The Drama Number 13 February Contents Leonid Andreyev, By

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THE DRAMA

Number 13 FEBRUARY

CONTENTS

E NID NDRE EV b Thomas S eltzer L O A Y , y

THE PRE Y BINE WOMEN a com lete Drama TT SA , p h Leonid Andre ev in t ree acts, by y

PE RE A PLA WRIGHT a review b SHAKES A S A Y , y George F ullmer Reyno lds

E I LE THE TRE b Luc Fr n e Pierce TH L TT ST A , y y a c

ILL MIN TI N AND THE DR M b Arthur U A O A A, y Pollock

’ B Y ND H UMAN P WER b e BJORNSON S E O O , y L e M ollander . H THE INDEPENDENCE DAY PAGEANT AT W HINGT N b E M S th l . m h A O , y e S it

OS R WILDE G IN a revi w of rthur Ran CA A A , e A ’ som 8 scar Wilde A riti l b e O ; C ca S tudy, y Joseph Howard

THE DR M LE GUE OF MERI 1914 A A A A CA, , by M A t rs. . Starr B es

THE TRI L HI ORY IN MERI 11 review A CA ST A CA , by Charlton Andrews A SELECTIVE LIST OF ESSAYS AND BOOKS BOUT THE THE TRE AND OF PL S ub A A AY , p : lished durin the fourth uarter of 1913 Fr k g q , by an Chouteau Brown

THE DR A M A

A Quarterly R eview of D ramatic Literature

No . 13 February

LEONID ANDREYEV .

HE rise of Andreyev was unusually rapid even in an age of such precipitate changes as characterized the Russian R lu i n ca c l h evo t o . S r e y more t an ten years ago Gorky addressed the following question to the Moscow Courier : “ Who conceals his identity behind the pseudonym of Leonid The reply was ” L ni I 898 eo d Andreyev. n 1 the Courier published hi fir t Br m nd G k s s s a a ot a aras a. In r tory, g Janna y, 2 A a n i 190 , the byss ppeared, a d n August of the same a I n the F o Th s two s i ye r, g . e e tor es forthwith car ’ ried Andreyev s fame from one end of Russia to T i inst ntaneou n the other. he r a s and se sational sue, cess won for the hitherto unknown author almost as much attention and adoration as Gorky himself was then receiving when at the highwater mark of his ula i as a li a pop r ty ter ry hero . The decade since the publication of the Abyss has been marked by important and far- reaching n R s I w in eve ts for u sia. t as that period that the Russian government suff ered defeat at the hands of a an and a Russian l suff J p , th t the peop e ered defeat rnm Af l at the hands of their gove ent . ter the g owing hopes of victory in the struggle for political freedom 5 6 LEONID ANDRE YE'V and s cial e rmen e n c u l m n o b tte t, aft r a a t a mo e tary as a ee m the es c i ri t te of th t fr do , forc of rea t on t um and es lem n R i n ie phed, the b t e e ts of uss a soc ty sank in un a a Man e h to profo d p thy. y of th se who ad given themselves up completely to the fight for emanci a i n ha sa rifi p t o , who d c ced their careers, m s and all in ac had en i el efi aced ho e , who, f t, t r y their personal selves in that generous enthusiasm and devotion to a cause which is peculiar to the Russian now in i ac i n i a in , , the b tter re t o of d s ppo t men c n i z al mm n in t, o verted the r e for the co o good to

l - in ul nce nd e m n i i li m se f d ge a xtre e i d v dua s . At pres ent there are signs indicating that the Russians are ec in m i l a ic an m i r over g fro the r eth rg d orb d state . T ei na u al i alism ms u nin h r t r de see to be ret r g, and it looks as if they were getting ready to start a ne fi h li i n i un Bu w g t for the berat o of the r co try. t the years of post- revolutionary reaction have cut their marks deep into the life of the people ; and not least felt was the efi ect produced upon the lit ra ur i e t e of the per od. For in no country is literature so much a part of Ru i in n e it so ai life as it is in ss a, o country do s f th fully reflect the ideas and the spiritual and material n i i ns l n is li a u ak n co d t o of the peop e, owhere ter t re t e usl nd n es it i l so serio y, a owhere, therefore, do w e d H n fi ful c an s nflu nc . so great an i e e e ce , the t h ge h in n a s that Russian society as undergone rece t ye r , the confused and chaotic condition of its ideas and T ideals are truthfully mirrored in its literature . he l d fi n e l confident us in bo d, e ant ote of r vo t, the tr t u u i k had in uc and hic the f t re wh ch Gor y trod ed, w h was the chief characteristic of the literature of the last decade of the nineteenth century no longer n suited the mood of the vanquished revolutio ists. New and s an e s Gorky ceased to be a hero . tr g god LEONID ANDREYEV 7 arose whom the Russian intellig entzia fervently i e in u worsh pped, ach t rn ; Artzybashev wi th his n l S anin ic i i l rifi ove , wh h, w th ts g o cation of the s ual a i as n all n ex ppet te, ge er y i terpreted, swept the young Russian generation lik e a holocaust ; Merezh k ovsky and his school with their reactionary re ligions mysticism in the name of culture ; Valery Brinssov a n usl a tis ic na u e n , wo dro y r t t r , who , whe not contemplating the cheerful prospect of the de s uc i n f uni k fli h tr t o o the verse, ta es g t from the misery of this world to a world of his own creat in - i g, a sort of realistic romant c world of marvelous aut and F S olo b an e be y ; edor gu , other po t of great m i wh s in a nl n li T er t, o ees de th the o y good I fe. here are whole groups of other writers representing e cu n in Eu an li a u m a very rre t rope ter t re, fro th t of the most rigid idealism down to the extremest de n cade ce. Wi l a e th all this chase after new iter ry h roes, through all these frequent changes in literary fash i ns in in i n Ru o , Andreyev has ma ta ed his pos tio as s ’ - u sia s leading story writer and dramatist . And j st ’ as Gorky s name might stand for the epoch in Russian literature covering the last decade of the nineteenth and the first half of the twentieth ’ An c century, so dreyev s gives its chara ter to the literature of the subsequent period down to the n s no i nc prese t time. As yet there i ev de e of a clin in his ul i u i was ic de e pop ar ty, tho gh t pred ted years ago even by competent and favorable critics. He has himself told the story of his life in a brief sk etch of which the following is a translation “ I was born in 187 1 in Orel and studied in the mnasi w u il and in the gy um there . I as a poor p p , seventh form was always at the bottom of my class. For c n uc I ot nl u and s m im s s low o d t g o y fo r, o et e a 8 LEONID ANDREYEV

as three . The pleasantest times that I passed when — in the gymnasium I recall them with satisfaction — to this very day were the intervals between the ‘ ’ u s so- call shif s an al a o ho r , the ed t , d so those r re c casi ns n w u a m o whe I as sent o t of the cl ss roo . In the long empty corridor there was a sonorous silence la in wi m n n u un p y g th the o oto o s so d of footsteps. n si l s l ms O both des were doors c o ing off the c ass roo , ull l a ra f sunli a ra ul f of peop e ; y o ght, free y, wo d burst through a crack and play with the dust raised u in one he i an n s l All d r g of t sh fts d ot yet ett ed. is was m s i us in s in and ull a th y ter o , tere t g f of uli i n si nifi n c a ca ce. pe r, h dde g “ W n w ill i h m m I as s n t e . n si e he t gy a nm, y fath r, u i d nd l A h a s a me n . t e rveyor, d e , eft i poverty t uni si I nfi ered m a The fir a ver ty s extre e w nt . st ye r P I en n u in t. s u un b not S eter b rg ev we t h gry, t so mu m al n as m i n ch fro re eed fro youth, nexperie ce and ignorance of how to utilize superfluous pieces l w m . E n n I as a k of c othes ve o , am h ed to thin that I could go hungry for two days while I had two or ai s u s c a s a wi n and three p r of tro ser , two over o t , ter “ in c a and lik I finished m a spr g over o t, the e y n i H course of study at the Moscow U ivers ty . ere e ff Th m a s an the I was materially bett r o . e co r de d ‘ ’ But in s c I committee helped me . other re pe ts c have retained a pleasant recolle tion of the St. The u n bod is Petersburg University. st de t y there more difi erentiated ; and among more sharply de fined and distinct groups it is easier to find suitable 904 I i s m i n . n annar 1 co pan o ship I J y, , tr ed to hoot m s l u ail The c ns u nc m unsuc y e f, b t f ed. o eq e e of y cessful attempt was penance in church imposed on

r b t hun r u n I cried I then wrote m “ sto y a ou the g y st de t. I wr it in th ditorial oﬁ ee when the manuscri t was when ote . e e p

h h stor was n ver u lished. returned to me they laug ed. So t e y e p b LEONID ANDREYEV 9 me b au i ies and a is as n d y the thor t , he rt d e e, ot an ns but u a and u l m gero obd r te tro b eso e. At that time I ma one unsuccess ul a em s i e de or two f tt pt to wr t , and I met i s m succ ss in ain in m w th o e e p t g, fro which I i a a eal l as der ved gre t d of p e ure . I have loved ain in sinc I was a c i p t g ever e h ld. I painted por traits to order at one dollar and a half and two dol l and n ars a half apiece . Whe I grew proﬁcient I received ﬁve dollars and even as high as six dollars a ai portr t. “ In 1897 I received my diploma and became a ’ l assi Bu ff awyer s stant. t I got o the track from the w k e very start . I as as ed to r port court cases for the Courier a n s a e us n e innin li i , ew p p r j t the b g g pub cat on m in M sc . I had no i k u a law ac i e o ow t e to wor p pr t c . All in all I had one civil case which I lost at every n and iminal cases i h poi t, a few cr wh c I defended

In 1898 u s i , at the req e t of the ed tor of the E ik I m ﬁ ourier . D N v rst s n C , . o , wrote y tory, a Ea s an sinc en I a i m ster tory, d e th h ve g ven yself up entirely to writing . It has been of a varied enough e cas in character. I used to r port es court and write

iff n en- feuilletons under d ere t p names. Now I de m l lusi el belles lettre I i vote yse f exc v y to s. t s rarely i l a en al u that I write art c es of g er nat re. Maxim Gorky helped me a great deal with his advice and in uc i n hi c I a al a s oun str t o , w h h ve w y f d excellent . As a matter of fact the youthful Andreyev tried n but im suicide not o ce three t es. He had another s a in 9 T narrow e cape from de th 1 07 . his time the attempt on his life was made by two assassina'f 'f ’ Andreyev s persistent hold upon the ople has n ma a a him n often bee de repro ch to . itho t the illin n ss ll c an in li a as i n w g e to fo ow the h g g ter ry f h o s, c ul not it is sai a s his ulari he o d , d, h ve pre erved pop ty 10 LE'ONID ANDREYEV

T e is no u a an undiminished . h re do bt th t the r ge of ina il i and emes his interests is extraord r y w de, the th

of his numerous works correspondingly varied . He responds wi th peculiar sensitiveness to all the mo m nd em i ns b ic edu mentary ideas, oods a ot o y wh h 904 a war ak out os ted Russia is affected. In 1 bre s n n and An e i s between Russia a d Japa , dr yev wr te his Red Lau h a as l lin a i n the g , gh t y de e t o of hor The R lu i n ﬁnds it c in rot s of war . evo t o s e ho 190 a icul a l in most of the writings of 5 , p rt r y ﬁr ama To th tars Th n en the his st dr , e S . e , wh government succeeds in crushing the people with its Black Hun s i s u S avva a dred , he g ve s drama in which the anarchist hero seeks to anni “ ” hila in la a a the te everyth g, to y the e rth b re, for world is so bad that no rehabilitation is possible w in before the old is entirely cast out of the ay. K g Han er i n in 1907 esc ibes u isin and g , wr tte , d r the pr g the defeat of the hungry work ers and the under l e n m wor d. In Anathema h tur s to the ys tics] and religious trend that suddenly manifested i s l am n m R si u And t e f o g so e of the us an intellect als. his la es k s am P r s r t t wor , such as the dr as ofe so S toritz n and Yekat rina I vn ic the y e vano a, in wh h personal interest of the characters constitutes the l a in ea u il m r i e d g f t re, wh e the larger proble s a e e ther al an in u c i i n together w t g or occ py a se ondary pos t o , are but so many proofs that the Russians have grown temporarily weary of the contemplation of bi c smic lems an ar ill n s a the g o prob , d e w i g to t y awhile on earth with nothing but human beings for ei c m an T s th r o p y. he e are but a few of the ques ’ i ns al wi in An s ri in t o de t th dreyev w t gs. In fact his work s are a faithful transcript of the i l ic is hi da T Y deo og h tory of s y. hey voice oung ’ Russia s s air u s an i ul i ns ccasi n de p , do bt , d tr b at o , o o LEONID ANDREYE V 11

i i eal and as i i s s Bu l a s t a n al . t al y, perh p , s d s p r t o , o to make this a reproach against Andreyev is indeed ' reversin ord values and making a demerit g.

- he i m N in a in w ﬁ es . of wh t ﬁ t h gh t erit oth g is so easy as the charge of catering to the changing li As a ma e ac An is a pub c taste . tt r of f t, dreyev h The lem e true c ild of his age. prob s of his age ar w H al so his o n individual problems. e not only re m but he eel em in imsel cords the , f s th h f, often divines them when they are but vaguely shadowed n u lic nsci usnes and forth i the p b co o s, gives them su s n T a he s form and b ta ce . h t touche the main in Russian li da li spr gs of the fe of to y, appea ngly in s n Russian ci n i terpret moder so ety, a d stirs t in its vital parts is shown by the remark ably spontaneous response that all his most important work s have T im r n called forth . he p essw they create is without a a all l in li a u an c p r e the ter t re of y other ountry. George Bernard Shaw is not so much a sensation E l A R s in ng and as is ndreyev in u sia. The publi cation of each important story or drama of his has

in su s i n a n - cce s o proved n eve t, the storm center a un ic a d fierce al an i t n a ro d wh h r ge or d wr t e deb tes. The Russian magazines open their pages to volumi nous expository and polemic treatises of the signifi cance or insignificance of the last word spoken by An dreyev. S an l n u au wh ha tr ge y e o gh, the thor, o s been ac cused of constantly turning from one subject to another in order to satisfy the demand of the l als c i a i fickle pub ic, is o des r bed s a wr ter obsessed n i a It is u a i all his es u by o e de . tr e th t w th r o rce n i all hi s ari t ma e and m ful ess, w th v e y of tt r ethod, there 18 one note running through almost all of his k s n man i ne n s o l u wor . I y th s o ote grow s o d as to n ll un Lik a W n drow a the other so ds. e ag erian 12 LEONID ANDREYE V motif it is iterated and reiterated until it seizes l ou and ne l s u T i ho d of y ver et yo go. h s theme is “ De T ls i An ath. o toy sa d of dreyev He wants to i n me but I am no i en fr ghte , t fr ght ed . The truth is he no an i e H , does t w t to fr ght n. e is himself i n and caus is t i ne fr ghte ed, be e he f ghte d with good as n and ecaus is re o , b e th reason applies equally well ou and me his ea i e il mm to y to , dr d s as y co uni cated to every mortal who has not attained the super human serenity of Tolstoy when he made that t e ma k r . A humorous writer in Life called Andreyev ” Grimazdeath and Riedk o a Russian c i ic se i , , r t , r “ ously says of him In all the range of our liter a u as as ell ese he i l mi t re, p t w as pr nt, s the g oo est ” s i i of Russian authors. Con ider ng the trag c char e Ru sian li e in ene al and consid act r of s t rature g r ,

rin u a he a - in in - ais e g f rther th t t he rt wr g g, terror r in D s k i ne its main s n a i s g o toyevs y s o of repre e t t ve , An e en l dr yev th ho ds a record. H hi es s ies L zarus and e devoted two of s b t tor , a Th ven Who Were Han ed n i el his me e S e g , e t r y to t the ’ z r i i en in An e s usual of death . La a us s wr tt dr yev l en impressionistic style and is full of symbo ism . Wh Lazarus rises from the grave after having lain he m s e embodi dead for three days, beco e the v ry mee s hi aze eels ment of Death . Whosoever t s g f “ ” Bu An e e the its destructive force. t for dr y v terror of death lies not merely in its being the ces sation of life ; still more horrible is its incompre h n ibili ' its riddlesomeness the im ne a le e s ty, , pe tr b None met darkness stretching beyond it. who ’ Lazarus gaze were ever able to explain the terror dwelling immobile in the depths of his dark pupils —n i those who e k n it nor e ther , were forev r bro e by , in s li those who found in the original spr g of fe, LEONID ANDREYE’V 13

ic are as m s i u as a h ill r sis wh h y ter o s de t , the w to e t i s Laza u l k t t power . r s oo ed a a person calmly and sim l i no si to c nc al i h no esi e p y, w th de re o e , yet w t d r to s in Hi l k wa l in a an . s s c as o y yth g oo o d, of ne i Th ﬁnitely ind ff erent to the living . e sun did not ea e to s in n he l k un ain di no c s h e whe oo ed, the fo t d t e la d a i sk m i u ceas to p y, an the n t ve y re a ned as p re l cl u l Ye m u n and b ue and o d ess as ever. t the an po whom his enigmatic gaze fell no longer felt the n l e l in f n sun, o ong r heard the p ay g of the ountai , l n niz hi k me no o ger recog ed s native s y. So wept bitterly ; others tore the hair from their heads and n l sl i el Bu m s i h n se se es y cr ed for h p . t to o t t appe ed e a die uie l an lis l ssl and that they b g n to q t y d t e y, k i man a l n a in ept dy ng for y o g ye r, dy g before the ll i e in and a in and l m like eyes of a , w th r g f d g g oo y, l A a tree silent y drying up in stony soil. nd the ﬁrst s cri and act as if e , tho e who ed ed they wer in s m u n to lif but s sane, o etimes ret r ed e, the other , n ever. ’ L z u k Wisdom is powerless against a ar s fatal loo .

in Laz us a u . I know everyth g, ar , s ys the pro d sage ‘ What fearful things can you tell me ? How will ’ you terr orize me ? “ A h im ass and al a sa e e an s ort t e p ed, re dy the g b g to feel that the knowledge of the terrible is not the i s l a si h a is not a terrible t e f, th t the g t of de th de th l is m and l itself. And he began to fee that w do foo s r ik he Inﬁnite Inﬁnite ishne s a e al e before t , for the m n And un ar lin e n th k nows the ot. the bo d y e b twee e uns e n u an al o seen and the een, betw e tr th d f seh od , l i n hi between above and be ow d sappeared, a d s form h h u i m in less thoug t ung s spended n e pt ess. Then he clutched at his gray head and cried frantically ’ ‘ I cannot think ! I cannot think ! N l su um o al cc l D . t however, b to the ook of eath 14 LEONID ANDREYEV

m T In s m li e is s n and iu s. o suc he o e, f tro ger tr ph h l n Em e Au us us o ged p ror g t . ‘ ’ Y u a kille me Laza us c i s o h ve d , r , he r e , almost T i r call him li overcome . h s c y re s to fe and he is e H m m l s s i l sav d . e re e bers the peop e who e h e d and ‘ w nd ne him N c as a . o prote tor he who eded , you ’ ‘ ’ did not kill me Laza us sai firml bu I , r , he d, y ; t ll ’ kill you. Go 1 ’ Here we see that for all our author s pessimism is n t al u m nd fin l death o ways the s pre e a a power. Cer ain s he mman u rm t force , at t co d of the s pe an, s m ca a l c in success ull i h i ee to be p b e of op g f y w t t. ’ This idea recurs in Andreyev s work s under va t i us m o for s. In The S even Who Were H anged death is treated — , in quite a diff erent aspect not so much in a philo sophical presentation of the problem as in a psycho logic and realistic study . Five of the seven con demned to death are political offenders ; two are mm n c iminals The m s i the co o r . the e of the tory s way in which each of them receives the death sentence : what their inner experiences and feelings are in the in al e n the s n nce and cu i n terv betw e e te the exe t o , and e how they me t death. In the wonderfully realistic e n n e l l pictur s of the seve , A dr yev revea s at ength that power of which we catch only occasional i glimpses l n his other writings. Str pped of his 1m ressionism An a ea s as a as no f p , dreyev pp r m ter, t o a s ac i ns not s m ls a in his e k b tr t o , of y bo , s oth r wor s, but in i i ual uman c a ac e the in ivi u l of the d v d h h r t r, d d a s ul and c nc e e e n li Th n W o the o r t p rso a ty. e S eve ho Were Han d is a uman ull uman e a a s . g h , fe rf y h tory Though we are introduced to the characters only di n kn when they are about to e, we lear to ow them intimately and follow their remaining fortunes with in H e u and una ul e terest . ere we hav , p re d t rated, LEONID ANDRE YE V 15 that Russian realism which finds its highest ex essi n in T ls and ic mak e li u pr o o toy, wh h s terat re so H aw q lik li . the Russian au y e fe ere two thors, so diff erent in the quality of their talent and in the m u lm m ’ s su a . An ethod they p r e, ost eet dreyev s The ’ S even Who Were H anged and Tolstoy s Three Deaths mi a c m m en sam , ght h ve o e fro the p of the e au thor . ’ An other theme which bulk s large in Andreyev s k s is Loneli ss E e s man hi e boo ne . v r o y of s charact rs m l T h ’ are amicted with that a ady. hey are deat ly h ek lonely. In t e city they se to escape from it in the country ; in the country they seek to escape from ’ i i Vain efi ort ! T e can t sc e i t in the c ty. h y e ap t ;

it is in ei c ns i u i ns. The c ci nl th r o t t t o rowd, the ty, o y in n i ei a n m el se e m asize te s fy th r go y, er y rv to e ph l Th in ensiﬁe l lin s in their awful lone iness. e t d one es c i l k u in Th the ity s fu ly wor ed o t a short story, e Cit As l n l e P si s in his m y. the o e y h ro, etrov, t roo he feels that each man passing by in the street is “ l ims l i hi man l es a wor d by h e f w th s wo whom he ov , E ne with his own joys and sorrows. ach o is a phan tom a a in a m m n and isa ea in , ppe r g for o e t, d pp r g And m in un ec niz unkn n. the aga , r og ed, ow ore kn eac e people there are who do not ow h oth r, the l lin eac In a k more terrible is the one ess of h . the d r , noisy nights Petrov often felt like shrieking with lik slinkin a a s me in a ee terror, e g w y o where d p n T n ul cellar and being altogether alo e . he he co d think only of those whom he knew and not feel so ” s inﬁnitely alone in the mid t of crowds of strangers. Thus the size of the city and its large population h “ became a source of terror to im . There was me in s ina unc n u a le and c u ll in so th g ob t te, o q er b r e y in l in diff erent in that vast herd g together of peop e, that bigness. 16 LEONID ANDREYE V

Another indictment of the city is its levelling ef f it i lu i n in i i ual m i ect, s d sso t o of d v d ity, ost v gor ously depicted in that peculiarly subj ective rept e “ scu a i n i The Curse the B t I t t o of the c ty, of eas . i l il am afra d of the city, I ove the w d ocean and ” s r in A m the fore t, so the sto y beg s. t the sa e time “ l c T the hero is forcib y attra ted to it. he call of ” the i s n and u i s i e c ty proves too tro g, he h rr e th th r “ to drown his loneliness and become one of its li l Y he l n l Th s. e tt e wave t soon grows o e y again. e numbers do not relieve his loneliness ; they make it nl o y the more oppressive. What are the millions of people but a repetition of one and the same indi vidual ? There are two million human beings here ‘ ’ in lli im - T repeat g two mi on t es the self same I . he ‘ ci uc a al a ic sam n ty prod es f t , tr g e ess where there “ ’ ” d fi r n All l 1 should be i e e ce. ose their s in it because each is compelled to crawl into one and ” the same form. So disgusted does the hero of the story become with thi s dis- individualizing se tion of the city that he is pained to think that human ein s mus a an imila a i u s t ll b g t h ve y s r ttr b te a a . He “ is ain a n mus a a n s p ed th t everyo e t h ve o e, a stom ach and mus hink and el acc in s m , t t fe ord g to the a e k i l textboo s on log c and psycho ogy. We have seen that on the one hand Andreyev has command over a wide range of subjects and that on s ems a ac na s ss the other he e to be ttr ted, y, ob e ed, by one or two ideas which appear and reappear in al k u n l most all his wor s. B t that i vo ves no contradic s i a ie his ics i one tion. De p te the v r ty of top there s i m hic his k i n i point of v ew fro w h wor s do e, and t i hi c unnin lik e is this point of v ew w h, r g a thread hi c a i ns unifies em and i through all s re t o , th g ves fic It is is them meaning and signi ance . th point of view also from which his favorite subjects are LEONID ANDREYE'V 17 treated so that through it they assume universal importance . At the c nclusi n his S ebasto l T l o o of po , o stoy ” k he s in hi k s a s t a nc a s . pe of b e e of hero boo But, “ c n inues m s l he o t , the hero of y tory whom I ove i all m s ul I e i w th the powers of y o , whom hav str ven uc in all his eau an l to reprod e b ty, d who a ways has ” is an ill u i ul i u en d a s . be , , w be be t f , tr th ’ In a modified m An is m for dreyev s hero the sa e . ” Name me the name 1 cries Anathema to Some one ua in n anc B n L g rd g the e tr e to the eyo d . ight D il n M All the path for the ev a d for an. in the world n an kn n wa t the good d they ow ot where to find it. All in l an li and fin nl the wor d w t fe they d o y death . The name ! The name ! Name me the name of dn ss nam me nam nal li ! I am goo e , e the e of eter fe ” in wait g . Andreyev forever asks this question : How shall mak li li a l c ncile our lin we e fe v b e, how re o fee g of what life ought to be with the evils which fill the l An c n ar n al n wor d ? dreyev, o tr y to the ge er otion,

ink li l i . does not, I th , hate fe ; he oves t It is because he loves it that all the misery and wrongs and ills ll him H an s l of the world so appa . e w ts to o ve the i e i ll m an Wh l . W a s t a r dd e h t do e ? y, after a ch li suc as a a li is a suc wret ed fe, h the ver ge fe tod y, h li s r in hi ama The Li M as the fe de c ibed s dr fe of an, c me ? i n a r o s death It s ot de th pe as then, not a i u in i P e l morb d fancy, s ch as those wh ch o so oved in ul i own sak a e ccu i s An to d ge for the r e, th t pr o p e ’ d r in e ll on a cause eyev s m d . Andr yev dwe s de th be “ ” i li us he ll n the he des res eternal fe, j t as dwe s o “ ” horrors of life because he wants the good His whole literary activity is an endeavor to solve the conﬂict between reason which condemns life and f l ﬂi t nsi in is wa ee ing which a rms i . Co dered th y 18 LEONID ANDREYE V

’ Andreyev s work s from the first to the last form an organic unit and show a continuous growth along the lin i cen al u e of th s tr tho ght. I s all en ea in the main is h d vor, re der of th paper, ’ to trace the development of Andreyev s view of the l hi Weltanschauun m wor d ; s g, from so e of his i typ cal plays. His e first la To the t rs v ry p y, S a turns upon this conflict between life as it is and the refusal i e T v as n acce t. S e erno sk a c le of re o to pt rg y y, e brated as n me has wi a n n i l he tro o r, thdr w e t re y from t world and lives in his astronomical observatory c s m e e i u in the m un ains D n per hed o ewh r h gh p o t . ow below on the earth a bloody revolution is going on in which his son Nik olay and other members of his l fi h in B m ami are t . u i un f y g g t he re a ns concerned . He has turned his back on the earth with its senseless il nd li s a c smic li e am s H s a n s a . ev , ve o f o g the t r e seek s to find the meaning of life away from the “ l a a m a k s a s th wor d, w y fro the d r h de of e earth its ain ca s—d a in us i mi v re e th, j t ce, sfortune . “ ” Vain ca es ? ask one c a ac s r s of the h r ter , sardon “ ic ll if new Na l s ul a y. So, a po eon ho d arise to a new s and i l morrow, de pot, gr p the who e world in ” “ hi i n fist ul a a ain ca e ? Y s ro , wo d th t be v r , too es, ” en h on i im i I ink s . An i s s s ne h v th o d wh s pr o d, a in na l sca in s a he re g rrow y e ped be g hot to de th, “ e H w can cr mains just as ser ne . o I y and de ” “ i sa s ea one man en spa r, he y , over the d th of , wh h l m n ies e er sec n and in the in t e wor d a a d v y o d, universe probably a whole world is destroyed every ” n seco d . Sergey Ternovsky has escaped from life on earth el s M n ink because life on earth is sens e s. a th s T ’ only about his life and about his death . hat s why ’ l him a s ls as life is so terrib e for , th t why he fee

20 LEONID ANDREYE V then is the God of that life ? Where is He looking ? Accu sed li e ! To mel in ea s die i r f t t r , to , to d s a ea ! Wh li en the es is n the pp r y ve wh b t per h, whe beautiful form [ of Nik olay] is brok en ! Do you nu der and T e i n s ifi st , father ? h re s o ju t cation for life ! ” There is no justification for it! Ye es i il he l h t, d p te the ev s of t wor d, s e cannot m k “ a an n li . She us o ac a T b do fe t g b to the e rth. he ea a s a and s but I was rth bre the dre d orrow, born of a and I a suff in in m l T the e rth be r her er g y b ood. he k stars are foreign to me . I do not now who dwells Like a un e i m s ul ll i there . wo d d b rd, y o fa s aga n and ’ a ain e I ll I ill k k g to the arth go. w eep li e a sac lic a is l Nik ola his u h red re wh t eft of y, tho g t, ” hi l his n l n ss s ove, ge t e e . An d the drama ends this way r v k ith hi rm r Te no s y. [ W s a s aised to the stars ] I ou m is an m unkn n i n greet y , y d t t, y ow , fr e d. m Maruss a . With h r ar s extended t th h y [ e o e eart . ] I ou m a m suff in greet y , y de r, y er g brother . ’ rn v k s i . h m a lin Te o s y W fe O , y d r g son ! My darling son ! To the S tar en e l u s ues i n u s, th , m re y p t the q t o , p ts it definitel an s ua el but e no e en y d q r y, do s t pr t d to i be i . i a u s n su e an I s a . W swer t t bro d q e t o , to r hat is life ? Wha t is its meaning ? How make it en durable ? How reconcile the evil in the world with n li hic is nec ssa i e it a meanin faith i fe, w h e ry to g v g ? But it is a question which constantly preoccupies A T rnovsk ink has un an an ndreyev . e y th s he fo d e i n l a l swer in a sort of n gat o of the wor d, wor d of But Maruss a is a s an his abstraction. y tr ger to “ ” T n e e ni is a me e h as world . he so of t r ty r p r e to l him i her A e a . nd her . She does not f e w th he rt 0 u her eas n ulls a a m ea 8 , tho gh r o p her w y fro the rth, i and he her heart attracts her to t, s obeys the LEONID ANDRE YE V 21

stronger force . For the mother sucn a struggle e en as n and l s not n i b twe re o ove doe eve ex st. She implicitly obeys the all- conquering maternal in ” stinc Oh a lin son I t , my d r g The n la S vv i ext p y, a a wh ch appeared only u m n s la is a is icall a far su e i fo r o th ter, rt t y p r or piece k T chnicall To the tar can ca l b of wor . e y, S s s rce y e i a i regarded as a play. It s r ther a ser es of conver sations ﬂowin al n asil n u and in , g o g e y e o gh terest in l n u bu no nn c an c i g y e o gh, t t co e ted by y a t on or l n i s nse th I p ot eve n the modern e of e word plot . n ac all the ac i n e is a ns ls not f t t o ther h ppe e ewhere, on the sta and is nl alk a u in ge, o y t ed bo t the play . One the l a in c a ac s Nik la n of e d g h r ter , o y, ever ap s n All is and all r pears in per o . he he does a e con

ve in i ec l . S avva on an i yed d r t y , the other h d, s a

la ll kni . It has l n ac i all p y we t together p e ty of t on, ea in na u all an i c l u n the cen al l b r g t r y d d re t y po tr p ot, and the interest grows steadily until the strikingly Th powerful denouement in the last act. e characters c l E n u al so are arefu ly drawn . ach sta ds o t as a

i i ell- deﬁned s nal i m im an v v d, w per o ty, the ore port t n s a a hi s sis e Ol m ia a an K n o e , S vv , t r y p d , d o draty, revealing themselves in all their strength and weak ne he min n a n in a a m l ss, t or o es dr w few bro d, aster y k stro es. Though not devoid of philosophical import Savva may be enjoyed simply and plainly as an ordinary l a a is an ana chi s and has c m p ay. S vv r t o e to the conclusion that the only way of regenerating the l is makin a clean s in wor d by g weep of everyth g, ‘ u in the n i e old a ic la in a by proot g e t r f br , y g the e rth ” ff n i ﬂi l . Killin us o ia bare, as he says g o ob ox o c s in l s m ri s is u il cause no s g y, a ere terro st do , f t e, be sooner is one tyrant removed than another arises he uc i n us be un ak n in his place . So t destr t o m t dert e 22 LEONID ANDREYEV

