twas.
Useter sing
jes'
lak
you.
do'.
All
An' 'druther'n
Tuck
my
ol'
man
from
'is toil
Ain't
gwine be long
silence.
gwine be long.
All
is quiet save
dace
her revery.]
I go.
Mind me
de
times.
Mary.
ever was.
clothes
!
He's better to
me
than he
finest
Aunt Candace.
Dat he
do.
Dey
no
'sputin' of
it.
WHITE DRESSES
alius said he's
ain't
225
An' dey
de best-lookin' nigger
in
de country.
No, suh.
Maey.
wash
nigger.
He
don' treat
me
like I
was a
.
.
He
I
I'm white
folks.
Aunt Candace.
ishment.]
better nigger'n
waitin' an'
.
to
marry Jim.
'bout
He's a-
Mary.
Jim ?
[Vehemently.]
ain't
talkin'
Jim.
What's
her
He ain't nothin'. Aunt Candace. [Guessing at the truth, half rises from seat.] What you mean ? Huh What you talkin' 'bout ?
!
Mary. Mary.
Wish
I's
Nothin', aunty,
Chile
. . .
jes' talkin'.
. .
Aunt Candace.
Aunt Candace.
I's
chile
white
Lawdy, no
I's
What
up de work
change
it.
de Lawd.
in
He made me
yo' haid,
What's
chile.''
Po' thing,
. . .
don't do dat.
Yo' po'
mammy
one
'er
livin' to-day.
An' I
Oh,
you
git
such notions
[She
her
head,
groaning.]
Lawdy
Lawdy
[Then^
stick
and
Dey's after
me
Dey's
do'
after
me
Open de
she breaks
away from
Then
Mary
Mary.
Aunt Candace
drives the
imaginary
devils out.
228
PAUL GREENE
[She closes the door
and
Aunt
spell
Candace
sits
The
Aunt Candace.
I,
[Looking up.]
I's
honey?
Mart.
all
right now.
and
gives
it
to her.
Aunt Candace.
'em, chile; I's
ol'
I's
gwine be carried
off
by
Dem
debbils
gwine
git
me
yit.
[She mumbles.
ain't,
Mary.
No, they
is
aunty.
[There
Aunt Candace.
Mary.
ming of
[Jim
What's dat ?
Nothin'.
Somebody
at the door.
guitar is heard.]
That's Jim.
Come
Matthews enters.
old,
He
is
two years
and as
He
an old
tie,
which comes
to his knees,
and tan
make room for his feet. As he comes in hat and smiles genially, showing his white
he might call himself a spo't.
With
better clothes
Jim.
Good
?
even', ladies.
Aunt Candace.
he say
What
does
Mary.
I's
He
Aunt Candace.
smiles complacently.]
Ah-hsih
Good
even', Jim.
Take a
seat.
Mary's been
[He
Yes'm.
An'
I's
I's alius
Aunt Candace.
What's he say ?
WHITE DRESSES
Jim.
[Louder.]
I's
227
all.
Ah-hah!
He folds
?
it
carefully
and puts
it
ha^k
in his pocket.]
Jim.
Any
news, Jim
'tall.
No'm, none
said
.''
Aunt Candace.
Henry done
Jim.
. .
Hah?
.
nothin'
'tall,
'ceptin*
Mr.
said
to
her head.
What's that
Still
she's sayin'
[As
ues groaning.]
havin'
them
spells,
Mary.
[Making a movement as
stops
go
to
and
Aunt Candace.
chillun go
An' you
on wid yo'
gwine peel
my
'taters.
[Raking the potatoes from the ashes, she begins peeling them.
Then she
corner.
or twice.
He
to
Mary.
She
Er
snatchin'
comin' 'round.
Yes'm, I
tells all
mile.
[He
stops.
Mary
all,
pays no attention
ain't seed
From
ol'
here
Yes'm,
road
I
what
I tells 'em
nigger.
I's
But
. .
wants to
stops
settle
down
an'
you knows me
[He
and fidgets in
and wipes
his forehead.]
Miss Mary,
Is...
Mary.
here.
Jim, I done
tol'
I ain't lovin'
you.
never
2!28
PAUL GREENE
[Taken aback.]
jas'
Jim.
er
honey,
knows
how you
feels.
An'
gwine 'form, I
I's
quit
all
dem
it.
To-day
.
I's talkin' to
dat
young
feller,
Mary.
Jim.
Hugh Mawgin, an' Hugh what! What you sayin', Jim Matthews
. .
Mr.
Didn't you
Mary ?
to
Mary.
Jim.
.
.
.
him }
he
Mary.
Jim.
.
.
.
He
said
what
.'*
He
er
. .
axed
.
me
.
if
.
I told 'im I
mought
marry
be
Mary.
you.?
Go
on;
tell
me.
Did he say
I ought to
Jim.
zactly
[Eagerly.]
Yes'm
[Mary
gasps.]
No'm, not
ez-
...
o'
He
said as
how
it
take care
me, an'
meant he thought you's good enough foh wanted me to take care o' you, so's you wouldn't hadder
talk dat he
Mary.
Jim.
Oh!
Yes, I reckon
so.
[She is silent.
Dey
teaches 'im
how
sees
to
He
all
my
do say
oh,
Mary.
chair.]
.
Aunt Candace.
[Turning around.]
What's you
WHITE DRESSES
Mart.
Xskin'
[Sittin'
229
.
down.]
piece.
Oh, aunty
Jim to play a
voice.]
Aunt Candace.
Jim.
Ah-hah.
meaning of Mary's
his
power with
and begins
strumming a chord.
"Ahs" thrown
Jm.
my lover ?
lover ?
Gwine on down de road. Oh, whah you gwine, my Gwine on down de road. (Ba^s) Gwine on
.
me
lover.'*'*
Gwine on down de
(Bass)
Oh,
Lawd
.
Gwine
de
road.
[Mary
Jim.
ioii*t
still
Jim
stops playing
and speaks
softly.
Miss Mary, I's sho' sorry I made you want you to cry 'bout me lak dat
.
.
cry.
Honey, I
He
further
up on
and
Aunt Candace.
[Noticing
the
silence,
looks
at
Mary.]
2S0
PAUL GREENE
What's de trouble, chile?
I'm tickled
me
Mary.
at Jim.
Nothin', nothin'.
[To Jim.]
Go
Play
it
Jim.
it,
and
begins.]
Lawd, Lawd,
ain't long.
Lawd,
know my time
begins
ain't long.
[Aunt Candace
ing.
now and
then exclaim-
Aunt Candace.
[She
Jesus
Lawdy,
While
my Lawd
and
on Mary, unob-
to
Jim
She turns
to the mirror,
on
Then she
the
and lays
it
it
on the
She picks up
and puts
in the bureau.
Meanwhile
Hammer
Jim.
Lawd, I know
my
lines.
roll
Aunt Candace.
ment.
Jim.
Gwine
in
de judg-
Lawd,
know my time
from
ain't long.
Mary's
absence
and
looks around.
Aunt
Candace
WHITE DRESSES
looks around, sees
spair.
231
Mary
Jim speaks.
is it,
lionej^ ?
Mary raises
She runs
to
her head
to the
door
and opens
a
it.
one of disapenters.
Henry Morgan
He
is
man
and
overbearing.
his face.
He
at the pockets
and buttoned up
In
his
and yarn
mittens.
hand he
carries a package,
He
keeps
Mary
back to
it,
Jim
Jim's look
is
that of
of troubled expectancy.
Morgan.
a-courtin', eh
Dad burn
you, Jim.
Still
Aunt Candace.
Mary.
[Coming
to set down.
What's he say ?
of the room.]
He
.
.
He
Aunt Candace. [Sitting down.] Ah-hah Lawdy Morgan. [Coming closer to Aunt Candace.]
tin' 'long
Oh, Lawdy!
How
you
get-
now, Candace ?
Po'ly, po'ly,
Aunt Candace.
longer
Mr. Mawgin.
Ain't got
much
down Morgan.
here, ain't
much
longer.
[Laughing.]
ain't half as
Aw
bad
come
off as
foolin'.
You
you make
out.
[Jim moves
If
and
sits
down.]
I understand you.
you'd
git
up from there
Aunt Candace.
work you'd be well in a week. Oh, Lawd, Mr. Mawgin, I sho' is po'ly I
an' go to
!
suffer lak
me.
^2S2
PAUL GREENE
[Mumbling, she shakes her head, rocks
to
and fro
icithout
stick.
Morgax
I
MoRG.o:.
an' caught
it.
this
way
up with John.
He
said he
it,
about
me
Wonder what
toicard the bed.]
Xo, you
it
now,
We
got
little
?
business to 'tend to
Did you
I
?
tell
Candace what I
do
not
said
Mart.
to-night.
I couldn't
it,
Morg-JlX.
... I knowed it. Knowed I'd make sure of it. Durn me, you been
What's the trouble,
I gal
?
better
cnnn',
you
Maj^y.
Jni.
Xothin', nothin'.
?
...
Tickled at Jim
Aunt Caxdace.
Morgan.
and begins
then
!^L\RY.]
nin',
What
does he say
[Turning
to her.]
Keep
Candace;
silent
Mary.
from her
chair,
to
settles back,
Morgan
speaks
You
ain't
?
have you
M-AJiY.
Xo,
wan't.
sir.
was
tickled at Jim.
It
wan't nothin',
honest
it
MoRG-A^'.
Well, go on lyin'
I
if
you want
. .
to.
M.uiY.
Mr. Morgan,
was
jes'
Morgan.
to do about
Xo
matter.
said
?
[Brusquely.]
what I
[He looks
at her squarely.
Jem watches
them both
tcith
open mouth.
7ioic
Aunt
and
any
WHITE DRESSES
one
is vxitching her.
233
She
is oblivious
of the conversation.
it?
if
Mary
mind
Well,
what about
o'
you you got to get out at the first [Jim straightens to marry Jim.
the year
you
ain't a
up.]
At
least
you've got to
marry somebody that can come here and work. I told you to Why didn't you tell her like I tell Candace to look out for it.
said
?
I couldn't
do
it.
You
it.
me
all
my
life.
Oh, I can't do
[Aunt Candace up
the
Morgan. Can't do it.'^ Well, what you want me to do.'^ You ain't earned Lose money on you till the end of time
!
Can-
[A
Aunt Candace
dress
stands by the
bed,
holding a
white
up
before her.
Morgan
looks perplexed.
Suddenly he
starts
back in astonish-
ment.
Mary.
mine
[Starting forward.]
It's
for
me
[Joyously.]
It's
Morgan.
,
.
.
[Catching
!
Mary
by the arm.]
!
Heigh
is
it.'^
Aunt Candace
on
Oh,
it.
looks at
Morgan.
it
Aunt Candace.
knowed
it.
I's
a-feared
knowed
and
...
li'l
hobbles to
Oh, Lawdy
Lawdy
My po'
gal
My po'
li'l
gal
[She rocks to
shoulder,
and fro.
to
Morgan's
!
hxind falls
from IVIary's
I
to the bed.
IVLiRY.
He
sent
me
He
sent
it
to
me
knowed he
wouldn't forget.
Morgan.
[Turning
Well, and
what
nigger's send-
234
ing
PAUL GREENE
you presents now
?
"WTio
Mary
Mart. He did Morgan. [Sternly.] Who ? An' I don't care if you Mary. [Impetuously.] It was him do know it Morgan. Who ? You don't mean Mary. I do too an' Morgan. God a'mighty, my ... it can't be so. [Mary goes to the window and holds the dress in front of her. Mary. It is, too. Mr. Hugh sent it to me. [Morgan
! .
groans.]
He
told
me
I loiowed he'd
An', after
all,
Morgan.
What in the devil I wonder [Aunt Candace still looks in the fire.
ain't.
For a moment
He
snatches
it
on
She wipes
from
You
We're goin' to
You're goin' to
for
all.
marry Jim ?
IVIary.
can't!
die.
I won't!
Mr. Morgan ... oh ... I can't marry him. I Let me stay. Don't drive her out; she'll
I'll
I'll
I'll
work,
. . .
I'll
do any-
thing,
Morgan.
[Fiercely.]
You've
I
tole
me
Right now
be
all right.
Do
you hear!
Marry Jim,
he'll
tell
you, and
.
.
it'll
I'd rather die. Mary. I can't do it, I tell you. I can't Look at him. He's black Look at me. Ain't I almost white
!
.^
WHITE DRESSES
and
do
I hate him. I can't
235
marry no
nigger.
me
it.
Morgan.
ryin*.!^
White
Ain't you a
.?
tell
You
you now
for
you've got to
doit!
Mary.
Oh, Lord
!
Don't make
. . .
me do
it
I hate him.
I ain't black.
tell
her.
I ain't goin'
Don't
Jim
sits
tell her.
lost
in
Morgan. Well ? Mary. [Looking wildly around, as if seeking help.] Oh! Morgan. [Wiping his face.] Gal, I don't want to be too hard on you. But use common sense. I've been good to you. They ain't another man in the county that would have kept you I'm for the last three years, an' losin' money on you every year. done of it, gal, I'm done. Marry Jim. Mary. He wouldn't let you do it if he was here. He
. .
wouldn't.
Morgan. 'Who ? Who you talkin' about ? Mary. Mr. Hugh, your boy. He's got feelin's, he
he was here
. .
has.
If
Morgan.
see
?
[Hoarsely.]
know
it.
know
.
it.
.
Don't you
Oh, Mary,
He's
tell
all
I got.
I can't
you.
Hugh's gone
off for
And when he
if
you
take
you
in,
236
.
PAUL GREENE
.
where's he gone ? Mary. Where Morgan. He's gone to see his gal. The one he's going marry. And by God, you've got to marry Jim. Mary. [Half sobbing.] They ain't no use tryin' to change
.
to
it.
I've tried
and
I'll
tried,
I jus' as well do
it.
Yes, yes,
marry him.
marry him.
I'll
They
raise
ain't
no way
I'll
to be white.
I got to be a nigger.
an' hoe an'
marry him,
yes.
like
more children me, maybe other children that'll want They ain't nobody can help me. But wash an'
He's a nigger an'
. . .
look at him.
.
.
[Pointing to Jim.]
too.
yes
I'm a nigger
[She throws her arms out, letting them fall at her side.
Morgan.
you and Jim
more.
[Almost gently.]
All right,
Mary
I'll
send for
right here.
You
you
please.
Jim.
Mawgin
An' I
are
thanks you
Morgan.
for 3"ou.
[Going
up
to
Aunt Candace,]
be a lucky day
in the
fire.
Morgan
it.]
comes
to
Mary
and
offers his
hand.
She
fails to see
Child,
what
.
I've
.
Jim. [Coming
I's
up
to
Mary.]
.
.
gwine do better,
I's
her apron.]
Honey,
I's sho'
[Mary keeps her head muffled gwine make you a good man.
In
foot
[Mary pays no
attention to him.
his embarrassment he
up on
voice.]
WHITE DRESSES
Jim.
237
Lyin' in the
jail
house,
. . .
UNT Candace.
black box, gal.
reverie.]
Bring
me
de
li'l
Bring
me
de box
[Mary
de box
Bring
me
[Half-screaming.]
Bring
up.
me
de box, I say!
goes to the chest
Mary
Aunt
you de
de time
Candace
gwine
tell
if
box.
it's
Yo'
come.
mammy
told
me
to tell
you
mammy
and
unlocks the box, pulling out a V)rinkled white dress, yellowed with
age, of the style of the last generation.
Jim
sits
down, overcome
woman
Look heah, chile. I's gwine tell you now. Nineteen yeahs ago come dis Christmas dey's a white man gi'n your mammy dis
heah, an' dat white
nuther.
holds
it
man
is kixi
Gimme
[Mary
gets
it
it,
and
but
Aunt Candace
dat dress
snatches at
Mary
clings to
Gimme
from Mary.
flames. Jim makes a movement as if to save them, but she waves him back with her stick.] Git back, nigger Git back Dis night I's gwine wipe out some o' de traces o' sin. [Mary sits in
!
!
As
the dresses
burn
I
Aunt Candace
knows
comes
to
and
lays her
head.]
But
curtain
MOONSHINE
BY
ARTHUR HOPKINS
Moonshine is reprinted by special permission of Arthur Hopkins, Plymouth Theatre, New York City. All rights reserved. For permission to
perform, address the author.
ARTHUR HOPKINS
Arthur Hopkins, one of the well-known men of the practical was born in Cleveland, Ohio, in 1878. He completed his academic training at Western Reserve University, Cleveland, Ohio. At present he is the manager of Plymouth
theatre of to-day,
Theatre, New York City. Mr. Hopkins's entire life has been given to the theatre, which In the midst of his various activities as a manis his hobby. ager he has found time to do some dramatic writing. Among his one-act plays are Thunder God, Broadway Love, and Moonshine, which appeared in the Theatre Acts Magazine for January,
1919.
Moonshine
is
CHARACTERS
Luke Hazy, Moonshiner
Reventje Officer
MOONSHINE
SCENE: Hut
Carolina.
of a moonshiner in the mountain wilds of North
Door back
left.
Window back
left
right centre.
Old
table,
not close to
it.
Old cupboard in
Rude
stone fire-
On
a rough pencil
sketch of a
man
hanging from a
is
At
rise of curtain
a commotion
Luke.
to
[Off stage.]
. .
boys
Jist leave
him
me
[Revenue, a Northerner in
Luke, a lanky,
ill-
Revenue's
hands are
Luke.
over you. Mister Revenue, but you see they don't come across
you fellers very frequent, and they alius gits excited. Revenue. I appreciate that I'm welcome. Luke. 'Deed you is, and I'm just agoin' to untie your hands long nuff f er you to take a sociable drink. [Goes to stranger, feels in all pockets for weapons.] Reckon yer travellin' peaceable. {Unties hands.] Won't yer sit down ? Revenue. [Drawing over chair and sitting.] Thank you.
[Rubs wrists
to get
back circulation.]
Luke.
Yessa,
you
fellers fer
Began
to think
you wus
Have a
drink ?
243
244
ARTHUR HOPKINS
[Starts slightly
at
Revenue.
No,
com-
thank you, your make is too strong for me. Luke. It hain't no luck to drink alone when you
pany.
Better have some.
git
Revenue.
Luke.
Very
well,
my
[Drinks a
little
and
chokes.
[Draining cup.]
I reckon ye
all
sit in
my
make.
Revenue. That wouldn't be diflScult. Luke. No, but it wuz awkward. Revenue. Why ? Luke. I had to wait till he sobered up before I give him his ticker. I didn't feel like sendin' him to heaven drunk. He'd a found it awkward climbin' that golden ladder. Revenue. Thoughtful executioner. Luke. So you see mebbe you kin delay things a little by
dallyin' with the licker.
Revenue.
puts
it
[Picking
up
cup, getting
it
down.]
The
price
is
too great.
ain't
Luke.
Jim Dunn.
But
I reckon
you ain't. You don't answer his likeness. Revenue. Who's Jim Dunn ? Luke. You ought to know who Jim Dunn
about the worst one of your revenue
parts.
is.
He's just
jail.
We
got a
little
recep-
Revenue. [Looking at sketch.] Luke. That's Jim Dunn. Revenue. [Rising, examining like any one.
Yes.
picture.]
Doesn't look
much
MOONSHINE
'im.
245
like
Luke. Well, that's what Jim Dunn 'II look I'm mighty sorry you hain't Jim Dunn. Revenue. I'm sorry to disappoint you.
[Turning
to
when we
git
Luke.
right.
all.
cupboard and
filling pipe.]
Oh,
it's
all
Revenue. Are you sure I'm a revenue officer ? Luke. [Rising.] Well, since we ketched ye climin' trees an' snoopin' round the stills, I reckon we won't take no chances that you hain't. Revenue. Oh. Luke. Say, mebbe you'd like a seggar. Here's one I been savin' fer quite a spell back, thinkin' mebbe I'd have company [Brings out dried-up cigar, hands it to him. some day. Revenue. No, thank you. Luke. It hain't no luck to smoke alone when ye got company. [Striking match and holding it to Revenue.] Ye better smoke. [Revenue bites off end and mouth is filled with dust, spits out dust.
Luke
With
difficulty
Revenue
lights
it.]
Revenue.
table.]
makes wry
Luke.
feel as
my name.
Yer kin
call
me Luke.
Make you
Luke Hazy.
Revenue. [Starting as though interested, rising.] Not the Luke Hazy that cleaned out the Crosby family ? Luke. [Startled.] How'd you hear about it ? Revenue. Hear about it ? Why, your name's been in every newspaper in the United States. Every time you killed another
Crosby the whole feud was told
your picture
in the
all
over again.
Why,
I've seen
Luke. Hain't never had one took. Revenue. That don't stop them from you ever read the newspapers ?
printing
it.
Don't
246
ARTHUR HOPKINS
Luke. Me read? I hain't read nothin' fer thirty years. Reckon I couldn't read two lines in a hour. Revenue. You've missed a lot of information about yourself.
Luke.
How many
killed
Revenue.
the twelfth.
Luke.
It's
lie
growed up.
wuz
I'm
a-w^aitin' fer
Revenue. Will he come ? Luke. He'll come if he's a Crosby. Revenue. A brave family ? Luke. They don't make 'em any braver
rate folks
if
they'd
be
first-
Revenue. If you feel that way why did you start fighting them ? Luke. I never started no fight. My granddad had some
misunderstandin' with their granddad.
it
I don't
know
jes
what
see
I reckon
my
granddad wuz
right,
and
I'll
it
Revenue. You must think a lot of your grandfather. Luke. Never seen 'im, but it ain't no luck goin' agin yer own kin. Won't ye have a drink ? Revenue. No no thank you. Luke. Well, Mr. Revenue, I reckon we might as well have
this over.