A elimin on a huge scale . s a pr ary to this he starts out with a rather innocent plot to blow up a wonder working ikon of the Saviour in a famous monastery at a time when large crowds of pilgrims shall have i e i x gathered there for a hol day. By a s r es of e plo sions of this nature he hopes to destroy the supersti i e ic le makin em t ous pr jud es of the peop , g th see “ a nami is s n e an ei God an th t dy te tro g r th th r , d that T l man is stronger than dynamite . hen they wil “ ealiz a the kin m i God i at an nd r e th t gdo of the r s e , ” n kin an ha m Hi l n a d that the gdom of m s co e . s p a misca i s it ailu i in m nk s an o or rr e , s f re g v g the o pp tunity of practicing still further deception upon the e l kin on ei su s i i us ull i ili p op e by wor g th r per t t o g b ty, hil a a on ein isc e e as au w e S vv , b g d ov r d the thor of l i kill l m Th l e a mob i i s. e a the p ot, s d by of p gr p y ’ is among Andreyev s best work s and deserves fuller treatment than is consistent with the scope of this I h n u n a e i l paper. t as bee p t o the st g n Ber in and Vienna but its uc i n is i i in Rus , prod t o proh b ted

s1a. About seven months after the appearance of m Th avva a Li e o Man. T us S , c e e f f h , three of the ’ plays upon which Andreyev s reputation as a dram atist in no small degree rests were crowded together in a e i less an one ea N em 1905 p r od of th y r ( ov ber, , e m The Li e o Man is one to S pte ber, f f of l s and in ini n i one the bo de t , the op o of the wr ter, of the most successful attempts of its kind in dramatic l s i in ai e iterature . It is ab tract on art r s d to the n l e An e se im highest co ceivab e pow r . drey v t h self no l n i e i is one la c nsis in ess a task tha to wr t n th p y, o t g ﬁv en s an a l ue all a the i le si of e sc e d pro og , th t t t g E m n an. I i m niﬁes : The Life of Ma , of very t s eant to comprise all the essential elements that enter l Lik e n al rai into the average human ife . a geb c LEONID ANDREYE'V 23

i n li m a a a ial . for ul , t c be pp ed to every spec case In a in e nal kmans i i s n l u f ct, ext r wor h p t tro g y s ggests m l rm I i is u ma a ica ula. t s c cc a e nd a the t fo pre e, a r t a ff i m c n I The Bi M n sti as a parad g . S e e . rth of an a d ’ T L n il e II . P the Mother s rava . Sc ne ove a d overty. ’ ’ n III B ll M n s ene IV M n A a at a . c . a s M Sce e . S is u h D M n In n n V T e ea a . ac t . c sc n for e S e e . th of e h e e

o u r n u . y u ﬁnd what yo expect . There a e o s rprises T mu n ne i i the li the a e a e here st be o , for t s fe of v r g man Bu li i e as ul as in . t the throb of fe s ther tr y a c a ac ak s a Dick ens an ar h r ter of Sh e pe re or , or y p ticular individual of your literary or actual ac u in h uli qa tance. Andreyev as the pec ar power of

t e- m in isem ie makin the s i i e body g the d bod d, of g p r t u l n i s n e H im el call a a l the a ac c c . e s s t g b e, b tr t o r te h f “ ” - s am a ulia i ue it the neo reali tic dr a . Wh t pec r v rt “ ” must reside in a name ! The neo- realist in the character of An dreyev simply goes ahead and “ ” quietly does what the futurist so loudly pro s bu il rm fesse , t fa s to perfo . L k n lis en u a c m lau oo a d t , yo who h ve o e here to gh nd u T e ill ass ou le a be am sed . her w p before y the who li e Man m hi a k innin his a k f of , fro s d r beg g to d r n i T u nin the la m n in G a n . S e d g h s ope g p y, o eo e r y forecasts the Life of Man in one brief paragraph : “ Being born he will take the form and the name Man and in all in s ill ec m lik men of , th g w b o e e other al a li in An ei a lo ill hi l t re dy v g. d th r h rd t w be s o , and h l ll l ll n is hard ot wi be the ot of a human bei gs. Inexorably impelled by time he will with inavertible n cessi s u all a uman li e e ty pa s thro gh the st ges of h f , the m he the from botto to t top , from the top to bot t m L l n o . i in i i il s ne im ted v s on, he w ever ee the xt s i his uns a is in air is in tep wh ch te dy foot, po ed the , kin Lim in kn le c a . i the very a t of t g ted ow dge, he ill kn a c min da ill in w never ow wh t the o g y w br g , 24 LEONID ANDREYE V

a the c min u the c min minu . In his wh t o g ho r, o g te unse in lindn ss u le em ni i ns a i e g b e , tro b d by pr o t o , g n will u missi l com tated by hope a d fear, he s b ve y

- plete the iron traced circle foreordained. M n cene as a un m an appears o the s yo g an, poor and s a vin but es i e his sufi erin ca a l now t r g, d p t g, p b e an in his mis in hi d then of forgett g ery, happy s youth an in l i he n hi i e ea e d the ove wh ch a d s w f b r ach other . He h l s his a in hi s a l c il and as o t f ther e r y h dhood, has had a hard struggle making his own way through h l c ll w is an a c i c na l sc and . No u b oo o ege he r h te t, e nl i k to obtain employment . Sudde y h s wor gains ue min n and ic Th n vog ; he grows pro e t r h . e ext scene represents a ball given by Man in his sumptu s fif T l m l m ous u teen ms. he c a a ho e of roo o d, for t os phere in the medium of wealth and luxury contrasts sharply with the geni al warmth of poverty in the n h r former picture. In the next sce e he as g own in his m 1 ne l c e nl a c u le poor aga ; ho e 5 g e t d, o y o p of m ein u i s emainin m and roo s b g occ p ed, the re t r g e pty i e And as the las c us in being nfest d with rats. t r h g “ ” blow his good son is treacherously wounded by a “ ” bad man n i s , a d d e . The reader will have noted the autobiographical firs Lik M n An e c e t . a e haract r of the part e , dr y v, l h n h through the early oss of is pare ts, ad a hard l hi n an strugg e with poverty from s boyhood o , d then jumped into fame as suddenly as Man. The play is as compact in structure as it is rich m li e n Ve i u n i in c m ani . cu s a c as n sy bo g ry r o , s o tr t g with the impression of the extreme modernity of the ma r u e an imi i e m i dra , a e the cr d d pr t v ethods wh ch h l In the Andreyev uses without t e least scrup e . ’ second scene Man s wife indulges in a long mono logue to tell the audience the past history of the hero ; and in the fourth scene an old servant is con LEONID ANDREYE V 5 veniently made to talk to herself and blab out all ’ a ha a ene since the Ball at Man But th t s h pp d s. se c u i ies far m a in seem all in the r d t , fro j rr g, to f quite harmoniously with the general atmosphere of ll i n la ic 1 a m e the imi i . the p y, wh h 8 the r g o of pr t ve The Life of Mcm again puts the emphasis on the i l The i lin n u quest on of the meaning of ife . r dd g at re of it is here personified in the figure of Someone in ’ T M n n c m Gray. hou h a s co stant o panion, noth g — ing definite is known about him hence the indefi “ ’ i m u niteness of h s na e. I don t know who yo are, ” ’ “ od D il F Li ! T u Man n G , ev , ate or fe ho gh s co ” s an c m ani n s an s b l kin on i t t o p o , he t d y, oo g w th l indifi erence no ma e a a ns and co d , tt r wh t h ppe , every ll u n I ill appeal to him fa s po deaf ears. t w be “ remembered how Andreyev speak s of the cruel ” ff i I s bu n indi erence of the c ty . t i t o e of the aspects c u l indifi erence li in ne al ic of the r e of fe ge r , wh h ic u s in a i us rm H it is umm u he p t re v r o fo s. ere s ed p m and concentrated in Someone . So eone becomes h s m l inca a i n hi indifi eren The t e y bo , the rn t o of t s ce. m li e an a and indifi er n ystery of f d de th, the e ce of na u e is all a ains ic uman as n ha t r , the w g t wh h h re o s n kn kin in ain i i ha n u bee oc g v , wh ch t s ever s cceeded n i A in n ‘ m ’ in pe etrat ng . ga a d again the ystery is n i all an ? H w k ? dwelt upo . What does t me o ta e lif e It is the thirst for a Weltanschauung that so charac “ ” z em Hi n n- is n teri es the mod s. therto o ex te t, says “ S m n m s i usl i en in the infinit o eo e, y ter o y h dd y of im n i e lin nor inkin and kn n no t e, e th r fee g th g, ow to n ll i usl eak u i one, Ma wi myster o y br thro gh the pr son of non- being and with a cry announce the beginning

In ni n n- is of his brief life . the ght of o ex tence a kin l an uns n an I i li ill o u . t s ght w g p, d ed by ee h d l ﬁam —i i the li the life of Man. Beho d the e t s fe n min m ni he ill e u n of Ma . Co g fro the ght w r t r 26 LEONID ANDRE YE’V

u le in n hin to the night and go o t av g o trace be d . He ill in he infinit im n i inkin w go to t y of t e, e ther th g ” nor feeling and known to no one . ’ The indifi erence of fate to men s desires running parallel to thi s mystery is brought out with equal si I n t ans the force and in stence . t is o in wer to ’ prayer of Man s wife that he was relieved of his n i en l ence His a had een de poverty a d g v afl u . f te b ” in e en n l an h kn c e . e n t ided d p de t y befor h d S ows o , “ sa me n imme ia el a e her a e a ys So o e, d t y ft r pr y r, th t f lfill he kn her wish has already been u ed. S ows not that this morning two men in a rich house were bending over a sketch by Man and were delighted i ” with t. And n Man s all in hi i es n whe , w ow g s pr de, go dow on his knees for the first time in his life and prays hi n a e a ain n is i that s so may be sp r d, g o heed pa d

hi enin a al E en k i to s heav stirr g ppe . v ts ta e the r s um n s inexorable course regardl e s of h a wi hes. “ n h all n in l Ma as f e to a sound, sweet s eep, deceived e He kn s not a in a few m men by hop . ow th t o ts his son ill ie In m i us am - an ie w d . yster o dre f c s a ” ic u im s le a iness a is him p t re of pos ib h pp r es before . The pessimism of the Life of Man is even more n unc an a To the S tar The me n pro o ed th th t of s. a inglessness of existence is the more accentuated in that it is exempliﬁed in a life by no means below h a e a e in it s a e a ine s And et a t e v r g s h r of h pp s . y wh t “ d es it all am un Man e ar s lea in n o o t to ? d p t , v g o ” The as i n trace . f h o has changed ; his work is no H e e n l longer wanted . s ems to be e tire y forgotten e i a e n even before his d ath . W th wh t ager ess he clutches at a mere straw of hope that his work will continue to live . I saw a un a is nea a us WIFE . yo g rt t r th t ho e [ a

28 LEONID ANDREYE V

I ul not a n n I w there . t co d h ve bee very stro g. t as not a mina in n but a imi ic akl do t g ote, t d vo e of we y i in us protest n an overpower g chor of condemnation. For a long time Andreyev seems not to have been able to arrive at a direct aﬂirmative answer to the

u i - whil nes l A n l q est on of the worth e s of ife . ppare t y he vacillated between his faith and its awful alter na i s m im s l anin i si s m t ve, o et e e g to the br ght de, o e im s l m si u n m l l t e to the g oo y de, tho gh ever co p ete y losing hope m the possibility of some favorable solu

tion. In The Life of Man the dismal note predom inates an sa in ai scar s i s l , d the v g f th w hows t e f. In T th tars on an s i o e S , the other h d, de p te the sc i ism si i n a ai n t c s i a i . ep , the other de g ve f r he r g ’ The justification of life is found in the superman s is su i ils u l power to r e per or to the ev of the o ter wor d, us as in Lazarus Au us us his su rma j t , g t , by pe n n i a l su u influ n l k stre gth, s b e to bd e the e ce of the oo a M m d ll will il n . s a a c of de th oreover, o e y be h dre rni as as n m sa s— a is all will of ete ty, the tro o er y th t , u m n— n li ill i i ll B be s per e a d fe w be v nd cated for a . ut first im An e m s ues i n I s li e the t e dr yev eet the q t o , f il i an m a ic and un ui l Y worth wh e ? w th e ph t eq voca es, is in hi s ama Anathem a uall i dr a . Gr d y, by pa nful s u lin and s a c in An a a s a tr gg g e r h g, dreyev ppe r to h ve k his wa hi si i n an Anathema wor ed y to t s po t o , d there fore represents the highest and most positive stage in l m n hi the deve op e t of s thought. T u in a li i us a Anathem i bu ho gh re g o g rb, a s t a a ia i n a m hic a v r t o of th t the e w h, s we have seen, ’ m k An k s Ana m for s the ernel of dreyev s wor . the a, is n n an D il a a e who o e other th the ev , ppe rs befor Someone watching at the gate that divides oi? the world accessible to reason from the region in which ll dwells The Origin of a being, the Great Universal LEONID ANDREYEV 29

In lli nc and ask s him n a an te ge e, to ope the g te for “ ’ ins an a ma ak e a l k a E ni I l t t th t he y t oo t ter ty. l ” “ ’ ec m a God sa s I ll c m od I b o e , he y , be o e a G . n n in m have bee wa t g to beco e a God ever so long. H c a l n hi ll im l in m n E n if e r w s o s be y p or g So eo e . ve he has no heart he has reason which is seeking the “ u H u n tr th . ere am I at yo r feet ; ope your face to i me . Open your face to me but for an nstant as brief as a ﬂash li nin You us T n nam of ght g” . ref e ? he e n m 18 in me the a e of Him who beh d the gate. Does it not consist of seven letters ? Of six ? Of one ? Name me but one letter and you will save l ” me from eterna torture . Fail n e a sa is ac n Ana ma i g to g t t f tory a swer, the s a cla in a de cends to the e rth, de r g th t to prove the injustice and the meaninglessness of life he will give Da i Leizcr un tuna e ew al v d a poor, for t J we th, , , n m H will mak him a a man power a d fa e . e e gre t , living a life such as by all the mles of reason should result only in the general good and in the highest Da i ims l but ich as k n s m good of v d h e f, wh , he ow fro ’ wa l will lea Da i s s uc i n the y of the wor d, d to v d de tr t o ’ an H will Da e d to much evil . e show by vid s care r “ the nothingness of human existence ; he will pro ’ claim through David s mouth the truth about the ” destiny of man. The six scenes following the prologue are taken ’ — up with David s liteh how Anathema made him the i milli ns and ins a usin m n he r of o , how te d of g the o ey ims l a it an c il n for h e f he g ve to the poor d to the h dre . ’ An D i Leizer s nam s a far and wi and d av d e pre d de, was n r an r v a all and he ho o ed d e ered bove , the report n r l n n we t ab oad that he cou d eve perform wo ders, and people came to him from the ends of the earth l B n h d to worship him and to be hea ed . ut whe he a 30 LEONID ANDREYE V

en a ll hi m n an had no m e i giv way a s o ey d or to g ve, le u n ains him c in a had the peop t r ed ag t , ry g th t he

a em and s n him ea . betr yed th , to ed to d th A m i i n m he li Da i r ed with th s ev de ce fro t fe of v d , who because of his material limitations is unable to help the people in the way they want to be helped n l e and i e e k ill b a d need to be he p d, s th r fore ed y em Ana ma a ain ascen s the conﬁnes th , the g d to of he a i nal l and man t r t o wor d, de ds : “ Give me the name of him who brought about the l destruction of David and of thousands of peop e . An m n a M e e ave I am athe a and I have o he rt. y y s h been dried by the ﬁres of hell and there are no tears m B h n ul i m all in the . ut ad I a y tears I wo d g ve the D b e e m men s a id. I a no a ut to v h ve he rt, ther w re o t n m hin li in s i in m s m and I whe so et g v g t rred y bo o , wa i n C n n I saw s fr ghte ed . a a heart be bor ? how l David was killed and with him thousands of peop e . I saw his s i i lack and i ifull s i lle how p r t, b p t y hr ve d, lik a m i in un was u le n in o e wor dr ed the s , h r d dow t

s u c non- is nc in m a e l m the o r e of ex te e , to y bod of g oo D i ” and a . Sa wa i n u a kille a ? de th y, s t ot yo th t d v d ’ In Someone s answer to thi s question lies the le i nifi It is m st who s g cance of the drama. the o ’ direct and the most definite expression of Andreyev s li i n re g o . Da i ha l and lives v d s achieved immorta ity, he imm rt l Davi has o a in the deathlessness of fire . d ac i e imm tali nd v immortal in h ev d or ty , a he li es the ” ea l ssn ss li d th e e of ght which is life.

Still Anathema continues to press his questions. Did not Da i Did not Davi v d love ? Answer. d i a a hi s did not g ve w y s oul ? Answer . And they stone David who had given away his soul ? Answer . Not un having satisﬁed the hunger of the h gry, not having restored sight to the blind and life to LEONID ANDRE YE V 31

s ie inn cen l and a in uc dis tho e who d d o t y, h v g prod ed , sensi ns and is u es and c u l s e in l o d p t r e h dd g of b ood, for the people have already arisen against one an e and c mmi i lence mu n oth r o t v o , rder a d robbery in the nam Da i — all is in so did not Davi e of v d th be g , d claim im ence l v and did n pro the pot of o e, he ot cause great harm which can be counted in numbers and ” measured with measures ? “ ” “ Yes S m n ans s Da i di u , o eo e wer , v d d what yo sa he did and l did a ou accuse em y , the peop e wh t y th a in An h m ne . d t e nu s not lie and the of h v g do ber do , scales are ue n m asu tr , a d every e re is that which it But not i m asu s are me s r w th e re a ured, no wi num are c un nor it s ar th bers o ted, w h cales e ei the in s a o Ana m u a no kn . w ghed th g th t y , the , do t ow T e are no limi s li and no definite un s ( h re t to ght, bo d ’ fir am e T e is a red fir to the e s fl . her e, there is a ll fir e i a i fire in ic n ye ow e, th re s wh te wh h the su ul k And i s ill wo d burn away li e straw. there s t an an un n fire nam ic one other, see , the e of wh h no ’ kn s no un s are set fire s flame ow , for bo d to the ) Kille in num s a in m asu and in s al s d ber , de d e res c e , David has achieved immortality in the deathlessness ” fir of e .

An a ma is a l c niza l as e il He the h rd y re og b e the d v . bears but slight resemblance to the conventional E i m i ’ Spirit of vil . He s not the te pter n Goethe s M his elian sens nor in a sam sens is ep toph e, th t e e he “ ” H w i the Spirit that denies. e is a ne creat on in n He is li a u an i in l n i n a . ter t re, or g a co cept o of Sat i n s n H n he i i a i ci i . e a s t sp r t of invest g t o , the e t st w t proofs he wants to be shown ; he cannot believe with o v i H is r on with ut eelin ut obser at on. e eas o f g ; he “ ” has no heart and he therefore cannot feel his w He nn l a uman li us i ay to faith . ca ot fee th t h fe j t ﬁ B es itself and is founded upon a rational basis. ut 32 LE'ONID ANDREYE V

he burns with a desire to ﬁnd out; he is consumed i a assi n u h e in w th p o for tr th . O , for on peep to e e ni ! And if m s il s so t t r ty he te pt to ev , he doe o a i is ulin assi n not out i inal sin gr t fy th r g p o , of or g , not out si i k of a de re to destroy. And if he s a s eptic it is als cau his assi n u an n o be se of p o for tr th, d ot ’ a i n An il i from des re to de y . dreyev s dev s the “ assi n u Who l u m e p o for tr th . oves tr th or than Anathema ? Wise Anathema grieving for the truth ? I a chin m i am weary of se r g. I a t red of living and being tortured in a vain chase for that i b c . wh h eternally eludes Give me death, ut do not aﬁlic m n i h t e with blind ess. All who str ve for trut ,

l as in s m ar his ien s. He con who ho d re on e tee , e fr d stantly appeals to them as those who love the ” il u n nl i as n he dev . B t because he ca see o y w th re o is destined never to know the truth ! A ll ill Ana m h A A. T m s e e N THEM e e, w the a ever e t gate open? Will I ever behold your face ? E E M ac i n u N n . s b t SOM ON . o, ever y f e ope , you n c is l u bu ou n do ot see it. My spee h o d, t y do ot i M ar l a but t kn hear t. y precepts e c e r, you do no ow m A m An u ill n s n u na e a. d o ee a d o the , th y w ever , y ill n a and ou ill n kn Ana ma w ever he r, y w ever ow, the , un a s irit death1es 1n num s nall li h ppy p , s ber , eter y v in m u n in cal s but no n f r g in eas res a d s e , t yet bor o l ife . For a picture of the world as a vale of tears there is in the whole of literature scarcely the like of Anathem And n one i anal ze one a. whe tr es to y ’ l hardly knows how the eﬂ ect is produced . Sure y h an ama it not by t e ordinary me s of the dr , for can l m I i a succ ssi n scarce y be called a dra a . t s e o of c d n al im ssi n it ul pi tures, an for the ge er pre o wo d if i c i n mak e little diff erence , w th the ex ept o of the nd las sc n i re prologue a the t e e, the r order were LEONID ANDREYE V 33

il l i versed . So it is fut e to judge the p ay by ord n If d ic a s lu ary standards. we di , the verd t of b o te Bu condemnation would be easy and unmistak able . t Andreyev wrings pity from our hearts and touches us with wonderfully warm emotions in behalf of m n L i i an ls poor hu a ity. et not crit cs step n where ge h the ama is fear to tread . T e pathos of dr proper as great as the extraordinary grandeur of the pro u log e and the ﬁnale. The little play here given is one of those humorous ’ bits that Andreyev now and then throws oﬂ in his me s a l happy moments. They co to him o r re y that when they do come they seem to burst upon him like l m u uninvited but we co e g ests. n The Pretty S abi e Women needs no commentary. i a a a k T ain and uall It s s clear as story by M r w , eq y i wi u its l ss n an u fun. s it n t d p re Of cour e s o tho t e o , n i i H c n Russian w i ot w thout sat re . ow a a r ter ever quite forget himself to that extent ? The lesson is An li ical ac i nis e i i n. d rect act o d what po t t o t, howev r e m ul n e i An if as a xtre e, wo d ot vot w th dreyev, , Russian ci s in a i c ac i n a ains , he de de f vor of d re t t o g t l T M egalism? HO AS SELTZER. TH E PRETTY SABINE WOM EN

A A L ni An . Play in Three cts, by eo d dreyev

h l z r Translated from the Russian by T omas Se t e .

A T I C .

rl l c Th i br k ild i ord a e. d e i A w d s e e a s a n . , y p y g Armed Romans appear from behind a mountain

ra in alon the rett hat - nak ed S abine d gg g g p y, f women who resist screamin and scratchin with , , g g, th xc ti n one wh lies er ectl uiet in h e e ep o of , o p f y q t e arm h r bdu t r Each time the are scratched o e a c . s f o y , T k the Romans yelp with pain. hey quic ly throw the wom en own in a hea then instantl um d p, y j p r r h r m awa and relax antin o b eat . The sc ea s y , p g f die Th m n lso relax sus ici usl l a a . wo e a o w y e , p o y f lowing the movements of the men and whispering n h t r a d c a te ing in low tones .

n r ti n th R m ns Co ve sa o of e o a .

’ B He cules I m wet as a a e rat i y r , w t r w th per s i a i n p r t o . Who told you to go for the biggest woman in the c I k a li l skinn one and rowd ? too tt e y , You did did ou ? How a u u ac ? Was , y bo t yo r f e it the little skinny one that did that ? he c a c lik a cat Whew ! S s r t hed e . ’ ll c c lik e a s I ve n in un They a s rat hed c t . bee a h ’ dred engagements ; I ve been struck by swords and 34

36 THE PRETTY SABINE’ WOMEN

’ ’ . Y u n l o i it but i u . h sl her wo t be eve , t s tr e S e ept the sl a al eep of the de d h f the way. FAT R A N w m . o R ans are in OM N , o , how we go g to tell who is whose ? We ravished them in the a k lik k d r e chic ens from a coop . [Indigm mt outcry from the heap of S abine women : ] What a vile comparison !

TH E A ROM NS .

Hus u ! h , they hear s FAT R A lowerin his oice b n o t e OM N [ g v y a c av ] . How s all ll now? Min w ll h we te e as a jo y, good ’ um i l and n i n n . h ored g r , I wo t g ve her up to a yo e ’ I n l t an n o e wo t e yo e step n my to s. Oh ns se , no en ! ’ I ll z i s ll recogni e mine by her vo ce . I ha never sc am ill i i forget her re s t the b rth of Chr st. ’ I ll c niz mine nails re og e by her . I min n r ul sc n ai , e, by the wo de f e t of her h r. PA S And I min en au ULU . , e, by the t der be ty of h R m we r n w her soul . O , o ans, a e o on the thresh old new li F ll rm n s of a fe . arewe the to e t of bache lordom ! Farewell endless nights with their con in Let a ni in al l founded night gal es. wh t ght g e p eases sin now an i a s I am g , or y other b rd wh t oever, pre pared . ’ Fur R w m Y s it im n ma i o . e , s t e we e tered the tr m ni o al state . TH E W E OM N .

’ ’ Ye o a a ! Tr it! L s see ll s, g he d y et how you do it! E R TH om s.

H us us e a . h, th y he r ’ ’ It s time ; it 8 time. ’ R ma 11 ﬁrst? o ns, who be the THE PRETTY SABINE WOMEN 37

Silenca remain st ndin ti n All a mo o less. Low [ g , nom us l ht r m th m ve o aug e a ong e wo en. ] FAT A I l n u . L ROM N have aughed e o gh . et others ’ lau in n w I n le an do the gh g o . wo t t ybody step on m H P u s. e aulu o o y toe y, s, y g forth . ’ PA M n ! D n u se in ULUS . o ster o t yo e m e is still asleep ? You see that little dark bundle there under ’ ck T a she. Oh inn c n the ro ? h t s , o e t heart ! orm R man e u i l S o . o s, I s e by yo r rreso ution and i m ll us iﬁ state of exc te ent, fu y j t ed in the present ci cums anc a n n ou ill a r t es, th t o e of y w h ve the cour a e a ac t c u l l n l s c g to ppro h hose r e , re e t es reatures sin l M lan n l m n g y. y p , therefore, O ge t e en of a cient m h Ro e, is t i s FAT R A He has a a on him Sci i h OM N . he d , p o as. ’ r l L ll c mo T is i an. s a a S . h s my p et dvance upon m sl l i u as eac hi in the together, ow y, w tho t h te, h d g i n ’ behind the other . See ng that we were t afraid of their husbands FAT R A h i us an s w OM N . O , the r h b d , that as easy . [Loud groans among the women and outbursts of weeping . ] H u us a s. h, they he r T ou are a ain Ma k An n i here y g , r to y, w th your stentorian lungs ! Anyway we must try to avoid “ ” h m n i n a un una s t e e t o of th t fort te word hu band . ’ You see what a dreadful eﬂ ect it has upon the poor in s Now n n l m n ou a e m th g . , the , ge t e e , do y gre to y plan ?

e . W do, we do um N w m n ! S . o n n l o , the , ge t e e The Romans r e are or the tt h th [ p p f a ac , e women r h I n c th h rm fo t e defense. pla e of e c a ing faces only sharp nails are seen ready to plunge into face and h hi ik k ’ T m A lo in l . h R air . w ss g e a sna e s e o ans 38 THE PRETTY SABINE WOMEN advance in accordance with the lan that is hidin p , , g behind one another ; this leads to their all drawing backward and disa earin behind the n pp g sce es .

L hter mo th m n h m r - au a n o e . e t g g e w T Ro ans e en er, puzzled ] T s ms s m ak in in l here ee to be o e we po t your p an, i i Sc . Ha in an a anc we a p o v g w ted to dv e, retre ted , as c a a i So r tes would h ve sa d . ’ FAT R A I n un e s OM N . do t d r tand. PA R m l u . ans et s a e m . W a ULUS o , be br v h t atter if we do get a scratch or two ? By the extra s ial i a ma c R man en lem n ! terre tr de ty, forw rd r h, o g t e Set to ! The Romans advancin in disorder and all [ , g except Paulus with their eyes raised dreamily toward the sh throw them elves u on the women ut a ter y, s p , b f ’ a moment s sil ent stru le uickl draw back all gg q y , holding their hands to their noses ] cn uo thr h hi no e Did u n en S [ oug s s ] yo otice, g ’ ’ l e i n n c am ? t a n t em n, they d d t eve s re I s bad ome ’ m c m when wo en don t s rea . I prefer that they do . ’ What s to be done ? an ma im n I w t tr o y. l I want a domestic hearth . What is ife without a domestic hearth ? We have been laying the foun ’ a i ns R m l n n u il ak itt It d t o of o e o g e o gh, the dev t e s us n a a i n time for to e joy vac t o . FAT RO A Un una el anci n R man M N . fort t y, e t o s, ’ these isn t one man among us who knows the psy m B in s l n n i chology of wo en. e g o o g e gaged n wars n un in R m a n a a d in the fo d g of o e, we h ve grow co rse, ll ﬁn men an n a s lost a re e t, d forgotte wh t ort of crea ture a woman is. m d l N all A ot . P ULUS [ o est y] . But es m n al a had us an s SCIPIO . th e wo e re dy h b d , THE PRETTY SABINE WOMEN 39

the ll s we ea es a T fe ow b t y terd y. his leads me to c nclusi n a mus s m w the o o th t there t be o e ay, some hi n m s i us wa a in m dde , y ter o y, of pproach g a wo an ic not kn wh h we do ow. How are we to ﬁnd out? FAT Rom W m s k . e u t as the women them l se ves. T w n ’ ll hey o t te . V m m m [ eno ous laughter a ong the wo en. ] Hus a u h, they he r s. crr r H I a s m S o. ere, h ve a che e . FAT man i i h Ro . My, but that Sc p o as a head on

’ Scrmo Our c a min a is m n— . h r g r v hed wo e doesn t it m ou n l m n a if had avi see to y , ge t e e , s they r shed us not m 1—our c a min m n I sa , we the h r g wo e , y, pre u i wi c a chin our a li occ p ed th s r t g f ces, pul ng the down ut skin nd icklin u n r o of our s, a t g s u der ou arms, i l And n could not poss b y have heard na. ot having n l us ul e s bee ab e to hear , how co d we have p r uaded them ? And we not having been able to persuade ’ m an sua ? T a s a a c . the , how c they be per ded h t f t ’ m s r tin T a s a a . Th n Ro [ epea g] . h t f ct [ ey si k t t nd n Th m into an a ti ude of despo e cy. e wo en listen ] l nu Thi n i m an. To elec a l Sc o. s, the , s y p t de e gate from among us in accordance with the rules of war and propose to our charming enemies to do n i the same . I trust that the represe tat ves of both a in cam s en o in as will c w rr g p , i y g, they , perfe t security under the protection of the white ﬂag [He feels his nose] will be able to arrive at a deﬁnite L i And n modus vivemli a sa in a n. , s they y t the [ The Romans interrupt his brilliant speech with “ shouts of Hurrah! They unanimously elect him l at d e eg e. ) 40 THE PRETTY SABINE WOMEN

cn uo uti l r hin the women s eak S [ ca ous y app oac g , p d in as he walks with his head turned backwar . g , ] ’ N w n f far s oaxin l P o o of . do t g , boy [C g y ] retty ’ a in s l as l as n m m s . S b e , p e e, p e e do t ove fro the pot Yo n n i fla i . u see, I am u der the protect o of the wh te g The i fla is sac and m s n is wh te g red, y per o , too , ’ in i la l — a su ou i the nes u u n v o b e I s re y t s ho t tr th, po ’ P a in s i nl s a a my word ! retty S b e , t s o y ye terd y th t h l i in ou and a we ad the p easure of rav sh g y , tod y iss nsi ns s ua l s and s an misun s an d e o , q bb e tr ge der t d ing s have already arisen between us. Cw om m What impudence l If you think be cause you put that white rag on a stick you can mak all ins l in ma k s o are e sorts of u t g re r , y u very muc mi k h sta en. — Sorr ro [ingratiatingly] I beg your pardon what insul in ma k s am la t g re r ? Ou the contrary, I very g d - a is sa ll u are all v th t to y, to te the tr th, we ery un a and— ith des erat r l ti are h ppy, [w p e eso u on] we sum wi l I s a H ul s c n . ou c o ed th ove we r to y , by er e , are u nin a a ! La I see ou s m a ize we b r g w y dy, y y p th i us and I mak e l k l w th , therefore bo d to as a s ight a ou l c as a n d l f vor of y , to e e t, we h ve do e, a e E A RA We kn a u CL OP T . ow ; we he rd all abo t it. You ’ n n a eed t repe t. omr Wh S . alk l w o y, we t ed very o . W E Bu w h . t e a ou all s OM N e rd y the ame . E A RA i u r CL OP T . Go away w th yo r ag now and wait ’ u lac W 11 c n ul i in . e s ac . N yo r p e o t w th e h other o, — " ’ e t ofl l as no not a . We n an , her f r her , p e e do t w t anybody to hear us. And who is that stripling stand ing there with his mouth open ? [She points to the k re m PA . Ta him a a l s d a y ULUS ] e w y, p ea e . ' lkin N w R mans wa o n ti toe wh eri . o [ g fi o p , isp ng] o ’ in s we re beginning to get order into this bus es . i ti l st th r r [S ome consc en ous y op ei ea s. ] THE PRETTY SABINE WOMEN 41

TH E WO E M N .