Revenue.
Luke.
What ?
and I can't be put
to the
Revenue.
Luke. Oh, I know yer like this yer place now, but nin' you might take it into yer head to walk out.
MOONSHINE
Revenue.
Luke,
if
U7
make me.
I'll
Tain't like
yer,
yu tried. Revexue. But I'll not. Luke. [Ruing.] Say, Mistah Revenue, know what 3^ou're up against ?
wonder
if
you
Revenue. What do you mean ? Luke. I mean I gotta kill you. Revenue. [Rising, pauses.] Well, that lets me out. Luke. W^hat do yu mean ? Revenue. I mean that I've been trying to commit suicide for the last two months, but I haven't had the nerve. Luke. [Startled.] Suicide ? Revenue. Yes. Now that you're willing to kill me, the
problem
is
solved.
fer.''
Luke. Why, what d'ye want to commit suicide Revenue. I just want to stop living, that's all. Luke. Well, yu must have a reason.
Revenue.
get out of
it.
No
?
special reason
I find
life
dull
and
I'd like to
Luke.
Dull
I hate to go to bedI hate to get up I can't drink liquorI find people either malicious or dull I see by the fate of my acquaintances, both
Revenue.
Yes
don't care for food
that love
is
a farce.
I have seen
fame and
pref-
come
to those
who
least deserved
The
craftier
schemer
is
every crime
is
in the
name
is
indulged; in the
pant.
name
ram-
Luke.
out.
some put
248
ARTHUR HOPKINS
I am.
Revenue.
it's
The
it
world's a failure
what's more,
a farce.
I don't like
it,
[Approaching Luke.]
And
you,
my
me
the oppor-
tunity.
Luke.
get killed.
Reveistue.
Good ...
if
I've tried to
Luke.
Well,
why
didn't
Revenue. I was afraid. Luke. Afreed o' what hurtin' yourself.? Revenue. No, afraid of the consequences. Luke. Whad d'ye mean ? Revenue. Do you believe in another life after this one ? Luke. I kan't say ez I ever give it much thought. Revenue. Well, don't because if you do you'll never
kill
another Crosby
officer.
Luke. 'Tain't that bad, is it ? Revenue. Worse. Twenty times head crazy to die and then as my
I've
had a revolver to
my
than
this
it
Well, you gotta take some chances. Revenue. I'll not take that one. You know, Mr. Luke, life was given to us by some one who probably never intended that we should take it, and that some one has something ready for people who destroy his property. That's what frightens me. Luke. You do too much worryin' to be a regular suicide. Revenue. Yes, I do. That's why I changed my plan. Luke. What plan ?
Luke.
Revejtue.
Luke.
MOONSHINE
going to
249
to die, but
Revenue. No, indeed I'm still determined make some one else responsible.
Luke.
I'm
Oh so you
sir.
hain't willing to
pay
fer yer
own
funeral
music ?
else
I'll
some one
ticket.
You
see,
when
be
Luke.
How ?
In a thousand ways.
. .
Revenue.
Luke. No.
[Paiise.]
Did you
Revenue.
York?
Luke.
No.
engines,
and they
Fifth Avenue,
New
Revenue. Fifth Avenue is jammed with automobiles, eight deep all day long. People being killed every day. I crossed Fifth Avenue a thousand times a day, every day for weeks, never once trying to get out of the way, and always praying I'd be hit.
Luke.
And
couldn't
yu
git hit ?
Revenue.
[In disgiist.]
No.
who
When
that failed, I
roll
of
money and wearing diamonds, hoping they'd kill me for them. They stole the money and diamonds, but never touched me.
Luke.
Couldn't you pick a
fight.?
Revenue.
believe that a
I'm coming to
that.
man
can be killed
in the
man
liar.
Luke.
That's right.
It
is,
Revenue.
Luke.
is
it?
men
liars
it.
from
you about
pity on ye.
250
ARTHUR HOPKINS
Revexue. Do you know Two Gun Jake that keeps the dive down in Henderson ? Luke. I should think I do. Jake's killed enough of
.
'em.
Revenue. He's a bad man, ain't he ? Luke. He's no trifler. Revenue. I wound up in Jake's place two nights
tending to be drunk.
ago, pre-
Luke.
Revenue.
nounced that
.
.
So I elbowed
I
my way
up
to the bar
and anblood
was an expert
could
tell
a nigger
?
who was
63-64ths white.
Luke.
Ye
kin
can't, but I made them believe it. I then them over and tell them if they had any nigger blood in them. A few of them sneaked away, but the rest stood for it. I passed them all until I got to Two Gun Jake. I examined his eyeballs, looked at his finger-nails, and said, "You're
Revenue.
No, I
offered to look
a nigger."
Luke. An' what did Jake do ? Revenue. He turned pale, took me into the back room. He said: "Honest to God, mister, can ye see nigger blood in me.'" I said: "Yes." "There's no mistake about it.^" "Not a bit," I answered. "Good God," he said, "I always suspected it.'* Then he pulled out his gun Luke. Eh ... eh? Revenue. And shot himself. Luke. Jake shot hisself Is he dead Revenue. I don't know I was too disgusted to wait. I
.' !
wandered around
scrambled around
sat
until
in the
mountains
found your
still.
on it and waited until you boys showed up, and here I am, and j'ou're going to kill me. Luke. [Pause.] Ah, so ye want us to do yer killin' fer ye, do ye ?
MOONSHINE
Revenue.
as well give
it
251
time I
You're
up.
my
last
hope.
If I fail this
may
Luke.
cartridges
from chamber.
Rises.]
What wuz
that noise
Revenue
[Luke
and
expresses surprise at
to secure revolver.
seeing
Revenue making no
attempt
to table,
picks
up gun.
Luke.
it ?
Luke.
Well,
why
didn't ye grab
it ?
Revenue. What for ? Luke. To git the drop on me. Revenue. Can't you understand what
mister ?
I don't
truth.
tellin'
me
the
see
what ye'd
do.
Ye
see, I
emptied
it first.
[Opens up gun.
Revenue. That wasn't necessary. Luke. Well, I reckon ye better git along out o' Revenue. You don't mean you're weakening ?
Luke.
ferin'.
here, mister.
I ain't got
no
call to
it
do your
killin' fer
you.
If
ye
hain't sport
enough to do
yerself, I
Revenue.
But
I told
murder more or
less
you why I don't want to do it. One means nothing to you. You don't care
Luke. Mebbe I don't, but there ain't no use my takin' any more chances than I have to. And what's more, mister, from what you been tellin' me I reckon there's a charm on you, and
I ain't goin' to take
back on
me ?
252
ARTHUR HOPKINS
Well,
till
Revenue.
ing.
I'll
maybe some
wait
they come.
ain't goin'
Luke.
to see you.
!
You're a
now
now
It won't
do no good.
You may
Revenue.
Luke.
Damn
it all
I've spoiled
it
again.
to go on livin'.
I reckon
Revenue. That looks like the only way out. Luke. Come on, I'll let you ride my horse to town. It's the only one we got, so yu can leave it at Two Gun Jake's, and one o' the boys'll go git it, or I reckon I'll go over myself and see if Jake made a job of it. Revenue. I suppose it's no use arguing with you. Luke. Not a bit. Come on, you. Revenue. Well, I'd like to leave my address so if you ever come to New York you can look me up. Luke. 'Tain't likely I'll ever come to New York. Revenue. Well, I'll leave it, anyhow. Have you a piece
of paper
?
Luke. Paper what you write on ? Never had none, mister. Revenue. [Looking about room, sees Jim Dunn's picture on If you don't mind, I'll put it on wall, goes to it, takes it down.]
the back of Jim Dunn's picture.
to print.]
I'll
print
if
it
for you, so
be easy to read.
My ad-
dress
is
here, so
Luke.
'Tain't likely
come on.
takes
it.]
[Both go to doorway
Luke
up
for
me.
extends hand.
. .
.
Revenue
Good-by, mister
cheer
Revenue. Good-by. [Shaking Luke's hand. Luke. Don't be so glum, mister. Lemme hear you laff jist onct before yu go. [Revenue begins to laugh weakly.] Aw, come on, laff out with it hearty. [Revenue laughs louder.]
Heartier
yit.
MOONSHINE
[Revenue
is
now shouting
his laughter,
[Luke watches for a moment, then returns to table takes a drink picks up picture turns it around several times
before getting
it
right
then begins
"J"
"/"
to study.
In attempt-
ing to
make
out the
name he
then describes a
letter
''M''muttering ''M-M-M, J-I-MJ-I-MJIM." In the same way describes and mutters D-U-N-N. By God [He rushes to corner, grabs Luke. Jim Dunn shot-gun, runs to doorway, raises gun in direction stranger has gone looks intently then slowly lets gun fall to his side, and scans the
! !
hand shadowing
seats himself
!
his eyes
steps inside
!
at table.]
Jim Dunn
slowly and he
begged
me
to kill 'im
MODESTY
BY
PAUL HERVIEU
Modesty
is
reprinted
by
and
of
New York
dress
City.
New York
City.
PAUL HERVIEU
Paul Hervieu, one of the foremost of contemporary French dramatists, was born in 1857 at Neuilly, near Paris. Although he prepared for the bar, having passed the examination at twenty,
and practised his profession for a few years, he soon set to writing short stories and novels which appeared in the early eighties. The Nippers, in 1890, established his reputation as a dramatist. The remainder of his life was given to writing for the stage. In
1900 he was elected to the French Academy.
15, 1915.
He
died October
Its
humor and
are
Albert
MODESTY
TIME: The SCENE: A
desk.
present.
drawing-room.
HenThey
RiETTE in
Jacques
in evening dress.
come down C.
Henriette.
Jacques.
Is
it
so terribly embarrassing
guess.
Henriette.
Jacques.
are cousins.
You're so long-winded.
risk all at
a stroke
am
Oh,
unmarried, you
will
you be
of
my
wife ?
Henriette.
?
my
We
angry.
Jacques.
Why ?
Because I'm not going to give you the sort ot
don't
like.
Henriette.
answer you'd
Jacques.
You
band ? Henriette.
Jacques.
Frankly, no.
I don't please
Henriette.
Jacques.
the fault of
As a cousin you
you
against
me?
for.
Henriette.
It
is
merely
my
me
to refuse you.
260
Jacques.
change
PAUL HERVIEU
But
I can't see
why you
Henriette.
is
great
re-
women.
We
have
As
for
me, I
am most
too
Jacques.
begun to make
me
so unsure of myself.
want you
to
all,
beginning to develop.
portant resolutions.
Jacques.
moral and
What
do you
mean ?
Henriette.
my
intellectual standards,
guided, criticised
Jacques.
You
Henriette.
Please
on
settee.
Jacques
addresses her
from behind
Jacques.
chair.
You
The same old compliments! Everybody tells me that. I want to be preached to, contradicted, scolded Jacques. You could never stand that. Henriette. Yes, I could. I should be happy to profit by
Henriette.
the criticism.
It
would
inspire
me.
Jacques.
criticise
man who
I trust
Henriette.
Jacques.
It
That
is
enough!
fit
me ?
How
could I ?
MODESTY
Henriette.
shall
261
How
interesting
I sha'n't
marry
am
certain that I
and submission.
mistakes.
shall
make
it
his
business to remind
me
of
my
shortcomings, to correct
all
my
bettering myself.
Henriette.
Henriette.
Henriette.
Perhaps
it is
Albert what of
?
it ?
You want me to speak frankly ? Of course. Henriette. Then you wouldn't be annoyed
if
I said some-
c. chair
which
is
by desk, facing
Henriette.
Jacques.
Jacques.
Jacques.
Why,
he's
!
your friend
too,
Henriette.
Henriette.
Oh
So you,
Certainly.
Well,
[Trying
I'd trust
Henriette.
Jacques.
[Still conscientious.]
him
to be
somewhat
somewhat
Henriette.
Jacques.
Wilful
?
Headstrong ?
Henriette.
severe at times
but
for
my
He knows how
to be
Jacques.
brute force.
rhinoceros,
Go
all
to the
Zoo the
:
ostrich, the
effect
262
Henriette.
priate
PAUL HERVIEU
My
Albert
?
My
Albert ?
him so quickly as
[Jacques
all that.
an
Jacques.
Henbiette.
Jacques.
That you
jealous
!
my
To make me
Stop
it,
To
torture
me
You have
succeeded.
for heaven's
sake
Henriette.
scription of the
I wish
am
Jacques. Jacques.
will
Henriette.
Henriette.
tell
Don't send
shall
me away
you
like this.
Don't
I have only to
I might give
false hopes.
you that I
man who
Jacques.
[Kneeling.]
I beg
you
Henriette.
Jacques.
Spare
me
that.
[A
tele-
Don't go
rises hastily
[Henriette
Henriette.
if
and
goes to door.
Jacques
tries
for a movient
I
to stop her.
tell
you.
I'll
be furious
Jacques.
Henriette
Henriette.
Jacques.
[Exit.]
[Coming down L.
to table.]
Not now
Please,
Jacques.
I can't leave
it
that way.
am
the husband
who
MODESTY
will
63
is
But how?
That
the question.
[Pause.]
Ah, Albert
Albebt.
He
shakes hands
?
icilh
Jacques.
Albert.
Jacques.
How
[Gravely.]
My friend,
we
are
no longer
rivals.
Albert.
Jacques.
to
How's that?
I hav^e just
marry
Albert.
Jacques.
[Both
down, Albert on
did she say ?
sofa,
Jacques on
chair near
it,
Albert.
Jacques.
What
it; it
wouldn't be friendly.
Albert.
Jacques.
then she said that you had not sucVery nor had to find the way to her heart. Between you I ceeded
and me, we've got a high-minded woman to deal with, a philosoIt seems you have been in the habit flattery.
of paying her compliments
Albert.
Jacques.
I never
like
It.
Moreover
Albert.
Jacques.
Pardon ?
She wants a husband
Evidently, you haven't
The very word: ridiculous. who will act as a sort of conscience pilot.
appealed to her in that capacity.
Albert.
Jacques.
ity.
I'll
You
did
it
been
fatal
Albert.
Jacques.
I don't understand.
Henriette
is
a singular
woman;
you
264
have to
Tell her
tell
PAUL HERVIEU
her that you don't like her
it.
all
Albert.
about that
Jacques.
pose ?
Don't worry
love to
[Rises
and walks
about.]
know women
man
Albert.
done
No?
me
a good turn
Jacques.
Don't mention
it
Albert.
Jacques.
You want to do
[Devotedly.]
me
Albert.
Promise
this ?
me
know
that
you
told
me
Jacques.
Albert.
toward her
Jacques.
You know
is
my
behavior
in character.
Natural, you
it
see.
strenuously.
Albert.
Jacques.
Your
Albert.
Would
I'll
Albert.
Jacques.
Thanks, Jacques.
Good-by, Albert.
[Exits after shaking
Albert assumes a rather severe attitude.] How are you ? [Pau^e.] Have you seen Jacques ? Albert. [With a determined air.] No, Henriette. Thank God!
Henriette.
[Re-entering as
Henriette.
Albert.
Why ?
it
Because
pains
me
to see
men
in
your presence
whom you
MODESTY
Henriette.
[Delighted.]
^65
You
down on
sofa.
No, I
don't.
And
I'd like to
tell
you
?
Henriette. Hexriette.
About
Heaps
my
[Sits
on chair near
You
suppose correctly;
Henriette.
Albert.
Really ?
am
positive.
Henriette. Henriette.
Albert.
imagine
I suppose I displease
you
in other
ways, too ?
In a great
many
other ways.
[Really delighted.]
How
confidently
you say
if
you don't
like it
Henriette.
fectly adorable.
my
how you
It
me when you
little
Albert.
haps
makes very
difference to
me
whether I
I speak according to
my temperament. Pwthat.
Henriette.
Albert.
You
Oh,
are superb.
Oh, no.
if
Henriette.
Albert.
say, but
I'll
than mine
in Paris.
Henriette.
in
it.
[Pause.]
Now
tell
me
coquettish.
attitude.
it.
Albert
and smokes
266
Albert.
tre, to
PAUL HERVIEU
That's easy; for instance, when you go to the thea-
As soon
don't
as
flock
about
who
introduced.
Now
I should
be greatly obliged
this notoriety
?
you would
tell
me
to
Henriette.
fact that I
[Modestly.]
to the
amagreeable, and
There are
pleasant
less so.
Albert.
force
many women no
all her
Henriette.
[Summoning up
I
modesty
to reply.]
You
you
me
Albert.
And
fully as pleasant as
who
that
serve
some semblance
it
Henriette.
I
conscious of
to
its
hounds.]
sofa.]
[Drawing hack
a corner of the
am
Albert.
rously.
Not
at
all.
Henriette.
Albert.
Another thing
[The
first signs of
Henriette.
impatience begin
.'^
to
appear.]
What ?
Another thing to
criticise
Albert.
thousand
Henriette.
Albert.
You must
I
Henriette.
Would you
Albert.
oblige
me
remember one day in the country you were in tears because a poor little mouse had fallen into the claws of a wretched cat; two minutes later you were sobbing beW^ith pleasure. I
in
little
mouse.
MODESTY
Heneiette.
Is
it
267
my
kindness to
dumb
animals.
wrong
to be kind to
dumb
of
animals ?
Albert
Albert.
That would be
no consequence,
weren't that
in the
you were
you engage
Henriette.
[Slightly disdainful.]
far
of analysis.
am
interested
Albert.
turn,
it's
And
yawn and
tinction.
Henriette.
Albert.
unfortunate
partly.
Yes, I have that
You
Henriette.
gift of
for the
Albert. Hm that sounds probable; I sha'n't say anything more about that just now. But while I'm on the subject, I have more than once noticed that you are guilty of the worst vice
woman
ever possessed
Henriette.
Albert. Albert.
fault,
And
what,
if
you please ?
Vanity.
I vain
?
Henriette.
you twist
[Unruffled.]
it
Every time I tell you a Not a word round to your own advantage. Whereas you
and gathering her
are rude
!
Henriette.
fault with
[Rising
virtuous indignation.]
You
I suppose
you would
find
me
if
I considered myself
more
whom
Albert.
Henriette.
268
PAUL HERVIEU
[She crosses to the other side of the stage
and
sits doion.
Albert
Albert. Albert.
rises
and goes up
!
to her.
Henriette
No
[Laughing.]
Hexriette.
pretending to be angry.
You wanted to see whether I could withstand your temper. Let us now proceed to the next chapter: your manner of dressing.
Hexriette.
[Now
really outraged.]
My manner of dressing ?
her.
You
dare
[Henriette
Albert.
Albert.
crosses L. Fronts
Albert following
Henriette. Henriette.
to think
And
Yes.
And do you think for one minute that me to my face ? You are the
to that
!
I'll
listen
vain one,
You
are the
Albert.
[Slightly perturbed.]
I'll
Be
careful
Henriette.
Let
me
You
much as calling me a fool ? You would be if you didn't read your morning paper regularly; so regularly that I know in adAlbert.
Which
is
as
Henriette.
Just about.
me
Albert.
a parrot ?
you, for you don't speak as
gets clouded, a parrot
Henriette.
has at least the
flatter
memory never
common
politeness to
teeth.]
Albert.
der
[Between his
won-
how you
fool.
me
so long
if
you thought
me
such a
Henriette.
Albert.
I believed
you harmless.
me
cruelly ?
MODESTY
Henriette.
269
we had
this discussion
You have wounded me. Thank heaven, though, Now I'll know how to conduct myself
!
toward you
in the future.
Albert.
time
!
Thank heaven
for tlie
same thing
It
was high
had
full}^
made
show
so, I shall
Henriette runs
?
to
him as for
Jacques.
What's
all this
noise
Henriette.
Albert.
Jacques.
tle t#te-a-tete.
Oh, Jacques
!
Just in time
Henriette.
Albert.
monsieur here
No,
an arm of Jacques
attention is constantly
His
from one
to
the
him in
turn.
Henriette.
Albert.
Jacques.
bert,
Henriette.
Stop
I'm going to
tell
him
first
Al-
you take a little stroll and cool off. Albert. [Retreating toward the door.] Charmed.
Henriette.
Jacques.
Then
both.]
I can
draw a
I'll fix
free breath.
[To Albert.]
[To
Albert.
Jacques.
I won't give
will I.
Henriette.
Albert.
Neither
Tut, tut
Good-day, mademoiselle.
Henriette.
Good-day.
270
Jacques.
[Exit
PAUL HERVIEU
Good-day, Albert.
Albert.
Henriette.
Jacques.
Thank
[Sits
[Sympathetically.]
me
all
about
it.
Henriette.
to
down on
sofa, inviting
Jacques by a
to
gesture
do the same.
criticised
me
my
me
face
He
did
It
Henriette.
about
it.
was so ridiculous
makes
sick to think
Jacques.
My
it.
Albert
must have behaved like a brute to make you so angry. Henriette. Yes, don't you think so? You think I'm
right
?
Jacques.
[Loyally.]
Of course I do.
Henriette.
Jacques.
Jacques.
When
is
once: "Henriette
Henriette.
Jacques.
Really
it
I said
Henriette.
Jacques.
al-
ways Henriette.
Jacques.
be wrong.
I flatter myself.
I felt instinctively
you couldn't
failingly considerate.
Henriette.
ever lose
Frankly now, do I
are always
my
Jacques.
Never.
With me you
patient, gracious,
modest
MODESTY
Hbnriette.
suffer
271
while ago, I
But
remember, a
little
made you
storm
Jacques.
But
Henriette.
Jacques.
It
was
all
my
fault.
Nothing more ?
hut standing
[Rising,
near her.