’ I swear I d rather scratch a thousand eyes out than betray my unhappy husband in the least little l in a ea i n Y hi . n t ng S eep pe ce , d r fr e d . our ho or is

ill i . safe . I w watch over t

I s . , too, wear I too , . E A R Ah m a i n s C A. s all e L OP T , y de r fr e d , we w ar, but what sense is there in our swearing ? What good are our oaths ? These people are so unedu ’ cated an a a t can t a i m d co rse th t hey pprec ate the . ’ n I chewed up my man s ose . Can you tell yours apart ? Cnsom m with hatred all n [ ] . I sh ever forget m in da He sm l s s i l him to y dy g y. e t o of h e d and sword and altogether of the coarse soldier and M s u z me s unc m ni usl . a q ee ed o ere o o y y poor, de r husband ! l i They all smelt of the so d er . ’ And they all squeezed so dreadfully ! Maybe it s m m n m a custo a o g the . W n I was s ill ui a i l a s l i cam to he t q te g r , o d er e our house and said he was from that distant country where L i is not im Cm om m adies, th s the t e for m nc re inisce es. But this soldier M ea li le uno I s a V nus Cns om m . y d r tt J , we r by e that we are not in the least interested in your soldier k a s all when we have our own about our nec s. Wh t h n w m i n s ? T is is a I s ul we do o , y fr e d h wh t ho d s propo e . A ri n rom her slee her e es blink VERONIC [ se f p, y ar Wh are the a roaches . W e ? ing, pp ] here they y y I l so far away ? I want them to come nearer. fee 42 THE PRETTY SABINE WOMEN

f ff I w in ashamed when they are so ar o . as a faint ’ he le ime and now I can ﬁnd wh t who t , t the boy o m H sm l l ie i e . e e s carr ed t of the o d r. ATRA T e he i s an in CLEOP . her s t d g with hi s mouth in i gap g w de . ’ ’ E A ll m V R I o him. I as ame ONIC . g to h d . AT H l N n E RA her . w e i i i CL OP . o d o , V ro ca, s t pos sible you have forgotten your unhappy husband ? VER A I s ea I s all l him e B ONIC . w r h ove forev r . ut ’ why aren t we going there ? Are you doing some in W a is it The a is I am no l e th g ? h t t f ct , t a tog ther

illin . Let em me e Th m m n w g to go th co h re. e o e t ’ a man a u n t n i him you show th t yo re o a gry w th , he begins to think an awful deal of himself without any fi justi cation whatever. Cw om m Now n m i n s firs in , the , y fr e d , the t th g I propose is that we swear we shall never betray our n Le i dear unhappy husba ds. t them do w th na what e l as ill emain as u and firm as the th y p e e, we w r tr e k en ink l ne m Terpaean Roc . Wh I th of how o so e he i i u me n w an is in in ain s w tho t o , d how he cry g v to “ m uc Cle a a ! h e are o the e pty co h op tr O , wher y u, ” Cleopatra 1 When I think of how he loved me All r [ c y. ] Cw om rm Le us s a n ea i n s . t we r, the , d r fr e d , for r i in they a e wa t g . We s ea we s a ! W a e e i us w r, we r h t ver th y do w th , ’ m i we 11 re a n true . E A RA N w I m at eac as a ur CL OP T . o a p e reg rds o s l in e ce ea usban ! The ne husband . S eep p a , d r h d xt thing to do is to select a delegate in pursuance to i e u s an let her the r r q e t, d

S cratch out his eyes. E let her ll sc un l the CL OPATRA. No, te the o dre

T ink all can i sc a c . whole truth . hey th we do s r t h ’ lk We 11 show them how we can ta .

44 THE PRETTY SABINE WOMEN

E us me it was ou sc a c it. SCIPIO . xc e , y who r t hed E A RA I T n it was ou who— She e es CL OP T . ? he y [ y ’ m t l P n me I i n c h t ou . a im con e p u s y] rdo , d d t re og z u ni e yo .

z u nc . Scrmo [ rej oicing] . I recogni ed yo at o e ’ Doesn t your hair smell of olive oil ? E A RA a usin s is it u a it CL OP T . Wh t b e s of yo rs wh t smells of1 Olive oil is no worse than other perfumes. ’ crr r h I i n a S o. W y, d d t s y ’ ’ E A RA I n ca a ou sai . I i n CL OP T . do t re wh t y d d d t l f An i ’ unn u m l . a t s a tell you what yo s e o yw y, f y m ll c n sa i n ab u s e s and um s and in s. o ver t o , o t perf e th g W a I ask ou a sir is ell me can i l h t of y , de r , to t d d y nl lik an n man W a ou an and ope y, e ho est , h t do y w t ” of us t on u l r i h m c dl but unable [ S o owe s h s eyes s a efa e y, ' r tr in himsel bursts into a u aw holdin his to es a f, g ﬁ , g t m t All th m n rst ut la h hand o his ou h. e Ro a s bu o ug

i I m kes the omen an r . ng . t a w g y ] ﬁ’ hi Gu awin i no ans . CLEOPATRA [ blus ng ] . g s wer ’ i sk ou a ou I . I a ct t s a d sgrace y , wh t do y expe to ’ get out of us t I hope you re aware that we are all ie marr d. rm H ll ess i u la ? We c o. ow s a I t o S h expr to y , dy on our part are also prepared to offer you our hands nd ea s a h rt . E A RA Ah ! u m an it s i usl ? CL OP T . a S o yo e er o y But have you gone out of your minds ? m L l r and cr o. a k at us. We a e not an S dy, oo y Pink e n We We ar e n u u s. everybody. o ro gh rto th g have just founded Rome and are burning with a i liz E e in our si i n la des re to eterna e it. nt r to po t o , dy, ’ n us W ul n ou am l and have pity o l o d t y , for ex p e , have pitied your husbands if one ﬁne day they had n i l i u m n We are l n l been left e t re y w tho t wo e ? o e y, l ady. THE PRETTY SABINE WOMEN 45

FAT R A l n l OM N . So o e y . ’ VERO A wi in h r I e e es . s NIC [ p g y ] m orry for them.

Scmm. In the u m il and m s w t r o te pe t of ar, busy and ccu ie i un in R m preo p d w th the fo d g of o e, we all m men sli b so s k owed the o t to p y, to pea , when la i u us an dy, we p ty yo r h b ds from the depths of our a he rts. CLEOPATRA [with dignity] I am very glad to hear it. crmo Bu il l S . t why the dev did they et you go t Why did they give you up t ’ Rom ns ex ressin a roval T a ri [ p g pp ] h t s ght, ’ i a i c i . th t s r ght, S p o r i D s r WOMEN [ bu sting out ind gnantly] . i g aceful l ’ T u s A il in hey re insulting o r hu bands. v e ins uation l CLnom m [ drily] If you wish to continue the n ia i ns I mus ask ou s ak our hus egot t o , t y to pe of bands with respect. c u D li Bu la mu S n o. e ghted ! t, dy, however ch we ma s c m cann l c nizin y re pe t the , we ot he p re og g the r fact that they a e unworthy of you. While you are here break ing your hearts with your deep grief ; w il u a un m ou u l h e yo r hot te rs, wr g fro y by yo r oss, ﬂow like a tempestuous mountain torrent in the s in n n ck s uakin i i pr g ; whe eve the ro , q g w th p ty, mu n an n u ain c a min mur r a d gro ; whe yo r d ty, h r g n s s l sin ei uisi m s ll u wi ou o e , o g th r exq te for , we p th y r piteous tears ’ Cm om m That isn t true . rm W ll n u and —at su c . n a a o c S o he t re, s forth h a im as i I sa are u us an s ? I t e th s, y, where yo r h b d ’ T ot T ar a n re n . e s . don t see them. hey a here hey b e t n n u A isk usin They have aba do ed yo . t the r of ro g an I ill sa i — a as l e a d your ger, w y t they h ve b e y b tr ye you ! m n strike an attitude o ride with [ The Ro a s f p , 46 THE PRETTY SABINE WOMEN

r k m E m their a ms a i bo. xcite ent and tears among

the women. ] ’ P n pm n R ll n m nos n . ea e c y, why do t th y o e here ’ us It im e di for ? s t e th y d. Cns om rm T a s n i m . u s and i t h t o d very h gh gh y, a sir an I cann en ce in de r , d ot d y a rta degree of u s u Bu ul bea ty in your po t re . t how wo d you have acted if men had brok en in on you at night to ravish us ?

r l k e h Sc mo. We wou d have pt watch t e whole ni ght. E And CL OPATRA. by day? P An in he a ime ou u s l SCI IO . d t d yt y yo r e ves ’ ul n a e ne a a wo d t h v go w y . VER A ih her ear voice Wh are e so ONIC [ w y ] . y th y ’ f r ? I m as ame en e r f r a away h d wh th y a e so a away . ne I want them to be arer . W E hi erin H l her ! OM N [w sp g ] . o d ’ E A RA Wha sel - conﬁdence l Bu I m s CL OP T . t f t orry ’ u ir It s ue I cann n I a e a eelin for yo , s . tr ot de y h v f g e eve en uffe B of r spect and r r ce for your s ring . ut u l I ill imm ia el your yo th mis eads you. w ed t y adduce an argument which will at once destroy your won rf l e m n e i ill mak e ou lu de u a a I s . dr , d hop t w y b h How a u he c il en ir ? bo t t h dr , s rm il Sc o. What ch dren ? l E A RA Th c i n we le in . CL OP T . e h dre ft beh d ’ mi la a s a se i us l m SCIPIO . I ad t dy, th t r o prob e . , Permit me to withdraw an instant in order to con sult my comrades. mxo t h E A RA retir t her rou Sc o is. [ CL OP T es o g p, They consult in whispers ] Scrmo [ returning ] Lady ! ’ w om m I m lis nin C te g.

l n e and du li a i n m rr ro. A e S c fter pro o g d de ber t o , y THE PRETTY SABINE WOMEN 47

c m a s ancien R mans bid me ell u o r de , the t o , t yo , you will a e new il n h v ch dre . C E A RA startl d A ! Y L OP T [ e ] . ha ou think so t rm l m n c o. We en S s a . G e s a we r t e , we r. [ The Romans swear in a confused chorus ] ’ C E A RA But it s e u l e e in i l L OP T . v ry g y h r th s p ace

of yours. rp r r l S c o [ of emled] . Ou p ace ? ’ C E A RA Yes it s a i l s t—m un ins L OP T . , horr b e po o ta , ul l ’ i lies a i . W a s l i g , together so we rd h t th s rock y ng here for ? Please remove it. crm L — rem vin the r ck ith r S o. ady [ o g o w g eat r cf o t] . C E A RA W a s es are s ? d L OP T . h t ort of tre tho e Go ’ Pl s n be I ll tiﬂe e e . ea e ell knows what they ca . s h r t me what sort of a silly tree that is ? Are you em

a ss sir An a mi me e a . Y u h rra ed, ? yw y, per t to d p rt o ’ wan me i e ou an ans e n ou ? t to g v y w r, do t y rm ns a Sc o. An a wer to wh t ? ’ E A RA You ask me a u s i n i n ou ? CL OP T . ed q e t o , d d t y m cn u I ? E cuse me la . I s e be s me S o. x , dy e to o a i a k ou a u what dull . Wh t d d I s y bo t ? ’ T e e ou are ! Now u in l CLEOPATRA. h r y yo re su t ing me . m I S cr o. ? ’ Y You v E A RA es c u s . sa ou e CL OP T . , of o r e y y ll turned du . r I S c mo. ? Y ’ s I . l LE P TBA Yes c u . Not u s C O A . , of o r e o ve o t ir u mem r s . yo r o y, m I Scr o. ? ’ E ATRA Well I ll i a . L a us sir CL OP . , w thdr w e ve , , k n un el Y u r until we have ta e co s together . o a e a H u a an k i 1 i u pitiful sight . ave yo h d erch ef W pe yo r ’ I s i in i s i a i n as if ou had face. t dr pp g w th per p r t o , y

k d . h t rt t been hauling roc s all ay [S e s a s o go. ] 48 THE PRETTY SABINE WOMEN

N l u m . o a e c se e . ink I all did SCIPIO , dy x I th re y , ca a ck but ou ma e m it rry ro , y d e do E A RA I ? I ne e ha he ain s i ea CL OP T . v r d t f te t d of c su h a thing . ’ crm P n e la m o. the a e ? S a m . W rdo , dy hat s tt r ’ E RA H w a e CL OPAT . o do I know ? It s your m tt r, n m ot ine . crp ro I m r m k fun me S . t ee s e ou a e a in . s to m , y g of C E A RA H u all n ic i L OP T . ave yo re y ot ed tt ’ n mi o m k un SCIPIO . I wo t per t y u to a e f of me. E A H w ill n m CL OP TRA. o w you preve t e ? ’ I n s S . m ot a u an et ank d CIPIO h b d y , th Go ! C E ATRA Aha ! N w u sa T ank L OP . o yo y h God. N ’ l l ot bad ir . We ﬁne if we i , s d be foo s be eved your h m ’ oaths. [ To t e wo en ] Do you hear ? Now they re ’ la al a e not ei i g d re dy w re th r w ves. ’ rmo N im E c o a i l . i S . s ss u s , th t po b e ther yo top making fun of us E A RA CL OP T . Or l rp r m Y m S c o. Or o ! es es l i . g ho e , y , go ho e, ad es ’ Enough ! By Hercules ! That s not what we founded me e an l u in u z Ro for, to g t t g ed p yo r cra y notions lik e ﬂie in ll s je y. E A RA z CL OP T . Cra y ? crp ro Yes es i i i S . , y , d ot c ! ’ E RA r in Y l C A c . u r in u L OP T [ y g] o e s ting me. ’ iter n w s L cmro. u o e c in S O J p , h s ry g . ady, what do you want ? Why have you got hold of me and why are you sticking like glue ? Although I am an ancient m n ’ll n R an a I o insa on . o , by he ve g e the spot Do, ’ ’ leas s cr in . I n un s an a ou p e, top y g do t der t d wh t y t e um lin ab u gr b g o t . ’ C E ATRA cr in o u ll let n L OP [ y g] . S yo a gol cmro Y e T r in w r h m . s n R S es . u to a d t e o , y [ g ans ] C m a es men anci n R m ou ar ? o r d , of e t o e, do y he I ’ ha n an s n l ve t y tre gth eft. THE PRETTY SABINE WOMEN 49

’ FAT R A Let m o. We 11 a is i OM N . the g r v h the w ves u of the Etr scans. m T s e m n bu u . e ar not t S o h e wo e , CLEOPATRA [ crying ] Really ? Reall a Sormo . y wh t ? ’ E A A R all ou re in l n t CL OP TR . e y, y go g to et a go ’ M us sa in so and the m m n aybe you t e j t y g , o e t we ’ c k start you ll snat h us bac . — T w h crp ro No u n m o. he a s e S . po y word , g y stick s ! An ill ou ak na ack Cns omm [ crying ] . d w y t e b home ? crm a ! S o. Wh t CLE A RA W ll not? You u us e OP T . e , why bro ght her ; ’ s I a a then you should return u . t s very gre t i d stance . m m h r m the wo en. Sc ro [A venomous laug f o , tin ith an er throws them erce lances and pan g w g , ﬁ g want to s somethin but merel stam s his oot s ay g, y p f n r ir t th m ns All the Romans demon a d et es o e Ro a . stratively turn their backs on the women and remain th Th sitting thus until nearly the end of e act. e women calmly consult tog ether . ] ’ E RA Di ou a i n s ? T ll l CL OPAT . d y he r, fr e d hey et k na go bac . ’ l ER A Y s it s i . V ONIC . e , terr b e

TH E W E OM N .

’ N r c sin ’ o sa a e a n a . I , y, r ther, they h g a way t s T inn m outrageous. o ravish ocent wo en for nothing at ll re i m s in dl a , b ak into the r ho e the mid e of the ni u n i u ni u s - urv ak ei ght, t r the r f r t re top y t y, . w e th r — ’ children and now they don t want us l What do you think of that ? And our poor husbands ! Consider what they have All i h . n n ad to endure for oth g . 50 THE PRETTY SABINE WOMEN

Wh I cla e ! T ink it ! At ni n y, de r h of ght, whe ’ aslee everybody s p. Do you know the way back home ? Do you suppose I studied the road while I was ’ being carried here ? Of course I don t know the ’ w All kn is t a it s emen usl far . ay. I ow h t tr do y ’ k But they won t see us bac . [Low laughter from the Romans ] k m him ER r n . L a e a V ONICA [g oani g] oo , they h v de I ’ll him i n i hi ack us . o . s t dow w th s b to , too g to ’ Wai e nica ou n run a a m t, V ro , y r boy wo t w y fro ’ u t alk ma e s e . yo . We ve go to t tt r ov r ’ Pn ss np ms M ini n is— a diﬁ er nc s o . y op o wh t e e doe it mak e a us an a es e e wh t h b ds we h ve, th e h r , or those there ? These are all right and those are all right

and e s are all i . I kn ﬁrs in oth r r ght, too ow the t th g ’ ll ask me i k u they to do s to coo so p for them. I a anc i a a in a new us an r ther f y the de of h v g h b d . My ﬁrst us an has al ea ot i m m nu an h b d r dy g t red of y e , d i hum ill li th s c p here w be de ghted . ’ E A RA P s in a CL OP T . ro erp e, th t s cynical. You must m r m e is l u u . e e b r, h tory wil j dge s Ps oss np n Ah l m . a o is k n , t h tory ows about the ff i n I ’ me . n a a s u t s o so ba . r of s wo t d here, either ’ C E A RA Y u r r i l P . o e s in u L OP T te r b e, ro erp e. S p

s ea us. T is is a I s ea po e they h rd h wh t propo e, d r ’ ien s f c u se ll m fr d . O o r , we go ho e without delay to our a ace ul n u de r pe f husba ds. B t the way is long ’ and we re so tired M n r a all n i e y e ves h ve go e to p ec s. ’ — Nobody s strong enough to stand all that all of a sudden to have your house turned upside down in mi l ni the dd e of the ght. ’ E A RA L s emain e e a u f CL OP T . et r h r for co ple o ’ a s. T a n in us an in ill it? And d y h t wo t b d to yth g, w ’ ll la An e in ll n n le they be so g d . d s e g how jo y a d ge t

52 THE PRETTY SABINE WOMEN

cr in it o l i h e i s y g p e us y] . Where s s e ? Wh re s he ? ’ Men an i n R m c i I l her . a . ve s W of e t o e, w t o t here is she ?

VER A i k r stand w th droo in lids li e a b ide. [ ONIC s p g , PA c m r ULUS a cidentally bu ps against he . ] Pu ma s I be u a n Di u see . g yo r p rdo . d yo her, lady ? VER A i ONIC . Stup d ! PA ULUS. I ? ’ VER A. Yes ou. You re s u i . ONIC , y t p d PA Wh are ou sc l in me ? ULUS . y y o d g ’ Vs s om cs l in u h u s u i ! D n . Sco d g yo ? O , yo t p d o t ou se M lin a ai d for ou y e ? y dar g boy, I h ve w te y i e s H ak m th rty y ar . ere, t e e. PA a ! ULUS . Wh t ’ — nn I h h u s u i . m a . I s s e . V o o . Me t O , yo t p d No not o PA You u. ULUS . ? , y ’ ER i s I . V ONICA. No, t ’ PA N i s not ou. H e sits on the round ULUS . o, t y [ g , r c ying . ] — ’ l E n e e a n . V RONICA. Liste w r o e here m ’ as a e . L s o h d et g . ’ PA cr i It s not ou. ULUS [ y ng ] . y ’ — Ha ER A ll ou it s I . n it! W a V ONIC . I te y g h t do you think of this ? That one kept declaring for ’ i isn I and is sa s thirty years t t , th boy here y the

in i me u an . same th g . G ve yo r h d ’ risin in ter ror . It s not ou. Oh h PAULUS [ g ] y , o , ’ n me oh ! Help ! She s ravishi g .

[ Curtain ] A T II C .

A woe ull dismal scene I t m r ini f y . ay be a ng . The wind is howlin black clouds overcast th k g ; e s y. But it ma e that all thi onl ar to I y b s y appe s be so. t is t rribl Th bin h b l lik r e e. e S a e us ands fee e c ying with rie g f. The Sabines are arranged in two symmetrical rou s one on each ide some takin mn ti c: g p , s , g gy as c c crois es and zealously mumbling this accompaniment “ ’ to their movements : Fifteen minutes exercise ’ ” ever a an ou ll r ctl r y d y d y be pe fe y st ong . In the middle on a long bench sit the husbands th t h children h ith b n i r a ave , eac w a ba y i h s a ms . Their heads han d nd ntl their wh l t i g espo e y, o e a t tude ex r s i utter d ir It t rribl F p e s ng espa . is e e. or a long “ time all th t i hear is th min mutt rin a s d e o ous e g, Fif ’ ’ teen minutes exercise ever da and ou ll y y, y Enter A G Ma ma s is la i a l tt N US , d p y ng e er. A rus l G e . a in n m n N US S b e ge t e e , we have our ’ s e The ss i a ss. a n l n T w ve ddr ddre , ge t eme ! he address ! AB NE in l w i Hea S I S [ o vo ces] . r, hear ! The ad ’ dress ! We ve got the address. [ANGUS MARTIUS whips a bell out of his pocket and rings ] AB ES h l h l S IN . S S A Mu rrm s S a in n l m n i s ill NGUS . b e ge t e e , h tory w charge us neither with dilatoriness nor with irreso l N i ila iness nor i s lu i i a ution. e ther d tor rre o t on w ll t tach to the character of the Sabines whose ﬁerce impetuosity is scarcely to be restrained by the bar d i m m e n an n . D u riera of reaso exper e ce o yo re e b r, 53 5 4 THE PRETTY SABINE WOMEN

O e Sa in us an s e ou lun y robbed b e h b d , wher y p ged yourselves that memorable morning following upon a mem a le ni ? Do ou mem e Sa in s th t or b ght y re b r, b e , hi e our ﬂeet ee li e a in is anc an w th r f t, ob t r t g d t e d an nihilatin all s acles ca ie us t You mem e g ob t , rr d re b r, en lemen ou no Th bi m i t i m g t , do y t? [ e S a nes a n a n eek silenc W ll ? Rem m e en l m n e e e e e . ] b r, g t A T M D Vorcs P se in . Ser a lin I I O ro rp e, py d r g, w e e are ou W w e ! h r y ? oe, o [ The S abines remain silent and look in suspense ’ at the orator s mouth ] A G MAR I Unable to await an an w r h N US T US [ s e , e ex laim th tic ll T h ell c a e a . In i ce B u s p y] o t e t gen urea , ’ w en R mem u a s e e . e o r ie en l th t wh re w t ber gr f, g t e men en un a the In elli ence B eau , wh we fo d th t t g ur , t a su e annua e e men k ne n in s h t p r t d d part t, w oth g a an ave u he rme a es n l yet d g s t fo r ddr s, a d for a who e week c n inue i us a i nical a ss un il o t d to g ve th t ro ddre , t

finally it imparted this bitter bit of information . “ ” T e m e not kn n. R ads . ca e W [ e ] h y de p d . h re to ow ‘ Well a did we S abines l Did we es sa is , wh t do , r t t fi ll T bin r ilent w d ed Reca . h es a e s . No e i ? [ e S a ] , d n e satisfied He is a dr but l uen e i m ot r st . re y e oq t p to e of what we did during the brief period of a year l e lace a isem n s in n and a ha f. W p d dvert e t the ho est papers offering a reward to anyone who would dis in i e ll h m u l cover the address. We v t d a t e fa o s astro ogers and got them to read the stars every night in u order to guess the address of o r unhappy wives. E er a lin ! Oh ! A VOIC . S py, d r g A T e es s ANGUS M R IUS . W d troyed thou ands of c ick ens uck s and eese and cut out the insi es h , d g , d of ll he ca s in find the a e ul a ess the a t t , try g to f t f ddr by w n animals. But alas it a entrails of birds a d , , s the will of the gods that our superhuman efforts should c R ll ine l s cess . eca S a en not be crowned with u , b g t e THE PRETTY SABINE WOMEN 55

m — ll n ’ I ’ll en ou e n . ut it i we , y e d t p th s way neither the knowledge of experience nor the knowl e in e ience a us an ans T dge of exp r g ve wer. he very luminaries of the heavens to whom our star- gazers addressed themselves with grief and questions l but e no agreed to rep y, gav more than the Intelli “ gence Bureau They decamped ; where to not known. [ The S abines weep to themselves ] T V E a ea ! Oh ! IMID OIC . S rpy, d r A u m Y n l m n a G M p s. es s n n N US , ge t e e , tra ge a s e on the a the lumina i a en if u w r p rt of r es of he v , yo take into consideration that everything is seen from u e Well I ill c n inue i i e p th re . , w o t w th pr de to r ad l ur D u mem n lemen a o s. o o e e the t e of deed y re b r, g t , what our learned jurists occupied themselves with il as l s a s a s— ell ell ? wh e the tro oger re d the t r w , w Th in r il nt But n lem n em m [ e S ab es a e s e ] , ge t e , r e ’ i l k u Y u iﬁ cu al o . s n ber. It s so d t to t to y o ta d there l ’ u m m nl ik u d I m s u . a Go . o O e st t es, by re y re e ber y ’ u r m k N w en n lemen yo e asha ed to spea . o , th , ge t ll ll R call W a did our u is s il we , we ? e . h t j r t do wh e Vor n r lin ! h ! o . Se py, dar g O ’ n u ART a ! D n in u A o s M IUS . Stop th t o t terr pt “ ll ’ll l i r a lin . W I e ou w th your Se py d r g e , h p y , n m m u a b en akin ge tlemen. Re e ber why yo h ve e t g mn i cis Well ? gy ast c exer es. m th ck r To e l A Tm m Vows [fro e ba ow] . d ve op u cl our m s e .

A MAR Yes cou s . Fine ! But U . NGUS TI S , of r e what do we want our muscle developed for ? Well ? n l m n u are n u e i e an b Ge t e e , yo e o gh to d pr v y ody of h n Remem e a we S a in s n is patie ce . b r wh t b e eed muscl e for . T h G E o ﬁ t. HESITATIN VOIC . g ANGUS MARTIUS [ shrugging his shoulders and rais 56 THE PRETTY SABINE WOMEN

in his hands in des air Oh a n g p ] . he ve s ! To fight! And s are s a Sa in the i n the e the word of b e, fr e d of law and illa ac nl n order, the p r of pe e, the o y ge uine, Sim n- u m el i and c ci n T fi o p re od of r ght ons e ce. o ght! ’ I m as am hi s la s in li anism h ed of t p e to hoo g , worthy R m s m of the robber o an , the base, sha eful ravishers u l of o r awful wives. l V ws . er a in ! h o S py, d r g O ! An u Mu mus u u c c s . Sh t p ! We are oc upied with ’ l an a question of princip e . We c t be bothered with m er a lin s. I se ntl n a l u S py d r g e, ge e e , th t the oss yo have suffered has somewhat beclouded your shining m m n i n e ories, and I repeat i br ef : the reaso we need muscle is that when we march upon the Romans — — after finding out the address you understand we c la l w shall carry a heavy ode of ws the who e ay, also c a collection of the de isions of the highest court, and — — also do you now understand 1 those four hundred lum s a s ic our u is s c m il vo es of re e rche wh h j r t o p—ed in investigating the legality of our marriages do — n ill l you understand me 1 a d the ega ity of rape. ur a ns n l m n Sa in s are our ri s and O we po , ge t e e b e , ght c m l a i our clear conscien es. To the sha efu r v shers we shall prove that they are ravishers ; to our wives we in n shall prove that they have deed bee ravished . l m l a ad And the heavens wil tre b e, for we h ve the T ! H dress and the matter is settled . here [ e waves i it T in t n on t to to se . the letter . he S ab es s a d p e e ] l i i na u A R en an A registered etter w th the s g t re, ep t t ” Ravisher 1 In it an unknown friend expresses re u l ss act c mmi assu s gr et for the tho ght e he o tted, re na that never again will he do such a thing and begs ull i him The nam is the fates to deal mercif y w th . e in in u s a l a la e l c a a n l m dist g i h b e, rg b ot h, pp re t y, fro ’ Fu m re nscience ou. his tears . That s co for y rther o , ’ re k n he states that our wives hearts a bro e . THE PRETTY SABINE' WOMEN 57

V ows . Serp An u MAR c s . See ou i TIUS here, y w th your Serpy ’ n i me a c anc sa do t g ve h e to y a word . Please nu derstand a u s is an in i i c th t yo r d v dual ase. When all of na are so enthusiastically discussing a general — ’ question and workin u a plan I ll tell ou about — g p y it right away are preparing either for victory or u e in n w death, yo ar wh i g about your o n particular w m an. In nam th ass m l u o the e of e e b y I cens re you. Now n en l m n a c the , g t e e , prep re to mar h. Listen to h mm ’ — t e n . F l Hu c a l in lin . I u o a d e rry. t s awful yo ’ s ill n i in ui m t ca t d st g sh right fro left. Where are ou in ? H l H t k h l y go g a t. [ e a es o d of a Sabine who has fallen out of line and instructs him ] To ﬁnd out i n —l k m — what s right, sta d oo at e l stand with u ac n —no i u a yo r f e to the orth , w th yo r f ce to the s u n u ack ast— ll o th, a d yo r b to the e we , where is your ’ ’ ac ? T a s n u a a s u ack H f e h t otyo r f ce ; th t yo r b . ere hi D u n n ? ’ t s is your face . o yo u dersta d I can t spend L k u any more time giving you lessons. oo at yo r neighbor and see what he is doing and what your N w l m n u are i 18 . o n o ca in r ght , ge t e e , who of y rry g k n . penknives ? Turn your poc ets i side out So. And who of you are carrying toothpick s ? Leave them ’ 11 n l as sus ici n i l n . We t a ce here o h ve the e t p o of v o e , in u i k w N c s c s. u gentlemen. oth g that t or pr O r eap — u ur l ons they are o r rights and o c ear consciences. Now let each one tak e a volume of the laws and — — l ha un bu researches so I shou d have d them bo d, t ’ — ’ l we 11 do that later that s the meaning of musc e . —s T um n Do You see ? S o o. r peters to the fro t. you remember the march of the robbed husbands ? To fr h es ou m m the O , y , do y re e ber how to ’ march ? [ The S abines are silent ] No? I ll remind u Two s a one s ack a yo . teps forw rd, tep b w rd ; two ﬁr t one s ackwa . B s steps forward, tep b rd y the two 58 THE PRETTY SABINE WOMEN

s s a in s s n is l fir tep , S b e , we expre s the inexti gu hab e e our fierce s uls firm ill in mi l of o , the w , the do tab e s i i an min Th p r t d deter ation to go ahead . e step ack a is s as n s ex ri b w rd the tep of re o , the tep of pe nc a m u l m kin i e e nd the at re mind . Whi e a g t we reflect upon the next step to be taken ; by making it we hold on to the great cord that binds us to tradi i an nn n i u n s s our a t on d co ects a w th o r a ce tor , gre t k as . His ma s n l a s and we Sa in s are p t tory e o e p ; , b e , k T um on this momentous occasion ma ing history . r

s um . peter , tr pet The trum eter blo i mal note move orward p s w a d s , f convulsivel then draw back smoothl the arm o y, y, y f r b hu b nd ll win th m Makin two ste s o bed s a s fo o g e . g p r r n n t k rd th om an slowl fo wa d a d o e s ep bac wa , e c p y y ‘ r th t Th curtain dro s the s e a . e pa ses ac oss s ge p , trum t l di mall nd the second act asses pe s b ow s y, a p int the third o .