Henriette
hliishingly
looks
down
at her shoe.
Henriette.
Jacques.
Jacques.
Oh
sincerely.
Henriette.
Henriette,
it.
What
hav^e I to
do ?
[Same business.
embrace
her.]
Ah
is still present,
Henriette.
Wait
[Complete metamorphosis.
Her joy
but
it
Rising and
hand in
his.
Jacques.
Henriette.
long ago
?
remember what I
told
you not
Jacques.
Yes.
Henriette.
Jacques.
I
am
am
certain.
Henriette.
Jacques.
Jacques.
You
my
moral
am.
Henriette.
make one
it.
condition.
Name
Henriette.
Jacques.
On your word
of
honor ?
Tell me.
On my word
of honor.
272
Henriette.
time you find
PAUL HERVIEU
Will 3^ou swear to
tell
me
at fault
Swear.
Jacques. Jacques.
I swear.
Henriette.
my
promise.
Dearest
CURTAIN
JEANNETTE MARKS
The Deacon s Eat is reprinted by special arrangement with Miss JeanMarks and with Little, Brown and Company, Boston, the publisher of Three Welsh Plays, from which this play is taken. All rights reserved. For permission to perform address the author in care of the pubUsher.
nette
JEANNETTE MARKS
Jeannette Marks, well-known essayist, poet, and playwright, in 1875 at Chattanooga, Tennessee, but spent her early life in Philadelphia, where her father, the late William Dennis Marks, was professor of dynamics in the University of Pennsylvania and president of the Edison Electric Light Company. She attended school in Dresden, and in 1900 was graduated from Wellesley College. She obtained her master's degree from Wellesley 1903. Her graduate studies were continued at the Bodleian Library and at the British Museum. Since 1901 she has been on the staff of the English Department at Mount Holyoke College, South Hadley, Massachusetts. Her chief courses are Nineteenth Century Poetry and Play-writing. Miss Marks's mterest in Welsh life is the result of her hiking several summers among the Welsh hills and valleys. She became intimately acquainted with Welsh peasant life. It is said that Edward Knobloch, well-known dramatist, on one of her homeward voyages from one of her summer outings W^ales, pointed out to Miss Marks the dramatic possibilities of the material she had thus acquired. Three Welsh Plays was the result. Two of these plays, without the author's knowledge, were entered in 1911 for the Welsh National Theatre prize contest. To her credit, the plays won the prize. The complete volume appeared
was born
1917.
is
fine
study of the
life
of the
common
folk
CHARACTERS
Deacon Roberts,
a
stout, oldish
Welshman
Hugh
Williams, an
Gegin
earnest,
visionary young
Wash, a
stout,
kindly
woman who
latest
wishes to buy
Mrs. Jenkins,
the
Midwife,
after
baby
Tom Morris,
to
the Sheep,
who comes
pray
little
shop called
North Wales.
eleven.
Y Gegin,
set out
Upon
and
leek, also
codfish,
wrapped
in print paper,
etc., etc.
To At
ingle.
Between the
and
dresser]
and a
chair.
From
the rafters
etc.
On
place are latticed windows, showing a glimpse of the Before the fire
tall,
is
straight-backed chair.
the table
Between
and
left is
a door which
is the
entrance to
Y Gegin
bell.
At
rise of curtain
Hugh Williams
vest,
He
is
dressed
short,
by
Little,
278
JEANNETTE MARKS
behind, also trimmed with brass buttons, stock
his neck,
wound around
and
tight trousers
down
to his boot-tops.
Over
arm
is
an immense
basket.
Neli.
[Commandingly.]
[Still
is
going on reading.]
!
Haven't
I just said a
man
master, whatever
Hugh.
Neli.
Yiss, yiss.
word
am
sayin' whatever.
Hugh.
Neli.
word
ye're sayin'.
What
is it,
then
Hugh.
whatever
Neli.
[Weakly.]
'Tis all
about
aboutthethe weather
Hugh.
Neli.
little
too quickly.]
Nay,
have no plans
over-hastily.
Hugh
[Weakly.]
Hugh.
Neli.
sellin'
Nay,
I have
no plans whatever
ie !
[Reproachfully.]
Hugh
if
anythin' to anybody
that book
!
I leave ye with a
book whatever
Give
me
Hugh.
Neli.
[Obstinately.]
Nay,
!
I'll
Give
me
that book
little.]
Hugh.
ter
[Rising a
Nay.
man
is
his
cwn masIs
whatever
[Finding the book hidden in his coat-tail pocket.]
Neli.
Well,
I'll
he
to be
read in'.
Hugh.
79
Deacon Robof
delight.]
'Tis
Babylon."
He
it
lent
it
to
me
this
Neli.
[Resolutely.]
away from ye
this
noon
till
am home
[Sulkily.]
again whatever
Sellin'
Hugh.
Neli.
groceries
is
not salvation.
so.
They
as
[Looking at book with ill-disguised eagerness.] I dunno anybody ever found salvation by givin' away all he had for 'Tis certain Deacon Roberts has not followed that nothin'
!
way.
Hugh.
Neli.
indeed
[Still sulkily.]
A man
is
his
own
master, I say.
Is he
?
Well,
Hugh.
Neli.
[Crossly.]
Aye, he
is.
[Pointedly.]
plannin' to give
away
and speaking
groceries
An' I
am
the other
Hugh.
NsLi.
Aje,
ye'll
[Absent-mindedly.]
Maybe
But
Such an under!
Babylon
Hugh.
ish has
Aye, hot
tell
no man
in the par-
such a
gift of
ology.
In
all
Wales
his.
Neli.
in which
Ye have no need
to
me
?
that
Have
I not
I not a deep
Have
280
ister an' five
JEANNETTE MARKS
deacons an' a revivalist
in
my family,
to say nothin'
at
all of
Hugh.
Neli.
Aye,
'tis
a celebrated family.
am
no
Then what ?
[Pleadingly.]
souls.
it
Hugh.
fire
with
which to save
wickedness.
Give
Neli.
Oh, aye!
that ye are wicked, Hugh, an' needin' these essays, for ye have
Hugh.
smoke
talks.]
[Triumphantly.]
Aye,
aye,
till
that's
it!
That's
my
of Babjdon.
[Absent-mindedly tucking book away on shelf as she
Neli.
fire
less far
Well, I
am
thinkin' about
my eggs which
in that
mornin*
for her
Hugh.
Neli.
ever ?
[Watching her
covertly,
steal eggs
what-
Hugh.
Neli.
[Repeating.]
Aye, not
if
Hugh.
Neli.
'Tis
if
[Craning neck.]
Hugh
iel
Now
never get
correct again!
Hugh.
starin'
me
in the face.
281
characteristic of her,
and
at
Hugh
him and
am
gone to market.
Hugh.
Neli.
And
ye're to be
on the lookout
for
Wash,
an'
for
it'll
be needin' somethin'.
[Pointing to counter.]
away
D'ye hear.
Aye, I hear
Hugh.
Neli.
is,
for this
is
the
day
Tom
Hugh.
Neli.
Aye,
Good-by.
Hugh.
[Indifferently.]
Good-by.
centre.
[Neli Neli.
readin'
leaves
by door at back
Immediaiely
Hugh
no
steals
[Thrusting
head back
in.]
Mind, Hughie
shelves
lad,
Hugh.
rotlike.]
away from
Nay, nay, no
readin',
ology
Neli.
An' no salvation
till
come back
and
is
gone.
Hugh
starts
forward, collides clumsily with the counter in his eagerness, knocks the basket of eggs with his elbow, upsetting
it.
He
the
He finds
book
and hugs
greedily to him.
Hugh.
[Mournfully.]
Look at
sellin'
this!
What
!
groceries
If
gets out
a box of
282
eggs,
JEANNETTE MARKS
from which he
a
refills the basket.
leaves
floor.
He
little
He
and
sighs in
happy
quietly.
anticipation.
Hearing a
locks
it
An
Da,
if
think no one
is
at
home whatever,
to
an'
little
read slowly
and
The smoke
filled
of Ba-by-lon
was hot
scorchin' hot.
An' 'twas
[There
is the
the
shop
steps, followed
by a hand trying
his sermons,
face.
Hugh
The door-knob
[Calling.]
Mrs. Williams,
mum,
[No answer.
Calling.]
Mrs. Williams
Mrs. Williams!
[Hugh nods approvingly and lifts his volume to read. Mrs. Jones the Wash. Where are they all whatever.^
will just look in at the
flattened against the
window.
[.4 large,
kindly face
is
anxiously
window.
At
that
Hugh
drops in consterna-
pin'
Mrs.
Williams,
mum, Mrs.
rings,
and then
Neli.
goes.
Suddenly
appears.
and
Neli VfiLLiAMS
Hugh
?
What
is all
83
table
!
Under the
to
Hugh.
keep
silent.]
up
his
to
buy her
soap whatever
Neli.
HuGPi.
Aye,
why
didn't she
come
in
whatever
.?
[Whispering.]
whatever!
in at
Neli.
an' after
liams,
[Indignantly.]
all
I said
Hugh
Wil-
Hugh.
Neli.
an'
came back
for
my
purse.
Put
but, Neli
[Angrily.]
what
I need in a
husband
tomer; very
where.
like
much more of Ye have sent away a cusWash after soap will go else!
Hugh.
Neli.
Get up Some one is coming. [Hugh gets up very unwillingly. Hugh. [Whispering still.] Aye, but Neli Neli. [Angrily.] Put down that book, I say
!
[She crunches
over
some
eggshells.]
Eggs ?
Broken ?
Aye Neli,
Hugh.
Neli.
gether
eggs
[Putting
.
down
.
hook.]
my
eggs in Babylon
[Sarcastically.]
doleful
all
over the
eggs.]
last
week.
[Wiping up
in the
284
JEANNETTE MARKS
Wash had
left
Hugh.
Neli.
But, Neli
Not a word Your mind has gone quite on the downfall lockin' doors against your own bread and butter an' soap. Hugh. [Unlocking door sullenly.] But, Neli, salvation an'
[Disappearing through door back
centre.]
soap
Neli.
[Snappily.]
Hugh.
Neli.
But, Neli, a
Yiss, I see he
man
is
!
is
his
own
master.
[Neli goes
out,
slamming door
noisily.
Hugh. Dear anwyl, she seems angry [Hugh opens street door left just as Neli
kitchen, by door back centre.
the door
Hugh
has unlocked.
and goes
stout
over to counter in a
tight trousers,
high collar
and
stock, woollen
gloves,
tall
Welsh beaver
Under
counter,
his
arm
he carries a book.
Deacon Roberts.
gloves, putting
down book on
to
Hugh.
.]
Nay.
if
Deacon Roberts.
ye had been
[Unwinding his
I have.
Ye
look as
in spiritual struggle.
Hugh.
[Drearily.]
Deacon Roberts.
'tis
neither the
me any
!
struggle except
well, I
ho
ho an' eat
!
say
285
In Bala.
[Laughs
in
jovially.]
Ho
ho
live
an eat
Bala
Hugh.
[Patiently.]
With that
[Umvinding
I
Deacon Roberts.
jdss,
last
lap of muffler.]
Yiss,
if
Hughie
lad.
But
dunno but
.ye will
understand better
ho
ho
not
the angel of
fire,
Where
is
Neli ?
I
Hugh.
fine
[Vacantly.]
dunno
An'
lad,
yiss, yiss, at
market.
Deacon Roberts.
day
for
[Chuckling.]
!
marketing
my
ness of Babylon,
Hughie
yet.
how
Have ye
finished
them ? Hugh.
Nay, not
Deacon Roberts.
Pickles
yiss,
Pickled herrin' grand but wet dear me, Neli'san' good Butter from Hafod-yPorth sweet as honey [He picks up a pat of and
after another as he mentions
! !
butter
sniffs
it,
He
and lays
down
it
He
and dusts
it
out inside.
He
lingeringly.
He
ing from
it to
on
to codfish.]
Neli Williajms's bread, glancthe butter.] Bread Dear me [His eyes glance American codfish [picks up package and smacks
lifts
up a
loaf of
[reads]
"Gloucester."
Eggs
are
they
Hugh.?
I dunno.
But
fresh
.?
I broke
some
of them.
[Looks at floor.
Deacon Roberts.
Hugh.
I dunno.
Were they
286
JEANNETTE MARKS
[Sharply.]
Deacon Roberts.
Hugh.
'em
[Troubled.]
Dunno ?
About
eggs ?
[Picks
Neli's hens laid them.
I see, Neli's hens laid 'em, an'
!
up
egg.
Deacon Roberts.
!
you broke
and turn-
Admirable arrangement
[Putting
down
the egg
Hugh.
[More
cheerful.]
Yiss, I think.
Deacon Roberts.
Hugh.
have
proves
[Injured.]
if
[Starts.]
Where
How
can I say ?
told her
had
seen,
Neli re-
me
groceries.
Deacon Roberts.
married
life
!
[Chuckling.]
Aye, Hughie
lad,
such
is
Let a
I
man marry
he
have chosen
my
thoughts.
Hugh.
without
But the
cat
[Briskly.]
Deacon Roberts.
risk.
Aye, a
man
Hugh. Nay, nay, I mean the cat took 'em. I dunno. That's [Hugh clutches his head, trying to recall something.] Uch, Neli told me to remember to ask ye if ye thought that's it
it
Deacon Roberts.
Hugh.
[Troubled.]
[Puzzled.]
Eggs
steal
a cat ?
.?
at
[With solemnity.]
starin'
me
in the face.
Deacon Roberts,
Hughie
lad, the-
Deacon Roberts.
ology
is
[Relieved.]
Yiss, yiss
But
there's
no money
in theology.
[Sighs.]
And
man must
287
beautiful herrin'
comers of his mouth and picks up a fish from Pickled? ping, by tail.]
drip-
Hugh.
Tuppence.
to-day.
Deacon Roberts.
Hugh.
sentence
Dear
I duniio.
Neli
Deacon Roberts.
and pointing
Cheese ?
Hugh.
lifts
shillin',
I'm
thinkin'.
shillin',
Deacon Roberts.
knife
Hugh.?
[Deacon Roberts
The
leaf
it
and drops
it
lightly
on edge of
cheese.
pares
off he picks
up and
pushing hi the
crumbs.
looks slyly at
Hugh.]
Was
it six-
pence ye
Hugh ?
Yiss,
Hugh.
sixpence, I think.
Deacon Roberts.
Hugh.
animation.]
[Sighing.]
[Sarcastically.]
Still
too dear,
Hugh
I dunno,
it
might be dear.
fell
[With m/yre
Deacon Roberts.
speaks decisively.]
hat,
No
tall
Welsh beaver
to the shelves,
mops
up
begins to dust oui inside of hatband again, but with a deliberate air
of preparation.]
What
to
is
Hugh.
forefinger.]
[Trying
Nay, nay, Come, come, brush the smoke of In a minute I must be goin* burnin' Babylon from your eyes
[Giving his hat a final wipe.]
!
that ?
back to
my
study, whatever.
[Hugh takes a chair and mounts it. The Deacon looks at Hugh's back, puts his hand down on the counter, and picks up an egg from the basket. He holds it to the light
and
squints through
it to
see whether
it is
fresh.
Then he
288
turns
it
JEANNETTE MARKS
lovingly over in his fat palm,
slides
it
makes a dexterous
This he follows with two more eggs for same coat-tail and
three for other
Hugh.
egg.]
[Dreamily pointing
Is
it
Yankee corn ?
above
ox tongue ?
Deacon Roberts.
Nay, nay, not
Hughie
Hugh.
[Absent-mindedly touching
Is
it
Nay, nothin' so
large as that.
American condensed
egg.]
what
it is.
Deacon Roberts.
Hughie ?
[Slipping
in
fourth
Condensed
Back
Hugh.
[Stretching
up almost
Kippert herrin'
Is
it
that ?
little
Deacon Roberts.
further up,
if
Nay, nay, a
reading.]
you
please.
still
Hugh.
[Gasping, but
reaching
Is
it
up and
Uto
that ?
Deacon Roberts.
ity
Nay, nay,
Why
Did
me what
Hugh.
[Surprised.]
say whatever?
Deacon Roberts.
lad.
[Amiably.]
Hughie
relishes
'Tis
Hugh.
on that
I must
tell
We have
up
Deacon.
289
wrapped in
[Picking
up a pound
of butter
up there ?
fast whatever.
Hugh.
I
must
tell
bottle ju^t
above
reach to a
Deacon Roberts.
his hat on his head.]
pound
and
American, Hughie
is
lad.
The Deacon
turns,
and
fectly
what
the
other has
seen.
thrown
hat.
and taken
Welsh beaver
She
clogs
sleeves,
hair.
Neli.
[Slowly.]
Uch!
for
whatever
Hugh.
[Turning
[Los-
and, with
out to
nothing
is
and
Hughie
Achoo
!
picking himself
up and
to
Achoo
Achoo
Neli.
[Going quickly
to
wipe brine
from husband's forehead and cheeks ; at the same time has her back to the Deacon and forming soundless letters with her lips, she jerks her head toward the Deacon.] B-U-T-T-E-R
!
Hugh.
hurt
[Drearily.]
Better.?
It did not
me
whatever.
Neli. [Jerking head backwards toward Deacon Roberts, and again forming letters with lips.] B-U-T-T-E-R Hugh. What, water ? Nay, I don't want any water.
!
290
JEANNETTE MARKS
[Coughing,
ill
Deacon Roberts.
jriciously at howl that
at ease
has come
to rest
near his
leg.]
Ahem
on.
'Tis
mum,
an' I
must be movin'
Neli.
[Savagely to
Deacon.]
Deacon Roberts.
hy a woman.]
'tis
[Unaccustomed
way
Well, indeed,
go.
mum,
I'm thinkin'
cold an'
I'd better
Neli.
[Again savagely.]
Nay, stay
Stay for
for what ye
Then she goes
came
for
whatever
at the
Deacon.
The
Deacon
away with
then,
[Smiling.]
'Tis unnecessary to
remain
What
did he get
!
.?
Hugh.
Achoo nothin'
interest, looking at the floor.]
is
Deacon Roberts.
Well, indeed
[With sudden
Neli.
[Suspiciously.]
What
it?
difficulty to
He aims
a red
forefinger at
it,
lifts
himself,
Deacon Roberts.
'tis
[Smiling.]
!
[From
picks
up an
egg,
which he
tosses lightly
and
replaces in basket.]
mum.
must be
steppin'
homewards.
Hugh.
wringing
tellin'
it
Neli
it.]
ye when I
!
och, achoo
achoo
Deacon Roberts,
[With finality,
tossing
the
egg
in
air,
291
and putting
it
back in basket.]
Well, indeed,
mum,
must be
steppin'
homewards now.
on
fire
cloth.
Deacon.
Neli.
the
fire
What
an' wait
!
is
Deacon Roberts.
need any more
Neli.
I have
no
[Coughs.]
[To Hugh.]
!
Take him
to the
fire,
Hugh.
'Tis a cold
day whatever
[Insinuatingly to
Deacon.]
Have ye a
reason
Mr. Roberts ? Deacon Roberts. [Going.] Nay, nay, mum, none at all But, I must not trouble ye. 'Tis too much to ask, an' I have
for wantin' to go,
no time
Neli.
Roberts,
to spare an'
and not without acerbity.] Indeed, Mr. what we can is our profit. [To Hugh, who obediently takes Deacon by arm and pulls him toward fire.] Take him to the fire, lad. [To Deacon.] What kmd of a relish was it, did ye say, Mr. Roberts ? Deacon Roberts. [Having a tug of war with Hugh.] 'Tis an Indian relish, mum, but I cannot wait.
[Interrupting
sellin'
Hugh.
Telish,
[Pulling harder.]
American, ye
said.
Deacon Roberts.
that
is.
[Hastily.]
Yiss, yiss,
American Indian
Neli.
Tut,
'tis
We
ing.
have
several.
down by
the
fire
while I look
them up.
[Wickedly.]
As ye
said,
Mr. Roberts,
'tis
Deacon Roberts.
ye.
[Looks at
clock.]
my
[Pulls harder.
Neli.
[To Hugh.]
Keep him hj
the
fire,
lad.
292
JEANNETTE MARKS
There, Hughie lad,
let
Deacon Roberts.
[But
me
go
Hugh
holds on,
and
the
Deacon's
coat begins to
come
off-
Neli.
I think
[Sarcastically.] will
The relish American Indian, ye make your dinner taste find and grand
!
said,
Deacon Roberts.
hind he
is
unable
to go,
Hugh and
speaks
siveethj to
Nell]
'Tis
mum.
But
Nell
hat.]
Deacon Roberts.
of indifference.]
'Tis
Mrs. Williams,
Neli.
of the relish,
mum.
recollection of the
Have ye any
name
of the
maker
his
and parting
his freighted coat-tails with care ; then, revolving, prelarge, well-set, bright-colored
it,
patch to the
Mrs. Williams,
it.
mum.
upon
is
Neli.
chair.
sure to find
[She mounts
enters
and there
She
very fat
and
very jolly.
Neli
little.]
you
please.
Sit
down
until I find
Deacon Roberts's relish whatever. Mrs. Jones the Wash. [Sits down on
centre
mum,
no
thank you.
one was
in.
come
for soap.
came once
before, but
Nell
An' I looked
in at the
window
an*
293
Have ye
Have
any
rats
Well, indeed,
'tis
Wash
Well, I
came back,
for the
water
is
soap to-day as
!
if
'twere sweets
aye,
'tis
a very meltin'
[Laughs.
day
for soap
Deacon Roberts.
Wash.
'Tis
[Laughing.]
Yiss,
yiss.