P r r th Wr Mirror made a ver suc The St. stersbu theat e, e y y r laise f or this e drat two notes cessf ul adaptation of t e Ma seil . sounded trium hant and bold then dro ed into a dismal note as if p — , pp , f r m a sh f ain Tnn THOR. o ock o p . AU

60 THE PRETTY SABINE WOMEN

— cn>ro—rousin himsel a arentl c m i S g f, pp y be o es nter

ested. ] r i i n l m n ? Scm o. W a s t Can h t , ge t e e I do any t in ou ? If i is ci us mi a h g for y t a rc , I ght s well tell ou C lis um i no ui ad y the o e s t q te re y yet. A G Mm r m s il n N US S e ce, you base avis To the abines o now are a r her. [ S ] S we rrived r l n m a B at ou goa , ge tle en S bines. ehind us stretches a l n a i a i n un l n lin ss o g ro d of depr v t o , h ger, o e e , and bottle - fed infants ; before na an historical event such as h n n a f a u as ever before bee he rd o . Bre the co rage in a s n l m n in H to your he rt , ge t e e Sab es. old your H l n B lm. se ves under co trol. e ca arbor a sense of n and ui l a ai un a llin wro g, q et y w t the r ve g of the fate m m n — ful ama. R a i s a did u m dr e e ber, S b e wh t yo co e bin r il N w ? The S a es a e s ent. o m m here for [ ] , re e ’ n m n s l u ber, ge tle e . It wa n t for a p eas re promenade m s k s N w that we ca e here with the e boo . o remember — , gentlemen why did we come here ? rm ll n w m m m n. c o. W ll o n l S e , we , re e ber, ge t e e

Ancus Mu mm s [to Scm o] . Just think of it ’ ’ a s wa i s n the l im th t the y t bee who e t e. ’ cm Y u n sa S o. o do t y ao. MAB 'I‘I S H n l A G U . s u n m N US o e t y, po y word, they s an lik l ck s o i s s a in t d there e b o of w od, the r eye t r g ’ ll T ll w i s ibl m k a a . me no it s a th t s e , , s po e to e a good speech without once resorting to the exclama “ ” tion remember ! m n h h sca l Scrp ro [ a iably shaki g is ead] . I rce y c ul ne i l think so. What sort of speech o d o poss b y make ?

u r m s Y ee ou un s n . ANGUS M . ou s , even y der ta d And these men here m m A O G TH E u m as A QUAVERING Vows o M N S . er a r are ou ? Oh ! S py, de r, whe e y m m It s ms s . Som o [hesitatingly] . ee he doe re e ber THE PRETTY SABINE' WOMEN 61

Ax cus MAR cont m t l B e nons . ah TIUS [ p y] , he al w m m e s T th b ays re e b r that. [ o e S a ines ] Order ! ’ S n 11 man a our wi s u n W oo we de d to h ve ve ret r ed . oe a is s if ei c nsci nces to the r v her , th r o e have not yet ak n We ill m m a . i w e ed w co pel the to y eld to the law. He ou bas a is summ n u ile m a y, y e r v her, o yo r v co r des and a i l ans prep re for the terr b e wer . ’ ! ll l lk S cal m i ins n l . H CIPIO . I go y w fe ta t y [ e wa s

into the hut callin . Cl a a ! Pa s a ! , g ] eop tr t y, de r C m r T a e s m l e u . o e here . here o e peop e here to s e yo Pu ma s Lookin rom around the corne r he rec [ g f , n h bi n l th ag izes t e S a nes a d be lows wi j oy] . The hus bands have come ! The husbands have come ! Gen lemen anc n R m a ak us n s t of ie t o e, w e, the h ba d have m co e. [H e rushes out and flings himself on Ancus MAB ’ th t r in h s A Mm r m Tm s neck wi ea s is eye . NGUS s look t nished Pu ma s rushes on still o ull s as o . , j yf y “ ” houti Th h b nds h ve ome! The Romans s ng , e us a a c come saunterin in slee and occu the ri ht side g , py, py g t t Ancus MAR I with hi arm at his of he s age. T US, s s id in ilit r ashion roudl waits until the s e m a f , y , y p y l fi e in. ] Far A B H rcul s I was as s un asl ROM N . y e e , o d eep m ’ as on the first day of the founding of Ro e . What s this mob here ? ’ A A Hu ! s us an s. ROM N . sh It the h b d ’ A h M I hi s . er a FAT R . . m S OM N O y, t r ty py, de r, l s i e please bring me a g a s of c d r . T s m m A G TH E AB E er m m Vow o MON S IN S . S py, dear ! Ow- w- w l ’ FAT R A W a s a ll an ? He s OM N . h t doe th t fe ow w t callin m i g y w fe, too . ’

A Hu I us an . ROM N . sh ! t s her h b d ’ h I m so . m FA h. I T ROMAN . O forgot O y, i A a s u and a s un sl th rsty . fter th t hot o p th t o d eep 62 THE PRETTY SABINE' WOMEN

M I c ul ink u a l i . P se in s o d dr p who e r ver y, ro rp e i a ﬁne c k ! R all n lem n ancien R m ’ oo e y, ge t e of t o e, it s a gift from the gods . A Hus ! ROMAN . h FAT R A Oh I h d I . a a OM N . , forgot very peculiar m ow I m I w l drea just n . drea t as s eeping and sud denl I saw R m e innin clin clin e y o e b g g to de e, de e, d lin en all and . c e, th f ’ R A a ma e wi u wi A OM N . Wh t s the tt r th o r ves ? Some gentlemen are here calling on them and they ’ ’ m u I s m l im li e m n c o t. t do t o e extre e y po t of the . ’ i A R A su s ess n . OM N . I ppo e they re dr g A Rom M a las in ani ! Y u . y, th t ever t g v ty o ’ might have thought they wouldn t care when these B men are nothing but their former husbands. ut en us is la nal minin ev so they m t d p y the eter fe e . ’ A FAT R A Oh m I m so i st . re s OM N . , y, th r y the e wooden images going to stand here forever ? I wish ’ l l T a um L k d a at as . s. they p y, e t hey h ve tr pet oo , ’ i in l k e re s . oo , th y t rr g A G MAR R m ns n w t N US TIUS. o a , o hat we are stand in ac ac I ou ill no l n e a m g f e to f e, hope y w o g r tte pt c nc al an in and i us a ai i to o e yth g g ve str ght, d rect, s m m m n s an . Do ou R ans ho e t wer y re e ber, o , what happened on the night of the twentieth and twenty ﬁrst A il ? The Romans e e each other bewil of pr [ y , n il t w m r r N . de ed d en . m e I i , a a e s ] o , re e b r s t pos ’ si l a u n un s an ? Tr m m e b e th t yo do t der t d y to re e b r, Kn nn gentlemen. ow that I ca ot budge until you m m re e ber . FAT R whis rin t n th r i ri ht OMAN [ pe g o a o e n f g ] . m m Ma e ou mem A i a. It us s yb y re ber, gr pp t be o e hin im an ? t g very port t, eh ’ A p N n m m I . a . o, do t FAT R mm M m m r mus a n ak o . y e o y t h ve grow we l from s eep . THE PRETTY SABINE WOMEN 63

I ’ ’ A R I ink d e o a a . Y u l G IPPA. th b tter g w y o 11 tel i l e me about t at r . A Y AT . e a e n F ROM N s. Wh t do s he wa t ? A G MAR in a loud oice T n N US TIUS [ v ] . he I will h i min u mans. u t e n re d yo , Ro O ght of the twen tieth and the twenty- ﬁrst of April there occurred the is ha e u greatest outrage that h tory s to r cord . O that ni I ill sa our i s the ai a in s ght, w y, w ve , f r S b e , were i outrageously rav shed . T ans R ll ct n h nk n m H E R m eco e i t e wi a d ile . o [ g, y s ] ’ ’ Yes es es ! So a s a it s a u ? ui e , y , y th t wh t bo t Q t i u all was the n i A ue u e It il . tr , q t tr e. re y twe t eth of pr AT R A r t ll M F OM N [ espec fu y] . y, they have heads m i n s a n s. o the , the e S b e ART An s mm i ANGUS M IU S . d tho e who co itted th s r n m h a e a e no a ou R ans. I r p , they other th y , o O , ’ kn ou ll in us i u sel es n ow y beg to j t fy yo r v , to de y the u as l misin the law usin a il tr th, to b e y terpret , g th t v e casuistic subterfuge which is the invariable resort m B r ll i . ut a e of a perpetrators of cr e we prepared . e in Professors, b g . Fmsr Pnornsson [ beginning in a monotonous i i e . nin im s a a ns l vo c nc c V . ] Co er g r e g t property, o I , B k I ec I C a I Pa I Pa a a I Lin oo , S . , h pter , ge , r gr ph , e l s I n ni in en a . m . Co cer ng theft g er In the o t ancient im s m anci n n an s n im n t e , ore e t eve th the pre e t t e, whe the birds and insects and beetles ﬂuttered about free and unhindered in the rays of the sun and the idea of crime against property never entered the con sciousness an n c nsci usness i s l was a of yo e, for o o t e f s

- — yet non existent in those remote days A M H G AR . a ea ! N US TIUS e r, h r ’ crm n i S o. Ca t you cut t short ? A G MART Im si l N US IUS . pos b e ! ’ crp r B 1 l S o. u 1 ll t they fa as eep . A G MAB ‘I 'IUS D ink s N US . o you th oi 64 THE PRETTY SABINE WOMEN

’ rm L k ve z ﬁ al Sc o. oo , they do ed o ready, and doz ’ ’ Can u n ing they can t hear . t yo r ma begin at the end? Please j ust do us the favor to tell us straight out what you want . Mu r ms A G . In u hi i N US tr th, t s s a strange dis ill i Be i n. I l u k pute. t so, the w y e d to yo r wea ness — and tell you straight out what we have come for is to prove to you that you were not right in snatching our i s a a a ou are a is s— ou R ma w ve w y, th t y r v her y o ns are —an a b no a ific cunnin s i d th t y rt e, g, or oph stry n o u im And ca y u justify yo r base cr e . the heavens will tremble ! ’ Scmro Pl as leas n sir n d . e e, p e, ho ored , we do t is u it p te . An s N T n v cu MARTIUS . o ? he what ha e we come here for ? ’ r M c m . a e n k S o. I don t know yb you wa ted to ta e alk un a w in the co try. A Mm 'rw s N as n G . o a m N US , the re o we h ve co e here is just to prove it to you. Very strange ! So you admit you are ravishers ? crmo A s lu el I ﬁn S . b o t y. d the word very appro s s priate ravi her . A G MAR B u re n ui N US TIUS. ut perhaps yo a ot q te ’ c n in If ss will la —isn o v ced . so, the profe or be g d t ’ i — u ll la t so, professor yo be g d to ’ ’ A lu l cn no D n n . bs unn c ssa S . o t, do t o te y e e ry W r l n inc R mans ack me u e a e perfect y co v ed . o , b p, ’ or else he 11 begi n again. mi i —w man s W a t e a mi it. Ro . e d t d t ’ A AR T n a s in ? NGUS M TIUS . he wh t the po t ’ crm n kn . S o. I do t ow ha a s an misun n ANGUS MARTIUS . W t tr ge dersta d

in n lem n S a ines c l a e a ic . The g ! Ge t e b , e ebr t v tory mere sight of our terror- striking preparations awak n i nc i i and ened the voice of co sc e e, the vo ce of r ght ; THE' PRETTY SABINE WOMEN 65

T nl h a the heavens tremble . he o y t ing th t remains for na to do is to return with the consciousness of a in fulﬁlled our u and h v g d ty, m ws An d A Qmm m o Vo . how about Serpy? A Mu m s Yes T u G . e . N US , y s ho gh the expres si n is n t ui a n im n o o q te h ppy, the se t e t is perfectly Y i m c c . u are a s n l orre t o r ght, co r de ! Ge t emen of R m is a c m l accu a in n o e, here o p ete, r te ve tory of our i B kin s. e n u u w ve d e o gh to ret rn the goods. For an l ss in ur and— a u ll i y o , j y wh t do yo ca t, professor ?

Pn rss L shorta eu o sos . eak age, g ’ M N — ama i Ancus u m s o no d s a s t. . , ge , th t bl ll ma R Ye ou are s onsi a a s. a s, y re p e for d ge e d the l w i in ss Ent r the wives Ah a on th s po t, profe or . [ e ] , ms A i n r ur i l s. n a in there a e o w ves the e ve tte t o , S b e ’ D l - n b . n l s u c l . gentlemen o t o e yo r se f o tro , I eg you l u assi n un il u Restrain your ove, yo r p o , t the q estion — a n of law is settled two steps forw rd, o e step back a W lc m Sabin m n ! G m ni w rd. e o e, e wo e ood or ng, Cleopatra ! T m n t k the center o th ta e their [ he wo e a e f e s g , lowered their bearin modest di ni ed and eyes , g , g ﬁ submissiveJ CLEOPATRA [without raising her eyes] If you have m k n Ancu Ma tiu an l co e to rebu e a, s r s, I w t to te l ’ v u u s e a u you we don t deser e yo r lect re . W h ve p t u l n alian ﬁ ht and if at las i l it p a o g, v t g , t we y e ded, M s was nl c . I s a ou a in a I o y to for e we r to y , rt , de r, ’ i h haven t stopped cry ng over you a minute . [S e All th omen ollow suit cries. e w f ] T ma Calm u s l Cl a a . Ancus Ma s. yo r e f, eop tr hey r is C m have already confessed they a e rav hers . o e, P n s let na return to our e ate . ’ I a i Cm om m [without raising her eyes] . m fra d ’ a al a n accus you ll scold us. We h ve re dy grow 66 THE PRETTY SABINE WOMEN

’ m i lace D n ou like he m to ed to th s p . o t y t ountains M i s here, art n ? ’ MAB TIU I n un an A G S . s u l N US do t der t d yo , C eo a a W a a the m un ains wi h p tr . h t h ve o t to do th t e case ? ’ i ’ k C E A RA. I m a a it 11 ma ou an B L OP T fr d e y gry. ut ’ I really it isn t our fault . have already wept over M i a an n w ’ ou a u . W ou o ? y , rt s h t do y w t I don t M in un s an . a i A beg to der t d ore te rs, s that iti s D n man ou l as . a i s k w y as y p e e e r fr e d , they thin e ’ L haven t cried for them enough. et us prove the h si . Cr cr a i n s ! O Ma ins I oppo te y, y, de r fr e d , rt , loved you so l

Th m n ll mel in t r [ e wo e a t ea s. ]

’ rm P l Sc o. a s a ca m u s l . I t y, de r, yo r e f t s not good for you in your present condition to excite yourself M a ir di u that way. y de r s , d yo hear ? Now turn s un and T CLnom rnA u s o. o yo r hor e ro d g [ J Go, ’ lie n and I ll l k Pa s a s . t y, de r, dow re t oo to the soup l myse f. ’ An us Mm r ms E cus m c . x e e. What s the soup ot i itt Calm u sel Cl g to do w th yo r f, eopatra. ’ T m m sun n in Y here s so e i dersta d g . ou evidently ’ n un s an a ou a e n a is do t der t d th t y h ve b e r v hed. E A RA r in I sai u e e CL OP T [ c y g] . d yo w r going to

sc l us. Sci a a ou m an k i o d ppy, de r, h ve y y h d erch ef?

nu He i is s a . Sc o. re t , weethe rt ’ A G MAR But be u n N US TIUS . I g yo r pardo , what s a handkerchief got to do with it? CLEOPATRA [ crying] To create such a scene all over a handkerchief l How can I get along without ’ a handkerchief when I am crying ? And it s your ’ b Y u ’ aul a I am c i . It s i l . e f t, too, th t ry ng terr e o r m n An cus Ma ins ! a o ster, rt

B this time all are cr in both the S abine [ y y g,

THE PRETTY SABINE' WOMEN

I ’ M Y w om m t n u a a ius. u l C . s a o tr ge, rt o s ept ’ w il in u You i n ut u h e we were be g abd cted . d d t p p l ﬁ h u Y us as t k e s. ou l us the e t g to e p eft , forgot , an n s n n w u i in ab do ed u , a d o you charge s w th hav g s i M in u l e ca . We a s a s u a s ped were r v hed, rt , o tr geo y a is e Y c n u i n n e k r v h d. ou a read abo t t i a y t xtboo on is not s ak cries not s ak en h tory, to pe [ ] to pe of c cl e a y op di s. crm r i l s s S o [ c y ng] . C o e your mouth, profes or k l u u 1 e s sa e c s u m . for J p t r , o e yo r o th ’ B th r r m th r m in Th [ ut e p ofesso 3 on e a s open. e m n r in anic some o them r nnin Ro a s a e a p , f u g

away. A G MAR G n l m n R m n lem n N US TIUS . e t e e of o e, ge t e h l in s e ! I s all s n s le t e e case . S ab e , ord r h oo ett who There is a misunderstanding here of a mechanical m l L e a ine ou ss . ain u . t m C nat re e ex y , profe or ert y — he in ar of course I knew it. T h ges e out of order ’ m ll ’ m i u . W a s and he can t shut h s o th e , th t a ere ’ 1 u t me Now av ea triﬂe . We 1 adj st it a ho . I h e h rd it T e a c n sse a with my own ears. h y h ve o fe d th t they a is W a e w n our se our a h were r v hed. e h v o ca , im as i an e n a mbl n ac e e d a s . bee h v d, the h ve h ve tre ed ’ le l u n o r P na C m C a a s u s. o e, op tr , et ret r to e te ’ E A RA. I n an u n our P na CL OP T do t w t to ret r to e tes. ’ u m s W ME We n an u n ur S O N . do t w t to ret r to o D n i he Penates l e ill m Penates. ow w th t W w re ain r insul in u T are a e s. in here . They t g hey prepar g s u H l ! H l ! D n us l to ravi h s. e p e p efe d The Romans rattlin their arms lace them [ , g , p n th men nd the bi e r d selves betwee e wo a S a n s, g a u hi th women to the rear h t ally pus ng e of t e s age. hr erce lances at the S abines and voices They t ow ﬁ g , llin are heard ca g . ] R mans a ms ! De n u i s ! To a m o , to r fe d yo r w ve r s, Romans ! THE PRETTY SABINE' WOMEN 69

’ the Ancus Ma ma s [ ringing his bell] . What s h n M a is matter ? There will be a ﬁg t soo . y he d l n l m n S a in s m a is in a in a whir . Ge t e e b e , y he d whirl ! Pnossnp m s [ coming forward and speaking in a ’

i alm u s l s R mans. I ll l w alm o c . C s o , c v e] yo r e ve , o M s speak to artin .

ER r m the bines a dismal A QUAV ING Vows f o S a , l v e a ! M a lin ejaculation of o e] . S rpy de r y d r g

w- w- w o .

t - w- w! Paossnpm s [in a matter of fact one] . Ow ’ F i n s u eal ? C m Anous r e d, how yo r h th o e here, ’ ’ M i D i — u a m n run art us. on t be afra d yo r r y wo t ’ D n ou alize is a n ne us away . o t y re th , th t o of , n i u if Cl a a nor I nor an us e ther yo r w e, eop tr , , y of women wants to go back ? Do you understand ? M i n i l AR . a i a ANGUS M TIUS y he d s wh r . What ’ shall I do without Cleopatra ? I can t live without i i e ma ie me acc in . he m Cleopatra S s y w f , rr d to ord g l w Do ou ink min to due process of a . y th her d is positively made up i Is there no way of inducing her to go t

Pn ssnp m s N n a . o . o e wh tever MAR T n m G U . a a I AN US TI S he , wh t to do ? I love ’ H n t li e i u . e cries . her . I ca v w tho t her [ ]

Pa ssnp m n Calm u s l Ma ins o . I yo r e f, rt . [ n a ’ ’ll whi er . I m s ou S o I ll ou in sp ] orry for y . te y — is s ill on wa bu nl — secret there t e y, t o y one to s ravi h her . A T And ill she me NGUS MAR IUS. w co ? Pnosssp m s shru in her h lder H [ gg g s ou s] . ow can she help it if you ravish her ? ’ Ancus Mu m s Wh ha D . an u a . y, t t s o tr ge o you mean to intimate that I should commit violence ? What will I do with my legal conscience ? Or do 70 THE PRETTY SABINE WOMEN you women hold that where there is might there is i ? Oh m n men ! r ght , wo e , wo “ Ps osnn m n — p . We a ea a e h ve, h rd th t befor oh m w m u n n. I ell o Ma ius it was in an wo e , o e t y , rt , un a m m n n i h ppy o e t that the gods co ce ved you. Y u ’ ull Y m o re a s u i . es I an a s n an wf y t p d , w t tro g ,

s n s . he eas n is I n u the very tro ge t T r o , wa t to be tr e ’ u n Y ink it l asan u to my h sba d. ou th s p e t for s to a is be s len be ask ack be r v hed, to to , to ed b , to be u ne be l s be un ret r d, to o t, to fo d avs mns s er ! M A u V w . S a a lin ! Q o py, de r y d r g

Ow- w- w ! ’ nosnnp m s w- w- w i n u al P . O , fr e d, how s yo r he th ! — N to be handled like a piece of goods. o sooner do you get used to one than another comes along a in ot us him old one u ns and h v g g ed to , the ret r k Ah M i s i s u n a in ou ac . a n if u ins st po h v g y b , rt , yo an a man l n ou a man w t wo to be o g to y , wo to the possession of whom you lay such high and mighty ’ laim u s l s n n su n e her c , be yo r e f tro g, do t rre d r to ﬁ h t an nail and if n anybody ; g t for her, ooth d , , ec B li me Ma die n in . tius essary, defe d g her e eve , r , there is no greater joy for a woman than to die on us ll n in An d the grave of a h band who fe defe d g her. kn Ma tins a man b a s nl n er ow, r , wo etr y o y whe h

husband has betrayed her. Anous Ma ma s T a s s and are . hey h ve word , we

unarmed . n sm m s Arm u l P o . yo rse ves. MAR T a ul mu ANGUS TIUS . hey h ve powerf scles, ’ a n and we h ve t. snr m n Mak u l s s —Al Pnos . e yo rse ve trong together, ’ l l i u a ss . Mart us, yo re hope e foo m k u r ANGUS Mm rus [ju ping bac ] . And yo a e l w s man. L n li a ! Let a a e a silly, vain wo o g ve the v g force tak e my wife away from me ; let it destroy THE PRETTY SABINE WOMEN 71 m m let it in uis ﬁre m a y ho e ; ext g h the of y he rth, I will not betray the law ! Let the whole world lau at unh a S a ine ll gh the ppy b s, they sha not betray law Th i e m n i the . e r ght ous a s honored even in a a in a k An in e s S s o . a r g . b e , g b c d weep, S b es, we p bitter tears ; raise a loud lamentation ; beat your nd n s L as s a as am d ea . bre t , be ot h e to hed t rs et them throw stones at you ; let them laugh at you. W Sa in s ou are in on eep, b e , for y weep g over the c em w F n s ! t pt of the la . orward, Sabi e Order ! T um s um ! Two s s a one r peter , tr pet tep forw rd, ck Tw s a ne s ck step ba ward ! o teps forw rd, o tep ba ward ! Th m i r [ e wo en beg n to c y. ] Cw om Ma ius ai ! m rt , w t MAR H nc man ! I kn A G . ou N US TIUS e e, wo ow y not F a ma c ! . orw rd, r h m l s Th men The trumpets blow a dis a ound. e wo in tears and with loud cries try to rush to their r b nds Th Romans r estrain them b fo mer hus a . e y L t r th t r P in no tt n r h e ic . a e fo ce. aug e of v o s ay g tion to either the tears of the women or the laughter th ma bendin und er the wei ht o the of e Ro ns, g g f ' law the abines slowl march o two ste s or , S y ﬂ , p f ward te ackward , one s p b . SHAKESPEARE AS A PLAYWRIGHT

m rm AS A Pm r wmon 'r BY BRANDER MATT s s , HEWS. ’ ARLES scamm s ONS NEW RK CH S , YO .

N a m asu at l as P s B n e re, e t, rofe sor ra der ’ Matthews new book on Shakespeare supplies a need that has existed a good al l n an i h n l de o ger th t as bee fe t. Only in the last few years has criticism of the older drama seemed conscious that its plays were written to be acted on a particular stage by particular actors ; and since that ha a n a i c consciousness s d w ed, few dram tic cr ti s have i i l s u l k done more than g ve t a more or e s f rtive oo . Philosophy has proved more attractive than stage nc exige ies. That the relation of Shakespeare to his stage ul ulk l hi k i u in wo d b arge in t s boo goes w tho t say g. Professor Matthews was one of the first to empha size the importance of the material environments of ama and has n m a s an an one dr , he do e ore perh p th y else in Am erica to force this upon the attention of u n In hi es n k find dramatic st de ts. t s, the pr e t boo s u Ye ne is much of its distinctive p rpose . t the ed of th l n a e sort of discussion is only part y met. I the ch pt r nl n in is m asiz d it dis on The Theater o y o e po t e ph e , s — tinctivel medieval character indeed the fundamen y — tal consideration and the consequences even of this are discussed only so far as they concern the literary as distinguished from the theatrical problems of k F r r ama is has s s Sha espeare . o eve y dr t t two et of — n l haracteriza difliculties : one questio s of p ot, of c 72 SHAKESPEARE AS A PLAYWRIGHT 73

n m —is in a a l tio , of the e sep r b e from the drama as a form of narration ; the other arises from the peculiar c ns uc i n and ui m n hi s s a o tr t o eq p e t of t ge, and con c n am l l ca i n his sc n er , for ex p e, the o t o of e es, or the n n i e tra ces and ex ts of his characters. The dramatic problems have been considered in one way or another by almost every critic since Aristotle ; the theatrical problems have for Shakespeare scarcely been consid l P a us r l s l ered at al . erh ps beca e they a e e s c early defined i ma ll ci one am l , t y be we to te ex p e, even u ll tho gh space forbids its fu discussion. A few years ago Robert Priilsz formul ated a law for Eliz ab th n l m e a p ays, and ore recently Neuendorfi has i a it i c ain modifica i n a en re ter ted w th ert t o s. St ted g erall i u akin acc un m y, w tho t t g o t of so e simple but in s in c i ns it ui s a on a s tere t g ex ept o , req re th t tage ’ lik ak s a s a c a ac a in ma an xi e Sh e pe re , h r ter, h v g de e t, c ul not imm ia l e n if in m an im o d ed te y r e ter, the e t e sc n w s u n N nd r the e e a s pposed to have cha ged . eue o ff calls this the most important principle of Eliz abeth n la i in if it is u i la man a p ywr t g ; tr e, t exp ins y c a a is i a u s la s an difi eren h r cter t c fe t re of the p y d, t

m man o- ll ama ic la s it mus a fro y s ca ed dr t w , t h ve been consciously in the mind of every dramatist writing for the stage to which it is said to have a li Y i m n im la in s P s pp ed. et th s and a y s i r po t rofes or Ma s n n i all u i i us tthew does ot co s der at , tho gh t s j t suc ail h hi insis nc on cl se h det s that e, with s te e the o c nn c i n a an ama ul c o e t o of the ter d dr , wo d be expe ted m k f a ul a muc o . n cc s s to e h I deed, he epts the re t of ’ n a n nin ak s s a rece t rese rch co cer g Sh e peare the ter, u l l i n ssar b t adds itt e to it, where addition s ece y before a thoroughly complete book on Shak espeare l n as a p aywright can be writte . ’ But i s limi a i ns P ss Ma h s , w th the e t t o rofe or tt ew k i i a l I i a i u and ca ul s u boo s adm r b e. t s ser o s ref t dy 74 SHAKESPEARE AS A PLAYWRIGHT

ak s ea e i al a s a c c of Sh e p r , v ewed w y s the pra ti al play i In n ll wr ght. co tents as we as in format it is fitted ’ to stand beside the author s fine biography of M lie I in i i o re. t beg s w th a br ef account of Shake ’ s a s li hi s m amen and hi e u a i n pe re fe, te per t, s r p t t o , n in nl s in In e prese t g o y the a certa ed facts. d ed not — , all the facts are given some readers will miss ref crenees to the discoveries of Wallace ; though per haps they are omitted rather as gossip than facts of li e a si nificance A a t r ry g . fter the ch pter already ’ m n i n n ak a a ll e t o ed o Sh espe re s the ter, there fo ows a ul iscussi n in ivi ual la s u c ref d o of the d d p y , gro ped n ni n l r co ve e t y together in fou teen chapters. Other interpolated chapters treat of Shakespeare as an ’ Ac ak s a Ac s an S ak s a and tor, Sh e pe re s tor , d h e pe re

his Au i nc . T is finall an in s in con d e e here , y, tere t g ’ cluding chapter on Shakespeare s general qualities ama is his ics his li i n his as s n as a dr t t, eth , re g o , t te , a d ni n —in n ak a ims his opi o s short, o Sh espe re h elf. ’ ’ Pictu s Wa s ak s a and G s re of rd Sh e pe re, of odfrey i n F un T a are inclu an restorat o of the ort e he ter ded, d n ma s L n n one in six in an appe dix two p of o do , the nth n u and one in n i in tee ce t ry the twe t eth, both be g “ mark ed to show the position of every place in Lon ’ don with which Shakespeare s name can be connected ” n Mr E Hamil n B ll historically or traditio ally. . . to e , ’ r m find Wallac s l ca i ns s who prepa ed the , s e o t o o confused and out of harmony with the indications ’ of the great sixty- inch ordinance map that he is m ma as in unable to coordinate the . The ps pr ted are in s in and alua l ivin in asil acces tere t g v b e, g g e y sible form information otherwise rather diflicult to n obtai . Perhaps the chapters to which every reader will turn most gladly are those dealing with the more ’ The n on hak s a s The general subjects. o e S e pe re

76 SHAKESPEARE AS A PLAYWEIGHT

n n i c ot be re dered w th fair adequa y. We may thus look through the plays and select the parts best ﬁ a kn wn m m m an tted for o e ber of the co p y, or build up from the plays a conception of actors otherwise k u A i k un n n s. l S a s a him ow to pp ed to h e pe re self, sul s hi s m are not a the re t of t ethod perh ps unusual . Brieﬂ are as ll s : ak s a y they fo ow Sh e pe re, though not a a ac la e acc in adi i n gre t tor, p y d, ord g to tr t o , “ ” old man parts—the Ghost in Hamlet and Adam in As Yon Lik e I t perhaps therefore Ageon in The Comed o Errors Le na in Much Ado about y f , o to Nathin F ia La nc in Romeo and Jaliet and g, r r wre e , the Duk in Othello The Merchant o Venice and es , f , M r r M r T i s m l casa e fo easn e. h s would ee to imp y that c i i ni u l a in he a ted w th the d g ty, the co rt y be r g, the air au i and l cu i na skill a es of thor ty, the e o t o ry th t th e I w u as an parts demand . t as beca se he w actor that a ui hi ama ic c ni u a s he cq red s dr t te h q e, th t he peedily m hi wa as a la i and a ade s y p ywr ght, th t he became l a shareholder in the G obe . The sam m in nc m l e ethod of fere e, e p oyed in the ’ c a n S ak s a s ac s l a s h pter o h e pe re tor , e d , however, to m imula in and so far as I am a a n w so e st t g , w re, e l s n ca c l u s en m resu t . We ca s r e y s ppo e, wh the atter r n u a lad la P is thus fo ced upo s, th t the who p yed ortia i R salin and Vi la lack and Beatr ce, o d o ed in real m B dramatic ability and charm of anner. y the same reasoning we become a little better acquainted with Burbadge when we note the parts written for him —H ml O llo—so muc is c ain Mac a et, the h ert ; beth, L Ric a II R m Brutus— s are al ear, h rd , o eo, the e to ’ lik l m P ss Ma s cas gether e y. So e of rofe or tthew t ings are especially suggestive : Rosalind and Hero — both it is interesting to observe were short in ’ Mr uickl and Juli s Nu s N is s. s stature ; Q y et r e ; er a, Maria in Twelfth Night; Aubrey in As You Like I t SHAKE'SPE’ARE’ AS A PLAYWRIGHT 77