Deacon
many
many a prayer risen up from the suds Deacon Roberts. [Solemnly.] Aye, Mrs.
holy work, washin'
is
'tis
Mrs. Jones the Wash. [Touched.] Yiss, yiss, I thank ye. Deacon Roberts. Deacon Roberts. Well, I must be steppin' homeward now. Neli. [Firmly.] Nay, Mr. Roberts, I am searchin' on the Ye act as if shelf where I think that American Indian relish is. ye had some cause to hurry, Mr. Roberts. Wait a moment, if
you
please.
indeed, but I
am
?
keepin' Mrs.
Neli.
Ye
I
are in no haste
am
'tis
grand
an'
warm
here whatever.
[Maliciously
to
Neli.
Deacon.]
Does
it feel
hot by the
fire ?
Deacon Roberts.
[Experiencing
novel
sensations
on
the
crown of his bald head.] Mrs. Williams, mum, 'tis hot in Y Gegin, but as with Llanycil Churchyard, Y Gegin is only the portal to
Proverbs
saith,
What, then,
shall
be the fate of
wis-
mum ?
294
Neli.
JEANNETTE MARKS
[Searching for
relish.]
Aye, what?
[She sighs.
ris
The
hell
THE Sheep
is
enters.
etc.
herd's cloak,
etc.,
and Tom MorHe is dressed in gaiters, a shej)He carries a crook in his hand.
half-foolish look.
He
Neli.
in an' sit
strong,
[Looking around.]
Tom
down.
am
lookin' out
an American Indian
the deacon.
Sheep.
Yiss,
mum.
am wantin' to buy
hillsides
tobacco,
mum.
'Tis lonely
upon the
with the
sheep, whatever.
liams,
Deacon Roberts. [Hastily.] I must go now, Mrs. mum, an' ye can wait on Tom Morris. Tom Morris the Sheep. Nay, nay, Mr. Roberts, sir,
no
haste.
Wil-
there
is
Neli.
please.
[To
Tom Morris.]
Sit
down
there
by the door,
if
you
[Tom Morris
centre.
seats himself
Sheep.
Yiss,
mum.
Jones,
mum.
Yiss, yiss, an' as I
!
was
just sayin*
Neli.
An' perhaps
'tis
[She looks at
Deacon.
Hugh.
[Earnestly.]
am
hopin'.
[Picking
to
up
from
the
little
three-legged table,
and speaking
ground
the
Deacon.]
They
in Llanycil
Churchyard
achoo
achoo
295
fire.]
Hughie
[He
they
casts
for all
Mrs. Jones the Wash. [Nodding head.] True, [Chuckling.] But 'twould be a grand place
!
room
to dry the
clothes in
Deacon Roberts.
paved with words
[Severely.]
Mrs.
Jones,
mum,
hell
is
of lightness.
Hugh. [Looking up from book, his face expressing delight.] Deacon Roberts, I have searched for the place of hell, but one book sayeth one thing, an' another another. Where is hell ? Tom Morris the Sheep. Aye, where is hell ?
[The
bell
rings violently.
Mrs.
She
is
an old woman,
and
iviih
am
just lookin'
down by
the
fire,
please.
of
I'm
in
no haste,
mum.
Aye, Jane
Elin's, an' 'tis
my
sixth
hundredth
birth.
Hugh. We're discussing the place of hell, Mrs. Jenkins, mum. Mrs. Jenkins the Midwife. Well, indeed, I have seen the
place of hell six hundred times then.
up and down
with us here.
over stick.]
Heaven
an' hell
Hugh.
place of
hell.
where
is
the
Deacon Roberts.
Aye,
the
place
of
hell
296
JEANNETTE MARKS
it off,
then going
straight up] to
me
their
way
is
Neli.
[Pausing
sceptically.]
Aye,
'tis
my
Mr. Roberts
Tell us
Hugh.
querulous.]
quickly.]
where
is
that place
Deacon Roberts.
Yiss, jdss.
[Neck
rigid,
head unmoved,
and
voice
[Putting his
believe that
it
hand up and
letting it
?
down
Ahem
Ye
rains in Bala
Hugh. [Eyes on Deacon, in childlike faith.] I do. Mrs. Jenkins the Midwife. Yiss, yiss, before
every birth whatever
an' after
Yiss, yiss,
?
better
rains in Bala
Sheep.
Aye, amen,
rains in
Bala upon
Deacon Roberts.
Ye
believe that
it
can rain
in
Bala both
when the moon is full an' when 'tis new ? Hugh. [Earnestly.] I do. Mrs. Jones the Wash. [Wearily.] Yiss, any time. Tom Morris the Sheep. Aj^e, all the time. Mrs. Jenkins the Midwife. Yiss, yiss, it rains ever
forever
an'
Neli.
Well, indeed,
times.
to Neli.]
'tis
true
it
Deacon Roberts.
that Tomen-y-Bala
is
[Paying no attention
Ye
believe
Ararat ?
Hugh.
whisper.]
and speaking in a
Yiss,
the
Hill
of
Bala
is
Sheep.
Yiss, I
slieep
over
297
Deacon's
so.
Deacon Roberts. [Still ignoring Neli and lowsring his coatYe believe, good people, that the Druids called tails carefully.] Noah "Tegid," an' that those who were saved were cast up on
Tomen-y-Bala ?
Hugh.
IVIrs.
'tis
Amen,
I do
Aye,
true.
Yiss, yiss.
Amen,
'tis so.
Deacon Roberts.
JtrCy
checking
it
in midair.]
lake, an'
Bala
will
become a
Hugh. Amen,
Neli.
I do
Yiss,
yiss
'tis
true
that
is.
Dear anwyl,
Deacon Roberts.
Hell
is
out there
at their
will
comin'.
fall
Howl ye
[Shouting loudly.]
Howl, ye sinners
Scorchin' hot
oHowl
jams
like
it
ye
howl
Oo
as if stirring
!
down more tightly on his head. Unclasping his hands and up the contents of a pudding-dish.] 'Round an' round this Howl, ye sinners, howl [All moan and sway to and fro except Neli.
[Sceptically.]
Neli.
What
is
there to
fear.?*
[Groaning.]
is
Mrs. Jones the Wash. Aye, outermost darkness, Och! Tom Morris the Sheep. Have mercy
Och!
298
JEANNETTE MARKS
[Shouting again.]
off
Deacon Roberts.
your eyes
twinkling.]
!
Lift
up
is set straight
in a
Beg
is
for
of darkness
burn
is
Neli.
ous
Deacon's
true,
'tis
eloquence
and now
!
oblivi-
to hat, etc.]
'tis
very true
[She steps
down from
chair
counter.
Deacon Roberts.
her.]
Sister, hast
Neli.
[Terrified
?
his eloquejice.]
Two
eyes
to be burned
and rocking
to
and fro.
Deacon Roberts.
with sudden violence.]
in
is
Here
in Bala, here
!
Y Gegin,
[All
here with us
together.
Howl ye
Howl, ye sinners
moan
Hugh. [Whispering.] Uch, here Mrs. Jenkins the Midwife. Yiss, Mrs. Jones the Wash. Yiss. Tom Morris the Sheep. [Terrified.]
Neli.
[Whispering.]
here!
Aye.
!
Amen
Yiss
Here
in
Gegin
Deacon Roberts.
vapors
!
to his face.]
Stones
Howl
ye, howl,
ye sinners
[All
moan and
groan.
Takes a glance at
neck
clock, passes
hand
over face
turning to purple.]
not midnight,
its
knows when comes that hour of hell ? Neli. [Taking hands from counter and crossing them as she whispers.] Who knows ? All. [Groaning.] Who knows ? Hugh. [Voice quavering and lifting his Wehh essays.] Who knows ? Deacon Roberts. [Big yellow drops pouring down his face.
299
hell.
I will
Is
tell
ye when
is
the hour of
?
[He points
to the clock.]
hell
Nay.
Six.'
Two ?
Nay.
yet.
.'*
Nay.
Seven?
Eight ?
Three ?
but
'tis
No, not
not.
three.
Five.'*
Four ?
of hell,
Nor
five,
Nay, not
hour
[The
an hour bright as
Deacon
this bright
hour
Nay, eight
'points
not.
and
'Tis comin', I
!
say
Howl
lift
!
ye,
howl
Sinners, sin-
ners,
up your eyes
Cry
for
mercy
[All groan.]
'twill
!
Cry
for
mercy
hell
!
When
be the hour of
!
ten
The
stroke
Lis-
dropped on
their knees
the clock
awful stroke.
Neli's hands
Mrs. Jenkins the Midwife is nodding her old head. Mrs. Jones the W^ash on her knees, her face upturned to the clock, is rubbing up and down her thighs, as if at the business of washing. Tom Morris THE Sheep is prostrate and making a strange buzzing
sound between his
piece whir
lips.
The
and
turn.
:
Then in
the silent
noonday
the
Deacon Roberts.
voice.]
and
terrible
!
Hell
let
loose
Howl ye
rises
Howl, ye sinners
The
[All
Neli's bosom
and falls
Lest worse
happen
to ye, sin
no more
[The
Deacon
Then he
lifts
his
hands in sign of
and vanishes
silently
terstill
Nothing happens.
But
at last
Neli fearfully,
lifts
spellbound by the
Dkacon's
eloquence,
her eyes to
300
JEANNETTE MARKS
the clock.
fire
little
toward the
and
!
the place of
Deacon Roberts.
The Dea-
Neli.
con
is
Uch
gone
[Raising his eyes.]
Hugh.
Neli.
he dead
Uch, what
is it ?
Babylon
Is
Babylon nothing
he dead
Is
Neli.
Uch, ye old
hypocrite, ye villain
an'
Uch,
my
butter an'
my
eggs,
my
butter
my
eggs
it to
Deacon
midday sunshine.
Mrs. Jenkins the Midwife. Well, indeed, what is it.' Has she been taken ? Mrs. Jones the Wash. [Getting up heavily.] Such movin' eloquence A saintly man is Deacon Roberts Tom Morris the Sheep. Aye, a saintly man is Deacon
! !
Roberts
Hugh.
[Picking
up
his hook
and speaking
hell
slowly.]
Aye,
it
elo-
know-
a treat
Mrs. Jenkins the Midwife. [Very businesslike.] Aye, 'twas But where's my pins now ? a rare treat Mrs. Jones the Wash. [Very businesslike.] Yiss, yiss, 'twas a grand an' fine treat. But I'm wantin' my soap now. Tom Morris the Sheep. Have ye any tobacco, Hughie
lad?
curtain
WHERE BUT
IN AMERICA
BY
OSCAR M. WOLFF
Where But In America is reprinted by special permission of the author and of the Smart Set Magazine, in which this play was first printed. For permission to perform address the author at Room 1211, 105 Monroe
Street, Chicago, Illinois.
OSCAR M. WOLFF
Oscar M. Wolff was born July 13, 1876. After graduation from Cornell University he completed his law course in the UniIn addition to his interest in law, which he versity of Chicago. has practised and taught, he has done considerable writing and editing. He has published a legal text-book, and his articles on legal subjects have appeared both in law journals and in magaDuring the war he was connected with zines of general interest. the United States Food ^Administration at Washington. At present he lives in Chicago, Illinois. In addition to some stories, he has written several one-act plays: Where But in America^ The Claim for Exemption, and The
Money -Lenders.
Where But in America is an excellent play of situation, as well as a delicate satire on a certain aspect of American social life.
CAST
Mrs. Espenhatne
IVIr.
Espenhatne
Hilda
WHERE BUT
SCENE
:
IN AMERICA*
The curtain
ing
on
the
Espenhayne dining-room.
There
is
It is furnished
a door,
left,
centre, lead-
and a swinging
door,
leading to the
kitchen.
The
table is set,
discov-
Americans.
of thirty ;
Robert Mollie an
is
man
The
attractive
woman
of twenty-five.
Bob.
Kenilworth.
He wants
and
it
to
sell
the house.
in
Mollie.
from the
far
station,
know
Bob.
How
so,
Mollie ?
the Russells
Mollie.
Park
built.
You remember
moved
to Highland
last spring ?
Bob.
Yes;
Ed
Mollie.
sell
once told
me
that the
will
man who
M.
305
built
it will
for
And
303
the
OSCAR
man
is
M.
WOLFF
their place.
Bob.
Why
don't
we
it
man ?
It
MoLLiE.
Wasn't
stupid of
this
me
my mind
me
Bob.
or
letter to Fanny Russell. I asked her name at once, and where we can find him. You ought to have an answer by to-morrow Good
his
Thursday and
MoLLiE.
we'll
Saturday.
Wouldn't it be wonderful if Fanny Russell says every detail what we want Even the garage; they use it of theu- house is perfect. Bob. [Interrupting.] Mollie, that's the one thing I'm afraid I've said repeatedly that I of about the North Shore plan. don't want to buy a car for another year or tv/o. But here you
[With enthusiasm.]
!
are, talking
what I was saying. playroom for the If we had a garage we could do the same thing. children. Bob. Well, let's keep temptation behind us and not even If we move up north it must talk to the man about a garage.
Mollie.
didn't let
finish
But you
me
The
up
their garage as a
You
Mollie.
[Bob and
Mollie
at the
have
now
their spoons.
and
same
and speaking
!
very im-
pressively.]
Bob.
What
well,
and with a touch of impatience.] You what of it. I don't want Hilda to hear us say one word about moving away from the South Side
Mollie.
[Decidedly
know very
WHERE BUT
Bob.
[Proiesting.]
IN
AMERICA
307
But Mollie
and holding her finger
Shs
is
MoLLiE.
[Interrupting hurriedly
to her
lips in warning.]
Psst
Hilda
enters, left.
tall,
blonde
is
Swedish
pretty
girl,
She
very
and
carries
and
looks particularly
charming in a maid's
and
cuffs
and a dainty
is
waitress's apron.
immacidate.
Mollie.
Hilda appears and talking Hilda remains in the room. While Hilda rather than Robert, whom she In the last game Gert Jones was my
I'll
I had a very
weak no trump.
admit
that,
them
Mrs. Stone bid two spades and Gert Mrs. Stone played two spades, doubled,
go to three of anything.
made them.
Of
I think that
it
was a very
was
my
fault,
Mollie
Bob first
looks at her
in open-mouthed astonishment.
Then as he gradually
her closely in
is
Meamchile PIilda
to
any-
She
carries
Mollie
speaks,
Hilda
first
carving-knife
before
exits
from the table, then brings the and fork from the sideboard and places them
then, with the
Robert, and
left.
Hilda as
308
OSCAR
she goes out.
her,
M.
WOLFF
the door swings shut behind
The instant
MoLLiE
Bob.
Mollie,
why
and
find out
she will
Mollie.
cious.
man
dissatisfied
and suspi-
leave.
[Thoughtfully.]
Of course, I
must speak to her before we sign a lease, because I really don't know what I'd do if Hilda refused to leave the South side. [More But there, we won't think about the disagreeable cheerfully.]
things until everything
is
settled.
Bob.
Psst!
Mollie.
[Hilda
left,
Mollie.
last
[Immediately resuming
her monologue.]
I think
rained
all
my last year's
times.
it;
hat
will
do very
nicely.
You know it
summer and
do very
dear ?
[Bob starts to answer, but Mollie rushes right on. Of course you do, you remember you said it was so becoming. That's another reason why I want to wear it this summer.
[Hilda, meanwhile, puts the plates on the table in front of
out, left.
Mollie
[Holding his Jmnds over the plates as over a fire and rub-
She
is
a gem, Mollie.
If
Mollie.
you are
finally conlittle
bit
309
in the
Bob.
What
we
are
MoLLiE.
Bob.
It's
Well, I don't
want Hilda
to think
making
[Pauses.]
Answer that, Bob. Bob. Won't Hilda answer it MoLLiE. [Standing up quickly and speaking impatiently.] Very well, I shall answer it myself. I can't ask Hilda to run to
MoLLiE.
.'^
is
Bob.
All right
at the
[Bob
As
to
he does so
Hilda appears
it,
door,
hurrying
MoLLiE.
Mr. Espenhayne
answer
Hilda.
[Hilda makes
draws
dishes
left,
and small
Mrs.
re-
Espenhayne.
enters, centre.
Bob
Bob.
Hilda.
eet now.
Somebody
[Surprised.]
For me.^
Oh!
But
I cannot answer
[Hilda speaks
accent.
some Swedish
is the
pre-
cision
and
syllable.
MoLLiE.
party you
number
yourself, Hilda,
and
tell
the
Hilda.
[Hilda
Bob
310
OSCAR
leaves the room,
M.
WOLFF
looks at
Mollie
with
a bewildered expression.
Bob.
But
Mollie.
diflPerent,
But
see.
this call
is
That's quite
you
Bob.
[Sits
[Slowly
and
thoughtfully.]
Oh, yes
Of course; I see!
down
in his chair.]
That
is
Mollie.
[Bob
in a cautious whisper.]
Do
very
important manner.
Mollie.
Bob.
hiding,
[In the
impatiently.]
Who.^
is
if to see if
any one
in
his
hand
to his
the whisper.]
The
Terrible Swede.
Mollie.
to
and
very
much
exasperated.]
Kobert, I've told you a hundred times that you shouldn't refer
tothe man
Bob.
in that
way.
And
If I
if
I've told
his
name.
knew
you a hundred times to ask Hilda his name I'd announce him with as much cereOh, don't try to be funny
of
mony
as
Mollie.
Bob.
him.
Suppose
him
in that
manner ?
of
You know
that's mild
compared
to
Mollie.
for the
him and you know it. Of when she marries him, but I wouldn't world have her think that we speak disrespectfully of
I think very well of
Bob.
"A
man's home
is
his castle."
is
a gesture of impaiience.
to
Mollie
and Bob
Both
sit
sit
WHERE BUT
A
long pause.
IN
AMERICA
Sll
uneasily.
hastily
Mollie unclasps her hands and shifts Robert does the same. Mollie, seeing this,
His
rest-
Robert,
lessness
and when he
glass.
Bob
drains and
refills
his
Mollie.
shifts or
Robert and
every time he
Isn't to-
calls
to
Bob.
And
dances on Sundays.
line of attack.
to
experiment
learn
He
seems
plates
He
a
and lower
boldly, muttering,
as he does so,
clatter
"Cold as
"
Drops
Shakes
is
and a smothered
oath.
his fingers
Meanwhile Mollie
Bob
Bob
and
He drains
the ceiling
his glass.
He
and
Bob
a sidelong glance
at
Mollie.
She
is still
it
staring
at him.
He
Picks
up and
holds
it to
the light.
He
rolls the
as he continues
to
gaze at the
light.
312
Bob.
night
OSCAR
Starlight!
M.
WOLFF
Will Hilda talk to
Starbright!
him
all
MoLLiE.
and
refills
and
He
it
examines
it criticalhj,
then
at-
and
up with
After one
him.
MoLLiE jumps
to
at the noise.
Bob
turns sloicly
and
back
an injured
air, then
turns
MoLLiE
with a
silly,
vacuous smile.
He now lays
all the
Bob.
and
silver,
Catch a
[Stops suddenly as
an
Gazes thoughtfully at
If
we
may
go.
Eeny,
mee
MoLLiE.
Bob,
if
[Interrupting
all
and exasperated
[In
I believe
my
it;
sick
headaches
feel it
hand
know
I can
coming on
Bob. [In a soothing tone.] Hunger, my dear, hunger When you have a good warm meal you'll feel better. MoLLiE. [In despair.] What do you suppose I ought to do ? Bob. Go out in the kitchen and fry a couple of eggs. Hilda MoLLiE. Oh be serious I'm at my wits' end
!
!
Bob.
a
living,
What
anyhow ?
MoLLiE.
How
should I
know ?
WHERE BUT
Bob.
IN
?
AMERICA
me
313
MoLLiE.
business;
about your
why
Bob.
States.
cigarette.]
Mollie.
Bob.
hand.]
[Suspiciously.]
that.?
The Constitution
all
"Whereas
it
is
a self-evident
truth that
men
Mollie.
That's
Mollie.
what's right
fun of
me
all
you
please,
but I know
influence
me
in the least
not
in the least
Bob.
[Murmurs
All I
and
feelingly.]
.'^
[Abruptly.]
true!
that
.^^
Mollie.
is
have to work.
Bob.
The chances
Mollie.
worries
into the
and
doubtfully.]
me
little.
money
tell
intointo
that this girl
find out
young man's
Bob.
gives her
[Indignantly.]
Do
he
you mean to
or
me
money
to that fellow
thing about
him ?
Who
is
what he does ?
I suppose she
Mollie.
[With dignity.]
He's not a
loafer.
I've seen
him
I
and I've talked with him, and I know he's a gentleman. Bob. Mollie, I'm getting tired of all that kind of drivel.
314
believe nowadaj's
OSCAR
women
M.
WOLFF
more thought to
MoLLiE.
leave you
fully]
[Demurely.]
much
[pauses thought-
much
up.]
Bob.
on
the table
and standing
fifteen
rupted for
it,
I will.
Mollie.
[Sternly,
pointing
Bob's
chair.]
Robert,
sit
down
[Bob pauses, momentarily, and
centre,
at the instant
Hilda
entersy
to face.
Both are
startled.
Bob,
iable.
Bob
sits
down
and
are severe
and unfriendly.
They gaze
Hilda
coldly.
and
Hilda.
am
very sorry.
left.
[Hilda exits
Bob.
It's all
nonsense.
[Hilda
Places
it
before
Bob.
He
Mollie.
not answer.
serves the
tables.
Vegetables
[Bob
is chetving
Mollie
softly,
looks at
him
inquiringly.
[Still
But
on his
plate.
Repeating.]
Vegetables }
breath.]
no answer from
Bob.