Ma a in Richard III and Ka rg ret te the Curst . Thus ’ the Lord Chamberlain s company begins to be a u al lk n gro p of re fo , ot a mere list of names in the F li on c s R l o o or the re ord of the eve s Oflice. Though the results of this sort of supposition are admittedly ’ unce ain efl ect a a l s rt , the s who e i to bring us nearer to Shakespeare and the really immrtant factors of his nvi nm n an m k e ro e t, d to a e us feel more keenly that he was a flesh and blood playwright and not a sort of semi- divine philosophic providence grinding a m al axe in c mi sc n or every o c e e . Simila l alua le is c a n r y v b the h pter o the audience, in in out its culia as es its c a i ns its po t g pe r t t , expe t t o , “ ” u ic T s. a n e in prej d e hey were e ger to be e t rta ed, “ sa s au ut lu i y the thor, b they were s gg sh of mind

and often inattentive . They were unwilling to tak e u l and si n s i c i n tro b e they preferred g po t d re t o s, and therefore we see the villain setting forth his evil i n n in s lil u a n des g s fra kly a o oq y, so th t ot even the m s ca l ss am n au i nc c ul mis ak him o t re e o g the d e e o d t e . Vi l n l as i na ms l s ma o e t y p s o te the e ve , they de nded

lofty emotion and broad humor. Avid of swift sen imm i in i eac i n sation hot and ed ate ts r t o , they wanted strong waters undiluted and to be gulped down w T di n c an in ithout winking. hey d ot obje t to s gu ary brutality or to ferocious cruelty which responded n ci m n T to their need for co stant ex te e t . hey found le su in s ikin n as s in un s n ch n p a re tr g co tr t , fore ee a ges f m an n in the ans ma i n c a ac o ood, d eve tr for t o of h r ter k T l in the twin ling of an eye . hey were g ad to have their ears ﬁlled with the roar of cannon and to have their eyes entertained by processions and by bat l s a i ch s and s e s s wi t e , by h ggard w t e by h eted gho t th ” h k s a we r a n w a . S a a e as gory t ro ts h e pe re, w r ed, hi w n m ar and in m in as s o n co te por y, eet g the t te of his audience can scarcely be thought of as patron 78 SHAKESPEARE AS A PLAYWRIGHT izingly condescending to what may seem to us shock s T u luci a i n ing or in bad ta te . o the f rther e d t o of n in these points most of the chapter is devoted. O e teresting observation concerns the misfortune to Shak espeare and the Elizabethan dramatists gen erally in the absence of the Puritans and the class s n n he la k f of citizens which they repre e ted, a d t c o any vital criticism ; both would have supplied a i n w steadying inﬂuence for wh ch the eed as great . One in en u u a ains S ak s a e po t, oft bro ght p g t h e pe r

n in i c a is his n ness uns. a d aga in th s h pter, fo d for p H n ns i i u bu k is audience was fo d of pu , t s tr e, t Sha e r n c n speare is ve y fond of them. Whe he des e ds to ’ such quibbling in Antony s speech over the dead e a i n a a s P s body of Ca s r t ca be ch rged, s y rofe sor s T is u M s nl his wn ba a . atthew , o y to o d t te h of co rse e s Ma in s is no new view ; Prof s or tthews troduce it, n mainl a a c ance one lica I thi k , y s h for of the de te thrusts he delights in at the liking of present- day H m Englishmen for this form of wit. owever uch we ma a cia suc a ma k at B i icisms is it y ppre te h re r r t , ’ quite fair so to assail Shak espeare s state ? I intend n ns uns but is it not c ain h o defe e of p , ert that suc ’ an interpretation mistakes Shak espeare s intention ? To us a un is an a m at ein unn and in p tte pt b g f y, tro duced into a lament over a dead friend it is execra l B ma n t Eliza an a b e . ut y o the beth s h ve thought of it simply as such a means of emphasis as we consider alliteration ? Professor Matthews elsewhere praises these lines of Tennyson — ( the babe ) began A blind and babbling laughter and to dance

Its body.

ssi l na n lik l a l Is it not po b e, y eve e y, th t ater years m i hi s als as a me al ui l ha s ay c te t o re verb q bb e, per p SHAKESPEARE AS A PLAYWRIGHT 79

mi- um us als and ink u se h oro o, th s ch passages a proof of our own vicious taste in paying attention to man ner where matter alone should count ? To undertak e any detailed examination of the chapters dealing with the separate plays is of course I m uﬂic n i impossible . t ay s e to co s der rather the half dozen dominant ideas on which the discussion s ne m s l ul s P is ba ed . O of the o t he pf i rofessor Matthews grouping of the plays into three periods — im n a u that of devoted exper e t, that of ss red mas

r an a la ff . T alm s te y, d th t of re xed e ort hese o t cor ’ respond with Shakespeare s poetic periods : a period of deliberate cleverness of expression but relative poverty of thought ; a period in which form and thought are in perfect balance ; and a period in anin c a s and cl s e which the me g over h rge og the v rse . Such a division fixes the attention of the student on the art of the dramatist and avoids the sentimental associations which have proved so alluring for some ” n n persons in out of the depths a d o the heights . in firs ri P s In consider g the t pe od, rofes or all a s hi s m k s ul Matthews, as re der of for er boo wo d ’ siz s ak s ea s f ank imi a i n expect empha e Sh e p re r t t o , , mi n his c n m a i s and modest i tatio too , of o te por r e . “ We fail to find in these plays any efi ort for orig alit an s ri in in i i uali an si in y, y t v g for d v d ty, or y de re

- T us we are assu a for self expression. h red th t we k s a i la M have not to do with a Sha e pe re do ter . ore ’ ’ “ evidence follows : Love s Labor s Lost is thin and ” devoid of the persuasive humor of true comedy ; “ The Two Gentlemen of Verona is loosely put to ” “ gether and casual in plotting ; King John is a ” imila l in a la s . S mere medley, etc r y reg rd to the p y “ ’ ” of relaxed eﬂ ort : Cymbeline is an imitation of “ a la o i usl c m lica Beaumont and Fletcher, b r o y o p ted ’ story abounding in surprises and barren of reality 80 SHAKESPEARE AS A PLAYWRIGHT

cha ac s c Im n a no inde n the r ter , ex ept oge , h ve pe ” “ ” dent life ; the exposition is pitiably ineﬁ ective ; “ the psychology of the seducer is childis Here is a allin ﬁ n e ula b f g o i de d from German ad tion, ut I ink l m s u a th a we co e one . The book will prove al t ry for many amateur students of the drama in school and ls a s d all i c i ical e ewhere, who h ve di torte the r r t

values in a vain attempt to deny all spots to the sun. But is n lack isc imina in ais in there o of d r t g pr e, for s ance c nc nin Rom and Juliet The Mer t , o er g eo or chant V nic hi l P es Ma s is of e e, w ch ast rof sor tthew especially successful in restoring to its Elizabethan

alu au ul n i - e m a v e as a be tif a d l ght h arted co edy, r ther than the semi- tragedy nineteenth century ideas have m ade it. Professor Matthews ’ sanity of outlook appears in — another way hi s emphasis on the practical theat rical uali i he la hi s is ne as s q t es of t p ys. T o of the b e k I s u s n nc ni of the boo . t sugge ts the disc s io co er ng actors which has already been spoken of ; perhaps an equally good illustration occurs in the chapter concerning Richard III or in the remark on The Tamin o the S hrew B are deﬁcient in ali g f . oth re ty ’ —Ric a s enin s lil u his su n win h rd op g o oq y, dde thro g e Buckin am his succ ss ul in Ann ov r of gh , e f woo g of e, lack plausibility ; The Taming of the Shrew is exter nal in it ac i n ﬂims in its c a ac a in s t o , y h r ter dr w g, the ’ most completely farcical of Shakespeare s plays e n n s in s P ss Ma s n s y t o e of the e po t , rofe or tthew ote , l ff In us callin spoils the theatrica e ectiveness. th g a n i n la as la s is o k ma tte t o to the p ys p y , th b o y be of considerable value to many students of Shakespeare who continue to treat his work exclusively as pay h l c k m la s c o ogi al textboo s or poetic exe p r . In some of his opinions Professor Matthews is n l k a asi more conventio a . Throughout the boo b s of SHAKESPEARE AS A PLAYWRIGHT 81

judgment is the dogma that a drama must present

a conflict. It a a s ins anc ppe r , for t e, in the discussion —“ of Richard II drama can interest na only when ” it s ts na conflict il ul e before the of w f personalities. William Archer has in Playmaking put into words what many students of drama must have felt : the attempt to find such a conflict fails in many of the l T n nfli m greatest p ays. here is o co ct in Aga emnon; is no al conflict di Th there re in Oe pus . e attempt to — force all plays into the formula of a confiict or ’ w rs in F a s mula nfli o e, to reyt g for of a co ct, which we ma note in passin Professor Matthews does not — y g do is one of the deadening influences of dramatic in ru i he an st ct on. In t h ds of a critic as skilful as P ss Ma i l m has is efi ec rofe or tthews t se do th t, but the average student is likely to find it more of a clog t an a s ff He find hims l i n in c n mns h ta . s e f dr ve to o de ’ t on man n la i en n a difl eren l of y ew p ys wr tt o t p an, h i r t th ea am l is inc l r e R de s o e S , for ex p e, d t t y d a ma ic bu lackin in a nis an a ni and t , t g prot go t, t go st, cl l k is ear y mar ed cris . A welcome characteristic of this book is the con tinually recurring comparison of Shak espeare with

M lie Th in li s ﬁf - c s o re. e dex st ty three su h pas ages, some of course of no particul ar consequence ; some m k The au us the ost illuminating in the boo . thor es hi c m i in u sin ac i li t s o par son disc s g the f ts of the r ves, and with especial success concerning their relations wi i He r ma k s in s in l th the r actors. e r tere t g y how Shakespeare fails to achieve the formula for high c omedy which Moliere arrived at; he points out the advantage it was to Moliere to have the stimulating d c i i is B il au il hak an interpretative r t c m of o e , wh e S e speare enjoyed no such contemporary assistance ; he notes the unexpected ripening of genius which came — M lie in Tartuﬁ e S ak s ea e to both men to o re , to h e p r 82 SHAKESPEARE AS A PLAYWEI GHT

’ in H ml T u au u n a a et . h s the thor s st dy of the o e gre t dramatist has materially enriched his study of the

other . But perhaps the greatest contribution this book makes to the library of the student is that it does present Shak espeare as the great medieval dram a s w l m i s s ti t. He a as ali a s the t of the ed ev t , s M lie was firs h m ns P m as o re the t of t e oder . er eated he was with the tastes and sentiments of the Renais sanc as a la i i in a m i al s a e, p ywr ght wr t g for ed ev t ge, Shakespeare was in the very nature of things me i T k al r . b d ev in his a t his view pervades the boo , ut perhaps it is most concisely stated in the concluding “ chapter Regularly he conforms to the traditions and the conventions which the Tudor theater had in e i i h n n i n h r ted from the med eval stage . T e co ve t o s of the mysteries permitted several distant places to e in i imul ne usl nd ak be s t v ew s ta o y, a therefore Sh e speare puts the tent of Richard III by the side of a Ri m n Th ra i i n m li i s th t of ch o d . e t d t o of the ora t e au iz m u k thor ed for al disp tations, and Sha espeare permits one character to state a case with eloquent am li u ans i am l el u nc p t de, to be wered w th p e oq e e by his n n an in u ac i n it ma be but oppo e t, h g g p the t o , y , providing the actors with the opportunity for ora tory and gratifying the spectators with the vicissi An n m i a he tude of debate . d as o the ed eval st ge t ac i n was s n on a n u al un ic t o pre e ted e tr gro d, wh h might be anywhere and which was identified as a specific place only when there was a necessity for localizing it; so Shak espeare lets his story ramble u ac ausin sc i i n nl en thro gh sp e, p g for de r pt o o y wh ever there was need for letting us know where his T i w r characters are supposed to be. h s as prope enough on the platform stag e of the Tudor theater ; but it is not a little awkward upon the picture- frame

THE LITTLEST THEATRE

A e i n inc n e L S , th re s o a d scent glowing

n- li he w n m sig post to ght t ay, o fla boyant posters to tempt the imagina i n The e i is a ill t o . ext r or s ch as a prison rising out of the slime of White c a l 73 Ho n s ee L n n is h pe ; xto tr t, o do , he ac l li D k t ex t oca ty. rab bric walls cl s l a ains it c i selfishl al n huddle o e y g t , rowd ng y o g The ani e a side and abaft the sacred spot . gr t fl gging l e an the i h l a i din is no co d r th t g t y b rred, forb d g w he na a . ealou en i windows across t rrow y J s, v ous, l fif a s a a c l n old, o d eyes for ty ye r h ve w t hed the o g, l l c ssi n s in s al il end ess, happy, s y pro e o tepp g te th y through the doorway and have wondered what n m in in 3 H n mi l stra ge, te pt g th g 7 oxto street ght ho d for the supermen and superwomen whose eager feet i l an s s l have fa r y d ced acro s the thre ho d . Th m s Y u in e secret u t be revealed . o th the heart of genius was once the only audience at the littlest a lau un min s in ld i the ter, the ghter of yo g d o bod es nl a laus music un l ss ll the o y pp e, the of co t e footfa s

- li c e Ma a w in a gas t street the only or h stra. cre dy as r H the ﬁ st worshipper at thi s humble shrine . e whia hi s c un Dumas in pered s e ret to the yo ger , who turn el i B n H r ated t to S arah er hardt. and in hand they s u out the H un o ght spot. ere they fo d that J Red in n k in e a ni n gto , boo b d r, tob cco st, a d theatrical in ha se mini n pr ter, d t up a ature stage ot three feet i c m l in e il mec nic l w de, yet o p ete ev ry deta of ha a de i n rm n It s n v ce ecessary for a perfo a ce . tood upo a shelf breast- high in a kind of booth draped with 84 TE E LITTLES T THEATRE 85 purple cloth which reveal ed only the proscenium arch and the miniature stage itself like a tiny world l n l l k T s un a i a s a ss s . he ain w g oft ve vet, t r e y p ted curtain rolled up smoothly as if by magic ; the s n m asil on s an c ce ery oved e y groove ; d the a tors, fashioned with elaborate care in both facial expres d um s ll sion an cost e, were pa teboard do s that lik e wise glided across the stage on grooves and were pulled this way or that way by strings lying unseen s i n l run a s in the depth of the fr e d y w y . ll m ll But this was not a . It was s a accomplishment merely to devise a correct replica in painted card i board of a real theater. Red ngton had done more ; he had fashioned amiable puppets that responded hi r is an ha m la to s eve y w h, d he d beco e p ywright, a ana an an ac a ll H h st ge m ger d prote tor s we . e ad c n u e la lle harle 111 an r o str ct d a p y ca d C s , histo ical pageant in four acts and many scenes ; and standing inside the booth behind the purple draperies he read i s a s in a c an in ic now mini the var ou p rt h g g vo e, fe ne, ul ne n w mic now i as now masc i , o co , trag c, he pulled u ac i n his la s I his puppets thro gh the t o of p y . t was a wonderful little show that fairly thrilled the quick B Dumas n emotions of ernhardt. we t away to pon La u n su es a s mi der . ter he ret r ed to gg t th t other ght ’ a Redin ton s in his new in e i wish to sh re g joy v nt on, that others might wish to own a tiny theater wherein to enact such dramas as the harsh world and un

feeling managers had spurned . Young Redington took the hint and founded a warehouse in miniature a e e uil e er da where toy the t rs w re b t v y y, where un protesting actors were decked out in appropriate la s i n n paraphernalia, where p y were wr tte a d where a m l a mi be had at an m m co p ete the ter ght y o ent, ac s la and scen r in c an stage, tor , p y e y, ex h ge for a

yellow half sovereign. 86 THE' LITTLES T THEATRE

T hus the shrine sprang into being. Impresario H Redington had now reached middle age . is ware l Ro house had become well estab ished . w on row of n s l e The sh toy theaters reposed o the he v s. 0 p had become like some marvelous secret chamber of a genie of the stage who understood the hunger of the human soul for play acting and who was bent on presenting every man with an outlet and an excuse i i n hi wn m i for the exh b tio of s o e ot ons. Redington ha e me he mun ane a n n N d b co t d ge t of that ge ie . o longer need one pine for a theater royal in Drury

L n n - in K n in a e or even a ba d box e s gton. A half guinea invested and one owned his own theater ! Later Robe rt Louis Stevenson found his way to He h in H n s e . ad amia l oxto tr et , too , jo ed the b e pro H cam m e an en u i cession. e be e or th th s astic ; the eternal youth in the heart of the brilliant Scot leaped to the possibilities in the miniature stage as i h l i en le a r fi bl t ad eaped w th g t joy to the he rty, p o ta e n l As fun to be extracted from ti so diers. Stevenson had played scientifically with miniature warriors for the edification and e uca i n his un s - n d t o of yo g tep so , so now he seized upon the toy theater as a means of developing dramatic and literary imagination in the ’ min a u in ssi l la en ins in s boy s d, of ro s g po b e t t t ct ll F r did not eac ea in toward a the arts. o h toy th ter action represent the very essence of concentrated refinement in aesthetics ! R n ie A ai ul a en ic an Then edingto d d . f thf ppr t e d isci l nam Ben amin P ll ck had ma i d d p e, by e j o o , rr e ’ au It wa nl na u al h the printer s d ghter . s o y t r that e ’ n mas e s e N in was should step i to the t r s ho s. oth g n e c the le e in on the s in l hic cha ged , x ept tt r g h g e w h he mas ha n u s ill an s . T d b t t h g over the door ter go e, i main uil in uil in —smilin be his spir t re ed b d g, b d g g THE LITTLEST THEATRE 87 nignly over the heads of his awed and reverential

followers. Ell n T h d in i n h m e erry a jo ed the process o . S e ca e n s m imes e n w la m ofte , o et to h ar a e p y produced, so e times to buy another theater all her own in which la out ac i n man clas ics n l to p y the t o of y s too ob e, a s mm cial s in i perh p , for the co er board , wh ch to rehearse carefully and quietly such plays as she m ac ical in ic uil u c a ac e dee ed pr t , wh h to b d p h r t r with bits of new stage business as a mathematician work s out a problem on a drafting board or an archi m l n n ir H n I teet rears a te p e sto e by sto e. S e ry rving un sim l in H n s he ne a fo d p e joy oxto treet ; , too , ow d u Mr K l Mr H ini ea . s en a s. um m at re th ter . d , phrey h l hn li H B Y Wa t e a e o O s W. ea s rd t J ver obbe , . t , , n i il e K C es e n la e Cl C a G . Gordo r g, b rt h t rto , the t yde Fi c William Gill and Au us us T mas ine t h, ette g t ho jo d h an came isci l R in t n nd t e sacred b d, be d p es of ed g o a n i joint owners in thi s ge tle Arcad a of histrionism. “ The sublirhe Chesterton ﬁnally writes a play ! ea in a ec n ca l is a c To S o read the h d g of r e t b e d p t h . ’ the public at large it was the occasion of the satirist s l i Am n s s in kn debut as a p aywr ght . o g t tho e the ow, a i mus a sca c all however, t tter t h ve e ped to e ho the F r n way from Chelsea to the Baltic S ea . o Chesterto r nl hi has been a playw ight these many years. O y s k n c e mas i s in ini e wor s have bee se r t terp ece m atur , u le a a s a in and too s bt for the gre t bo rd , too d r g too n u lic c nsum i n e ic a im s punge t for p b o pt o , too po t t t e mm n un s n in Eac l e for co o der ta d g . h p ay, wh ther a i a e ic a e a elici us c sat re, or po t tr g dy, or d o obwebby pantomime has been enacted on the boards of C s e n s own a set u in the li a he t rto toy the ter, p br ry L m l ne l hi wn n n an . R u a of s o o do ho e, d there a o eg r e mances are i n a s nc in e p rfor g ve , perh p o e very fort ’ h ir s i n n i hi se an s night . T e sat i t s fr e ds eve br be s rv t 88 TE E LITTLES T THEATRE

l a k in F c i i e i . to get loo . ar e s hi s favor te v h c e Chesterton loves to plant two grotesque paper pup — pets representing two troublesome notorieties like Ll G e nd Mr P nk u s —in he mi le oyd eorg a s. a h r t t dd of his stage and to permit them to flaggellate one an other with such impertinent wit and stinging satire as u n a B n In i to p t eve er ard Shaw to rout. th s manner he adroitly plunges into the foibles of the k s l P m day and lays bare the wea ne ses of a l arlia ent . F e Chesterton paints his own scenery. r quently itis very grotesquch mere daubs of color subjecting sym u lim s i icul H u holism to the s b e t r d e . e c ts out and paints his own actors ; and his cartoons of famous living Britons are skilful and unsparing to the last A m i in hi e . ain n c s degre g , whe he be o e poet c s satire, ’ i n l in hi s - call mai fl as he d d rece t y s o ed den e ort, M io his k c m s c a il fine ag , wor be o e too r ft y for the unc m misin can bi a H o pro g dor of the g the ter. e writes and produces sometimes a pantomime in miniature as exquisite as if some Whistler etching

had s un li . ne se call S t r pr g to fe O of the , ed . Geo ge and the Dragon and presented before an audience un s ns ecam so c l a i n of yo g per o , b e e ebr ted n the i ti mate social circle in which Chesterton moves that all Mayfair caught the fever and there was scarcely a literary hostess with dramatic aspirations in the West End who did not presently acquire and begi n to operate a miniature theater for the purpose of s a in w m si i ns t g g her o n co po t o . London society was becoming more and more dem ic mi n diﬂi ult Th 1 i ocra a d c . e ni r l t , xed atu e p ay el s l in l m house h ped to o ve a pa ful prob e . It was unique enough to catch the attention of the most l win in garrulous ratt er, to the terest of the most And s H n s e an a ain i bored . o oxto tre t r g g w th the music of hurryi ng feet and Benjamin Pollock found THE' LITTLES T THEATRE — himself famous ! The polite world had taken him up. The master Redington and hi s chief disciple have been the authors of hundreds of plays designed espe ciall mi y for the niature theater. Noteworthy exam l s are The Waterman Cind r lla The orsican p e , e e , C B rothe rs D n uix te hildr n in the Wood Kin , o Q o , C e , g Henr The Miller and His Men The Blind B o and y, , y, T h i nus ri he Maid and t e Magpie. W th the ma c pts of ese in la in i m l s a dir th pr ted p ys, wh ch co p ete t ge ec i ns are inc a d are s l s a t o orpor te , o d set of cardbo rd plates printed in colors consisting of six plates of cha ac s s n la s sc ne and ﬁve la s r ter , eve p te of e ry p te of n T r stage wi gs. he plates a e required to be cut out n an n m l a d pasted on cardboard, d whe co p eted they n m n c s co stitute the co pa y of a tor , the stage setting and i s the propert e . E l i Willi l ar y in their respect ve careers am Gil ette, Augustus Thomas and the late Clyde Fitch em ployed miniature theatres in the building up of plays es i nal s a Eac ne has e for the prof s o t ge . h o expr ssed himself as indebted to the toy theatre as a helpful u T m tool in planning stage b siness. ho as employed a miniature stage without wings and moved his tiny puppets lik e pawns on a chessboard . The building of each play became for him a kind of strategi c game in ich he as n alissim a e an a is ic ba wh , ge er o , w g d rt t t li l u a an ac l mini tle. There is tt e do bt th t tua ature stage and a group of practical puppets constructed like pawns is of inestimable value to the novice in l a nin the! alu acti n in c c l s in e r g v e of o , orre t y ett g a scen and in ac ui in a knack a i and o or e, q r g for dro t pp A un l i tune stage business. yo g p aywr ght eager to learn the practical details of writing for the profes sional stage once accosted Clyde Fitch and begged “ If u nn ac uall n h his advice. yo ca ot t y atte d the t e 90 THE LI TTLES T THEATRE

h k ” atre seven nights in t e wee , observed the play “ i en uil a i a minia u s a wr ght, th b d pr v te t re t ge of ” your own and live on it! When the management of a little theatre may be come a fascinating game for such remark able minds as e ns n C es n and Gill c nsi e St ve o , h terto ette, o d r how wonderfully alluring it may become to real children who have reached the age of adolescence when the imagination is ripest for adventure and when the is i in l a i n e un l In art t c c in t o s have b g to deve op . u e no ame is e n e ul m a s in p b rty g mor wo d rf , ore b orb g an the m ck ame li e no ins inc m e mi th o g of f , t t or do nant than the impulse of latent power to control e k li A in am i li s en in ma . a a t oth r , ev e be eve g , dr t c erature loses all its literary terrors when the mys tery of its meaning is cleared up through action and k the Spo en sentence . To train the young mind to stage its own fairy al s li in ima ina i n i own a n t e , to ve g t o ts dve tures was

first in en i n uain im esa i - in- i l the t t o of the q t pr r o l tt e, i i J Red ngton. It rema ned for a young American a is F ances D le an ec i a defini rt t, r e h ty, to r e ve te call and to bring much of the spirit of Hoxton street in own a lie in Was in n to her te r h gto square . She had returned to New York from a pilgrimage to the little print shop ; she had set up a miniature playhouse of w n he ins i i n m h her o n whe t p rat o ca e . W y not build plays and paint scenery and sk etch characters for children at home ? If English children found delight i i e ul in the art st c toy theatr , why sho d not American children profit in the same way ? At once the young artist formed a working alli ance with Pamela Colman Smith and Catherine Van D k T e two i s an s n y e . h se wr ter beg to fa hio well known tales of adventure and current folk - lore into ma ic m —na1 e li l la s et c ni dra t for , v tt e p y , y te h cally

92 THE LI TTLES T THEATRE cann m B ot ﬂy swiftly enough to meet the de and . rain el m k Y h l s an l s re s fro overwor . et s e augh d p od li T i n ic in s. ou. here s a stra ge prophet ght her eye Lik e Redington over- seas she has tasted the joy at home of laying the foundation of the littlest and the most innocent theatre . L Fum es Pum uor as . ILLUMINATION AND THE DRAMA

HE l Dumas aun a e der v ted, r ther vainly, a s but n n the l s h ll perh p , o e e s trut fu y, that to make a play all he needed was u a s ac s and a as i n fo r bo rd , two tor p s o . T a w s ﬁ h t a a signi cant assertion. Aeschylus might well have made it; Augustus Thomas could truth qy echo

- F r im li in e m it to day. o p ed that bri f statement ay be discovered the universal truth that the backbone m m n ’ m i of the dra a is a s ambitions. That re a ns me B im l e u always the sa . ut s p e and fundam ntally n n in ama in i ss n is i has cha g g as the dr ts e e ce , t , u u n i i i m thro gho t the ce tur es of ts recorded h story, et i n a nh um with various mutat o s of outw rd form. I er k l able influences have been at wor in its evo ution. The lack or the plethora of facilities for presenta i n and na u a a con t o , the form t re of the the tre, h ve ditioned the plan and substance of the dramatic u uen d l w i prod ct ; the theatre has infl ce the p ay r ght, l h i m nd . It as c a the perfor er, a the p ay d t ted to the I au ri ac act. t thor what to w te, to the tor how to makes the playwright a Procrustes and the per An ll m n ci ums ances former a puppet. d of a the a y rc t that have been effective in the gradual adjustment a n n a u n in of the the tre, a d he ce h ve wro ght cha ges u ama ic a ic f ac the text re of the dr t f br , the tor of li in ma a s ick out as m s ght g y, perh p , be p ed the o t n pote t. The sun was the first illuminant and would ever F m na be the best were it always practicable . ro u ’ l l min i n li t re s bare but no less beautifu il u at o , ght 93 94 ILLUMINATION AND THE DRAMA ing in the drama has progressed to the present stage u l ea i l r ifi e In the A i ea e of p re y th tr ca a t c . tt c th tr actors and chorus grouped themselves about the c es a ei flowin a ies allin in ie at or h tr , th r g dr per f g p t esque folds about their flitting forms or flying in the eez m sea ile s a m li br e fro the , wh the oft w r ght of u e u e len i ull wn n em the so th rn sun po r d p t f y do upo th . T was ic ial eau en m sim le but no here p tor b ty th , ore p less admirable than the simulated effects of nature “ ” - d N illusi n s n s a . o w s I to y o a ece ary. t was so, in ime he R man T u a too , the t of t o s. ho gh they had m l l s a e i a as e s il s n e in a i . t g , the r dr wer t pre e t d d y ght T u u mi le a es al s ic saw re hro gho t the dd g o , wh h the i ma he un l n ufii fir a t s a s ce . The s b rth of the dr , o e d t ’ inn- e en he sk k th atres were Op to t y, and Sha espeare s “ ” only light effects were gained by the use of a lively imagi nation which had its outlet in incom le ic i l ima parab p tor a gery. Artificial light made its appearance in the theatre u in the R s a i n en the ula i d r g e tor t o , wh pop r ty of the la s imula in a si in e e mances p y, t t g de re for w t r p rfor , s l T E z occa ioned the use of cand es. he li abethan stage had been dark ened at the back by the shadow “ ” n n h nd he c of the overha gi g ut, a t a tors were forced out into the brighter light that fell upon the a s he n he l m h i spect tor at t fro t of t p atfor . T e ntro u fi i d ction of arti cial lighting d d not change this.

E in h i - M li r ven t e roofed tenn s court theater of o e e, whose low- hung chandeliers gave evidence of Italian inﬂuenc is i u i n li was but li l e, the d tr b t o of ght tt e bet Th d ill i la . e s a ha s ma n a t ter t ge , therefore, t to re p

m ce ine i a l in m a - s a e for , for d v t b y to the for of bow h p proscenium by the feeble candle footlights with ’ which it was soon fitted ; and the impotent candle s i k fi orded but a as ul li lu in la s fl c er a b hf ght, r g the p yer ever forward to the front where the illumination ILLUMINATION AND THE DRAMA 95 was sufficient to mak e only the most exaggerated ial la i nifi For alm s fac p y s g cant. o t two hundred years after the Restoration there was not in the theatre artificial light of a power and plasticity a en u an e is m gre t o gh to ch g th for of stage . When it did c m its alu l n emain unn o e, v e o g r ed oted . E n M A n ’ im e a . a s an in n i n in v fter rg d port t ve t o , 1783 lam s i u ula ick s c n i i n , of p w th t b r w , o d t o s were bu li l im The fi ful limm t tt e proved. t g er of the hun dreds of oil lamps that were necessary to spread li as s a e was n on a ght over the v t t g , eve the r re occa ’ si ns n ne i l o whe they bur d br ght y, no more than enough to make the actors recognizable ; properties and scen main s ill but sil u L ery re ed t ho ettes. u p li was u e k n ff ght , therefore, b t a w a a d ine ectual aid l i n T to il us o . hose were indeed dim and dingy the atr s ei la k l e , by th r c of light he ping to keep the drama ical and ac s e a a e in i rhetor the tor x gger t d express on. H sli as it was the a anc in li in owever, ght , dv e ght g facilities nourished a proportionate increase in the u illus sc n But i w l se of elaborate ory e ery. t as stil impracticable to light the stage from any point other an n and a l e a ia i ns is th the fro t, r re y wer v r t o from th m d The nl wa n method atte pte . o y y that cha ges from night to day could be produced was by the crude in c ns li expedient of sett g s ree before the foot ghts. Scenic innovations from Italy had by this time entirely freed the drama from the old conventional i n lac The s c a had no l n designat o s of p e . pe t tor o ger im a di not see u a saw to agine wh t he d , tho gh wh t he iml u lin E e in was now ut was but d y o t ed . v ryth g p n i before him and his imaginatio forever put as de . d i h The drama ha begun to be a show, wh ch as culminated to - day in theatrical concoctions lik e The h r H n In e s s a e had Daug te of eave . oth r word , the t g m la i in this l s i i i i had ec s c. E s c o t ts r g d ty, b o e p t ver e 96 ILLUMINATION AND THE DRAMA

in ama i ha i mi alm s sai free g of the dr t s, t ght o t be d, struggled less successfully against its freedom than it did a ains it limi a i ns ever g t s t t o . With the introduction of gas several London the atres were using it as early as came the elab orate scenic effects which its brighter and more man a a l li m s i l M e was ge b e ght ade po s b e . eyerbe r (who in charge of the repertory at the Paris Opera ) im mediately made use of this new lighting medium and with it raised stage settings to an unprecedented c ff u i ls n . it a a pit h of e ective ess Gas bro ght w th , o, great revolution in stage mechanism and manage m n a e in uc i n c m li e t ; or r th r, the trod t o of o p cated i l m i a rical n in theatr ca ach nery, for the the t e g eer “ ” - ma Man s l n i s c came in with the gas n. y p e d d pe tacles soon celebrated the arrival of an adequate li in m ans an c az a is a it ght g e , d the r e (for th t wh t t w s a i im a Wa was at ﬁrst) spread . I a t th s t e th t g ’ n l a inﬂuen ner s powerful, though ot a ways sal ut ry, ce ll e i was being felt in a things th atr cal . The advent of a plastic illuminant now made in

l m- a and a n congruous the p atfor st ge the extr vaga t, wild and whirling type of histrionism it fostered ; but it was not until the middl e of the nineteenth cen tury that this was realized and the possibilities of the picture stage perceived. ’ I rving s contribution to stage ill usion soon fol h s he in art li lowed . Of t e progres made the of ght e Mr B am k has ma re in his ass cia . S c g, o t , r to er, de “ H u li in m l i ima an i ord . e p t ght g to ore eg t te d d g niﬁed use by employing it for emotional and atmos r ff a i in hi an s li tin a ui he ic c . T s s c p e e t h t , h d gh g q red l l si niﬁcan e en in 1878 un a psycho ogi ca g c . Wh he r k m n L c um T a de too the manage e t of the y e he tre,