Very
under her
H'mm.
and then
dishes out
[Mollie helps
herself to vegetables
WHERE BUT
dish beside
IN
AMERICA
who
315
Bob.
for a
moment back
as
no attention
exits
left.
and
and
Mollie
takes one
and then
gives
a quick glance at
Bob.
He
is
Mollie
to the
quietly lays
vegetables.
down her
Bob.
lieve
?
Tenderloin, I be-
Mollie.
Bob.
[Sweetly.]
Yes, dear.
back.]
[Imitating
Mollie a moment
bites.]
H'mm
[He takes
Mollie.
Bob.
I'm
relieved.
we
when you hear it. When name from Fanny Russell, we'll tell him that instead of a garage, which we don't need, he can build a Then while Hilda special telephone booth off the kitchen.
[Savagely.]
[Bob
Hilda.
stops short, as
to the table.
Hilda
bursts in abruptly,
left,
and
comes
am
so excited,
?
Mollie.
Hilda.
quist he say
Is
move to Highland Park. [Bob and Mollie simultaneously drop their forks and look at Hilda in astonishment and
you want
to
and
wonder.
Mollie.
Bob.
Hilda.
What.?
Who?
[Repeats very rapidly.]
you look for house on North Shore Utterly overcome at Hilda's knowledge and Mollie.
[
loss
316
for
OSCAR
!
M.
WOLFF
Shore ?
words of denial.]
How ridic[Turns
to
ulous
Robert.]
Ha Ha Ha
!
Hilda
in
dumb
wonder.
At Mollie's question he
starts to
He
Very sharply,
a moment for
Bob
to
answer.]
Robert Espenhayne,
will
you
me
Egh
!
!
Bob.
Egh
Excuse me
Something, eh
to
egh
stuck in
my
throat.
MoLLiE.
[Turning
Hilda.]
move
now
to
Bob.
Hilda.
Who
told
you
that,
Hilda ?
Meester Leendquist.
[Puzzled.]
MoLLiE.
Hilda.
speak to
embarrassed.]
Who
is
Mr. Lindquist.?
[Surprised.]
Meester Leendquist
[Pauses, a
trifle
man who
just
me on
He come
to see
me
every Saturday.
Bob.
Bob.]
MoLLiE.
at
Lindquist
back
zvith
[Bob
a sigh of
did
then turns to
But where
Mr.
Hilda.
Mrs. Russell
Mollie.
Hilda.
Yes.
Mollie.
to the
But how does Mrs. Russell know Mr. Lindquist tell Mr. Lindquist that we expected to move
North Shore ?
WHERE BUT
Hilda.
IN
lie
AMERICA
317
Meester Leendquist,
That
he
He
build houses on
sell
them and rent them. [Bob and Mollie look at each der and astonishment as the
their brains.
other
and
Hilda
in won-
long pause.]
Bob.
every
You mean that Mr. Lindman who comes to see you every every now and then is the same man who put up the Russell
[In awe
and astonishment.]
house ?
Hilda.
Bob.
lie]
[points to
Mol-
thumb in opposite
[Points to Hilda.
to
you ?
[Nodding.
Hilda.
Bob.
at
H'mm
[Then slowly
jest
tone of a
moment
or two back.]
But
to the
of course,
[Somewhat
[Reflectively.]
Bob.
houses,
But, of course,
Yes,
we might
look.
we might
look.
Hilda.
and enthusiasm.]
He do
Hees father was carpenter and he so much heemself. work hees way through Uneeversity of Mennesota and study architecture and then he go to Uneeversity of Eelenois and study
now he been in business for heemself And oh, Meeses Aispenhayne, you must see hees own home You will love eet, eet ees so beautiful. A little house, far back from the road. You can hardly see eet for the
landscape gardening and
sex years.
!
318
trees
OSCAR
M.
WOLFF
roses
around
and the shrubs, and een the summer the Eet is just like the picture book eet.
grow
all
MoLLiE.
or
enthusiasm.]
to
How
charming
[Pauses
thoughtfully,
if
then
turns
Hilda, anxiously.]
Then
I suppose, Hilda,
we should
decide to
move up
to the
Hilda.
[Hesitatingly.]
But
I theenk I
must
tell
and I aixpect
ees very good.
other.]
to get married.
You know,
am
I put
all
my
Hilda, I don't
know
whether we
move north
want you
me
to him.
to
know him.
Hilda.
You ought
to be very
proud of a
man
Ais-
penhayne.
MoLLiE. Yes, indeed, Hilda, Mr. Espenhayne has often said what a fine .young man Mr. Lindquist seems to be. We want to meet him, and Mr. Espenhayne and I will talk about the house, and then we will speak to Mr. Lindquist. [Then weakly.] Of course, we didn't expect to move north for a long time, but, of course, if you expect to get married, and Mr. Lindquist builds
houses
[Her voice dies out.
Loiig pause.
Hilda.
quist.
tell
Mr. Leend-
[Hilda stands
Bob and Mollie ivatch her left. and as she moves away from the table Bob turns to Mollis. At this moment Hilda stops, turns suddenly
and moves toward
door,
and
WHERE BUT
Hilda.
IN
AMERICA
319
MoLLiE.
Hilda.
hayne want
on North Shore, I
shall let
heem
CURTAIN
A DOLLAR
BY
DAVID PINSKI
A
B.
Dollar
is
reprinted
by
special permission of
All Plays, from which this play is taken. mission to perform address the publisher.
DAVID PINSKI
David Pinski, perhaps the most notable dramatist of the Yiddish Theatre, was born of Jewish parentage April 5, 1872, in Mohilev, on the Dnieper, White Russia. Because his parents had rabbinical aspirations for him he was well educated in Hebrew
studies (Bible
and Talmud) by
when
he moved to Moscow, where he was further trained in classical and secular studies. In 1891 he planned to study medicine in Vienna, but soon returned to Warsaw, where he began his literary work as a short-story writer. In 189G he took up the study of philosophy and literature, and in 1899 wrote his first plays. In 1899 he came to New York City, where he is now editor of the Jewish daily. Die Zeit. In 1911 he revisited Germany to see a production of his well-known comedy, The Treas-
by Max Reinhart. Mr. Pinski is zealous in his interests in literature, drama, socialism, and Zionism. Drama is to him an interpretation of life, and a guide and leader, as were the words of the old poets and prophets. "The dramatic technique," says he, "changes
ure,
One
with each plot, as each plot brings with it its own technique. thing, however, must be common to all the different forms of the dramatic technique avoidance of tediousness." Mr. Pinski has written a goodly number of plays, most of which are on Yiddish themes. Forgotten Souls, The Stranger^ Sufferings, The Treasure, The PJionograph, and A Dollar may be mentioned. Most of his plays have been produced many times; The Stranger played the third season in IMoscow. "I wrote A Dollar," says he, "in the summer of 1913, when I was hard pressed financially. I relieved myself of my feelings by a hearty laugh at the almighty dollar and the race for it. Just as I did many summers before, m 1906, when I entertained myself by ridiculing the mad money joy in the bigger comedy.
The Treasure."
PERSONS
The Characters
are given in the order of their appearance.
"Old Man"
role
Woman"
role
The Stranger
A DOLLAR
A
cross-roads at the edge of a forest.
left
disappearing
The roadside
is
On
the
a sign-post,
lowed by the Villain carrying over his arms two huge bundles
dian and
trunk.
the
"Old Man"
Comedian.
actors.]
and explaining
[pointing to right
is
to
the
approaching fellow-
That way
and
This
thirty miles.
way
[pointing to
left]
forty-five
and
is
that
way
it
is
thirty-six.
Now
choose for
yourself the
town that
The nearest
way
for us
escorted with the most splendid catcalls that ever crowned our
histrionic successes.
Villain.
[Exhausted.]
?
Who
will lend
me
my
perspiration
It has a nasty
way
of streaming into
my
mouth.
Comedian.
tion water a
let
your perspira-
more
Villain.
Oh
325
326
DAVID PINSKI
[He drops his arms,
the bundles fall
down.
He
then sinks
down
and
and wipes
The Tragedian
the post
and read
the
signs.
Tragedian.
hopeless
!
It's hopeless
It's
[He
[Lets go his
lets
"Old Man."
stop.
end of
the trunk.]
Mm.
Another
a tragico-
[Tragedian
sits
himself
down on
the trunk in
hand on
left leg,
head
slightly bent
toward the
right.
Comedian puts down the valises and rolls a cigarette. The "Old IVIan" also sits down upon the trunk, head
sunk upon his
Villain.
breast.
!
Thirty miles
Comedian.
away from
Villain.
us.
We
won't strike a town until the day after toThat's luck for you
There's yet a
morrow.
Comedian.
Villain.
ing
!
Kurrah
And
the old
women
are
still
Crawl-
"Old Man."
Comedian.
with votes for
Villain.
It
They want
Neither
moment. I'm going back there to the lady of my heart. I'll meet her and fetch her hither in my arms. [He spits on his hands, turns up his sleeves, and strides rapfor a
Comedian.
Me ? Haha
left.
Villain.
Clown
DOLLAR
327
"Old Man.'* How can he laugh and play his pranks even now? We haven't a cent to our souls, our supply of food is
running low and our shoes are dilapidated.
Tragedian.
[With an outburst.]
is
Stop
it
No
reckoning
The number
is
of our sins
great
and the
tale of
our misfortunes
even greater.
is left
Holy Father!
Our
flasks are
what
smell of whiskey.
[From
the left is
Enter the
Comedian
and holds a
Comedian.
down,
feet,
down upon
the grass.]
Sit
my
love,
and
the
rest up.
We
go no further to-day.
your tender
!
little feet
first
How
makes me
mobile.
At
Heroine.
Comedian.
[Enter
in the meantime you may carry me oftener. The beast of burden hears and obeys. the Ingenue and the "Old Woman," each carrying
And
a small
satchel.
Ingenue.
Villain.
Ah!
us.
No
Heroine.
a donkey.
down on
Heroine.
are
we
shall stop at
like
"Hotel Neverwas.**
[Turning
Don't you
"Old Woman."]
in.
bed
is
and
a
Such
soft
And you
stars,
shall
moon and
328
DAVID PINSKI
You're laughing, and I
feel like crying.
"Old Woman."
Comedian.
spired
Crying.^
You
its
setting splendor.
Look, and be
in-
V1LL.A.1N.
Comedian.
"Old Man."
[Ingenue
Tragedian
Ingenue.]
laughs
hoavili/.
!
Comedian.
crying
?
[Turning over
to the
What
You
are
Ingenue.
I'm sad.
[Sniffling.]
it
!
"Old Woman."
Heroine.
Stop
I can't stand
it
any
longer.
Or
I'll
[Comedian springs
to his
woman
Villain.
to the other.
!
Haha
Comedian.
voice.]
[In a measured
it
and singing
Heroine.
Comedian.
Villain.
Go bury
[As
yourself, clown.
Tragedian.
before.]
Ho-ho-ho
the louder.
have
a bottle of whiskey
The women stop crying and look up
in amazement; the
[General commotion.
Comedian
Tragedian
straight-
Cometo his
dian; the
feet
;
"Old Man,"
the
Comedian.
Tragedian.
"Old Man."
Villain.
He-he-he
Humwhiskey.
A bottle
of whiskey.
A
ConTEDiAN.
served for such
ion
DOLLAR
A
bottle of whiskey, hidden
829
and pre-
You
bet
moments
tears.
as this, a
moment
of masculine depres-
and feminine
The expression on
disappointment.
it
from hope
to
Villain.
You
call
that a bottle.
I call
flask.
Tragedian.
[Explosively.]
thimble
of us
Oh!
But
it's
it.]
my
!
children.
and smelling
U-u-u-m
whom
hooked
will
become a
still
teetotaler
[Tragedian
the flask. willing.
rising heavily
Villain
and
hands.
Woman"
getting
up
indifferently
and moving
ballet steps
The Hero-
Comedian
with necks eagerly stretched out and smell the flask, which
Tragedian.
Villain.
Comedian holds firmly in both hands. Ho-ho-ho Fine "Old Man." He-he Small quantity, but excellent
the
quality
Heroine.
dian.
My
comedian,
my
come-
Kis head
But why
didn't
you nab
a larger bottle ^
Comedian.
My
my pocket.
to go round.
"Old Woman."
Ingenue.
If
it
Comedian.
p.
will
be enough for us
all.
Cheer
Here, smell
again.
330
DAVID PINSKI
{They smell again and cheerfulness reappears.
They join
circle, the
Come-
dian applauding.
Comedian.
of
it,
Good
If
after a
mere smell
we
will
perform
in
Hamnow
Vil-
[Kicking
clear,
the
the icay.]
The
place
circle,
is
for
but you.
lain,
You
in,
we
you
Understand ?
{The
Now
then
circle is
formed in
Comedlan,
Comedian.
[Singing.]
To be
is
the question.
is
That
the question.
He who would
If
us.
He must
REFRAIN
Tra-la-la, tra-la-la.
Over
us,
under
us.
Tra-la-la, tra-la-la.
Under
us,
over us.
Now we
[The
Comedian
it
and
the others
repeat
A
Comedian.
DOLLAR
is
331
To be
In
life
the question.
is
That
the question.
to
win
success.
REFRAIN
[Same as
[On
the last
before.]
word of
dumbfounded,
and stand
of the ring.
The Villain
the
lea7is
over the
Comedian and
closer
till
Heroine; gradually
the circle
their
They attempt
their
to the other
and
all
seven
All.
a
[The
dollar
circle
shout in wonder.
All.
dollar
[Once more they close in and the struggle to free their hands
tries to
under
the
hands into
the circle
and
hand
stopped by the
is
when he
not seen
Again
all
and whispering,
enraptured.
All.
dollar
and
at the
same time
ecstasy.
dollar
332
DAVID PINSKI
[Then the struggle
to get free
Hit
hy
hand
the
Ingenue.
break them.
Oh,
my
!
hands,
my my
it.
hands
You'll
Let go of
If
my
hands
"Old Woman."
you don't
let
go of
hands
I'll bite.
TaAGEDLVN and
the
"Old Man,"
"Old ]Man." [Trying to free his hands from the Heroine and the "Old Woman."] Let go of me.
both his hands.]
hold of the
[Pulling at
frail,
seem so
go
just
Heroine.
[To Comedian.]
I think
it's
But you
let
my
If
hands.
Comedian.
Heroine.
fast to mine.
you pick up
up.
yours
let
is
Comedian.
Heroine.
Then
No,
go of
my
it
it
Comedian.
Heroine.
from you.
all.
Let go of
my
hands, that's
Comedian.
jommand.]
Ha-ha-ha
quiet.
It's
a huge joke.
still.]
[In a tone of
Be
[They become
We
[Commotion.]
must contemKeep
real dollar in
dollar
is
circle,
toward
fore
it,
draws us on
irresistibly.
Be
quiet
him and pray. On your knees. [Sinks down on his knees and drags with him
and Ingenue.
dragging the
the
Heroine
and
his knees
"Old Man."
Tragedl^n.
Comedian.
[To Tragedian.]
You
A
serious
esty.
DOLLAR
don't appreciate true Divine
333
Maj-
You
On
[Tragedian
holy dollar,
almighty ruler of
we
Our hands
are
bound, but our hearts strive toward thee and our souls yearn
for thee.
who
bringest together
those
are separated,
Ingenue and
All
let
go of
and
fighting.
to
free
The others
follow
glaring eyes,
All.
dollar
The
dollar!
The
dollar!
The
dollar!
Villain.
mine.
It
[Retreating.]
You
can't take
it
it's
my
!
bundle.
All.
Villain.
No, no.
malice.]
Moreover,
whom
should I give
it
to
To you
you
is
Ha-ha-ha-ha
it is his.
He
is
right,
the dollar
his.
He
has
it,
therefore
crawl on
teeth.
my
up with
my
me. Ha-ha-ha-ha.
Heroine.
not
let
go of me.
Comedian.
Tragedian.
Ha-ha-ha-ha
[Shaking his
fist
Heaven and
hell,
334
DAVID PINSKI
[He steps aside toward
pose.
the trunk
Ingenue,
lying
Comedian.
ckink
is
Ha-ha-ha!
is
and sits down in his former down on the grass, starts to cry. Now we will drink, and the first
the Villain's.
accepted in gloom; the
the
[His proposition
ever,
Ingenue, howand
the
stops
crying;
"Old
IVIan"
"Old
Woman"
to snatch
it
hand as
from him.
latter, left
if waiting for the proper moment Finally the " Old Woman " makes
the
Vil-
The
The Comedian
Comedian.
takes the
re-
He
and
caress
laughing, passes
the
company,
who drink
Heroine,
Ingenue
The
empty whiskey
Comedian.
Comedian.
the bottle.
Good
shot.
Now
I'll
drink up
all
that's left in
[He puts
tries to
knock
it
The Heroine
skilfully evades
her.
dollar.
Villain.
Ha-ha-ha
Ruler of
. .
the
Don't you
A
all
DOLLAR
it
335
not that I partake
think
if
a bit of
majesty.
its
majesty?
am now
a part of
its
That means that I am the Almighty Dollar's plenipoOn tentiary, and therefore I am the Almighty Ruler himself. He-he-he your knees before me Comedian. [After throwing away the empty flask, lies down on Well roared, lion, but you forgot to hide your jackthe grass.]
! . .
ass's ears.
Villain.
It
is
He-he-he.
know and you know that if I have the money I have the say. Remember, none of you has a cent to his name. The whiskey is
gone.
[Picking
I did
Comedian.
Villain.
my
job well.
up the flask and examining it. Drank it to the last drop. drop. This evening you shall have
too, for
to-morrow
is
frequently.]
Not
till
the
day
he.
after
to-morrow
doesn't
mean
IIhe-heHe who
Ha-ha-ha
does
[Gravely.]
Comedian.
bosom.
What ?
herself
[Ingenue
Ingenue.
Villain.
up and throws
on
the
Villain's
Oh,
Ha-ha,
itself felt.
Heroine.
[Pushing the
He
sought
Comedian.
Heroine.
Villain.]
I
I hate you,
traitor.
[To the
genius.
You
are
now
into
the
Villain.
other arm.
[Holding
Ingenue
in one arm.]
Come
my
[Heroine, throwing
bracing him.
and em-
8S6
Comedian.
DAVID PINSKI
[Half rising
the grass.]
on his
knees.]
Stop,
protest.
[Throwing himself on
"Old Woman."
embracing him.]
play the "Old
behind and
for
Find a
spot on your
bosom
me.
Villain.
Now
of
power and
Call
it
all of love.
Comedian.
Villain.
Don't
call it love.
servility.
But now
vassals
I have
My
I mean
We
you
will
all
I have decided we
How so ? We go forward
You have
will
proceed further.
Women.
Villain.
to-night.
?
Comedian.
Villain.
so decided
I have so decided,
and that
in itself
should be
enough
for you;
shall explain to
you
why
I have so decided.
Comedian.
not disturb
Villain.
to yourself
and better
my contemplation
of the sunset.
blacklist.
It will go
ill
Now,
then, without an
stirs.]
we
will
and
at once.
[Nobody
Very
go alone.
Women.
Villain.
No, no.
Ingenue.
Heroine.
Villain.
And
I.
gratifies
me
?
very much.
sitting apathetically
upon
the trunk.]
What
urging you to go
Villain.
owe you no
that
is
explanations.
have decided
sufficient.
A
Comedian.
head
DOLLAR
comedy wonderfully.
337
He
plays his
Would you
much
Women.
gle glance.
[Making
love to
tlie
Villain.]
Tragedian.
Villain.
[Majestically.]
I wouldn't give
him even a
tell
sin-
Still
I'll
you
this
much
I have decided
Ha-ha-ha
!
Comedian.
Villain.
How
We
start at once,
but
am
to
pay
for
your food
of course those
You shall divide my bundles who are on the blacklist will get You heard me. Now move on. I'm going
town, which
is
thirty miles
am
ofiP.
Comedian.
Villain.
we
are coming.
go along.
mean
giver.
fellow.
Villain.
am
no fellow of yours.
am
Tragedian.
Villain.
I'll
What ?
to right.
You
threaten
me
Let's go.
their satchels
[Turns
him.
and follow
"Old Man."
trunk.
is
We
he
who has
Tragedian.
Villain.
I'll
get
him
yet.
my
bundles on
your back.
338
Tragedian.
Villain.
DAVID PINSKI
[In rage.]
all
One
of
your bundles on
it
my
back ?
Oh, for
I care
on your head, or
"Old
you
JVIan."
We
will
Comedian.
in earnest.'^
[Sitting up.]
Look
here, are
Villain.
[Contemptuoushj.]
I never joke.
Comedian.
Villain.
Comedian.
dollar
Do
you
Villain.
kings.
The holy
dollar, the
Comedian.
ter
[Continuing.]
That
therefore
Villain.
Comedian.
Villain.
And
that
we must
in earnest ?
Do what
Comedian.
Villain.
So you are
You must
[Rising.]
me.
Comedian.
Villain.
Then
if
I declare a revolution.
!
What
.'*
revolution
Comedian.
Tragedl\n.
with a
first
A bloody one,
need be.
bellicose attitude
And
I shall be the
you scoundrel.
have nothing to say to you.
Villain.
Comedian.
Villain.
No, you
shall
not go until
Ha-ha.
It
is
to laugh
'
The
dollar, please, or
He-he-he
Comedian.
Then
let there
be blood.
[Turns up his
sleeves.
A
Tragedian.
[Taking
DOLLAR
Ah
!
339
Blood, blood
"Old Man."
Women.
Villain.
[Dropping his
[Shouting.]
?
satchels.]
Nor we.
shall I give
Nor
we.
To whom
up the dollar?