— n - n li h gas augme ted by the oxy hydroge lime g t,

Nineteenth Centur and A ter Vol . 69 . 90 y f , , p 3. ILLUMINATION AND THE DRAMA 97 which had by that time been introduced and was the only practicable contrivance for localizing light —wa ill l m ill i s st the so e ode of uminat on. He ﬁr st im t s li in i proved the me hod of ght g w th this, so ar ranging his gas pipes and light connections that all li s in au i ium as ll as in the the ght , the d tor we beh d sc n ul ula an n ll e es, co d be reg ted d co tro ed from the ‘ ’ s- l — t i ga tab e the proto ype of the sw tchboard. u n This was a great advance . S ch co trol made it pos si l as it n had n a b e, ever before bee , to h ve the ” li s in s a u in s nd house ght ext gui hed s the c rta ro e, a the auditorium kept in darkness throughout the

la Hi s - i progress of the p y. therto the tage d rector had always striven to keep the house as brilliantly li his limi a ili all T i ghted as ted f c ties owed . h s in novation now revealed to Irving several unique ’ sources of eﬂ ect. It put in his possession a new li in l m n sim l bu ssi e—a kn s ght g e e e t, p e t impre v d r e s i s l an ma imm ia use it I ls t e f d he de ed te of . t a o proved a means toward more expeditious scene- shift F i mi n w k ing. or by its a d he ght o eep the curtain u n scen s and un c a a k n p betwee e , , der over of d r e ed ” ri k l c n nd stage, st e the o d s e e a set the new before the eyes of his audience but invisible from where h ic — m they sat. By t is dev e which see s rather odd

Kellerd m l in m - — when Mr . e p oys it Ha let to day he was able to change the settin with less break in the — g continuity of the play the same effect Wagner strove to obtain by obscuring his scene- shifting by l steam c ouds. By 1882 electricity had reached the realm behind In 891 I in was li in the footlights. 1 rv g ght g his stage with it and by wi se and careful experimenting mak in ll u sim l n l l g it do his wi . S ch p e co tro of ighting means as is necessary to give to the stage the ap earance ni nd da l m usn p of ght a y, g oo or joyo ess, 98 ILLUMINATION AND THE DRAMA seems now very elemental ; but at this th e it was I a ill lem s l e . st a prob to be o v d t proved, too , prob iffi ul lu i n W u ne lem rather d c t of so t o . hen he t r d hi l h un a u the s a e he down s ights e fo d th t, tho gh t g came a k a kn ss was not a it ni d r , the d r e th t of e her ght ll l m sical and s l i cal fa or g oo , for these phy p ycho og ff c s na u e ac ui s not ll is e e t t r q re , by the ye ow h red of an in n scen lam but lu in s and a ca de t p , by b e t t ; de crease in the intensity of electric light adds even m T more cheeriness and war th to its glow. o gain s eff nin a in s had the de ired ect of eve g or dre r es he , e es a im c u ut nl therefor , to r ort for t e to the r de b o y possible expedient of covering the bulbs with blue e a n s ff an pap r b gs whe uch e ects were w ted . T is il mma had a il u u h d e , h pp y, bro ght p the prob lem of color in lighting ( color effects had up to that time been but hesitatingly attempted) and he found before him the whole fruitful field of the psycho logical use of color and light and shade gradation. The progress he made in this direction constitutes his most significant contribution to theatrical illum i h n e nation. W e h took up the problem the only means by which color gradation could be aecom “ ” lishe was i s p d w th the u e of mediums. These e finel n a ics o e n wer y wove , dyed f br , s xte ded over the stage as to intercept the light from the flies or the in s and c l it i e w g , o or before t r ached the por tions of the stage in which the particular color of li w s an e T i m an w ff ght a w t d . h s e s as e ective only to the extent of shedding a vague light in a few sim le c l s e e in in n n p o or , th r by br g g the sce e to o e gen e al c l n r o or to e . This much was possible while gas- light remained the nl a aila l li in mean Bu l o y v b e ght g s. t the e ectric lam n it lace as was un mi p, whe rep d g , fo d to per t of a nicer refinement of tone ; for it was possible now

100 ILLUMINATION AND THE DRAMA

in ac s c i n can c n ll as a uni e h e t o be o tro ed t ; that is, separately from the other colors of its own section and from the other three sections ; or it may be blocked with the remaining colors and controlled with them as a section independent of the other i n T three sect o s. hus light of any of the four colors or their combinations may be thrown upon the stage at an s im i d Th y pot or t e des re . e colors found most “ ” s rvic a l in s are lu am e e b e the foot red, b e, ber ac icall ima c l s— an B pr t y the three pr ry o or d white . y — the skillful mixing of these primary colors blue i mak i l and so ll in w th red to e v o e—t, forth, fo ow g the laws of color mixture with the help of white all , a i u l s n the v r o s co or of ature may be reproduced . Pure white light it is seldom safe to use alone be aus i n nc u m c e of ts te de y to prod ce extre e pal lor . Light with a bluish tinge also gi ves a ghastly effect n u i m l i n T i k eve to the r dd est co p ex o . h s ma es it — necessary in the body of the theatre as well as on the stage ; for the appearance of the patrons must be n i — l m ina i ns co s dered to use co or co b t o . But the white light is of great service for thinning out the c olor made from the mixture of the other three . When very great reﬁnement of representation is ” n ff l c ician n wa ted for e ects, however, the e e tr ca secure a reater nicety of tint -at the same time g — obviating all chance of error in operation by dip ping the bulbs in stain the color of which has been u u and im n decided upon after m ch tho ght exper e t, and acquired by mixing colors with pains as well “ Th in he s are als of as brains. e colors t foot o advantage where strong light from the front is needed ; in which case the proper strength of light often brings with it grotesque shadows ; these

- min l ula i n mus eli a . shadows, co or reg t o t te The li s nc so indis nsa le foot ght , however, o e pe b ILLUMINATION AND THE DRAMA 101

li came ﬁrst m the n n es for ght fro fro t, the , by degre , m si es and in ic ime a n fro d top, s ce wh h t we h ve bee

- — trying to do away with foot lights are now but is a small part of the fighting system. It often pos m sible and desirable to dispense with the altogether , — for they are an unnatural if such a term may be — used when all artificial light is such means of l m i a l a wi C ai R in il u ina n. I i t o t s prob b e th t, th r g, e B l I i h Pla s and so man hardt, e asco, the r s yer , y s erimen in is se em ill other exp t g to d po of th , they w i A n w m l s n n el ou u e. s o oo go e t r y t of s e p oyed, how are an im an m ans i in ever, they port t e of g v g to the scene an appearance of has relief by adding a sem l n n al r ectivcb a in a cause b a ce of atur pe sp th g th t, be of the shallowness of the stage ( another defect for which the thoughtful producer is now seeking a m us a l a a i re edy), m t be gre t y ex gger ted n order to ’ c gain the efl e t of nature. Without the footlights the means of illumination l T r kin s fi h are innumerab e . here a e two d of g ting a a us a ma call c n ll li s app r t wh t y be ed o tro ed ght , u i s and bunchli hts all s ch as foots, borders, str p , g , of whi ch are operated from the switchboard ; and independent lights or movable mechanism requiring a a clas ic inclu s he an individual oper tor, s wh h de t great variety of local izing apparatus that the arc n lim l i li s mak ssi le uc a d e or ca c um ght e po b , s h, for

n s he ood- lam sea chli and i stance a t ﬂ p, the r ght, other

- m ll ic ma u kinds of lens la p, a of wh h y be gro ped li under the general name of spot ght . In the modern theatre the borders are long troughs of bright metal in which from sixty to

i in n sc n ul s usuall si n- can l e ghty ca de e t b b , y of xtee d e

r et si si . The s a sinc power, a e s de by de t ge, e the

m n s use scen - s i in has ti e whe groove were d for e h ft g, in k F been divided to sections from front to bac . or 102 ILLUMINATION AND THE DRAMA each of these there is a border light hung high in h s T e are sel m less an five e t e flie . her do th bord rs ; T e n sometimes as many as eight . h y ca be raised l an ei and in s me ea es or owered to y h ght, o th tr they m i e ic can als be use are suspended fro br dg s, wh h o d l n ei a as a support for spot ights a d th r oper tors. The same four- color scheme is carried out in the borders “ he s and a an men and strips as in t foot , the rr ge t ein simila the c l s and sec i ns can s a b g r, o or t o be ep k rately dimmed and controll ed . Thi s ma es possible any strength and color of light or gradation from a knes illianc not nl m sid si d r s to br y, o y fro e to de of h b m a n ic e e s a ut ck sa . t t ge fro b to fro t, or v e v r The borders are hung so that their light is directed toward the rear of the stage and away from the audience in order that there may be no direct light in t s a the eyes of he pect tor . In addition to these there are standards or bunch li s m a le clus s bul s u e ght , ov b ter of b gro ped tog ther wi a reflect r ic can be set at an e th o , wh h y h ight or L n in any advantageous position . e gths or strips are rows of connected lights set up wherever desired — most commonly they are arranged like ladders in in B si s se e are s e i l i the w gs. e de the th re p c a l ghting devices designed to meet the exigencies of particul ar “ ” a s en ela a uil c se . Oft when bor te b t scenery is in us a kwa s a r cas an e, w rd h dows a e t d must by some means be li e a men the a ob t r ted, for the of the tre h v g until the las ea R a c t few y rs, when einhardt and — the Irish Players have reassured them been afraid T limin of shadows on the stage . he e ation of these — dark patches is accomplished by hangi ng strips of the necessary number of lights to kill the shadow u n the ack a iece scen ic u po b of p of ery wh h , tho gh uil s le u s is ma e seem b t for that o p rpo e , d to to the spectator in front nevertheless necessary to the

104 ILLUMINATION AND THE DRAMA

m —mu ucce l n F co e ch of the s ss of the p ay depe ds. or the work of the spotlight operator is to the pro ’ scenium picture what the artist s brush work is in H u k i the easel painting . e m st wor w th his lens lamp as deftly and delicately for light and shade or c l a is i hi u Bu as s s s . t unlik e o or the rt t doe w th br h , ar i nn in u the t st, he ca ot pa t o t what does not at ﬁrst l as him mus ni a e ni c p e e ; he t, ght ft r ght, produ e in stantl ac ff c hi s li l call H y the ex t e e t ght p ot s for. is cues are almost as important as are the lines of the ac e n s u n him he tor who d pe d po for t proper light. He has it often in hi s power to make or mar the n i la e t re p y. That this is true is a rather pertinent commentary n n i i n m h o the co d t o of the modern dra a . T e spot li s ms a m l t ur r ght ee to be sy bo of the o de fo ce. “ ” All li s in s s i d the ght the foot , border , str ps, an n n in l c i s otlam s r n ofte eve the e e tr c p p , a e co trolled n i c a i by o e man at the sw t hbo rd. Th s is a compli cated piece of mechanism so important in the pro u e i l ff c a Mr l sc c i n a ca s . B a at d t o of th tr e e t th t e o, l as nsi s it n c ssa s n one n e t, co der e e ry to e d o the road with every play whose success depends on ﬁghting — I features as most of his dramas do . t is a board “ ” of marbelized slate in which are set often as n w Th l many as two hu dred s itches. ese evers con l all lam s not nl on s a but in he tro the p , o y the t ge, t au i n Wi aid imm —a c m d e ce . th the of the d er o para tivel recent invention which consists of a number y — of resistance plates all lights may be gradually u an esi in nsi at a bro ght to y d red degree of te ty, i i s a e m s c n s i n speed, t s t t d, of fro two e o d to s xtee inu s a uick c an a is acticall m te , or by q h ge th t pr y s T i i a i l s s c s c mi . instantaneou . h w t hbo rd the o or xer i the i s l s him one in i Here, w th t er of ever before , d vidual can produce the light of dawn or sundown ; ILLUMINATION AND THE DRAMA 105

he can illuminate the stage with any color or tint ca s in it a li he re to, or br g to wh tever degree of ght a k s m sui l All a a i n r or d r ee s tab e. gr d t o s a e possible him H n m to . e ca dim the la ps of one color while at the same time he brings to full brilliancy the bulbs an l ha e n l of other co or that d befor bee but a g ow . M an is sinc i c a c n l ore th th , e the sw t hbo rd o tro s the us lam als ma n anc ff h ho e ps o, he y e h e the e ect of t e stage light by grading the illumination of the audi torium a m niz c n a i i to h r o e or o tr st w th t. To effect a diffusion of light as nearly as possible lik e that of nature has been the ambition of the the atrical engineer since he has had at his disposal s fi i n ff Bu uf c e t light to di use. t to acquire by artifi ’ cial means nature s even distribution is rarely pos i l Th m Ma ian F r un V n s . e e t e b e thod of r o o y, the e ian a i u s n u efi t rt st, prod ces the be t at ral ects yet in Hi i r I l n obta ed . s illuminat on is by a c M a o e p — for its light most nearly reproduces daylight and l all i ac in s a is ic reflected. ght, before re h g the t ge, tw e The first reflection is from surfaces made up of n l i l a i u u F m in umerab e str ps of c oth of v r o s h es. ro 80 111 s l e n s li ak s its 0 of the e, the co or d o e , the ght t e tints ; others modify the quality of the reflected light by mingling with it somewhat in the man

n r na u i lack and i e . Tin e of t re, b ts of b wh t ted glasses are sometimes placed before the arc lights in e a li assin ﬁrst u ord r th t the ght, p g thro gh

m ma col e it is reflected. the , y be ored b fore This is found to add to the resultant light some u ’ E n thing of the variety found in s nlight s rays. ve then it is not ready for the stage but must first u n a ull i aul m ic be thrown po d wh te, v ted do e wh h encompasses the whole area back of the proscenium i c ss alm s c iffusi n arch . By th s pro e o t perfe t d o ar n n is obtained ; all violent contrasts e to ed dow , 106 ILLUMINATION AND THE DRAMA unn u l a i e and an a e anc at ra shadows vo d d, pp ar e of s v c All the li s ar aerial per pecti e produ ed . ght e con ll wi s at the a the u i i m tro ed by s tche re r of a d tor u , ’ thus permitting the operator to get the spectator s in ie po t of v w . C l c u s now la s an n m u ar in o or, of o r e, p y e or o s p t ea e u it is as a eans illu the th tr , tho gh s h tory m for e n sion is more brief than is oft n supposed . O e of the first attempts to use color effectively in the drama was made by Off enbach in the presentation r T l of his Orpheé aux Enfe s at the heatre de a Gaité . From that time decoration in the drama has been n a la en sam la s gover ed, to rge ext t, by the e w of c m si i n c l a m n and is ri u i n o po t o , o or h r o y, d t b t o of l a in h i u T ight m sses that obtain t e easel p ct re . oday color has come to be as important a consideration to the producer as it has been to the painter since im h an s a e he the t e of Giorgione . T e m who t g s t m n la mus in e at l as s me hin oder p y t , th ory e t, be o t g a c l is a lumina is nalis and a chiaros of o or t, r t, to t H fin a c l i n t nl s n i i curist . e ds th t o or s o o y es e t al n his ff s l the mi u na u but e ort to ho d rror p to t re, , ’ since it plays so important a part in man s environ ment and is so potent an influence upon his mental an i nal s a s a i is als a ac in d emot o t te , th t t o f tor the in a i n li e Muc a is im essi in terpret t o of f . h th t pr ve ’ a - da is a esul not nl a the the tre to y r t, o y of the ctor s ac i n an hi lines but the c l n the t o s d s , of o or to e of h us a light that encompasses im. J t s Watteau used color tones as well as sprightly action to give to his ic u e an air a nd i aci p t r s of g yety a v v ty, so the stage director can supplement the work of the author by presenting his scenes in general tones of a m re c ll mak e em c l and w r d or heery ye ow, or th o d i al i lu s and e ns and u les mass s d sm w th b e gr e p rp , or e For ins anc llickin arc finds of shadow. t e, ro g f e, he ,

108 ILLUMINATION AND THE DRAMA

ut u e i i ﬁ shadow b to s t w th decorative e ect. The Irish Players are showing what can be done by its

ima ina i use. Li alize ma u s g t ve ght, they re , y s gge t as well as reveal ; so in The Rising of the Moon they boldly emphasize what needs emphasis by leav ing the rest out; and lighting the stage from one in nl mak a back un e rans po t o y, they e gro d of de p, t n l k n n i a ac a i su s n. A in in p re t b , preg t w th gge t o ga , Birthri ht u e s a s i h a is inc l c g , they s h dow w t d t t y de o “ ” r iv ﬁ c Bu mm n la lis i at e e e t. t the co o p ce, rea t c

t d li - H s age irector dreads the ght thrown shadow . e must do away with it at all cost ; and to do so he mak his li c m m all i c i ns uil s es ght o e fro d re t o , b d supererogated scenery for the sole purpose of sup

in s a - limina in li and la port g h de e t g ghts, p ces spot

lights in the flies to pick the smaller shadows out. B il in all limina l a s ut, wh e do g he can to e te rea sh dow ( and there is nothing real about light without s a w c mmissi ns his scene ainter i v h do ), he o o p to g e him elaborate painted ones to make the scene seem iz r l . T n real in a a n nl ea he g th t the st ge, whe eve y li is ar in and a a c ain ghted, we y g to the eye, th t ert amount of directed cross- light is necessary to mak e n mi l i nifi nt n hi t physiog o cal p ay s g ca , he ig ores s s a ti na ain a s and l his li cas o ry, p ted sh dow ets ght t n c d ul ll others co tradi ting them. An the res t of a s l n his fus ing is a stultifying realism that ibels ature . To be considered an accomplished producer to - day a man must mak e use of light and shade with the daring mastery of Rembrandt and much of the quiet confidence of Pieter de Hoogh ; he must have some ’ hin l z n H m kn t g of Ve asque s se se of values. e ust ow how artistically to distribute masses of lights and k a l m in lack nd dar s s well as co or, how to co pose b a hi I is s lu l n c ssa a aliz w te . t ab o te y e e ry th t he re e the s difi erent e tu s su ac s and reflecting power of t x re , rf e , ILLUMINATION AND THE DRAMA 109

in s a un s an ff c l li t t , th t he der t d the e e t of co ored ght H in n u n c l c . e u be a a po o ored obje ts m st , word, a is rt t . Illumination is responsible for a great deal in the rama h d an bad it mi s ac d , bot goo d ; per t the tor to “ n u i als s m i be at ral. But tod ay t o cover a ult u am i n N l ss li s in t de of dr at c si s. everthe e , there e lighting the solution of many of the present prob l ms am i s n i n e of dr at c pre e tat o . Anr P nt ntm o oon. BJORNSON’S BE YOND H UMAN POWER

Pla b B 6rnst rn B iirnson : The Gauntlet B e ond Our Power ys j j e e j , y , t Tr l h N rw i n E win B k The New ys em. ans ated from t e o eg a by d jiir ’ rk rl cr bn r s Son man N w Yo Cha S i s. . e ; es e

N these days when we seem to see a return even in the life of every day to a consideration of those moral principles which in other times con s i u e he l men i al eli i n t t t d t e e ts of v t r g o , and when the speculations of such scientists as Sir Oliver Lodge are lead in m the e e a new and m s e i us ai g the to v rg of y t r o f th, it is particularly interesting to tak e up for study a play which a generation ago considered these ques tions with a large philosophical grasp and literary ’ i I e B iirnson s c nin n r u i n v gor . r fer to j row g co t ib t o a i li a u e Ov r A n — i le i to dram t c ter t r , e ev e a t t wh ch may be roughly translated as B eyond Human P ower i tr h T or B eyond H s S engt . o understand this play it will be necessary to study it in the light of Bj6rn ’ n s wn is so o h tory. The son of a clergyman of the Lutheran state

eli i n N a B iirnson 1832- 1910 in e i ed r g o of orw y, j ( ) h r t ’ T i his father s rather liberal faith . h s he stoutly main in nh i l ta ed into mature ma ood, v gorous y de en in a li i us a i u e ic as mi le li f d g re g o tt t d wh h, dd fe a ac inclin a s ic l a s li ppro hed, ed tow rd the tr t y po to c, “ ” n i nal n c ee ul is iani h D n at o , a d h rf Chr t ty of t e a ish

and se Grundtvi . T e ll poet er, g her fo owed, however, n i s an e and ﬁnal ea u in the seve t e , oth r r dj stment of Al h w his views in this respect . though e as to hold out longer than any one among his eminent con 110

112 BEYOND HUMAN POWER

ll ukin and e a nin as ll we , reb g for w r g we as delight he a ’ ing . T ped gogical element in Bjiirnson s genius ’ hardly needed the stimulus of Brandes influence to urge him to seize with eagerness the possibilities ne u m n i i n l Th ope d p by odern co d t o s of ife . e spe cialists av scofi ed at his kn l e l h e ow edg of theo ogy, ' m in ic s ci l s c l . I m in ed e, o o ogy, p y ho ogy t re a s true, a a a im l however, th t t th t t e few of the de vers into the secrets of nature and the human mind saw the broader bearings of their own discoveries as keenly d ns n T u B rn n n as id Bjiir o . h s jii so a tedated them in m i i “ l ” the co pos t on of the problem p ay. Begi nning with The Editor three years before The Pillars o S ociet alin i h ic u f y, de g w t the eth s of jo r nalism e ll a num la l , ther fo ow ber of p ys that fall ike bombs into the M p of the conservatives : A Bank ru tc and The Ne t m ea in u ine p y w Sys e , tr t g of b s ss m alit The in as on s d ri s or y ; K g, b ed the oppo e theo e of the Republic and Monarchy ; and Leonarda and A l lin i u i ns x m G ove a s se ali . , de g w th q e t o of or ty Next in point of time ( 1883) there comes the drama ansla a in i l ver A vne here tr ted, be r g the t t e of O e B H u l ( eyond uman Power). As the s btit e of the first part indicates this was to be the first of a series of plays independent of each other and each to deal “ with some aspect of what was over aevne in nl o la a n modern society. O y ne other p y he ri g this title came to be written this was concerned l Ca i al an La with the strugg e between p t d bor. The force of the Dano- Norwegian idiom over ” ‘ aevne is only incompletely rendered by beyond “ m in is sai human power . So eth g d to be over ” f r e c s our s n n aevne when it so a x eed tre gth, pote i l and al as un aina l if a aina l t a re , to be obt b e ; or tt b e ’ at all nl - ac in - s ainin one s , o y by over re h g, over tr g ain li e aevne is li e n self. Ag , to v over to ve b yo d BEYOND HUMAN POWER 113

’ one s m ans s u c r r n e , whether of re o r es o st e gth, at isk the r of ruin. The subject of Beyond Hnman P ower is the prob lem Fai a is us is iani B m of th ; th t , for , of Chr t ty. j6 ’ s n s h sis i a i m n o t e s th t, both n its de a ds upon human and uman i h is n power h fa th, C r tia ity is over aevne ; that the consistent carrying out of Chris ian i s ul and es lan us in t theor e wo d, do , d the im possible and unnatural ; and that the essence of C ris iani li in T i ll h t ty es the words : o fa th, a things l are possib e .

Ki k aa - l D er eg rd, the great poet theo ogi an of en ma k a n a i n ha l r , who, for ge er t o , d he ped the best iri un sp t—s of yo g Scandinavia at the parting of the ways whether to become sincerely Christian or — conﬁrmed disbeliever says in one place that the miracle in the minds of the Greeks was something a n mal s un inc m l a we b or , t ted, o p ete th t , how C is ianit a me —o r u ever, by hr t y, h ve beco o ght to have becomcg used to regard the miracle as the something extraordinary which is higher than the n mal accus med n al or , the to , the ge er rns n lik k s a d cl i o , e the Gree , reg r s the mira e as s m in i kl u n — m i s c nca n a ns s . u s o eth g y, y o tro ty J st a deformities and monstrosities are miscarriages of ‘ ” n u in ical lik i l at re the phys sphere, ew se mirac es ar m i m n l e a sympto of d sordered e ta nature . They re in n t n m l bu l i a , other words, o or a , t patho og cal, in i in sick n v an an min d cat g er es d der ged ds. F m n in i mi l ro a other po t of v ew, the racu ous cer tainl is s u i l ab ic i y de tr ct ve of the who e f r of soc ety, ‘ s in a man at a ianc i hi s a and ett g v r e w th f ther, the u ins m and o causin da ghter aga t the other, s g it “ ’ that a man s foes shall be they of his own house i s nc mi ul l . F r a s s a u ho d o wh t the e e e of the r c o s, i a in what does it teach ? The drama s case point. 114 BEYOND H UMAN POWER

Its essence is that whensoever a personal will may ak u the la ul e na u a ill bre thro gh wf ord r of t re, th t w is bound to work havoc in all orderly thought and li All is le ve an in li a le in er fe . bow d o r by exp c b t ces i Men are em e ink and a m s on. t pt d to th to tte pt to elie e i a i nal in s i n e n mal e el b v rr t o th g , to g or or d v op E u a i m men n usa i n. c n c e m t a d ca t o d t o be o s spas odic, i l l i In i sen e le soc a re at ons chaotic. th s s , the mirac i l si e ev lu i na s . exp o v , r o t o ry In i sel ask in y n nd t f, to for th gs over s e e a e i n n n to exp ct them s da gerous. O ce we go beyo d la ul e in s the un he the wf ord r of th g , expected, t i h ine l ca le ma a en. As t e k en l in min xp b y h pp e , ov g d “ of Rachel foresees The miracle is no blessing ; ” it i a in i in it will kill a s n ll ! s th g terr fy g. ﬁ a y “ Becaus it lea e nd the un s i e ds b yo bo d of real ty, ecaus as S an imsel su mises it li s in b e, g h f r , ft th gs ’ ff ei in e i ei en man o th r h g s, t h ght s s powers for a — brief time as fever- frenzy at times gives men supernatural strength - only to court a terrible h ’ k lapse . T e poet s reference to medical wor s on ne v us iseas s at the end the la h r o d e of p y, whic , at ﬁrst lus ma seem an ic us a sum he b h, y ped t , th s es t aspect of a warning not to rouse the occult and sinister forces that slumber in the depths of human c ns i ne o c ous ss. Wi a s k e ue enius B I‘ D SOD h a th tro of tr g , JO as m de the miracle synonymous with the miraculous person man The e s all re ality and powers of one . ye of a u l as en u n him—in l a mi a i n devo t y f t ed po ove, d r t o , And n him the ha la is all despair . o poet s v hed the a au i ul ai s in uman c a ac so bright nd be t f tr t h h r ter, v m He is as to mak e him e en as a god a ong men.

l ll is not is l . e ec . On and a a p rf t y, f t y, he of th wor d ” H H l ck s a l sense s ns ali . e e a who e , the e e of re ty i lik as a c il ﬁt n in the Kin m s e h d, to e ter to gdo of

116 BEYOND HUMAN POWER

nc it is no l n l gether, o e o ger who e . In dry medical lan ua di s a i l He g ge, he e of v o ent psychosis. re again “ ” the reference to work s on La grande hystérie is lik li in a a nin fin er e the ft g of w r g g . B si e San all e d g, other characters of the drama sink in insi nifi n T r to g ca ce . hey a e but a foil to his l l g ory. In al their actions and speeches we see but h im reflected. An a d yet, wh t a wealth of magnifi centl isualiz c a c n l y v ed h ra ters, a d how tender y delin eated l There is the profoundly conceived union i h his i n sc i w w t poor devoted w fe, the bor ept c, ith her unshak able faith in the supernatural powers of San i ein g, who s b g crushed between the absolute demands of Faith and the practical demands of life ; n e are c il n n u and the ther the h dre , torn betwee do bt ’ ’ ai i al i a al i m f th , w th h f the r f ther s, h f the r other s na u an i l l l t re, d w th the oya ty of both ; a so the touch ’ in fi r as lik im g gu e of the p tor s widow, e S eon depart ing from the temple in peace after seeing her sal a i n lik Anna an finall B a the n v t o , or e , d y r tt, arde t im i n ic a and a e sc nin a ai . I p t t ept , ye r g for f th t is n e a i is l i c aime a ot worthy th t n th who e p e e, d s it is at e i al C is iani e is n the v ry V t s of hr t ty, ther o pro

- k The n me a fessed free thin er. o e who co s ne rest

— — - to that description delicate irony l a state church i n lis in ! In ee so pr est of the ratio a t w g d d , great is ’ - min dn ss a s ciall in h the poet s fair de e th t, e pe y t e h i s and i him the second act, is sympath e ( w th read ’ r l e e the si F i h e s ) seem to inc ine altog th r to de of a t , or at least of those ampler natures who long for Fai i icule allin ra on the ofﬁcial uasi th , the r d f g ther q C is ian —un il are cau u in hr t s t they, too, ght p to the ll lu s mighty chorus of ha e jah . ’ is be su e mi acl As to the poet s main thes , to r the r e “ i an t e ma e it is e is not proved . Qu te o h r tt r wh ther or no the conf utation of Christianity necessarily BEYOND HUMAN POWER 117 follows from the miracle thus being shown to be beyond human power in the most favorable circum s anc hinka l i a inal N m n be s . W C c a t e t b e th rd w , the liever may seek refuge in the thought that miracles were indispensable only at the inception of the F A in a l n aith . ga many Christians would h rd y gra t that Christianity must stand or fall with the mi r acl us as c n s l mi acl is no a u e ; j t , o ver e y, the r e rg m n one is li l n a n i e t to who de berate y a g ost c. T l n s ll bu in a k he p ay e d tragica y ; t, as Gree s c i n i mi s i tragedy, the pe tator s ot d s s ed w th horror n ism but wi u li in lin a a d d ay, th the p ft g fee g th t, ’ H r in a i man is l ss d s a . er or be g vo ded, s a b e e e t te ere if n su u l ai n a in particular, o pernat ra d ca be pr yed lu an cis l caus down from the b e, yet, d pre e y be e of m k ou his sal a i n not that, man ay hope to wor t v t o ,

n r n i la s na u . beyo d, but in acco da ce w th, the w of t re H m nna M . Las . o THE INDEPENDENCE DAY PAGEANT AT WASHINGTON

Nearly all the writings that have inspired or ao . companied the revival of pageantry in America have urged especially that this be the form of celebration he F u ul of t o rth of J y. The Na i nal Bi ha en t o rthday s be , indeed, the most neglected holiday of the year so far as ade ua ia essi n m nin q te, appropr te expr o of its ea g “ ” i n Th r h n F s c ce n . e e a e a e u o r ed of t s o rth, u elc m ak e li e n li h tho gh w o e for the s of f a d mb, as unfortunately tak en away from the occasion the S i i cele a i n es i i and en usiasm p r t of br t o , of f t v ty th , m n Pa e n and hitherto has made no reco pe se . g a try offers itself as a wonderful medium for the expres i n a i nal nk s i in ca a l us a s o of n t o tha g v g, p b e of j t th t element of rejoicing so necessary to youth and patri i r v ot c fe or . I is e ac cial in s a in t , th refore, a f t of spe tere t th t at least one city symbolism and patriotic spectacle at last have taken the place of noise and ﬁre and D And r e casualty on Independence ay. of ve y sp cial interest is it that the city which has set this i the na i n example is the capital c ty of t o . A i el the un e akin was ini ia e ppropr at y, too , d rt g t t d by the Washington branch of a national organiza tion whose aim it is to restore the drama as a nal r natio a t. Ma K e in a lec u e It was Percy c ay who, t r for the Drama League emphasizing at j ust the favorable m he al a ean a m s i c mo ent t v ue of p g try, g ve the o t d re t local inspiration for the Independence Day pageant 118

120 INDEPENDENCE DAY PAGEANT

dren would certam welcome something of whi ch e c ul a a ins ea a in m th y o d be p rt , t d of h v g erely to look on while their elders shot off ﬁrework s and had ll A n ss a ic an a the fun. ca va for p rt ip ts could be ma e cl s sc l and ne s de b fore the o e of hoo , the w papers would k eep the interest alive after school had l ubli el c osed. As for the p c that f t no commu nit in s a n out n y tere t, or th t we t of tow for the sum e i n l c c m m r, t was ot that pub i whi h was ost to be

considered. The people who could not escape to the mountains or the seashore were far more to be f in f r m n thought o , and were, fact, a a ore umerous h ost. F r t an D o direc ors of the page t, the rama League was fortunate in having two oﬁicers whose talents and experience would insure the artistic success of —n m l Mrs l nna mi T the project a e y . G e S th innin and z M K cu i Miss Ha el ac aye . An exe t ve committee en ’ li ii er tion a usin ss men commi sted the co p a of b e s ttee, representing the organization which had established “ F urt in Dis ric l m the sane o the t t of Co u bia. This committee undertook to collect funds from the ﬁ l i n T public to nance the ce ebrat o . he pageant com mi e n set k u n its si tte the to wor po de ns. g — With but three months in which to work for this — was April it was necessary to adopt a design which would be comparatively simple of execution and in u l u ll e nsi . It s a s c s a a xpe ve m t o, of o r e, bove express the spirit of national thank sgiving in such form as would appeal to all ages and also permit the poorest k T s child to ta e part . o meet the e requirements M K e n Mrs Tinnin Miss ac ay a d . devised a panto ’ mime play representing Uncle S am s 137th Birth P rt ic was ca i out as a day a y, wh h rr ed reception by Uncle Sam and Columbia to all the states and terri a hical rou s ac in i n i s in i s. tor e , geogr p g p , e h br g g g ft INDEPENDENCE DAY PAGEANT 121