You
youyou you
Comedian.
we'll get
You
At the
it,
first
opportunity
Women.
Hurrah, hurrah
[To Villain.]
Divide
divide
it
Comedian.
Tragedian.
And
Comedian.
It shall be as I say.
Heroine.
comedian
!
[Throwing herself
My
My comedian
Ingenue.
dollar.
Give up the
better step
Comedian.
aside or else
[Pushing the
Heroine
aside.]
You
you may get the punch I aim at the master and bread-giver. [To the Villain.] Come up with the dollar Tragedian. Give up the dollar to him, do you hear ?
All.
The
Villain.
tear
it
to pieces.
Comedian.
left
Then we shall tear out what little hair you have on your head. The dollar, quick [They surround the Villain; the women pull his hair; the Tragedian grabs him by the collar and shakes him; the "Old Man" strikes him on his bald pate ; the Comedian
!
struggles with
the dollar.
it
Comedian.
[The
[Holding up the
I have
sing.
Villain.
Thieves
I'll
Tragedian.
Silence, or
and assumes
S40
Comedian.
fright
DAVID PINSKI
[Putting the dollar into hi* pocket.]
That's what
for a little
I call a successful
and
bread-giver.
some one
puzzled
is
coming.
Perhaps
he'll
be able
"Old Man."
parts.
[Starts to
am
calculate
with
Ingenue and
the
the
"Old
are
Woman."
Heroine.
[Tenderly attentive
to
Comedian.]
You
angry with me, but I was only playing with him so as to wheedle
the dollar out of him.
Comedian.
of
it.
to trick
me
it
out of
my
share
"Old Man."
It
is
impossible to divide
If it
absolutely impossible.
five cents or
hundred and
[The
Stranger
it,
enters
pany, greets
stops him.
Comedian
Comedian.
sir;
and pennies.
The "Old
[Showing the
forward.
dollar.
Man"
and women
step
Stranger.
the others
makes a
Comedian and
[Moving from
and says
left.]
sloicly.]
Change
of a dollar.^
the circle to
I believe I have.
Women.
Stranger.
revolver.]
Hurrah
[Turns so that no one
is
Hands up
[In a gentle tone of voice.]
Comedian.
Stranger.
My
dear
sir,
we
are
A
walks backwards
to left
DOLLAR
341
Good-
night, everybody.
Comedian.
Ha-
ha-ha-ha-ha-ha
CURTAIN
BEULAH BORNSTEAD
The Diabolical Circle is reprinted by special permission of Professor Franz Rickaby, in whose course in dramatic composition (English 36) For permisin the University of North Dakota this play was written. sion to perform, address Professor Franz Rickaby, University of North Dakota, University, North Dakota.
BEULAH BORNSTEAD
Beulah Bornstead, one of the promising young playwrights of the Northwest, was born in Grand Forks, North Dakota, May 5, 1896. She has had her academic training at the University of North Dakota, from which she received her B.A. in 1921. At present Miss Bornstead is principal of the Cavalier High School, North Dakota. Before attempting drama she tried her hand at journalism and at short-story writing. Miss Bornstead was introduced into playwriting by Professor Franz Rickaby, in whose course in dramatic composition at the University of North Dakota The Diabolical Circle was written. In speaking of this play Miss Bornstead writes: '^ The Diabolical Circle is the first play I have ever written. I never enjoyed doing anything so much in my life. The characters were so real to me that if I had bumped into one going round the corner I should not have been surprised in the least. Betty and Charles and Adonijah and even Cotton Mather himself worked that play out. All the humble author did was to set it down on paper." The Diabolical Circle was produced May 5, 1921, by the Dakota Play makers in their Little Theatre at the University of North Dakota. The Diabolical Circle is one of the best contemporary plays dealing with American historical material. Its characterization is one of its noteworthy elements.
CHARACTERS
Cotton Mather
Betty,
his daughter
suitor,
Adonijah Wigglesworth, a
and Cotton's
choice
Charles Manning,
Betty's choice
The Clock
The living-room in
the
Mather home.
left,
large
To one
rifle.
On
and hanging
directly above is
an
old-fash-
communicating
straight high-
backed
towers
the
settee
is
an
To
An
window
and
Here and
chairs of
Dutch
origin.
Rag
As
by the
fire,
with
in a large armchair
many
a severe
grave
and
sedate.
Very much
life,
and
serenely contemplative
of the
life to
him
very seriously.
Not
*
so with
Mistress Betty.
of the
Plans for this clock may be had by addressing Professor N. B. Knapp, Manual Training Department, University of North Dakota,
347
348
rebellious
BEULAH BORNSTEAD
against the straitened
conventions
of the
times,
upon
the slightest
As we first
Cotton.
daughter,
see
them Cotton
is
giving
Bettt som
timely advice.
my
is
be approached
responsibility.
a manner
grave
Betty.
about
[Thoughtfully.]
serious,
father [looking
it.
up
roguishly],
not so
much
of the grave
Cotton.
too lightly.
[Continuing.] It
is
Betty.
Marriage
thee.
is
[Protesting.]
Nay,
father,
yet a great
way
off.
why Mayhap
consider
it
at
all.?
Cotton.
selves of
forth.
on to leave
Thou little thinkest that I may be suddenly called The Good AVord cautions us to boast not ourthe morrow, for we know not what a day may bring
thee.
Betty.
well.
[Dropping her
knitting.]
Perhaps
Cotton.
Nay,
child,
be not alarmed.
'Tis
and
laid
up
in
the heart.
like to
be comfortably assured
Betty.
Be comfortably
assured,
no
fears.
Cotton.
chair.]
[Bringing his
!
Aj^e
There
!
arm doion forcibly on the arm of the Thou hast no fears. Would that [Looks up at the portrait.] Had thy prudent
it
is.
way, I might be
349
difficulties in estab-
and sorely harassed by many hardships and by evil men, I fear me I have not propounded to thee much that I ought. Betty. In what then is mine education lacking? Have I
of
in this country,
kingdom
God
not
all
that
is
fitting
and proper
I
for
a maiden to know ?
not.
Cotton.
[Perplexed.]
know
estate.
I have done
my
best,
but thou hast not the proper attitude of mind befitting a maiden
Betty.
[Protesting.]
Nay, but I
am
married estate.
Cotton.
Betty.
whither
It
is
time.
[Mockingly pleading.]
Entreat
me
thou goest I
and
a
ir-
Cotton.
reverence.
[Interrupting sternly.]
Betty
It
ill
befitteth
^I
thee, yet I
would that
thou wert promised to some godly and upright soul that would
guide thee yet more surely in the paths of righteousness.
There
be
many
Betty.
such.
Cotton.
Betty.
Cotton.
When
wilt
thou be serious?
surrounding thee
of his godly
There
is
a goodly youth
among
the friends
whom
Betty.
Yea, simple.
Cotton.
ble
whom
thou would'st do
well to cultivate.
Betty.
Cotton.
What
thinkest thou
350
Betty.
break
BEULAH BORNSTEAD
A sod
His
too dense for any ploughshare.
My wit would
in the turning.
is
Cotton.
driven.
There
is
Boston.
Betty.
Nay, I have
[Testily.]
many
such
Cotton.
Betty.
spread.]
Mayhap
up
[Musingly, holds
out-
finger.]
Cotton.
Betty.
One
neither morocco
Nay, four; and since I am bound nor edged with gilt, let us consign him
of action, then, should appeal
Cotton.
worth ?
Wads-
Betty.
for
me
There's Percy
Wayne. Cotton.
Betty.
Of the bluest blood in Boston. Yet that be not everything [checks and Jonas Appleby
Cotton.
He
Betty.
[Quickly.]
To marry him
[Checks
him
off.]
Nay,
let
me
James
Endicott.
[Checking.]
Cotton.
Betty.
unto
I
himself.
'Twere a pity
Take
Cotton.
It pleaseth
me
not
know
the
ilk; his
father be-
351
of the devil
With
among
the young
men
Harvard,
many
of
whom
the Lord, with his wicked apparel and ungodly fashion of wear-
manner of Russians and barbarous Inhim brought up in such pride as doth in no ways become the service of the Lord. The devil himself hath laid hold on our young men, so that they do evaping long hair after the
dians.
Many
there be with
may
and now
it
many
godly hearts.
starts to his feet
[He
and paces
the floor.
Betty.
[Standing upright.]
[Interrupting.]
Cotton.
hearing.
in
my
Betty.
not
[Still persisting.]
Cotton.
tance.]
Betty
have
retreats to
it.
a safe dis-
Name him
is
I will not
Compared with
Adonijah he
Betty.
of the devil
Converse
Cotton.
[Sternly.]
befitteth a maid.
[Betty
is
and downcast
moment Cotton
about the room, she starts slightly as her gaze falls upon
the clock.
flits over
her
352
BEULAH BORNSTEAD
ceeds to do his duty as host, ivith never a
backward glance.
While he
is
closes.
sir.
Adonijah.
Good-morrow, reverend
I
Cotton.
Adonijah.
within.
is
Cotton.
Betty
ment.
will
and a fur
tippet
to his ears.
He
removes the
them
table ;
to
Cotton, who
selects to
carefully places
and judiciously
pauses a moment
armchair by the
fire.
He
way
Cotton
is
Adonijah and
Cotton.
last.?
is seated.
it
And how
Adonijah.
finely as
it
My
Thou hast suffered some great loss ? Adonijah. But yes and no this matter of
Cotton.
lending
money
is
hath
many and
hundred as
my
355
my
kindness
lie
[Straightening
They
own.
shall
come
what
mine
Cotton.
to
to.
[Righteottsly.]
it.
demand
I wist not
Adonijah. They have no sense of the value They know not how to demean themselves properly
money.
due pro-
their heads
above
The wicked stand in slippery places. It will not Judgment shall come upon them. Adonijah. Aye, let them fall. I for one have upheld them too far. They squander their means in riotous living, and walk not in the ways of their fathers.
Cotton.
always be thus.
Cotton.
lad,
many suchbut
As
thou,
my
served to
my
Adonijah.
[Brimming
That have
Cotton.
Adonijah.
An
it
not.
They
be envious of
Cotton.
Adonijah.
blushingly timid.
But Betty
doth
she regard
me
thus
Cotton.
spair not.
The ways
of a
much
perverse heart of
contrary.
woman
dictateth,
behaveth much to
the
354
Adonijah.
thinkest
BEULAH BORNSTEAD
[Brightening
hopes.]
Thou
Betty
Cotton.
[Interrupting.]
am
sure of
it.
was ever a
dutiful daughter.
[All unseen,
Betty
Adonijah.
Cotton.
Adonijah.
But Thou
I mistrust
referr'st to
me
her heart
is
elsewhere.
'Tis
Nay, but I
have
man Shrewsbury
Cotton.
Adonijah.
to send for
[impressively] a ring
[Angered.]
ring, sayest
thou ^
[Nodding.]
Aye, even
so.
Cotton.
Adonijah.
tion
?
But he hath not signified such intention here to me. Then there are no grounds for his rash presump-
Cotton. no
Humph
Grounds
[Rises.]
For a ring
Aye,
in.
there'll
be
daunce
I will queswill
Do
daughter of mine a
[Cotton
taken.
reverie.
Adonijah
He
him
to his feet.
He
Adonijah.
host
is
and opens
the door.
His
voice is
heard.
[Frostily.]
Good-afternoon,
Sir
Charles,
mine
absent.
Charles.
Adonijah.
[Stepping
in.]
?
My
Mistress Betty.
Is she in
and turning
to
Charles,
355
Mistress Betty
is
otherwise en-
Chaeles.
trust,
Engaged?
[Bovxing.]
Your humble
servant,
on
Adonijah.
The
tivo hats
are
Puritanic,
Charles's
is
[Charles
more
He
is
dressed
size
Adonijah.
[Meaningly.]
Her
see.
Charles.
'Tis
Where
she
floor.
Adonijah, shocked
and with folded arms and bowed head stands aside in profound meditation. The clock door slowly opens and Betty cautiously peeks out. Charles stops short and
is
toith
upraised hand.
The
a comprehending grin of
Adonijah
slowly turns
a melancholy
Prithee,
air.
Charles.
Adonijah.
ment.
why
so sad
Charles.
find
it,
'Tis
none the
I take
life
as I
dif-
and
for that
matter so do they
even thou.
The
[Whistles.
t^5Q
BEULAH BORNSTEAD
[Uneasily.]
It
is
Adonijah.
Charles.
Adonijah.
He
Charles.
[He
Ah, then
whistles,
while
ment of
his
Adonijah moves uneasily about the now and then at this disturbing elepeace, a^ if he would send him to kingdom
Waiting
Adonijah.
thee naught.
may avail
[Whistles.
Charles.
Adonijah.
terfeit sigh.]
And
thee.?
Charles. Charles.
Adonijah.
here.
Ah, then,
let
us go.
chair opposite,
relaxes.]
[Adonijah,
[Amused.]
Nay.?
[Sits
Ah,
[Whistles.
Betty be not
neither here
Charles.
nor there.
vealed in time
Nay,
if
am
it.
Wilt take
me up ?
Adonijah.
It be not
woman's whim.
Charles.
for
if
[LaugJis.]
it.
Adonijah.
[Enter
A woman
still.
Cotton, who
Charles,
rallies
quickly,
and
proceeds.
[Stifl^^^]
Good-day to you,
riseji.]
sir.
[Bowing ; he has
[To Adonijah.]
is
And
to you, sire.
am
not to be found.
a sly look of triumph at Charles.
[Adonijah
steals
357
mock
solemnity.]
I prithee present
my
deep
God
speed thee
[And as Charles
Cotton
afar
off.
places his
hand
affectionately
upon Adonijah's
son; Betty
shoulder,
saying reassuringly.]
I fain
Come
again,
my
may
not be
Improve thy
Adonijah.
time.
[Beaming.]
ab-
Betty
withdraivs.
Cotton
she be
He
is talk-
ing to himself,
reflectively.
?
Cotton.
Where can
The
slowly opens
The sound
As
the noise
Charles
it
enters.
He
looks
and goes
He
of
opens
the
Betty
by
out
clock,
much
assisted
Charles.
Charles.
flesh
Blessed
relief!
Thou
art in
and blood?
Betty.
fitombed.
And what
else
Charles.
Betty.
[Laughing.]
mummy
there
What ?
!
Darest thou ?
to, whilst
Charles.
[sighs]
lively
mummy now
Betty.
Charles.
And Adonijah
358
Betty.
[Mimics.]
BEULAH BORNSTEAD
Yea, verily, old Father Time but come to
life.
Thy
In
waiting
Charles.
may
be back at
may avail thee naught. truth, it may avail me naught; any time, while I have much to
Nay, sweet Betty
then, the dearest
call
thy father
say, sweet
Betty
Betty.
[Interrupting.]
call
me
not.
Charles.
Betty.
or
Dear Betty,
[Quickly.]
Yea,
me
dearest
mummy,
Hottentot,
what you will, just so it be not sweet, like Adonijah. It sickens me beyond expressing. Charles. Then, sweet Betty thou art not, say rather sour Betty, cross Betty, mean Betty, bad Betty, mad Betty, sad
Betty.
Betty.
[Suddenly dimpling.]
Charles.
I
.^^
me why?
mad.
In sooth,
to be glad, or sad, or
Sometimes I
am
am
all three.
me
why.?
left
Charles.
haTid.]
Thou wilt not now escape it, for I will tell thee why, and mayhap this will aid me. [Slips ring, ivhich he has had conHath this no meaning for cealed in his pocket, on her finger.]
thee.?
Betty.
Aye,
'tis
a dia-
daunce
in
what.'*
Charles.
Betty.
in
[In astonishment.]
[Slowly.]
saith.
daunce
so father
Charles.
Betty.
Likewise Adonijah.
to
[Weakly endeavoring
!
comprehend.]
diabolical
circle
it
again, Betty.
it
daunce
in.
Charles.
devil
May
I be the
359
!
Then daunce
The knocker
Into the
Betty runs
to the
window.
Betty.
clock
Charles.
And
me
[Turns
to the clock.]
timely sar-
cophagus
[Charles
is
clock,
enough time
the hat
he-
He
with the
He
ADO]^aJAH.
Methought
[Dryly.]
I heard a
sound of many
have
I;
feet.
less.
Betty. Betty.
[Looking down.]
Two
feet
no more, no
Adonijapi.
sufficient.
An
Thou
dost
it
my
meaning misconstrue.
Betty. Betty.
steps hack.]
Construe
then, I prithee.
Adonijah.
I came not here to vex Then get thee hence. [He But not behind me, Satan.
steps forward.
Betty
to
it.
Adonijah. Betty.
drive
[Coming
closer.]
And
me
[Backing
off.]
Adonijah.
So be
it,
[Advancing.]
Born
to drive,
Thou hast
said
it,
born to
drive.
But
father
what
my
yet concealed.
Adonijah.
[Eagerly.]
Thy
360
Betty.
BEULAH BORNSTEAD
[Who
is
Thou
seats
and
the
goes
down on
the hat.
Adoxijah
remain
on
hat.
Betty is Adonijah
of necessity forced to
slides
arm along
the
hack of the
jerks his
settee.
strikes erratically.
He
The
clock
hands wigwag.
and passes
Betty. Adonijah.
hand
manner.
[Solicitously.]
What
[Still staring.]
The time
It doth
it
[Stifles
a yawn.]
grow
late.
Adonijah.
Adonijah. Adonijah.
But not
consistently;
changeth.
Yea,
not uncommon.
But backwards
[Joyfully.]
Why,
then,
my
How
them thus
to
move
Yet hath
it
Adonijah.
Betty.
moves over
face.]
Adonijah.
arm along
!
closer.]
Sweet Betty
[Betty
looks
Thy
indifference in
no wise blinds me
sits
to thy conception
of
my
true value.
[Betty
up, round-eyed.]
The
rise as before.
Adonijah
it ?
ill.
Again
Did'st
mark
Something doth
the clock
Betty.
The
clock behaveth
much
more
Adonijah.
[another glance]
As
was on
me
to understand
[with eye
on
up
closer]
361
the clock
Betty
tattoo
and
him
the
hands
way round.
look
!
Adonijah.
[Pointing.]
enters.
Now
Mark
the time
[Cotton
Cotton.
vent thee.
my
Adonijah.
est thou
finger,
!
prevent.?
Little
know-
Betty's
It
her
back.]
is,
the
diabolical
all
circle.
is
charm.
It
harms her
she here.?
not,
while
about
me
is.
is
askew.
Whence came
form did
it
[Points at Betty.]
now
manly
Yea, verily,
The very
clock indulgeth in
I can-
unseemly pranks.
not
now
go.
abide.
My conscience bids
!
me
Cotton.
Betty.
Thou'rt
mad
The
spell
did
Cotton.
Adonijah.
Thy
daughter
a witch
to
Betty.
[Runs
Cotton.]
Oh, father
thunders at Adonijah.]
?
Cotton.
Adonijah.
will.
[Consoles
Betty;
What.?
We
shall see
what we
shall see
when the
fires
leap round
the stake.
may
invent or his
helpmeets acquire
362
BEULAH BORNSTEAD
I can delay
no
longer.
I have seen.
Cotton
is at
once
all
Adonijah gazes in stupefaction. All unobserved Charles slips out of the clock. Finalhj Adonijah, as Betty shows signs of reviving, turns himself away, only Adonijah to find himself face to face with Charles.
stops dead in his tracks, absolutely nonplussed.
Charles.
dence.
Thou
Thou
lackest evi-
He stares unbelievingly. Cotton looks up in surprise as Charles continues. Charles. An' thou goest to the council with such a mesAnd match word of sage, the devil will dog thy very footsteps. thine with word of truth in such a light that thine own words
shall imprison thee in the stocks over Sunda}'.
[Adonijah
recovers
from
and
seiz-
ing his hat and tippet, tears out the door as if a whole
legion of
imps were in
fidl pursuit.
and
goes over to
Betty.
[Faintly.]
They
will
not burn
me
Charles.
[Savagely.]
[Hotly.]
Aye,
let
Cotton.
seemeth to
me
Charles
Charles.
find
Nay,
see through
me an
air,
thou can'st.
Thou
wilt
me
like of
ever pierced.
that I materialized.
Betty.
Cotton.
Of a
truth, the
363
Thou wert
And
as far as
[looking rue-
no improve
I never
Charles.
be called to
Aye, that
fulfil
I'll
And may
more
Cotton.
to take
up
Charles
his entire
Charles.
take
it.
Why,
that
came
all in
upon mine came Adonijah; and, being loath either to leave the field or share it, I hid within the clock. Once there, the temptation to help time in covering its course grew strong upon me in the
I returned a short time ago, hard
heels
When
Judge
if
me
a
thou
do
all
that becometh
man
Cotton.
is
manner
And
I strongly mistrust
life.
more
serious things of
Charles.
desire,
tosses
its
If
I'll
my
me and my
it
heart's
off
ise
and up and smooths disarranged curls.] And as for mine outlook on life, I promthee that hath but matched the outer trappings, and can be
[He pulls the wig
it
why,
have no wig at
aside.
Betty, with a
little
cry, picks
doflFed as quickly.
as
I am as serious beneath all outward levity any sober-minded judge, and can act accordingly. Cotton. See to it that thou suit the action to those words.
My
heart
is
strangely
moved toward
thee, yet I
would ponder
364
BEULAH BORNSTEAD
[Turns
to
mindedly twirling
the curls
on the wig.]
And where
[as
is
thy voice,
my
daughter?
Thou But it
for
an
afterthought]
had
enough excitement
Charles,
one evening.
Me thinks
that scoundrel,
Do
and
Charles.
Adonijah.