The children of the city were invited to come as special guests in costume suggesting important ’ periods of the country s history since the great F u ul in o rth of J y 1776. As a simple practical design for thi s procession hil en i w i ff a i of c dr , t as dec ded to o er cho ce of char s u F c l eters in s ch groups as these : or o onial days, little George and little Martha Washingtons ; for 1812 li l m nd li l D ll M is n , tt e Ja es a tt e o y ad o s ; for 1860 li l men n li l m n a a , tt e a d tt e wo e , s portr yed by L i M n s n im s a u sa . Alc nd o ott, a the , for pre e t t e , a i ical u s suc as mi s and v r ety of typ gro p , h ddy boy mi i ls n ian s and In ian i ls Cam - ﬁre ddy g r , I d boy d g r , p

l w s all r - k lk s Gir s, co boys, ba eb boys, sto y boo fo , N l l ls n fl s. a u al a s flower gi r , a d ag boy t r y the rge t number of children regi stered for the modern i n u s in s um m u o ns . gro p , s ce to co t e the req red expe e And this resulted altogether to the advantage of the i m n uni m ank spectacle, for t ade eat for ed r s which were quite as impressive as the more individually ikin s um s str g co t e . The faith of those who believed in pageantry as the greatest art of the people was amply justified by the response of the community to this festival n u u from beginning to e d. Altho gh it is tr e there was so much work that the workers seemed always it i als a k s num too few, s o true th t the wor er were er on nd D n a l e a eager. ow town he dquarters were p aced at the disposal of the pageant committee by the

u lic- i i e n a ll- l c il in p b sp r t d ow er of we o ated bu d g, and here one large room was used not only as wardrobe but a s in m c s m a n s ew g roo , where o tu es were m de a d s m l m properties devi ed . Wo en of wea th and wo en who had nothing but their services to gi ve worked alike for hours of the day at sewing machines or i c an l Y un men and un w th s issors d thimb e . o g yo g 122 INDEPENDENCE DAY PAGEANT women searched out and assembled special cos tumes ran e an s un e k illin l m s , rr d , or d rtoo w g y the o t u i i e An d the c ial in e es he ninsp r ng chor s. ord t r t of t u lic was main aine c ns an l the ne s a e s p b t d o t t y by w p p r , all four of which published almost daily reports of progress and any announcements the committee sk n k a ed i aid of the wor . The children were interested from the first men Th le m ame n i l mo t . e p dges to arch c i s ng y by ma l ell in a k a e m c l l i as w as p c g s fro the s hoo s. Chi n Ame i a Re lu i n he T mas dre of the r c n vo t o , t ho Well s cie s k e the ivile c ns itu e So ty, po for pr ge of o t t in c l nial u Small s i ei a en s g the o o gro p . tot w th th r p r t came to the committee headquarters to consult re a in ei c ice c a ac e s or la e s g rd g th r ho of h r t r , , t r, to how off ei c s umes a small c lin the th r o t , owboy start g tired work ers almost to death one evening by land ing on the threshold with a yell and a flourish of hi s is l cartrid eless un he ul es but l p to s ( g , der t r , rea istic in appearance ) His accoutrement was com lete the las ail c i s s an ana p to t det of owh de hoe , b d , l T n i n n u m an a ia . o o e n a mi d r t dig t yo th, the co ttee “ ha k um l a l I si n d to ma e h b e po ogy. g ed to be an ” In ian and I ot a ca a mi ! r d , g rd to be ddy he p o es sai ca el c n em u sl in hi t ted, d rd h d o t pt ou y s out I ’v n . h r stretched ha d W y, e got wa paint and — ” feathers and a tomahawk me a middy ? He was l c u se a he mi be an n ian Bu to d, of o r , th t ght I d . t i l ul n i e the nsu t co d ot be w p d out. There was one group of girls for which the com mittee esi in s cu e uni mi i , d r g to e r for ty, prov ded the costumes outright and intended to select wearers of ' a special type in order to have a special efl ect in I n m the cessi n. t s ca e iden pro o oo be e v t, however, that the true spirit of this celebration required the in sacrifice of such a po t as that . The possibility

124 INDEPENDENCE DAY PAGEANT spectators occupying the hillside as a great amphi en theatre . In the c ter of the stage was erected a hi ais u n ic s a s l w te d , po wh h were e t for Co umbia and ncl am an a s al Li T U e S d pede t for berty . hi s simple ’ piece was the only scenery except that of the nat ural surroundings ; and the groves served admirably c nc al m un il i n n nd to o e the perfor ers t the r e tra ces, a l n l cian The c il n a so to co cea the musi s. h dre in the c ssi n s cial u s s at a c ul pro e o , pe g e t the p rty, o d come no wa c chin u l P nn l ania a n t by y of s or g , g y e sy v ve ue, but from the shady lanes of the Mall lying east of M um the on ent . W en F u a i d h the o rth rr ve , there were four thou sand children who had regi stered for the pageant c ssi n and h iﬁ d pro e o , they ad been duly not e individ ually to join their respective divisions along the Seventh and B street boundaries of the Smithsonian u L h l m Institute gro nds. ong before t e eaders and ar shals appeared on the scene the police were busy with the throng of excited youngsters and almost equally excited parents bent on securin places of , g vantage from which to view their off spring when n e ou i c a s the march began. To bri g ord r t of th s h o of color and eagerness which overran street and The an sidewalk seemed next to impossible . st dard bearers were literally almost swept off their feet m v ea e a a was be someti es, and e ery w r r of b dge sieged with questions as one and another fond parent proudly presented Jimmy and Tommy or Dorothy da The roces and Janet in full regalia for the y. p d n ma s al sion was oﬁicere a d r h ed, however, by l a s and Bo Sc u s teachers and high schoo c det ; y o t , whose regulations did not permit them to march in

a l n alian aid in assem lin u s. par de , e t v t b g the gro p In an amazingly short time a most gorgeous and striking procession was formed in orderly array INDEPENDENCE DAY PAGEANT 125

a u si s a s ua e n a us five bo t two de of the gre t q r , a d t j t ’ minutes after five o clock the signal was given to Al ma c . m s lik e ac ses c il n r h o t r e hor , the h dre un n e k wa e bo ded forward whe the ch c s remov d . Immediately following the band was one of the in s in im m a s a in tere t g pro ptu fe ture of the d y, a t y Uncle am had a a n kne ence S , who ppe red obody w wh , and w m l n m T n as pro pt y give thi s pro inent place . he came a un e Li Gi ls u en si e n h dr d berty r , fo rte to xt e a s old s m in m in i e m in lu ye r , o e red, so e wh t , so e b e classic li l u in al e na in nk e s ps, al gro ped t r t g ra s s c in l N a a l nials i c s. C ord g to the r o or ext ppe red the o o , ’ ’ 1812 s an 1860 the first u c m s the d the s, gro p o po ed of members of the Thomas Welles Society of Chil n n R lu i n ec n d dre of the America evo t o , the s o d an i a l c il n m s l m n clu th rd p rt y of h dre fro ett e e t bs, a l m f flower i ls p rt y fro everywhere. O g r there were hundreds ( seven hundred and fifty sent in their nam ll mu in nd i n es), a in white sl a wh te shoes a d s ckin i isies and to gs, with wreaths of wh te da carry in unc aisi s i d in first s c i n i g b hes of d e t e , the e t o , w th in c i i nd in the i red, the se ond w th wh te, a th rd with l l n a l all e l l b ue tar atan bows. These were e r y v ry itt e i ls N m li l In ian a i s li in g r . ext ca e very tt e d w rr or , v g i in re u n ell up to their character by g v g forth f qe t y s. The middy girls were the largest division of all one n n ll n su di i m s ef thousa d e ro ed), a d they b v ded o t fectivel in hi and lu s c i ns c l s y red, w te, b e e t o , the o or appearing in a binding on their white duck hats and in i s and s ill u in re and lu bal their t e , t f rther d b e l n d in n i ll ns h d oo s an , s ce o wh te ba oo were to be a , fi white tissue plumes which they carried . Over ve un i e c u and h dred boys reg st red for the owboy gro p , l mall u nearly as many for the basebal group. S er b t highly effective groups were the little Indian girls a n Fi i ls fla s m the d the Camp re G r , the g boy fro 126 INDEPENDENCE DAY PAGEANT

In us ial H m Sc l in i n a a mili d tr o e hoo , the r e t gr y tary uni m n he lk for s, a d t Story Book Fo s in their more an i f tast c garb . Through the beautiful winding drives of the Smi s nian un s ac ss un th o gro d , ro the gro ds of the A icul u al a tmen n in M umen gr t r Dep r t, the ce to the on t un s an n i clin h a e gro d d e c r g t e b se of the gr at shaft, the procession was then led down the hillside and into a reserved space in front of all the rest of the au ienc see Bi a Pa d e to the rthd y rty . B is im the li was mil and au i ul and y th t e ght d be t f , in m im e si N l s m i the sett g ost pr s ve . ot e s i press ve, on an —in ee m s ins i in — was the other h d d d, o t p r g the throng of ten thousand people which occupied the

illsi . e e e lic c s sa c h de Nev r b for , the po e re ord y, ex ept at the inauguration of a president of the United s h so la a c ass m l in Was in State , as rge rowd e b ed h g

ton.

A lm e H al us in and he eted, boot d er d, gorgeo red lu u he l a l u b e, stepped o t from t trees and b ew o d m mu las n hi u . T en a sic b t o s tr pet h , to the g y of ’ Yank D l of Un l am Minu Men ee ood e, two c e S s te ma c u r in s l i l as i n r hed o t of the g ove o d er y f h o , pre in ncl imsel an smile hi ced g U e Sam h f, who bowed d d s welcome to the throng as he swung across the green h Th H al e to the white dais in t e center. e er d st pped a ain and an e l u las ann unc a forth g , oth r o d b t o ed resplendent ﬁgure who came with stately step from h w l me the opposite grove . S e as we co d with the ins i in ains Hail olumbia ! and all p r g str of , C the people could but in their hearts do reverence to her beauty as she took her place beside Uncle Sam as H i mistress of the day. er head with its gl stening

lm wa u l ise her hi - d ﬁ ur he et s pro d y po d, w te robe g e with its blue bodice was outlined against the bril liant red and white lining of a rich mantle of royal

128 INDEPENDENCE DAY PAGEANT

i s c n and a es n sl n g ft of or whe t, repr e ted by e der, graceful girls in a garb of the colors of ripened ain s ains A F rm r H W n t gr , who , to the tr of a e e e t Ou l to ow anc in m u , d ed rhyth s s ggesting the waving fi lg e 8 . G ac ul fi ures in s flowin ns nd l r ef g oft, g gree a b ues, ull a and l and c an sil li in d gr y, go d opper d ver, g ded and danced in sweeping movements with the music I Am a Child o the F orest Wild T s of f . he e were the a N liz St tes of the orth, symbo ed by their trees, t i i s an lak an mineral ich he r r ver d es, d the ed earth wh i l s suc ric lu s u Bu v y e d h h strou treas res. t soon a ig orous change in the music announced the States of Far W s and ic u s u anc ls in k aki the e t, p t re q e r h gi r , h and s m s cam on in a all in anc driv o brero , e g op g d e, in T n s music s n in La g a steer. he , a the ofte ed to Paloma un i ls in flowin a ri s s , yo g g r g dr pe e of ro e and crimson brought in cornucopias of fruit and sk w rs ba ets and garlands of flo e .

T m Ala ka in m- l n hen ca e s , carry g a tote po e a d a in a e chain l nu s ic she we r g h avy of go d gget , wh h l m n l cam Ha an i presented to Co u bia. A d ast e w , w th n i l s i i an imme se tray of p neapp e , wh ch he depos ted ai il a i n ul ac before the d s wh e he g ve , w th wo derf gr e, “ ” the characteristic hula dance to the music of Al h o a . The whole assemblage of States and Territories with their gifts now formed in a great processional ’ M ountr Tis o Thee and Uncl S am and to y C y, f , e Columbia proudly reviewed this ﬁnal ceremony of ’ the mo st memorable anniversary of the Nation s D i lum i birth ever known in the istr ct of Co b a. The celebration had been successful beyond the n z T sa a ll highest hopes of its orga i ers. o y th t a the origi nal plans were put through would of course be h d si n had modiﬁed a ain and too much. T e e g to be g INDEPENDENCE DAY PAGEANT 129

a ain as is a sical limi a i n g , th or th t phy t t o appeared . In i als as al a s it was s i l rev ew, o, w y , po s b e to see im m n s coul a n m where prove e t d h ve bee ade . But it is still true that thi s first undertaking of its kind in Was in on s n in an n itu of l ss h gt , repre e t g expe d re. e than was an achievement of impressive au and las in ins i a i n T s be ty t g p r t o . ho e to whose la it was due l ai a un im bor fe t rep d h dred t es over. F m an a is ic s an in s als ro other th rt t t dpo t , o, there w c i n a is a n T h as oc as o for s t f ctio . here ad not been wanting those to predict failure or some sort of u l wa tro b e before the day s over . Practical features aniza i n difiicult u of org t o were , of co rse . People said ul e s i n there wo d b pro trat o s from the heat. Police authorities declared there would be at least a hun l il dred ost ch dren. P cau i ns ak n c mmi re t o were t e by the o ttee, how as ell as b the munici al au h i i s Am ever, w y p t or t e . bulances and nu s s and Bo c u i i fir r e , y S o ts w th the r st m n i n at in n lin aid equip e t, were stat o ed po ts ear the e c T insu m in chil n an of mar h. o re the eet g of dre d s s al ca n ices c n ainin ins uo parent , the po t rd ot o t g tr tions for forming the parade contained also instruo tions to parents to meet the procession along a gi ven n l T street as it left the grou ds after the p ay. he c il n us to k in lin s at sc l and in h dre , ed eep g e hoo , be g w m b ac s and i sc l ca s no arshaled y te her h gh hoo det , with Boy Scouts on the lookout everywhere along i l misa n u s k the street for poss b e dve t re , ept together l un il alm s im ce i l c il a e admirab y t , o t per pt b y, h d ft r child was plucked out of line by its parents and the l s l T li l procession had complete y di so ved . hree tt e ’ m n ma l n Bu gi rls were left unclai ed o a rsha s ha ds. t they knew where they lived and were easily sent m ho e . n mmi lin its s nsi ili The pagea t co ttee, fee g re po b ty, 130 INDEPENDENCE DAY PAGEANT

k ept in close touch with police headquarters all n w s t in . T a no a sin l ca eve g here , however, g e sualty n kin nd was not l l n of a y d, a there a ost chi d o the k is l u . t d n a n s F i doc et I ha bee o e e s o rth, w thout so m ﬁr c ck r sin l sk r k uch as a e ra e or a g e y oc et . It had n i l s n n u i l n a sa e a a u . bee e t re y fe, , d be t f But had the children enjoyed it? Ou m nin he 5th i in n v n h the or g of t , r d g dow Se e t s n ar on mi ha s n a treet o the c , e ght ve ee group of three little boys whoas playground was the pave ’ h i n w r ment in front of t e r father s shop . O e o e the i n n w h dress of an Ind a , o e as a cowboy, t e third was i i m w in just a pla n American c tizen. A cere ony as an n cl v i n i a progress, d o oser obser at o t proved th t u l ﬂ the Indian was being ta ght to sa ute the ag . When the committee headquarters were opened in he a terwo k the cel that same morn g, for t f r of e

i ei - a - old un s s ai in brat on, two ght ye r yo g ter were w t g had c m sai e iste on the step . They o e, they d, to r g r ‘ ” to be in it next year .

Er M. urra ma, S .

132 OSCAR WILDE AGAIN

a u un ackn v th t the theory, tho gh h eyed and in igorat in is als . The au Intenti g, f e thor of ons neglected ’ the artist s reception of external impressions and his ans ma i n e in hi s ima n tr for t o of th m gi ation. It i u i in a r R n m s s rpr s g th t D . a so e should not point out s all lem n l thi too e e tary fal acy. To Wil ama is c i i i s es e de the dr t t, the r t c g ve d erv d ’ “ is H e e k P n h A pra e. r the wor of u c s esthete of ” Aes s is ees m outré And e thete fr t fro the . y t the quality at once strik es him who knows the rest of il ’ k h illi n W de s wor . In t e br a cy which emanates m Mr e r a fro . Shaw w a e pt to forget that he had a c ss in art ial u us as prede e or the of d og e, j t we forget ’ Wil s e a in the wa Mr e n de pr p r g of y for . Ch sterto in a Yet it wa Wil ut the ess y. s de who p the paradox ’ En li a e W n Lad Winderm r on the g sh st g . he y e e s F an a a e in 1892 it was a new in find an ppe r d , th g to act made up of twenty minutes of such wit and ten n i h minutes of i tense dramat c interest . T e arrows i l s i e ha ne e een so illian l of soc a at r d v r b br t y tipped . The London theater- goers of 1893 flocked to A Wom n N Im ortance not it is sa e sa a a of 0 p , f to y, th t t mi e e Mrs A u n and e ice hey ght w ep ov r . rb th ot r jo in her final e i ramma ic e sal the i l but p g t rev r of t t e, ’ that they might laugh to see Wilde s shafts flicker A W man o N Im rt neatly to their targets. o f o po ance is melodramatic in situation ; surely Lord Illings ’ worth s desertion and its results are insufliciently a c e An motivated even in baseness of ch ra t r . d yet es Wil e is al a s in it and in the play go , for d w y beh d A Ideal Husband is ma e u the m s a it. n d p for o t p rt m l Mrs he le l m ll alk ic ese es . C e s of s a t , wh h r b v y her e f “ ” an c i For a s n in being rather lik e or h d . per o who ama ic ins inc it ma er has genuine dr t t t, y be p missible to waste the precious moments of a per formance on those whipped - cream speeches of which OS CAR WILDE AGAIN 133

Wil was s n i i n l de o fo d, but it s a s g that the comp e m n e tary theatrical instinct is lacking . Doctor Ransome calls The Importance of B eing ’ E r t l H h a nes Wilde s best p a y . ere t e dialogue is na u al ut r l i ua i E the t r o g t of p ot and s t t on. ven l B the price ess unbury is indigenous. Yet the play ll is a Wilde . It is he who puts the fun into the m u s W in and Moncriefi Cicil Ca o th of orth g , y rdew an Mis P sm T m n d s ri . here is never a mo e t when he i fi - s Hi F u s o tage . dden beneath his ort natus cap he a s i and i now amin a s d rt h ther th ther, fr g peech for Moncriefi as he hands the Honorable Gwendoline Fai a tea now su l in the R e en Can n rf x , pp y g ev r d o Ch su le i a ani i is a b w th n in ty to capt vate M s Prism . No play is so typically Wilde ; no play gives him so l i ima e a n l eg t t cha ce to show himse f. It is to be doubted if the great dramatist is never content to let his characters go their ways er ni ro ri n a l l i an in p so s p p s . O e h rd y fee s Sher d Sir Lucius G l smi in Ha cas l n ns n or o d th rd t e, or eve Jo o in Tribulation Wholesome or Shakespeare in Dog In i has n c i ical u b . t c s m e erry deed, bee the r t to to r gard as the gr eat dramatist him who can create a character and then allow him to act and speak as h m n mus . u an t e a he t O the other h d, who said that “ a certain popular novelist writes at the top of his H e is so l u a one cann a voice . o d th t ot he r what he lk s is a ian i ram. G ea a say , g t of ep g r t t ers before n min ma i s Dr hn Wilde have bee very or dra t st ; . Jo ’ I i l lc m i s r v son s rene got prec se y the we o e t de e ed . ’ Wilde s claim to fame might far better be rested on

his wit. ’ Dr Rans m k has n i el ais and . o e s boo bee w d y pr ed l i not k a it should be wide y read . It s the wor of it is c n ain it is a ecia i m i s tyro ; o t ed, ppr t ve of both er t

nd s all it l s no i s. In and defects, a , be t of , ho d br ef 134 OSCAR WILDE AGAIN

c a in i D R ns m s a m ni ns r. a e te d of o b tt g op o , o hi an all s s an n i s d ow them to t d o the r face value . n s icui are in his mann and in his Grace a d per p ty er, matter there is more than enough to place his book e ll i i al ini n n il at the head of r a y cr t c op o o Oscar W de . m as HOWA D J S . R .

136 THE DRAMA LEAGUE OF AMERICA

In its short term the movement has even outlived “ ” ’ — the ignominy of being a woman s movement it ’ — was started by the women s clubs of Chi cago and now has men as presidents in nearly half of the established centers ; there are more men than women on it N i nal B Di c s men n s at o oard of re tor , represe t in ll s n l g a part of the country a d a l types of interest. In ac one m s s ikin and im ssi f t, of the o t tr g pre ve characteristics of Drama League work is the fact that it is able through its many varied interests to a a and l man nd i l ttr ct ho d y a var ed groups of peop e, claimin am n its m m k s and adher g o g e bers, wor er ents almost every branch of interest from the col l and uni i li n ege vers ty, brary, a d social service k man usin ss clu man and wor er to the of b e , the b wo ci l A m L h s the so ety eader. t so e point the eague a n l bee ab e to meet and interest each of these. It is thi s element of broad activity and universal appeal i ha i s wh ch s contr buted so largely to its succe s. a in ou in its e sim l i n St rt g t care r very p y, w th o special backing except the faith and enthusiasm of its un s i h m ins n es ns in fo der , t as et ta t r po e every direction ; it has found the nation at large eager and ready to adopt the suggestion that the people must be roused to a realization of responsibility na i nal u a i is nl as for t o am sements, th t t o y the theatre- going public asserts itself that we can have e l bett r p ays . S o much has been said about the decadence of the drama and the pitiable condition of our stage to - day that the League founders felt that more should be Th said about the other side of the footlights. ey realized acutely that it was in large part the de cadence of the audience whi ch was to blame for the c - da an a we onditions in the theatre world to y, d th t s ul n l n l s me cl w ho d ever have c ea , who e o , ever, orth THE DRAMA LEAGUE OF AMERICA 137 w m il e s cu n uca a ak hile dra a unt w e red a ed ted, w ul u an man i ened audience which sho d s pport d de d t. Since the theatre must remain a commercial propo si i u sinc mana mus ui ed t o , e the ger t be g d by the box ofli u n inc sal sea s a all is his ce ret r s, s e the e of t fter nl ui is es the u lic it lainl o y g de to the w h of p b , p y remains with the public to say what the plays of u all the fut re sh be . Given a receptive theatre- going public definitely ann uncin its in s in la s the mana e s o g tere t good p y , g r will quickly put on such plays ; the dramatists will s ll l ns re pond to the ca , and the theatre wil be tra ll an n z a s formed. But first of a orga i ed udience mu t be created . The nation has arrived at that stage of its mate rial prosperity where it is ready for art develop n is e innin ass its in elli n an me t . It b g g to ert t ge ce d nd man the i u in ama its tastes, a to de d r ght of j dg g dr i s l usin acc it us caus it is in for t e f, ref g to ept j t be e s An l m n u li is i the playhou e . e e e t of the p b c rap dly arising which desires to use its brains in the theatre c k in l and is not content to hec them the c oak room. W k n n his e The D ama L or i g o t th ory, r eague is at tempting to gather together into a nation- wide body ll en l s ama k n a pres t over of good dr , to eep them i m in a anc la s on s a for ed dv e of good p y the t ge, to rally them to the support of the worthi er dramatic m n n ff e the mana s perfor a ces, a d to o r ger , if they ill s n la s su se em w pre e t worthy p y , the pport of the m l c bers al over the ountry. It is easy to see what a tremendous force for efi ec tive advertising these League centers make for the in la and a i mi n man deserv g p y, wh t t ght mea to the ager to k eep in touch with these groups of earnest intelligent playgoers desiring to support good m E n uall L a c s in dra a. ve t y the e gue expe t to br g to 138 THE DRAMA LEAGUE OF AMERICA

the one- night stand special attractions by means of pledging to the manager the support of its members a in u l a i k e us nablin in th t town act a the tre t c ts, th e g i u n n n the manager to feel sure of h s a die ce i adva ce, and the towns to see better drama through League

h s As t e work becomes more and more establi hed, a chain of support can be placed at the command of la ic ill ca it c as c as a worthy p y, wh h w rry from o t to o t un D ama L n s m n i h ar as der r eague e dor e e t, w th e ty s M the istance in hundreds of towns. ore than that, League will be developing a new dramatic taste for coun r hi ill c m h u the the t y, w ch w o e to t e s pport of

mana esi in w - il ama ger d r g to do orth wh e dr . It is easy also to see what the League membership m a m H ill n o med can e n to the me ber. e w be kept i f r l i will of the very best p ays which come to his c ty, he

k in uc i ama - a n h ill eep to h w th the dr of to d y, a d e w be saved the annoyance of experimenting for him l nkn n w hl la se f on u own a d often ort ess p ys. Last — year in Chicago there were 150 plays 100 of these musical c m i s and no n iced were o ed e , , therefore, t ot

L a u . Of ﬁf i en by the e g e the other ty, s xte were ap proved by the League as worthy and bulletined: This will show a saving of attendance on thirty

ur w l s la s mo a - all fo orth e s p y , or re th n two thirds of u i n prod ct o s. F m he r e innin L a e h aim ro t ve y b g g, the e gu as ed ’ to avoid the stigma of being high- brow it does not tr to uplift the theatre over the audience but y — , merely to create an audience an actual tick et buy in au ience — cl an ll- i n ama g d for good, e , we wr tte dr , c I n m i well produ ed. t does ot de and thes s plays or l m m s ut is l d su all f rm f prob e dra a , b g a to pport o s o a ed c m a c n m l ama so lo tr g y, o edy, f r e, eve e odr , ng as kin they are thoroughly good of their d .

140 THE DRAMA LEAGUE OF AMERICA difli l Th culties in the way of this p an. e work is slow ; the League must win the support and confidence of each community and must establish an assured reputation which shall secure for it the pledges of its constituency even where they do not know what la s r u p y a e to be brought to them. O the other hand — , it must prove to the manager who is a sk eptical — and discouraging individual that it actually can c a n k n n re te co crete interest, ee a d practical enough to tax the seating capacity of the house and reward hi u B m with a s ccessful engag ement. oth of these hin r difli ul m li m n t gs a e c t of acco p sh e t, but they are s i l and a i m im n po s b e , wh t s of ore porta ce, they are in accom lis e s r be g p h d by low deg ees. Already this year the League has a small circuit of ns fill e ek l ed su e tow to thr e we s, p edg to pport thr e special productions to be brought to them through N i n l Pla in mm the at o a ygo g Co ittee. These three special productions would not otherwise have visited ns at all i a and so it is nl u these tow th s ye r, o y thro gh League efi ort and influence that this group of one night stands will see these desirable plays and uc i ns worthy prod t o . In this way the work of the playgoing side of the League has a two - fold purpose ; in the large cities it aims to k eep its members informed and to build up audiences for the bulletined play ; in the small er cities and night stands it aims to create an advance ‘ interest sufiiciently k een to effect the bringing of the bulletined play to that town in preference to s m - n z o e other non orga i ed town. From more than one manager has come actual testimony to the assist? anc ic the Lea ue ha n hi l e e wh h g s re dered s p ay. Mor than once hasthe League in the big cities been able to turn the tide in favor of a play whose fate lay in the balance ; more than once has the League bulletin THE DRAMA LEAGUE OF AMERICA 141

raised the League membership to concerted support M n ne l h of a needy drama . ore tha o p ay as owed its continuance to the support of the League mem ri us i i s a en is i al bers in va o c t e . Very app r t t so how effective the League inﬂuence can be when there is a strong circuit of towns established which can give its support to a play once bulletined and saved in in n the produc g ce tre. In order to effect this project of the establi sh ment of a solid chain of League Centres from coast c s nd d he n in n the to oa t a bor er to border of t co t e t, League needs most emphatically the assistance of the other very important department of its work B the educational. y means of the work of this de partment the League is creating a k een interest in drama throughout the country and awak ening the general public to the fact that it alone is responsible

la s u n our s a - da and a li in for the p y po t ge to y, est b sh g the fact that it is only as we increase the demand for m a s c worthy dra a th t we shall e ure it. The various sub divisions of the Educational Department are all working toward this end of creating a better dramatic taste throughout the country and starting the nation l n e at arge on a sa e, eager, inter sted study of drama l i nl and the printed p ay. It s o y as the playgoer of to- morr ow acquires a backgro of the dramas of yesterday and tod ay that he will be in a position min a r la ma be N to deter e wh t the wo thy p y y . othing can so improve our national dramatic taste as can in in ed l the read g of the pr t p ay. Consequently the League has created a special committee called the D ama S u C mmi c m s of r s r t dy o ttee, o po ed expe t , who prepare study courses in the hope of persuading clubs and individuals to tak e up the intelligent study m T is mmi ha of dra a . h co ttee s mapped out diﬁ erent courses suitable for various purposes and is glad to 142 THE DRAMA LEAGUE OF AMERICA

c T i advise those who desire special assistan e . h s Committee aims to prepare each year for the clubs a special series of a progressive and consecutive character which will be of interest to the conscien i s In ai in clu n in i i t ous tudent. d g bs a d d v dual s in their plans for drama study and in mapping out c u s s m is C mmi ha n c n u o r e for the , th o ttee s bee o tin ously hampered by the scarcity of inexpensive m lu dra as. So many c bs and individuals have writ ten to ask how they can study the many plays which si i u u n man n i e they de re w tho t b yi g y expe s v copies, that the League has become convinced that the scarc ity of inexpensive dramas stands greatly in the way of u ama s u thoro gh dr t dy. Consequently the Directors have set about meet

in i iﬂi Wi - a i g th s d culty. th the co oper t on of the pub

lishin us D u l d P Co. g ho e of o b e ay, age , the League is eff ecting the publication of a series of plays to be l D m L a T lum e cal ed the ra a —e gue Series. hese vo es ar to be inexpensive seventy- five cents in cloth and fif n in — Lea u m F ty ce ts paper to g e me bers. or the first a ill chiefl m n la s ye r they w be y oder p y , but as man s l la s not now is in in the de d grow , o der p y ex t g i n ll a s i s cheap ed tio s wi be dded to the er e . In this way the League members who purchase all of the S eries will not only have in inexpensive editions am n s is ama s u u l the dr as he eed for h dr t dy, b t he wi l also have a thoroughly desirable collection of plays with Drama League approval and in uniform size and L nn s m h in in . The ague ca c u , is a b d g e ot, of o r e pro —e t t its plays will be the best dramas obtainable that would be impossible as many dramatists contract for e n a an an Le their work many y ars i dv ce, d the ague

therefore cannot secure their manuscripts. But it does promise that each of the plays in its series will The ﬁrst be valuable and worth while . two of this