He
Nay, thou need'st not trouble thyself regarding hath much too wholesome a regard for the duck-
Cotton.
sure.
Nevertheless, I will
away
to the council
and make
to Betty, who has dropped the wig on the now gazing demurely at the floor.] And now to finish up where we left off. The devil hath led us a merrier dance than we suspected. Thou hast not truly given answer to
Charles.
settee,
and who
Betty.
Betty. Betty.
Charles.
Charles. Charles.
Betty.
What more of an answer would'st thou Why, I have yet had none at all. Must tell thee further ?
[Gravely.]
yet require ?
[Mischievously.]
Thou knowest
[Charles
Betty.
Charles
Look,
the diabolical
CURTAIN
HERMANN SUDERMANN
The Far- Away Princess is reprinted by special arrangement with Charles Scribner's Sons, the publishers of Roses, from which this play is taken. For permission to perform address the publishers.
HERMANN
SUDERIVIANN
Hermann Sudermann, one of the foremost of the Continental European dramatists, was born at Matziken, in East Prussia, Germany, September 30, 1857. He attended school at Elbing and Tilsit, and then at fourteen became a druggist's apprentice. He received his university training at Konigsberg and Berlin. Soon he devoted his energies to literary work. His greatest literary work is in the field of the drama, in which he became successful almost instantly. His strength is not in poetic beauty and in deep insight into human character, as in
the instance of a
essentially a
number
of other
German
dramatists.
He
is
by
instinct.
technician
order.
His chief one-act plays are in two volumes: Morituri, which contains Teja, Fritchen, and The Eternal Masculine; and Roses, which contains Streaks of Light, Margot, The Last Visit, and The
Far- Away Princess. The Far-Away Princess
delicate of
is
Sudermann 's
plays.
CHARACTERS
The Princess von Geldern Baroness von Brook, her maid
Frau von Halldorf
LiDDY
of honor
MiLLY
her daughters
Frau Lindemann
Rosa, a waitress
Lackey
The scene
is
laid at
an inn situated
The
and half of
the
ve-
The
left
side
and
background rep-
To
On
On
the
left,
back, a buffet
and
serving-table.
Neat
little
tables
a large
telescope,
standing on a
an open window.
Rosa, dressed
Frau Lindemann,
a handsome, stoutish
left.
woman
in
Frau Lindemann.
bedding
this
There
Now
she can
!
everything fresh and clean as new unexpected honor Barons and counts
!
often enough.
Even
!
come up
I don't bother
that
Perhaps
But a
it isn't
princess
real princess
all.
Rosa.
[Indignantly.]
What.^
What do you
wouldn't be
real princess
lie
coming to an inn
on anything
!
and
velvets.
You
and
see; it's
a trick
* Copyright, 1909,
by Charles
Scribner's Sons.
370
HERMANN SUDERMANN
Are you going
is
Frau Lindemann.
isn't
a forgery?
is
Rosa.
Maybe one
Lindemaitot.
playing a joke.
[Giggles.
Striibel, he's
always joking.
Striibel
Frau
When Herr
makes a joke he
Oh, of course one
as for writing a
it
makes a decent
forged letter
there!
but
My
land
letter
[She takes a
letter from
her ivaist
and
reads.]
"This
after-
will stop at
the
You
all,
Now,
honor
Dear,
to say
Herr
Striibel lent
me
maid
of
came
I'm sure
Striibel
it's
Frau Lindemann.
dear, isn't that
Herr
hill ?
To-day
of
all
days
What on
all
Rosa.
[Pointedly.]
He won't
be leaving here
day.
Frau Lindemann. That won't do at all. He's got to be I'll be disagreesent off. If I only knew how I could Oh, ho manage that's the only way to it him able to [Strubel enters. He is a handsome young fellow without
much
Strubel.
Strubel.
way.'^
May
I have a glass
371
anyway ?
if
Glass of beer,
[Sits
if
you please
Several glasses
of beer,
you
please.
down.]
noon.
Frau Lindemann.
Strubel.
[After
a pause.]
H'm, H'm.
Landlady Linda, dear, why so quiet to-day ? Frau Lindemann. In the first place, Herr Strubel, I would
have you know that Strubel.
Just
my name
is
Frau Lindemann.
so.
Frau Lindemann.
familiarity
And, secondly,
if
Strubel.
!"
[Singing, as
[Drinks.
you
find
?
it
so hot,
why
the Springs
soul
my
thirsts
for
the heights
my
soul
every afternoon.
my
down on
the couch to
my
Alpine
Strubel.
my
beloved
.f*
No, dearest;
my
beloved stays
down
there.
But
to get nearer
to her, I have to
come up here
up to your
why
telescope.
With the
window
see
Rosa.
that?
[Laughing.]
Oh, so that's
Frau Lindemann.
Besides, I've no
in all
more time
for you.
Good-by, Herr
[Goes out.
Strubel.
[Laughing.]
I certainly caught
it
that time
See
head ?
there are crowned heads
letters vnth
Rosa.
[Mysteriously.]
Ahem,
and
let-
other heads
crowns and
372
HERMANN SUDERMANN Are you Strubel. Letters Rosa. There are maids of honorand other maids
?
[Giggles.
Strubel.
finger.]
Permit me.
!
Ow
Ow
Why, your
head's on
fire.
Rosa.
Strubel.
Blow
Blow
just
And
my
burns,
I'll
[Enter
Frau von Halldorf, Liddy, and Milly. Frau VON Halldorf is an aristocratic icoman, somewhat
and
affected.
supercilious
Liddy.
yourself.
Now
you can
see for
Frau
v.
Halldorf.
What
a pity that
it's in
Strubel.
[Stepping hack.]
I can wait.
I have
plenty of time.
Frau v. Halldorf.
[She goes
place.]
[Condescendingly.]
up
Strubel
Waitress
[As
is
Liddy.
the right
Milly
Beyond
to
Frau
no
Liddy.
v.
Halldorf.
Let
carriage
Frau
Liddy.
v.
Halldorf. Halldorf.
Please do.
Frau
carriage
it
was a royal
Liddy.
It
comes to one
Frau
v.
Halldorf.
[As
sighs
aloud.]
Frau
v.
Halldorf.
why we
are at the
373
Do
MiLLY.
hill
The
up such a steep
either
on a hot day
Frau
to
v.
Halldorf.
[More
If,
softly.]
Well, you
luck,
are taking
by good
there
it is
Frau
LiDDY.
v.
Halldorf.
It's just
[Eagerly.]
Where?
Where?
Frau
inside
v.
coming around the turn at the top. Halldorf. Oh, now I see it Why, there's no one
!
LiDDY.
up on
foot.
is
Frau
ing
Halldorf.
If I
[To Milly.]
she
is
com-
up on
foot, too.
And
just as antemic as
you
are.
if
Milly.
have
I could
my own
v.
com-
Frau
LiDDY.
Halldorf.
You have
v.
Frau
LiDDY.
Halldorf.
Let
it
me
try.
little
Strubel.
LiDDY.
mother.
It
loads of paper at
Rosa
What
are they
up to?
me
Frau
I've
v.
Halldorf.
[Rising.]
W^ell,
what
shall
Strubel.
Permit
me
to
Frau
had some experience with these old screws. Very kind indeed. v. Halldorf. [Strubel busies himself with the instrument.
LiDDY.
Listen, mother.
If the carriage
374
HERMANN SUDERMANN
off.
Wouldn't
it
be best, then,
Frau
v.
if
Strubel.
it's
Frau v. Halldorf. Ah, really? [Aside to her daughters.] And if she should actually speak to us at this accidental meeting and if we could present ourselves as the subjects of her noble fiance, and tell her that we live at her future home just imagine what an advantage that would give us over the other women of
the court
Strubel.
There, ladies
We
indebted.
sir,
Frau
going to
v.
Halldorf.
Thanks, so much.
Pardon me,
but
is
have you heard anything about the report that the princess
make the journey up here to-day.^ Strubel. The princess ? The princess of the Springs ? The princess of the lonely villa? The princess who is expected at the iron spring every morning, but who has never been seen by a living soul ? Why, I am enormously interested. You wouldn't believe how much interested I am
!
Liddy.
is!
[Who has
v.
There
therethere
is
it
Frau
Liddy.
PIalldorf.
It's
The
carriage
It
stopping over
Frau v. Halldorf. She wUl surely Come quickly, my dear children, so that
dental.
enter
it
it
there,
then.
Here
is
your money.
Rosa
a^id
Here
is
You
MiLLY.
So that
375
sits
Good heavens Could I ? I don't believe it well, I'll make sure right away [Goes up to
the telescope
and
stops.]
Oh,
I'll
Frau Lindemann.
them ?
Rosa.
All of them.
[Entering.]
Have they
all
gone
all
of
Frau Lindemann.
right.]
There
two
me
!
there
ladies
How
and a lackey are coming up the footpath. Mercy my heart is beating If I had only had the sofa re!
covered
last spring
don't you
princess
?
know a poem by
now
!
Stop putting your arms under your apron that way, you stupid thing oh dear, oh dear
the court
!
Lackey
at the door.
trimmed with
roses.
is
a handsome,
stately, stern-looking
the thirties.
She
is well-
North German
nobility.
Frau v. is the proprietor of this place ? Frau Lindemann. At your command, your Highness. Frau v. Brook. [Reprovingly.] I am the maid of honor. Where is the room that has been ordered ? Frau Lindemann. [Opens the door, left.] Here at the head
Brook.
of the stairs
Who
my lady.
Would your Highness
Frau
for a
v.
Brook.
few moments ?
Brook.
The Princess. Very much, dear Frau von Frau v. Brook. Edward, order what is
needed
is
for
Her
prepared
376
for
HERMANN SUDERMANN
me.
I
may assume
The
Princess.
Why
left.
certainly, dear
[The Lackey,
with Rosa,
out
The
Princess.
pas sommeil.
abominable.
Mais puisque je te dis, Eugenie, que je n'ai M'envoyer coucher comme une enfant, c'est Mais
je t'implore, cherie, sois sage
Frau
sais,
v.
Brook.
Tu
que
c'est le
medecin, qui
The
Et
si
Princess.
je te dis v.
Frau
best for
Brook.
Chut!
I
My
it
be
you
Frau Lindemann.
Frau
v.
am
[Ahoid
to
go out,
left.
Brook.
One
thing more.
would
be possible to close
it
Frau Lindemann.
not
sit
Oh, certainly.
trees.
The
guests as often as
Frau v. Brook. Very well, then do so, please. [Frau Lindemann locks the door.] We may be assured that no one will
enter this place
?
Frau Lindemann.
the house will
If
it is
desired,
none of us belonging to
come in here either. Frau v. Brook. We should like that. Frau Lindemann. Very well. Frau v. Brook. Really, you must be more careful, You must be If that woman had understood French
[Exit.
darling.
careful
it ?
The Princess. What would have been Frau v. Brook. Oh, my dear child
!
so dreadful
about
This
mood
of yours,
which
is
illness
we must keep from every one, above the Grand Duke should discover
all
from your
fiance.
If
377
Well,
Brook.
bride's
duty
is
to be a
Otherwise
The Princess. Otherwise.^ Frau v. Brook. She will be a lonely and an unloved woman. The Princess. [With a little smile of resignation.] Ah Frau v. Brook. What is it, dear? [The Princess shakes And then think of the strain of those formal presenher head.] You must grow strong. tations awaiting you in the autumn Remember that you must be equal to the most exacting de!
mands
of
life.
The Princess. Of life ? "V^Tiose life ? Frau v. Brook. W^hat do you mean by that ? The Princess. Ah, what good does it do to talk about
Frau
v.
it.^
Brook. Yes, you are right. In my soul, too, there are unhappy and unholy thoughts that I would rather not utter.
From my own
experience I
know
that
it is
The Princess. And to go to sleep. Frau v. Brook. Ah, it isn't only that. The Princess. Look out there See the woods
!
Ah, to
lie
down on
Frau
time.
v.
Brook.
[Softening.]
We
The
Frau
Princess.
[Laughing aloud.]
Sometime!
at the door.
Is everything ready ? v. Brook. [The Lackey bows. The Princess. [Aside to Frau v. Brook.]
But I simply
Does Your
cannot
sleep.
Frau
v.
Brook.
Try
to, for
my sake.
[Aloud.]
Highness
command
[Smiling and sighing.]
left.
The
Princess.
[They go
out,
Yes, I
command.
378
HERMANN SUDERMANN
[The stage
Then
Strubel
all of
Strubel's Voice.
a sudden
!
Hullo
!
What's up
!
Why
well, I
is
this locked
Rosa
!
the telescope
help myself.
teranda.
right.]
Rosa
[He
is
Oh,
know how
to
Then he puts
open tcindow
Well, here
at the
Not a
soul inside?
[Climbs
over.]
we
are.
What on
same
[Unlocks the
it's all
Everything deserted.
Well,
the
But
let's find
out right
away what
[Prepares
The Princess
left,
en-
ters cautiously
hand.
is
standing mo-
tionless hefore the telescope, she goes hurriedly to the door at the hack
and unlocks
it.
Strubel.
[Startled at the
sound of the key, turns around.] [The Princess, not venturing to movey
AVouldn't
you like to look through the telescope a while? Please do. [The Princess, undecided as to whether or not she should answer
him, takes a few steps hack toward the door at the you going away ? I won't do anything to you.
left.]
Why
are
The
Princess.
[Reassured.]
Strubel.
That's right.
But where have you come from? Surely you didn't climb through the win-
What?
You came
through
Strubel.
Of course I
did.
The
Princess.
[Frightened anew.]
Then
had rather
to
[Ahoid
go hack.
Strubel.
Oh,
my
379
you away
a precipice
The
Princess.
[Smiling, reassured.]
I only
wanted
to go
Strubel.
The
Princess.
Yes
yes, of course.
Strubel.
down
below.'*
The
waters.
Princess.
Oh,
And I'm
Strubel.
See here,
better for
Two hundred
on you
?
metres up and
Heavens
there
every time
look so pale
It
!
my
would be
you
down
that
is
Oh, forgive
me
own
life!
reasons
It's
my
The
comes
as
Princess.
[Trying
to
seem
practical.]
to a watering-place,
Strubel.
if
Do
you
!
Thank Heaven, I can't afford such luxuries No; I'm only a poor fellow who earns his miserable pittance durI drank iron
ing vacation
able"
is
abed
until nine, at
fit
unrestrainedly.]
Oh,
well,
I'm
Strubel.
Dear me,
it's
a business
like
any
other.
The The
Princess.
Strubel.
And
Princess.
an entirely
380
Strubel.
HERMANN SUDERMANN
My
dear young lady,
all
different sort."
Of course we two
aren't.
We
we ?
As poor
The
Princess.
true.
[Smiling
reflectively.]
Who knows?
If
Per-
haps that's
Strubel.
stay
[Kindly.]
Do
you want to
I
down
there
I'll tell
live cheaply.
have
a friend, a student
are. at
like myself.
mend up
as you
I feed
staying.
[Frightened
No, I shouldn't have said it. It wasn't decent of me. Only, let me tell you, I'm so glad to be able to help the poor fellow out of
my
like to
be shouting
it
from the
housetops
the time
Of
course,
you understand
then ?
that, don't
you?
The
Princess.
You
Strubel.
Surel^^
don't you
The
Princess.
it,
[Reflecting.]
No.
There's always so
much
in the
talk about
newspapers.
Strubel.
What ?
in
If
?
if
The
Princess.
mean
Strubel.
get
sees to
Oh,
some woman
it,
it.
of
you may be
over
The
Princess.
[Demurely.]
Strubel.
these titled
women
in
Besides,
my
is
your home
cities,
The
Princess.
really more
Strubel.
to
in all
381
Oh do
!
What
H'ln
is it ?
Strubel.
a princess
real,
true-blue princess
The The
Princess.
Yes.
Oh, really ?
Strubel. Strubel.
Our
Princess.
that be
Why,
Of
The
Princess.
Strubel.
course.
The
The
Princess.
Do you know
certainly.
her ?
Strubel.
retirement.
Why,
Princess.
Really?
Strubel.
it.
any good.
Not a
bit of
And
you
tell
my
I'm
in love
The
is,
Princess.
Oh!
can't imagine
Strubel.
You
what a comfort
it is.
The
fact
The The
Princess.
Strubel.
Strubel.
Can't you
that by looking at
me ?
!
Princess.
I never
saw a poet
before.
Why,
The
poems
'em!
Princess.
to her
?
Strubel.
Why,
The
you.?
Princess.
Oh, please
recite
some
little
thing
won't
Strubel.
yet.
The
The
Princess.
Ah,
first
Strubel.
am
tell
story.
Princess.
Oh, yes,
Please do.
[Sits
down.
Strubel.
Well, then
382
HERMANN SUDERMANN
It
was
all
just as quick as
Just as
if
had waited
m}^
life
long to
fall
with her.
and
her sorrow.
You
affair.
The
that?
Princess.
[Disconcerted.]
What?
officer
Are
they
saying
Strubel.
Yes.
It
was a young
there.
who went
to Africa
because of her
and died
And
know that, too ? know ? But that's a mere detail Even the fact that in six months she it doesn't concern me. will become the bride of a grand-duke even that can make no difference to me. For the present she is my princess. But you're
Princess.
they
The
Strubel.
What
don't they
not listening to
me
The
Princess.
Strubel.
not give
Oh, yes, I am Do you know what that means my princess up my princess not for anything in all the world
I'll
The
know
Princess.
But
if
Strubel.
myself
I don't
know
Why,
know
her as well as I
The
And
she
Princess.
Strubel.
I don't
Have you ever met her, then ? know of any one who has ever met
what she looks
like.
her.
It
is
when
In the
up at six o'clock a couple of times on the same errand and if you knew me better, you'd realize what that meant. But not a
sign of her
!
[The Princess
conceal a smile.]
her garden
every day,
whom
policeman,
383
came up
to
me and
asked
me what on
earth I was
of ap-
doing there.
proach
was the end of those methods Suddenly, however, a happy thought struck me.
Well, that
Now
me
as often as I wish.
The
Princess.
Why,
How ?
I risk
it ?
Strubel.
H'm, should
my confidence ?
that you
The
Princess.
Wait a second.
through
the
telescope.]
There she
is.
The
escope.]
Princess.
But
am
is
Actually, there
one were
in
it.
Strubel.
And
at the corner
that's she.
window on the
left
embroidery-frame
with the
is
The
Princess.
?
the
princess
Strubel.
Why, who
could
it
be ?
like that
is
The
woman,
Princess.
there
her waiting-
and her
assistants, there's
if
Strubel.
the very
But,
my
glance that
it
was she
The
frame ?
Princess.
How
an embroidery-
Strubel.
stockings
Why, what
if
not an embroidery-frame.^
?
Do
The
Princess.
It wouldn't hurt her at all that's just one of those petty, bourgeois no-
Strubel.
Now,
384
tions which
HERMANN SUDERMANN
we ought
far
to suppress.
It's
have
that being
The The
Strubel.
above
all
earthly care
Princess.
Oh, dear
me
What
Princess.
yon
like to
have a closer
Strubel.
to me,
Closer ?
Why
?
should I }
enough
my
far-away princess
her
?
when
And
?
have her
still
closer
The
Princess.
Why,
so that
you could
talk to her
and
know what
Strubel.
Talk to her!
poor
Heaven forbid
folks.
Good?
ness gracious, no
I'm an ordinary
I haven't polished
manners
I haven't even
a decent
why, she'd measure me from top to toe in one glance. my lessons in the fine houses where I've applied as
glance from boots to cravat
had
The
Princess.
girl is
And you
[correcting
herself]
that this
as superficial as that ?
Strubel.
"This girl"!
But,
how
even
my
real self
.^^
And
I should,
you
so nice
what would she care ? Oh, yes, if she were like and simple and with such a kindhearted, roguish
little
The
Princess.
Roguish
Why
so
Strubel.
me
in
your
sleeve.
And really I deserve nothing better. The Princess. But your princess
ter than
Strubel.
How
The
Princess.
You
really
Strubel.
No, no, no
and
As long
as she re-
385
my
is
me dreamUy.
I recite
!
my
poems
to her
and that
to the
many
people
And
down
that
my
desires, as it were.
The
Princess.
[Eagerly.]
Oh, yes.
Strubel.
H'm
"
"Twenty
The
Princess.
What ?
Strubel.
rupted me.
[Severely.]
My
inter-
The
Princess.
Oh, please
forgive me.
Strubel.
"Twenty roses nestling close Gleam upon thy breast. Twenty years of rose-red love Upon thy fair cheeks rest.
give
And
ask
it
not
in vain.
"Twenty roses thou dost not need Why, pearls and rubies are thine With nineteen thou'dst be just as fair. And one would then be mine
"And twenty
Would
spring to
for
me
suffice
386
HERMANN SUDERMANN
Princess.
The
How
b
nice
that
is!
I've never
had any
verses written to
me
Strubel.
Ah,
my
own verse-making The Princess. And all for one And then what is left you fades
have to do
their
!
rose
it
.'*
Strubel.
even as
No,
my
my
The
Princess.
Strubel.
But you haven't even got it yet That makes no difference in the end. I'm
entirely
I shall be ex-
no,
it's
isfaction:
"You,
too,
artist fellows
Princess.
And
.?
Strubel.
Enormously!
of
happiness.'*
after
bit
Happiness
wears out
like
an old glove.
Well, then,
The
Princess.
what does ?
!
Strubel.
a fancy
Any
kind of a dream
a wish unfulfilled
sorrow that
we
coddle
some
I shall al-
ways say
as long as
to
my
pupils:
"Young men,
if
you
live,
own image;
The
Princess.
would create ?
STRtJBEL.
Would
my
is I
A man
life
who
upon mankind from under bushy eyebrows, who knows Nietzsche and Stendhal by heart, and [pointing to his shoes] who
looks out
387
down at the heels a god, in short, worthy of my princess. know perfectly well that all my life long I shall never do any-
my
by the
collar
me me up
god,
And your
easy
to
like ?
The
Princess.
[Thoughtfully.]
not
say.
My goddess would bea quiet, peaceful woman who would treasure a secret
little
Strubel.
aspiration,
my
me
a particularly lofty
The The
girl.
Princess.
my
friend.
Strubel. Strubel.
My
For
would be
of a different opinion.
Princess.
Do you
think so ?
The
Princess.
Not
It
is
her
ideal
her
daily
life
which she
it.
counts as naught.
Strubel.
as that
!
Oh, I say,
bad
young
girl
you
so
charming and
don't
want
to be forward, but
The
Before,
Princess.
it
Have you
got to be helping
all
the
time.'^
was only a cheap lunch, now it's actually Strubel. Yes, yes, I'm an awful donkey, I know, but The Princess. [Smiling.] Don't say any more about
!
it,
dear friend
I like
Strubel.
that
you
that
Princess.
Well.?
The
388
Strubel.
HERMANN SUDERMANN
I can't exactly define
it.
you
in
so oppressive
it
The
Princess.
Oppressive
I don't find
so at all
quite
the contrary.
Strubel.
events,
No, no
I'm
restless.
may
I not escort
you
I don't know what at all One can chat more freely, one
if
one
[Takes a deep breath.
The
away
She'll
Princess.
[Smiling.]
And you
?
Strubel.
Oh,
she
She
won't
run
away.
after, too
The
path
And
so that
is
Strubel.
Yes, but
when a
girl like
Frau
v.
Halldorf.
feigned astonishment.]
Oh
[Similarly.]
Oh
tell
Frau
infinite
v.
Halldorf.
[Disregarding
him
ceremoniously.]
fills
The
our hearts
must excuse in some measure the extraordinary breach of good manners which we are committing in daring to address Your Highness. But, as the fortunate subjects of Your Highness's
most noble
Strubel.
fiance,
we
Well, well
What's
all this ?
Frau
v.
Halldorf.
from
Liddy
Milly
[LiDDY and Milly come forward, and, with low court bows,
their bouquets.]
offer
My
389
who
is
you or
[Frau
v.
Brook
left,
enters.
The
flight or
remain.
Brook
me,
with a
happy
Frau
v.
Brook.
[Severely.]
Pardon
ladies.
Appar-
ently you have not taken the proper steps toward being pre-
sented to
Her Highness.
I
In matters of
this sort
one must
first
apply to me.
to twelve,
may
and
I shall be
happy
Frau
v.
Halldorf.
[With dignity.]
and
my children, mais
we were
guided by no
tion.
The
!
Frau v. Brook. What forwardness come down without me.'' And what is
there doing
.^
Does he belong
to those people
Strubel, without a
about
The
Princess.
Oh, no
That wouldn't be
What.^
nice.
Not that
Your
way Frau
Highness
v.
Brook.
!
[Amazed.]
What!
Why,
The
Princess.
Let
me
be, Eugenie.
This young
man and
Frau
v.
Brook.
Your Highness,
[To Strubel.]
am
very
much
The
Princess.
You and
390
HERMANN SUDERMANN
this
member
with
all
it
my
Eugenie, haven't
we any
roses with
us?
Fkau v. Brook. Your Highness, I am very much The Princess. [Examining herself and searching among Well, how are we going to manage it ? vases.]
Strubel.
I
the
your
Highness
for the
kind intention.
The
have
don't
it
Princess.
is
No, no
wait
with a sudden
joking.
And
we'll
have to
I
do without
know whether
Well ^
we were speaking
.'*
before
and
Strubel.
Is this
to bemy punishment
The
Princess.
mean
because
the
in the imagination.
Strubel.
cesses
So
that's
it
Just as
it is
to remark.
Your Highness
must hurry
fall.]
that
high time
The
away.
Princess.
[Offering
[Is
As you
see,
those
who
lets
are near
him
Well }
his
Strubel.
about to take
hut
hand
With
[pointing dovm]
it
vnth emotion.]
No, thanks
out.
arti-
The
Princess.
[Smiling pensively,
throws
away
the
391
my
fiance to let
me
send him a
rose.
Frau
prised!
v.
Brook.
Your Highness, I am
very
much
sur-
The
Princess.
CURTAIN
THE STRONGER
BY
AUGUST STRINDBERG
AUGUST STRINDBERG
August Strindberg, Sweden's foremost dramatist, was born at Stockholm in 1849. He attended the University of Upsala but did not graduate. In 1872 he wrote Master Olaf, which was for six years steadily refused by managers. When it did appear it inaugurated the Swedish dramatic renascence. By
turns Strindberg was schoolmaster, journalist, dramatist, writer of scientific and political treatises, and writer of short stories. In 1883 he left Sweden and travelled extensively in Denmark,
Germany, France, and Italy. He died in 1912. As a dramatist Strindberg's chief strength lies not so much in dramatic technique as it does in his trenchant and searching power of analysis of the human mind. His chief plays are very exact and narrow views of the feminine soul. Some of his own
domestic bitterness finds expression in the feminine studies in his plays. He is very fond of showing the power of one character over another. His important one-act plays are The Outlaw, Countess Julie, Creditors, Pariah, Facing Death, and The Stronger. The Stronger has a dramatic intensity that few plays possess. Though but one character speaks, the souls of three are skiKully laid bare.
PERSONS
Mrs. Miss
X., an actress, married
Y.,
an
actress ,
unmarried
THE STRONGER*
SCENE A
:
iron,
Mrs. X.
and vnnter
coat,
and carrying a
pretty
Miss Y. has
changes
now and
Mrs. X.
Well,
how
do, Millie!
sitting
on
Miss Y.
looks
up from
the
Mrs. X.
makes me
you
like this
alone
It
Eve
of all times.
saw a wedding party at Paris once in a restaurant the bride was reading a comic paper and the groom was playing billiards with the witnesses. Ugh, when it
I
when
how
day
!
will it
end ?
Think
of
it,
play-
that's a different
it
case,
my
before
Mrs.
Mrs. X.
and displays
a number of Christmas
* Copyright, 1912,
my
by Charles
Scribner's Sons.
397
398
tots
AUGUST STRINDBERG
[Picks
it.
up a
doll.]
What do you
think of this?
Lisa
is
to have
see
?
She can
is it
roll
Fine,
not ?
And
at
Miss Y.
Miss Y.
starts
Mrs. X.
Did
I scare
you?
?
Why, you
didn't fear I
was
you could
wouldn't
it.
well, that
me
the least.
it
way
once, and I
know
You
still
think I
intrigued
you away from the Royal Theatre, and I didn't do although you think so. But it doesn't
you
believe
it
was I
just the
I hate
my hubbytulipsI've
tulips
H'm
Mrs. X. [Puts a hand in each slipper.] Just see what small Bob has. See? And you should see him walk elegant! Of course, you've never seen him in slippers.
feet
Mrs. X.
Look here
here he comes.
walk across the
table.
[Makes
the slippers
Miss Y. laughs
again.
like this:
Mrs. X. Then he gets angry, and he stamps his foot just "Blame that cook who can't learn how to make coffee.'*
Or:
"The
idiot
now
Then
that
there
girl
is
has forgotten to
fix
my
study
lamp again."
idiots don't
"Gee, but
freezing,
[She rubs the sole of one slipper against the instep of the
other.
Miss Y.
Mrs. X.
And
then he comes
to
hunt
for his
THE STRONGER
slippei'S
Sflij?
Well, per-
haps
it
own husband.
hubby, that's
that
what he
faithful.
is.
You
laughing at?
Can't you
Then, you
see, I
me
himself
what
in the
like that.'' That nasty Betty tried to him away from me while I was on the road. Can you think [Pause.] But I'd have scratched of anything more infamous ? the eyes out of her face, that's what I'd have done, if I had been [Pause.] I'm glad Bob told me all at home when she tried it. about it, so I didn't have to hear it first from somebody else. [Pau^e.] And, just think of it, Betty was not the only one I don't know why it is, but all women seem to be crazy after my husband. It must be because they imagine his government position gives him something to say about the engagements.
get
it
yourself
^you
may have
set
your traps
never cared for you and then I have been thinking you rather had a grudge against him. [Pav^e. They look at each other in an embarrassed manner, Mrs. X. Amelia, spend the evening with us, won't you? Just to show that you are not angry not with me, at least. I
but I know he
cannot
tell
it
have you
your
don't
really,
Miss Y.
gazes searchingly at
It
Mrs. X.
first
Mrs. X.
acquaintance
[Thoughtfully.]
was so
peculiar, the
of sight.
I always found myself near you. I didn't have the courage to be your enemy so I became your
matter where I tried to go
friend.
But
there
in the air
400
AUGUST STRINDBERG
called at our
it
when you
like
home,
for I
saw that
it
my
does
husband didn't
you
and
least,
annoyed me
just as
when a
dress
won't
to
fit.
I've tried
my
but I couldn't move him not until you were Then you two became such fast friends that it almost looked as if you had not dared to show your real feelings before, when it was not safe and later let me see, now I didn't get jealous strange, was it not.'' And I remember the baptism you were acting as godmother, and I made him kiss you and he did, but both of you looked terribly embarrassed that is, I
you at
engaged.
didn't think of
it
it
then
till
now!
[Rises impulsively.]
You have not uttered a single word all this time. You've just let me go on talking. You've been sitting there staring at me only, and your eyes have drawn out of me all these thoughts which were lying in me like silk in a cocoon thoughts bad thoughts maybe let me think. Why did you
thing?
Why
called
on us
Why
Mrs. X.
clear to
All
is
me
Yes, yes
I don't want to fits together now. Shame on you same table with you.[Moves her things to another table.] That's why I must put those hateful tulips on his slippers because you love them. [Throws the slippers on the floor.] That's
Everything
sit
at the
why we have to spend the summer in the mountains because you can't bear the salt smell of the ocean; that's why my boy had to be called Eskil because that was your father's name; that's why I had to wear your color, and read your books, and
this chocolate,
why
of
it
great heavens
!
it's
terrible to think
it's
terrible
me by you
even
your passions.
Your
THE STRONGER
401
till
an apple, and it ate and ate and burrowed and burrowed, nothing was left but the outside shell and a little black dust.
wanted
to
You were always on hand like a snake, with your black eyes, to charm me I felt how my wings beat the air only to drag me down I was in the
run away from you, but I couldn't.
water with
my
my
me
down
went
down, down,
there
! !
till
I sank to
the bottom, where you lay in wait like a monster crab to catch
and
now I'm
you
How
or
there, silent
full;
indifferent,
Shame on you But you, you just sit whether the moon is new
are incapable of hatred
whether
You
and you don't know how to love. As a cat in front of a mousehole, you are sitting there. You can't drag your prey out, and you can't pursue it, but you can outwait it. Here you sit in this corner do you know they've nicknamed it "the mousetrap" on your account.'^ Here you read the papers to see if anybody is in trouble, or if anybody is about to be discharged from the theatre. Here you watch your victims and calculate Do you your chances and take your tributes. Poor Amelia know, I pity you all the same, for I know you are unhappy unhappy as one who has been wounded, and malicious because you are wounded. I ought to be angry with you, but really I can't ^you are so small, after all and as to Bob, why, that
me
in the least.
else
What
taught
does
it
matter to me,
drink chocolate
anyhow ?
If
you or somebody
me to
what
tiously.]
of that?
They say chocolate is very wholesome. And if I have learned from you how to dress tant mieux it has only given
me
lost
a stronger hold on
my
husband
lost
where I
have gained.
him abeady. Of course, you meant me to break with him you did, and as you are now regretting but, you see, /
402
AUGUST STRINDBERG
It wouldn't
do to be narrow-minded,
you know.
wants ?
And why
Perhaps, after
am
You never
to
me what happened
you woke up.
to the thief
You were
and I could; you could never learn the art of living from the books as I learned it; you bore no little Eskil, although that was your father's name. And why do you keep silent always
and everjrwhere silent, ever silent? I used to think it was because you were so strong; and maybe the simple truth was you never had anything to say because you were unable to [Rises and picks up the slippers.] I'm going home now think
I'll
meyour
tulips.
You
couldn't learn
like
in-
a dry stem
structions.
and I
didn't.
your
me how
to love
[Exit.
my
husband.
Now
to him
CURTAIN
BIBLIOGRAPHIES
Modem
Plays.
Baker, Geo. Pierce, Plays of the 47 Workship (two volumes) and Plays of the Harvard Dramatic Club (two volumes). Brentano's, New York City, 1918-20.
Clark, Barrett H., Representative One-Act Plays by British and
Irish Authors. Little, Brown and Company, Boston, 1921. Cohen, Helen Louise, One-Act Plays by Modern Authors. Harcourt, Brace and Company, New York, 1921. Eliot, Samuel A., Little Theatre Classics, one-act versions of standard plays from the modern and the classic plays. Four volumes now issued. Little, Brown and Company, Boston,
1918.
Mayorga, Margaret Gardner, Representative One- Act Plays by American Authors. Little, Brown and Company, Boston,
1919.
Moses, Montrose J., Representative One- Act Plays by Continental European Authors. Little, Brown and Company, Boston,
1922.
Shay, Frank, and Loving, Pierre, Fifty Contemporary One-Act Plays. Stewart and Kidd Company, Cincinnati, 1920. Wisconsin Plays, First and Second Series. B. W. Huebsch, New
York
The
A A
A
Macmillan Company, New York City, 1921. Volume of Plays from the Drama, 59 East Van Buren Street, Chicago, is announced for 1922. Volume of One-Act Plays from the work of Professor Franz Rickaby, of the University of North Dakota, is under way. Volume of One-Act Plays, from the work of Professor Frederick H. Koch, of the University of North Carolina, is under way.
405
406
BIBLIOGRAPHIES
LISTS OF
ONE-ACT PLAYS
Bibliography of Published Plays Available in English. World Drama Promoters, La Jolla, California. Cheney, Sheldon, The Art Theatre. (Appendix: Plays Produced at the Arts and Crafts Theatre, Detroit.) Alfred A. Knopf, New-
York, 1917. Clapp, John Mantel, Plays for Amateurs. Bulletin of The Drama League of America, Chicago, 1915. Clark, Barrett Harper, How to Produce Amateur Plays. Little, Brown and Company, Boston, 1917. Dickinson, Thomas H., The Insurgent Theatre. (Appendix: List of Plays Produced by Little Theatres.) B. W. Huebsch, New York, 1917.
Drummond, Drummond,
Quarterly Journal
Alex. M., One-Act Plays for Schools and Colleges. Education, Vol. 4, p. 372, 1918.
French, Samuel, Guide to Selecting Plays. Samuel French, publisher. New York.
Johnson, Gertrude, Choosing a Play. Lists of various types of one-act plays in the Appendix. The Century Company, New York, 1920.
Service.
select list of
one-act plays. Extension Series, Number 36, in University of North Carolina Record, Chapel Hill, North Carolina, 1920.
Lewis, B. Roland, The Technique of the One- Act Play (Appendix: Contemporary One- Act Plays). John W. Luce and Company, Boston, 1918.
Lewis, B. Roland, The One-Act Play in Colleges and High Schools. A select list of fifty one-act plays. Bulletin of Extension Division of University of Utah, Series No. 2, Vol. 10, No. 16, Salt
BIBLIOGRAPHIES
Lewis, B. Roland.
407
Contains a selected
list
of
one-act plays, with analyses, etc. The Drama League of America, Chicago, Illinois, 1921. McFadden, E. A., Selected List of Plays for Amateurs, 113 Lake
fifty
View Avenue, Cambridge, Massachusetts, 1920. Mackay, Constance D'Arcy, The Little Theatre in
States
the United (Appendix: List of Plays Produced in Little Theatres). Henry Holt & Company, New York, 1917. Mayorga, Margaret Gardner, Representative One-Act Plays by American Authors (Appendix: Selective List of One- Act Plays by American Authors). Little, Brown & Company, Boston,
1919.
Merry, Glenn Newton, College Plays. University of Iowa, Iowa City, Iowa, 1919. Three Riley, Alice C. D., The One-Act PlayStudy Course. issues (February, March, April) of The Drama League Bulletin, 1918, Washington, D. C. Riley, Ruth, Plays and Recitations, Extension Division Record, Vol. 2, No. 2, November, 1920. University of Florida,
Gainesville, Florida.
Selected List of Christmas Plays.
Drama League
Calendar, No-
York. Selected List of Patriotic Plays and Pageants Suitable for Amateurs. Drama League Calendar, October 1, 1918, New York. The Drama League, BosSelected List of Plays for Amateurs. ton. Also Doubleday, Page & Company, New York, 1917. Shay, Frank, Play List, Winter, 1921. Frank Shay, 4 Christopher Street, New York. Shay, Frank, and Loving, Pierre, Fifty Contemporary One-Act Plays (Appendix: The Plays of the Little Theatre). Stewart &
15, 1918,
vember
New
Kidd Company,
Stratton, Clarence,
Cincinnati, 1920.
Two Hundred Plays Suitable for Amateurs. One hundred of them are one-act plays. St. Louis, Missouri, 1920. The Drama Shop, 7 East 42d Street, New York.
tains a revised list of one-act plays)
.
Henry Holt
& Company,
Sum-
New York
Swartout,
mit,
City, 1921.
New
408
BIBLIOGRAPHIES
Cannon, Fanny, Writing and Selling a Play, Chapter XXH. Henry Holt & Company, New York, 1915. Cohen, Helen Louise, One-Act Plays by Modern Authors, Introduction. Harcourt, Brace and Company, New York, 1921. Corbin, John, The One-Act Play, in the New York Times, May,
Vol. IV, p. 8, col. 1. 1918. Eaton, Walter P., Washington Square Plays, Introduction. Doubleday, Page & Company, Garden City, New York, 1917. Gibbs, Clayton E., The One-Ad Play, in The Theatre, Vol. XXIII, pp. 143-156, March, 1916. Goodman, Edward, Why the One- Act Play?, in The Theatre,
Vol.
XXV,
Irish Theatre. G. P. Putnam's York, 1913. Hamilton Clayton, The One-Act Play in America, in The Bookin Studies in man, April, 1913. Appears as Chapter Stagecraft, Henry Holt & Company, New York, 1914. Johnson, Gertrude, Choosing a Play, Chapter HI, Why the OneAct Play? The Century Company, New York, 1920. Lewis, B. Roland, The Technique of the One-Act Play. John W. Luce & Company, Boston, 1918. Lewis, B. Roland, The One-Act Play in Colleges and High Schools, Bulletin of the University of Utah, Extension Series No. 2, Extension Division, University of Vol. X, No. 16, 1920. Utah, Salt Lake City. Mackay, Constance D'Arcy, The Little Theatre in the United States, some interesting comments on various one-act plays. Henry Holt & Company, New York, 1917. Middleton, George, Tradition and Other One-Act Plays, Introduction, 1913; Embers, Etc., Introduction, 1911; Possession, Etc., Introduction, 1915. All published by Henry Holt & Company, New York. Middleton, George, The Neglected One- Act Play, in The Dramatic Mirror, January 31, 1913, pp. 13-14, New York.
Gregory,
Sons,
New
XXH
BIBLIOGRAPHIES
Moses, Montrose
409
J., The American Dramatist, comment on the one-act play. Little, Brown & Company, Boston, 1917. Neal, Robert Wilson, Short Stories in the Making, Chapter I. Oxford University Press, New York, 1914. Page, Brett, Writing for Vaudeville. Home Correspondence School, Springfield, Massachusetts, 1915. Poole's Index, for articles on the one-act play in the magazines.
s Gttide to Periodical Literature for articles on the one-act play in the magazines. Schnitzler, Arthur, Comedies of Words, Introduction by Pierre Loving. Stewart & Kidd Company, Cincinnati, 1917.
The Reader
Underhill,
in
The
Drama
Henry Holt & Company, New York, 1916. The several volumes dealing with the short story
Esenwein,
Notestein
are suggested
Cross, Barrett,
BIBLIOGRAPHY ON
Beegle,
HOW TO PRODUCE
in this
PLAYS
Mary
and Pageantry.
duction.
It
is
The Appendices
cellent bibliographies
on almost every aspect of dramatic proa most valuable work. Yale University Press,
York, 1912.
Barrett H.,
How
to
A. S. Barnes & ComYork, 1909. Hughes, Talbot, Dress Designs. The Macmillan Company, New York, 1913. Johnson, Gertrude, Choosing a Play. The Century Company, New York, 1920. Mackay, Constance D'Arcy, Costumes and Scenery for Amateurs. Henry Holt & Company, New York, 1915. Mackay, Constance D'Arcy, How to Produce Children's Plays, Henry Holt & Company, New York, 1915.
New
410
BIBLIOGRAPHIES
Rath, Emil, Esthetic Dancing. A. S. Barnes & Company, New York, 1914. Rhead, G. N., Chats on Costutne, or Treatment of Draperies in Art. F. A. Stokes Company, New York, 1906. Stratton, Clarence, Producing in the Little Theatres. Henry Holt & Company, New York, 1921. Stratton, Clarence, Public Speaking, has a chapter on Dramatics. Henry Holt & Company, New York, 1920. Taylor, Emerson, Practical Stage Directing for Amateurs. E. P. Dutton & Company, New York, 1916. Waugh, Frank A., Outdoor Theatres. Richard G. Badger, Boston, 1917.
M. Witmark &
Sons, 144
West
New
York.
U.C.BERKELEY LIBRARIES
CD^b7^b5^D