144 THE' DRAMA LEAGUE OF AMERICA

l a I i w valuab e nd interesting . t s easily apparent ho important this publication of the printed play will D L m m prove to rama eague e bers. With its aid the League will no longer be handicapped in its choice l s u lines u n l of p ay for study o t , b t ca use any p ay the Committee desires and if necessary can print special l h m m he a s t e u e it e . M p y for s of s bers oreover, by t inexpensive publication of these dramas the League is makin ama s u acc ssi l i em g dr t dy e b e to ts m bers. Working l n harmony with the idea of the League to 1mprove the dramatic taste of the country and to e el a si the es la s D am a d v op de re for b t p y , the r League soon realized the importance of Am ateur Work for the rural community too small or remote b n fit i ui em v to e e by the c rc t sch e . In the town of fi e — or ten thousand inhabitants too small to have a — theatre where there is almost no wholesome amuse m n n ld the a n l e t for you g or o , cti g of p ays by m u h fini e i li i a ate rs as in t poss bi ties. These possibil ties the League hopes to encourage by developing l u l ma ac i i E all live y r ra a teur t v ty. ventu y it may even be possible to maintain a national director who could be sent out to the small towns to coach the me n plays. This would a a great deal to the whole community in providing wholesome pastime for m r si ili i al the . There a e pos b t es so for the amateur committee work in advising with more advanced m eu si e su es i n l a at rs who de r gg t o s for p ays to act. This committee prepares helpful lists describing de sirable plays and listing them with all kinds of direc n A l fi l i i tio s and advice . arger e d of act v ty lies in advising with the normal schools and high schools as to the choice of their senior play ; there is great demand for such assistance and a committee of ex e s is k us m e in is man p rt ept b y e t g th de d . Another very important department of the educa THE DRAMA LEAGUE OF AMERICA 145

tional work is the connection gradually being estab li h e n L a u and li a s ed b twee the e g e the pub c libr ries. There are many ways in which the local library can assist in the development of the local dramatic N nl ca i i s ll s . ot n t add t c c i n amas ta te o y to o e t o of dr , but it can arrange attractively on a handy shelf to ca ch idl a s m s ciall t the eye of the e re der, o e e pe y op un l m I ull in h port e vo u e . t can post the b et s of t e League and mak e its study courses available to the u T i L D a m n L st dent. h s ibrary ep rt e t of the eague is investigating the possibilities of the libraries of a s in be a l c a a l ul in the St te , hop g to b e to re te he pf r m h e i a n te est in dra a. It as m t w th w rm response o the part of the libraries and state library commis

i n an i assu anc s f co- a i n in ama s o s, d w th r e o oper t o dr li a work in the br ry. There has been a great demand from the ﬁeld for i s l n l u s an a H ass stance l n e ecti g ect rer d re ders. ere again the League can be of assistance by investigat in a an l c u s k e in in m g re ders d e t rer , by e p g for ed of t i u s and in us a l to a is he r ro te , by be g th b e dv e the m ll clubs— i ul not is m s a wh ch—co d otherw e eet heavy traveling expenses when a very desirable speak er i s in i to be their v cinity. The Drama League had not been long in opera tion before its workers reali zed that one of its great e t uni i la i il H s opport t es y w th the ch dren. ere were the audiences of the future ready at hand to be ain and m l a l tr ed o ded, re dy to be deve oped into a sc imina in a - i u li n u n di r t g the tre go ng p b c. Co seq e tly the Junior Department of the League was organ ized to work with the children and train them to a kn l m T is a m n s ow edge of good dra a. h dep rt e t ha met s n E u kl with enthusiastic re po se. verywhere is q ic y r ealized the importance of this special feature of the work and the charm and pleasure of working 146 THE DRAMA LEAGUE OF AMERICA

l Al with the chi dren. l of the Centres of the League n m k have do e so e Junior wor . In Chicago ﬁve sal aried workers are maintained who conduct little u s of c il n in la r un an l m n gro p h dre p yg o ds d sett e e ts, s in an u in n l s Las umm tudy g d p tt g o p ay . t s er these groups put on an historical pageant of Chi cago in eight playgrounds before audiences of perhaps ten u n a a n In in tho sa d t e ch performa ce . Wash gton the ’ Lea ue ha s a li in g s e t b shed a t y Children s Theatre, call H us f Pl ed the o e o ay, where neighborhood u ar ain i d h gro ps e tr ed and d recte . T e work there has n n m u l c s n in e s in In bee e or o s y suc es ful a d t re t g. Atlanta the Junior Committee is giving four recitals “ ” “ ” of such plays as The Blue Bird and Peter Pan to the public schools before crowded audiences of in s il n Th uni r mmi h tere ted ch dre . e J o Co ttee al so as a r im an ve y port t advisory work to perform. It pre pares li sts of plays suitable for children to act and is ready to confer at any time with leaders or direc tors who desire help and advice in this work with the il h m h ch dren. T e Committee is co posed of those w o have been devoting their lives to developing the rama i in d t c taste of the child. This is wonderfully teresting work as there is such ready and immediate s ns r ff r Th hil n l th re po e to eve y e o t . e c dre ove e op portunity to act and gain poise and self- expression in Tw m ka l an a e n the work . o re ar b e page ts h v bee iff n n The put on by the League in d ere t Ce ters. Shakespeare Festival arranged in Chicago in 1912 ’ in honor of the poet s birthday showed eighteen l n in tum s n in hundred school chi dre cos e, repre e t g ’ pictorially nine of Shakespeare s dramas and doing For s ic real honor to his genius. two year the Ch ago Center has off ered prizes to the eighth grade stu dents for the best essays on certain given Shake spearean topics and has found much interested re

148 THE DRAMA LEAGUE OF AMERICA

Annu l n n i n n em for its Fourth a Co ve t o , whe the m bers and their speak ers will discuss matters of k een en m T is ccasi n est interest to the stud t of dra a. h o o ill be a in as an uni ea w s the p t, opport ty to h r the s highest authorities discuss matters of va t moment . An old- time morality play will be revived and per formed for this convention by the accomplished Pl l e P il l i nd a rofes ays and P ay rs of h ade ph a, a p sional performance of note will also be given for the ele es Th in i c n en i n ill d gat . e ma top c for the o v t o w be Pla s and Pla T - da and a i us y ygoers of o y, v r o sessions will discuss interesting features of the k : ins anc suc ializ ics as The wor for t e, h spec ed top Guaranteed Audience ; What Constitutes Dramatic Material ; The Printed Play ; Ethics versus Aesthet ics ; The Professional Critic ; the League Playgoing Committee ; The Successful Center ; Right Leader ship ; The Personal Element in the Center ; The Sphere of Inﬂuence of the Local Center ; What the Large City Can Do for the Neighboring Town ; The Psychological Eff ect of Stage Material ; The Logic i e n a m n of Inc d nt ; and Si cerity of Tre t e t . Experienced speakers will introduce each sub but al im ill l n e jcet, h f of the t e w be eft ope aft r eac a e c u l i cus i n ele a es h ddr ss for a t a d s s o by the d g t . The League Directors realize from previous conven tion experience that the delegates are made up so largely of the expert and the student that the audi ence has quite as much to contribute to the session as s k I ill als in es ea the pea er. t w o be of ter t to h r the reports from the ﬁeld and learn what is actually ein acc m li in h u Lea u Cen e s b g o p shed t e vario s g e t r , for the work is reaching out in numberless dir ec i ns ea in u n sc ls c lle s li a ies clu s t o , b r g po hoo , o ge , br r , b and in i i uals and ealin i la - a en in d v d , d g w th p y tt d g,

la - s u l a ean s and all ms p y t dy, festiva s, p g t , for of THE DRAMA LEAGUE OF AMERICA 149 dramatic literature ; but always with the audience not interferin with the other side of the footlights. g — The League is not pragmatic it is eminently B i i in ars to practical. y ts rap d growth three ye

n n ll he - i a es it represe tatio in a of t forty e ght St t , has proved that its founders were not mistaken w fi l in their belief that there as a e d ready for it. It can already count to its credit more than one definite ac i m n but it is s ill aimin at the h eve e t, t — g great future of an organized audience nation- wide — an ac and educated and ready to support m ager, tor dramatist in their efi orts to put forth the best i l drama poss b e . One of the most striking reasons for the excep tional success of the movement has been the unusual nn k ack I wa s perso el of the wor ers b of it. t s tarted a u ea isin es m n and has by gro p of ger, d ter ted wo e , n i n i in and un oun i si ce had the r u t r g b ded devot on. Wi u sala ie k s i li l no inc me tho t r d wor er , w th tt e or o L a u ha n a l enli to spare, the e g e s yet bee b e to st the gratuitous services of experts in all types of its ac i i i s and c un s am n its i c s and a i t v t e , o t o g d re tor ct ve workers the names best known as authorities along l In ll n n s these ines. a bra ches of i tere t it has the assis anc min n lea s numberin its su t e of pro e t der , g p porters and work ers among the clergy ; among the aca mic u inclu in m la c l de gro p , d g fro the rger o leges numberless professors ; in the business world among me m ans and influence as i n n of e , pres de ts of cen ters ; in the profession among managers and actors glad to be counted as its friends ; in the society and club world among the eflicient and with the endorse ment of the federations ; among men of letters and dramatists ; among the teachers and laymen in

countless hundreds. It is a all a m c a ic m m n and mus , fter , de o r t ove e t, t 150 THE DRAMA LEAGUE OF AMERICA count upon the masses if its individual membershi — p is to eﬁ ect the results for which it labors organized su cl an l s me ama an pport of e , who e o , worthy dr w k e i l ama i t e c ll a a en d nat ona dr t c ast , whi h sha come to the support of the conscientious manager to sup

l - p y him with an audience for his worth while plays.

' A. Su n Basr.

152 REVIE WS

i l I i nd ha an s chiefly valuab e . t s personal a c tty d u an in e s ne u disc rsive. In gl c g ov r it pages, o is str ck by the number of them that are largely catalogues m n i l n l r of na es a d t t es. Documents a d etters a e u n l f u i q oted liberally, if ot always in fu l. O co rse, t is impossible that such a book should be invariably in r a k in i d in te estin . It is wor , deed to be d ppe to — g , by means principally of its index of proper names —r v l i in h u s u . ather than read t ro gh con ec ti e y It s, r k inf m eality, a handboo of miscellaneous or ation, — “ rather than a history or a romance . ’ Mi r l im l ss Crawfo d s sty e is direct and s p e, admi b i r b l ra ly adapted to ts purpose, fo ming a su stantia background for the many contrasting passages of sparkling personalities quoted from the letters of actors and playwrights In summing up the great ir H h S enry, s e writes i ics n all are a a f a man Cr t ge er y greed th t, or ‘ ul n n r k ’ vin a who co d either walk o tal , Ir g made im l m z su es a Thi s as s p y a a ing cc s s an actor. w very la l du i all im i fi r an his rge y e to h s t , press ve u e d to — g face far and away the most fascinating face which h e n The i as ver been see on our stage . h gh fore a fi s n l m k nd in l he d, set o by tro g y ar ed a exceed g y flexibl l si i se nar e eyebrows ; the arge, po t ve no ; the sen i i li s n in aw l row, s t ve p ; the stro g, th j ; the g ow in an u s— nd ‘c n all l n g d caverno s eye a , to row , the o g and m av i n a ai —c m in to so ewhat w y, ro gr y h r o b ed mak c f m ul a e a head whi h, even i e pty, wo d h ve ’ m u rvin s a wa eant a fort ne for an actor . I g he d s n n m The an was a m s e u by o mea s e pty . m o t d vo t stu n is i a and i l de t of stage h tory, w th deep h gh y intellectual interest in everything that bore even em l Henc his succ ss in s i e r ote y upon his work . e, e , p t H nr I in was a man of obvious disadvantages. e y rv g n N of one passion and that for his calli g . o task REVIEWS 153 was too ardu us no rill x aus in no x o , d too e h t g, e pendi u ei of m n n t re, ther o ey or e ergy, too great, if ao, there might be attained better results for the piece

u a s lu in - in hand. S ch b o te s cerity and single minded ” n ss us ll su ss in a e m t spe cce ny career. Thi assa e is r sen a i k s p g epre t t ve, I ta e it, of the H r l i i au r a es . e s s u l tho t her b t ty e , obv o s y, neither illi nor ascina in a it n l br ant f t g ; r ther, te ds to pro ix

i and o n he ite. For the m s r h w ty fte to t tr o t pa t, o

r l l. ever, it is are y dul It seems impossible these days to write any sort of a book on the theatre without appending a gen orally conventional and optimistic prophecy as to v in m u . Th n i our dra atic fut re e prese t re ewer, deed, must enroll himself as a recent ofi ender ; though his ’ single New Year s resolution has been never to do Miss in al icto finds it again. Crawford, her v ed ry, , i ic and al u l k our as usual, that the art st mor o t oo for na r ufi i n s a a The k tive d ama is s c e tly ro e te tod y. wor “ ” — of our social- minded young playwrights pre sumably those she mentions in her foreword as the ’ product of Professor Baker s courses in dramatic c — li s ill s ntl in te hnique the author be eve , w pre e y br g ‘ about a state of afi airs wherein there will be done ” l nd r sum for America what the Irish p ayers ( a , p e ‘ ” l m w in el a ra a is s are no I an . b y, d t t ) do g for r d Let us all fervently pray that this faith may be u fi A L naaws speedily j sti ed ! CH R TON An . A SELECTIVE LIST or PLAYS PUBLISHED DURING THE FOURTH QUARTER F 9 O 1 13.

C m ile F ank C u eau o p d by r ho t Brown.

The same method of indicating the character of publications as has been used for the preceding Se lective Lists issued by the Drama League of America is continued for the titles that follow : Plays professionally acted in English ; ( 1 ) Representative modern plays for technical study and reading ; ’ ( 2) Plays typical of the author s methods ; ( 3) Rep resentative modern plays available for younger readers ; ( 4) Plays possible for advanced amateur use ; ( 5 )Simpler plays for amateur use ; ( 6)Notable modern plays ; ( 7 ) Notable modern poetic plays ; l l ’ (8) C oset or iterary dramas ; ( 9) Children s Plays. B E A E N TT L En li . N , RNO D ( g sh) 2 ' T . he Great Adventure Doran net Bam E E E n ux, UG N ( Fre ch). Two Plays Luce net B 1 l . . 2. anchette 1 2 Th Es . . e cape .

A Sc l M s- in- Law hoo for other , Smart Set Magazine net l En . RB E M. is BA I , J ( g h) ' 2 li D an net . 3. Qua ty Street or

mmm M Ame ican . u rr W . B , ( r ) 4 H A al Bak ne . usbands on pprov er t ' i E l s . r nn n . K. n Cm ro , G ( g h) ‘ Magic Putnam net

156 SELECTI VE LIS T OF PLAYS

The Seven Sleepers of Ephesos. P nc s M s ri es oss Ro e . r The Testing of Si Gawayne. A is mas P Chr t arty. M n m e I s ns . oo , G o ( ri h) ‘ E L 2. lizabeth Cooper . uce Pm nr ssr nm a Pnas'r n Am i n o , Jo o ( er ca ) T H . u a 6 he Wolf of Gubbio . . o ghton Mimi PH LL PS E E n lis I I , ST PH N ( E g h) L i s D m hn Lan yr c and ra as . Jo e 6 N ’ . ero s Mother. The Kin g . Paw n Mas Hm r E li , . ( ng sh). The Nin Diam n s an l e of o d d Other P ays, Chapman Hall m s 'r D Am i R o Mn om ouom s can . o , ( er ) Stewart Kidd Co m AVE Am i n S onsorr, GUST ( er ca ). ﬁ Horace Walpole . Mo at, Yard L L A LAWRE E am AD M and N. C mm A . S , I LI N N n ( America ).

9. L Dr Am ri n B . 5 . l itt e amas . e ca ook Co An'r cn m r znna m m Aus ian . S , ( tr ) Free Game Badger Living Hours Badger D The Woman with the agger . h k T e Last Mas s. L a iter ture .

snn BER AR Am ican . So , N D ( er ) Three Plays Badger

Jenny Knows. M ' rs B m t n Dinn Pa . . o p o s er rty ’ There s Always a Reason. E nona m r s n lis . U , G ( g h) F n l The S on and Heir . re ch a SELECTI VE LIS T OF ESSAYS 157

' ' Vansxr m s r Bos s s r En lis . , ( g h) l s F s The Cap and Be l . rench l net anm LECH EBE E li Wo M n s . , ( g h ) French l s net A E MAR AZ E N Ame i n W D Y H LTO ( r ca ). , 9 A Lin ln B n . braham co adger et

A SELECTIVE LIST OF ESSAYS AND BOOKS ABOUT THE THEATRE PUBLISHED DURING THE FOURTH QUARTER OF 1913

The same method of indicating the character of publications as has been used for the preceding Se lective Lists is continued for the titles that follow ( 1 )Technique ; ( 2)Biography ; ( 3)Historical Treat ise ; ( 4) Criticism of Drama ; ( 5 ) Critical Dramatic Records ; ( 6) Essays ; ( 7 ) Drama Study ; ( 8) Tech u 9 ci l 10 T a Fu u niq e ; ( ) So o ogy ; ( ) he tre of t re.

B unos s MA R E En lis . o m , U IC g h) 2 hn Millin t n n and the I is T a . Jo g o Sy ge r h he tre, Macmillan net

A A G BER En lis . C NN N, IL T ( g h) F ll B k s : The o the T ea e 6. e owship oo J y of h tr , Dutton

- A F E TA L B H Am ican . CH T I LD Y O , . 0 . ( er ) 2 3 Duﬁield . . Goldoni

nn Am ri n . m ro MARY 0 . ( e ca ) , 6 Th m n Am ican T a . e Ro a ce of the er he tre,

Li l B n Co. tt e, row

Fs Tr u e Am ican . m ano, RALPH ( er ) n Dr m s of D u Christ a d the a a o bt, Jennings 81 Graham a a L I Ga oo r A is . , DY ( r h) 6 I e Pu nam . Our rish Th atre t 158 SELECTI VE LIS T OF ESSAYS

'r Weap n En li Gaossm n , o ( g sh) i 2 F m u to a . n S S . J . L ro t d o t ge oh ane Co. net Gmm 'rn Fu r s CARLOS Am i , ( er can). Fisk N Mr . l 2. s a Pub e e e . Cc . net HE ERSO Ancm sm Am i ND N, ( er can). E r an D m 2. 6. u ope ra atists, S e a Ki t w rt dd Co. net Karm a u m Lom sa Am i n C . , ( er ca )

2. i Am ican Prim D n Memo rs of an er a o na, Putnam net Mason DAN E Gann n Am i , I L o ( er can). 2 m L illi V u M . s W am a n So e etter of gh oody, Houghton Miﬂ in net Ma a Ban ana Am i m , ( er can).

4. 6. Shakes ere as a Pla ri p yw ght, ’ Scribner s net A H Tn mmnm E n n A. an N mso W. d . . o lis . , , ( ng h) 4 The Fac s A u ak s a Th T 2. . t bo t Sh e pe re ( e udor Shakespeare) Macmillan net omw E Pu mas, J ( nglish). m 3. . Th rs 6 e Co edy of Manne , Macmillan net Am a m ar HE RY . . S , N 0 ( erican) 6 h k 3. . S a espeare and Stratford,

Li le B n Co. n tt , row et 'r n lis 0 . m Mas . E S o , . C . ( g h) ’ 3 B s . urbage and Shake peare s Stage, Alexander Moring 58 net Tansy E L n , L EN ( E glish).

6. The Ru i n B M ill net ss a Ballet . . obbs, err T u ' can a . o , Anns r H ( American)

2. 3. u s i ns o ak ea e Pa s I Q e t o n Sh esp r , rt University of Chicago Press Tana Em u ' Bsas s nm En lis , r o ( g h)

2 T d - T u h . houghts an After ho g ts, net Funk Wagnalls Co.

G OL B O NI

B IO G R A P HY

- H . H TF LD T L R C. C A IE AY O

’ A companion volume of the same author s — Moliere, published in 1906 a work which has been recognized in both England and America as

a notable ontribution t bi hi it ra c o ograp cal l e ture.

Lik e the earlier book Goldoni a Bio r h , , g ap y,

while narrating the romantic story of its protag

’ onist s life, also discusses his dramatic work

h nc i i ri ci m well as a i r h f e e t s a c ti s as b og ap y, o

’ f t dr m tist u whom Italy s oremos a a , abo t no

t r d in En li deﬁnite book has ye appea e g sh.

Illustrated.

At all book sellers.

net ; expressage, 33C.

DUFFIELD Q . COMPANY

162 RABINDRANATH TAGORE'

phases of Indian life and culture which are not yet r iz eal ed. A passage from an article on the Bengali Renais A i h F . n ill e m i ea e sance by C. drews w g v so e d of t conditions under which the poems of Rabindranath Tagore have been produced “ ‘ ’ Th R naiss n i a e l e word e a ce , wh ch I h v a ready m l h used, ost near y describes t e period through which Bengal has been passing during the last cen m tury. There has co e to pass under British rule a l u z true rebirth of an ancient cu t re and civili ation. The course taken has been more complex than that experienced by Europe in the sixteenth century it has been a double instead of a single process b m d ut the result has been the sa e . The Greek an Latin culture which lay behind the European move

ment was itself an indigenous European product . Th I ian Renaissanc on an was e nd e, the other h d, — ushered in by a wholly foreign culture the West L r u n . Bu n el ern ear ing t fo t at y, or, as I would prefer all i i en i ll i wa ut he innin to c t, prov d t a y, th s s b t beg g d c ss not the end. The sec n an far of the pro e —, o d — greater stage the Indian Renaissance proper was reac n in im ac a ei n cul hed whe , ow g to the p t of for g cla sical l a u In ia i s l and ture, the s iter t re of d t e f, the l z n an to idea s of civili ation which it co tained, beg ’ be revalued and di scovered. If British rule has indeed been responsible for this rebi h art and li e a u in In ia m rt of t r t re d , the poe s of T c ainl u nis li a k wl agore ert y f r—h a very de c te ac no edgment of the debt for these translations have enriched the language and added a new beauty to c English literature. How very distin tive that l n u lac ha beauty is, how unusua a d uniq e a p e it s, Miss Sinclair has been at some pains to explain “ In the Bengali poems of Rabindranath Tagore

164 RABINDRANATH TAGORE

looked for some hidden allegorical clue other than

- l that of direct experiencfi when c ue there was none. But these dissenters have not themselves belonged to the congregation ! They have been dissenters by ssi n ccu a i n uni si ss rs profe o , or by o p t o ( ver ty profe o , a s or i s ma azin s perh p , ed tor of g e The fact that the poems have found an immediate reception in the west means several very important I —and i w m iz a things. t mcans th s as e phas ed s — much as possible by the poet during his visit that the east and west are not so separate in interests as has been supposed ; that Bengal is no less mod ern than her neighbors ; and that there is much in the history of the ancient civilization and ideals c k of India of whi h we have mista en, or at best, v az i and n B n al ery h y deas ; that moder e g , in revaluing these ideals and making them an active c in is in i ss n ial rt for e her growth, prov g the r e e t wo h and readjusting the western apprehension of their t n nc a s a s a ic n a i s a in e de y tow rd t t or eg t ve t te of be g. There is no passivism or quietism implied in this — new rebirth of an ancient religious ideal rather an intensifie i i n li a li in ac i i d v s o of fe, de ght t v ty u n e n an r thro gh a appreciation of its m ani g d wo th . ’ The poet s father no doubt had a great share in ’ influencin s n u B g the boy tre d of tho ght . evendra na Ta was kn n a Ma a shi a th gore, who ow s h r , the gre t sa sain was ne u ge or t, o of the fo nders of the Brama — S omaj a religious movement tending towards a simplified ritual and towards a return to the earliest and purest forms of faith as recorded in the Vedas and anis a i A U s In a. s a p h d of d boy, therefore, the poet had the advantage of the general awak ening t a was in air i an unusual s ar h t the , together w th t t so far as e i wa e n For T aku h red ty s conc r ed . the h r family has been famous for learning and culture for RABINDRANATH TAGORE 165

an n a i . E n so niu m y ge er t ons ve , the ge s of the boy did not manifest itself according to the wishes of mil in th ﬁrs ins anc the fa y e t t e . The methods of his Bengali instructors or his English tutors did l not commend themse ves to him. He wished to be ‘ n l n not a serva t of ear ing, but a frien But u h in ac a l as a sc la had hi w tho g tr t b e ho r, he s own ay a c il of acquiring knowledge. As h d he had heard he s ies Rama ana and Mahabar h t tor of the y ata, t e w a In i i s his n t o gre t d an ep c , from servants a d nurses. T a u im hi r hen, at bo t the t e of s ﬁ st impressions of — ’ school life to quote from a young Bengali s out line biography his father started a literary society which used to meet at their home and whi ch was n all s s sc l n mu atte ded by the be t poet , ho ars a d si cians im Ta in un was no of the t e ; gore, be g yo g, t all n ci cl but cl as was owed to e ter the r e, , ever he , he used to hear them by k eeping himself aloof from T their sight . hus hi s inborn genius led him to read all k s li a u En lis and B n ali and the w—or of ter t re, g h e g Sansk it ic al ug did not al a s un r r w—h h, tho h he w y de stand them he used always to enjoy for their rhyme n a d meters. After a trip to the Himalayas with his l n father, who gave him esso s in astronomy and read to him from the Upanishads and the Persian mystic s un Ta e cam ack and poet , the yo g gor e b began to i Bharati a m n hl a i e wr te for , o t y p per ed t d by his ’ el s . To hi s a Balak a hi l de t brother t he dded , c dren s s c i n and was a c ns an c n i u e t o , he o t t o tr b tor of poetry,

s l an i . La song , trave s d stor es ter he became editor

‘ f h n Bharati n a o d a ci, and of ; the for few years he left this work and went to manage the family k a an s i ime estates, where he wor ed h rd d pa sed th s t o of his life in a houseb at on the bank of the Padma, l Du i i w the great river of Benga . r ng this t me he rote l m u a ar in Th short stories, p ays and poe s, s ch s e e 166 RABINDRANATH TAGORE

rd n r His fir l w a Ga e e . st p ay as a music l drama writ n was H s ten whe he nineteen. is drama , Raja o R ni Bisar an and e s cam su u n l La r a , j oth r , e bseq e t y. te i a e s Ban D rs o ma l he ed ted other p p r , ga a an S a o ch ni hi n l h h r B li No k D b a , where s ove s C ak e a , n a n i and c me i s nd la s a a other o d e a p y ppe red. ‘ At this time came the awak ening of the national l m m n n i h . ove e t of Be ga , in wh c Mr Ta ore took a — g leading part writing national hymns and songs and a e s ealin i li ica The m m n p p r d g w th po t l subjects. o e t w c ucial but Ta u o h c si n as r , gore tho ght n t i s o ca o that the movement was tending more towards polit ic l lli n ic he l a rebe o , for wh h t peop e were not ready, than towards the really important conser vation of na i eli i us i als and art and in us and t ve r g o de d try, i e enl m em n l w thdr w op y from the ov e t. He fe t that ‘ ’ l in a mo w n hi usin s ead g b as ot s b es , as it was not the al end the na i nalis m m n and a re of t o t ove e t, g ve himself up to a proj ect that he thought more to the — ” purpose the founding of his school at Bolpur. ( It is impossible in this article to say more of the al school than that it is intended to train the individu , not as a mere receptacle of learning or as a mere i i unc i n l effi i n but a an in i i ual a d g t of f t o a c e cy, s d v d , “ u hi s las e i creative being . ) It is d ring t t p r od, passed for the most part at Bolpur in close connec h h i en i i t e s l Mr . T e as t on w th choo , that agor wr tt m n n man and published his mystic poe s a d so gs, y of ich are c n aine in itan li His lec u es in wh o t d the G j a . t r In Sadhana were written four or five years ago. the year 1909- 1911 he wrote his psychological novel r l uc as The in the Dark Go a and mystic p ays, s h K g of ‘ h r Th P ost O ice and e s. Ou his fiftieth C ambe , e fl , oth r birthday ( he was born in 1861 ) he was honored in u Calc tta. T I have given this much of a biography of agore,

168 RABINDRANATH TAGORE experiences that do not tally sharply with the com

n - d i Ye m c mon occurre ces of every ay l fe . t ysti ism denotes a state of being much more common than u ar m f many of s e willing to ad it . It is doubtful i i an one n in h l i n there s y bor to t i s wor d who s ot, at m im e a s a e in ins so e t e or oth r, perh p for ﬂ et g tant, a s i ula l cu in in r vals a m s ic perh p for rreg r y re rr g te , y t . Yes i is ue n in our s n l s ss d , th s tr eve we ter wor d, ob e e as it is with material pursuits and pleasures and yet very eager underneath ( as all our new births of old religions and our hunger in the theatre for work s of more inherent idealism and beauty go to prove) for that underlying reality which unites the spirit of the in i i ual s i i uni s d v d to the p r t of the ver e . But outwardly mysticism may have many mani

f estations. I a as d he alc mical m i s t m y, di t he yst c , use s ic s m ls it ma as did William Blak e oter y bo ; y, e, people a fanciful world with fanciful figures ; or it m a i i ssi n e m ay, s ts med um of expre o , us sy bols i in ei u sim lici a a cia wh ch, th r tter p ty, m y be ppre ted T is la m ci m l by a child . o th tter form of ysti s the ater l Ta l Th i n s e ic s p ays of gore be ong. ere s o e ot r ym l he e n n eli a el an a bo . T exp rie ce is i dicated d c t y d gr d ually with such supreme simplicity that one is almost surprised afterward to find how indelible an impres i has e n le u n min mu a s on b e ft po the d, how ch part ’ of one s own self the experience of the poet has become . — It may seem strange to us that these plays so far from our ideas of what is fitting for a scenery ridden stage and that contrasting externality of con flict which we call plot or dramatic action - should be written for actual interpretation upon the stage ; but the fact is that they are so written and so pre n e I nd in n e in c a ac e is ic se t d in ndia . A co sid r g h r t r t s which these plays possess in common and which are RABINDRANATH TAGORE 169

h i i also c aracter st c of the ancient Hindu drama, we com u n s al im an in e po ever very port t po ts of interest . ’ In one respect the Hindu drama diﬂ ers essentially from that of other races of equally developed civil — ization in the complete absence of any ﬁxed or n n naliz li u co ve tio ed stage. The berty th s allowed the la i i alm s i l u p ywr ght s o t incred b e . Witho t external ic i n ima i na i isi n th l restr t o , the g t ve v o of e p aywright is allowed a direct approach to the imaginative vision of the audience . And naturally his dramatic construction is not bound by the familiar unities of

n ac i n. The s a time, sce e, or t o t ge for the Hindu drama was more or less any place that the actors happened to stand ; the drama always taking place or n the c u t ar f a ala e out of doors i o r y d o p c . ’ k t a ma i e As in Kalidasa s S a im ala, the ctors y r s

cl u r s in i n id- ir upon the o d, o , arre t g the char ot i m a , descend from it and take up their airy habitation in the celestial cloud- hung regions ; so the action of the Hindu play is not limited to any pictorial accompani n l l m I i ui a s ment of exter a rea is . t s q te free to ddres i i n au i nc itself to the imagi native v s o of the d e e . It has been said that the Hindu plays are not and i i usl c n as i r dramatic, th s obv o y in o tr t w th ou m l rn l own western echanical p ots of exte a action, which have themselves become mechanical through their necessary inter- relation with mechanical In li th in a i n an is la scenery . rea ty e terpret t o of o ted an mim a sin l c mood is dramatic. The p to e of g e a tor an o n c m l es ci cl ic the or d cer fte o p et the r e, of wh h tightly woven structure of a modern play gives only

k n r n a ar . a bro e , f agme t ry c ’ Lik he ama anci n In i Mr e t dr of e t d a, . Tagore s plays are divorced from the idea of scenic aecom ll u s paniment. Occasiona y they are prod ced indoor , in which case there is the merest suggestion of back 170 RABINDRANATH TAGORE

l ground and harmonious arran ement . His p a s g — y place the interest where it really belongs in the im in ag ative vision of the audience and in the acting. T ul u e u n a hey co d be prod c d, however, po ny stage that did not sacriﬁce thi s imaginative vision to external furni shing. In thus being freed from the ’ s i i n l li m Mr. T re l re tr ct o of externa rea s , ago s p ays have the imaginative and poetic license whi ch is too often denied to the western playwright on account of the destructive intervention of pictorial sceni c a m nimen cco pa t . Of c u s is m n a in B n al n o r e, there a oder st ge e g , o which modern scenery and modern theatrical rhetoric i s are said to ﬂourish. But th s is not an indigenou u il r in i n u prod ct, wh e the plays of Tagore a e an d ge o s B l c i ains r uc n . I n a a p od t of e ga n fact, in rea t g g t th t ’ r i i . l stage, Mr Tago e s work is at once al ed w th what M s h e R n anc r. Andrew as call d the e aiss e proper of n l—a ls i Be ga revaluation of the ancient idea of Ind a. N u ll ima i na n n s at ra y, the g tio of a moder poet doe not ak m cl u man ic k - b n t e the for of the o dy, ro t , s y or s visions of his classic prototype . The clas ic play i C ina s had a wr ght of Greece, h or J pan the re dy ma m l — s — f de sy bo s the gods, heroes or goddes es o he m T e nal t mythic i agination of the race . h exter forces of nature no longer assume these grandiose proportions to the human mind . The modern poet

- k i m ina n is a myth ma er in another sense . H s i ag tio r in a nd ess h u h u a tu ns w rd a , in expr ing t ro g o tw rd rm hi im ssi ns li c mes a s m fo s s pre o of fe , he be o y u s Ta ns a akin holist. S ch a poet i gore . I te d of t g his characters to a remote celestial region of the hem ima ina i n in a n am n . g t o , he br gs he ve o g t The King of the Dark Chamber is continuous sym

. I alli b i holism t never reaches the point, the g ng o v a i in as a ma oneness of allegory. Inste d of g v g p of

172 RABINDRANATH TAGORE

' There are many worshipers who by their life- long devotion have gained the highest fulﬁllment of their C ul c un one desire. o d I be o ted of them I should ’ u cc it Kin be happy. B t to a ept from the g s hand as ai La h e the reward of a tr tor ! dy, thou hast t e pl ni tude and peace of thy greatness ; thou knowest not c c s k the se ret ravings of a poverty tric en soul. I dare not ask from thee an atom more than that pity of love that thou hast for every creature in the world. m n ’ ul I l Malini. Ah ! my wo a s so ! t wai s like an unmated dove in its lonely nest at noon ! u Malini an a At the req est of d Supriy , the King a e to a n Kshemanhar al u h i s gr es p rdo , tho gh e des re ﬁrst to test his steadfast adherence to what he holds n u true. The captive Brahmi is bro ght in in his u i s h r n nd chains. S pr ya crave is fo give ess a tries to win him to the religion of love that has illuminated u nl n his soul. B t there is o y o e path to Truth for

Kshemanhar . h m L l i a ! Ks e anhar. eave oﬁ this pratt e, Supr y Death alone 1s the ﬁnal judge and every truth must ak i l D m m u t e its tr a before him. o you re e ber o r student days when we woul d wrangle the whole night through and in the morning would come to our master to know in a moment which of us was right ? E in ld s let u h s n ven as the o day , s bot ta d together before death with all the questions that vexed us in ll n ll a nd h lif e . Then a argui g wi be t an end a trut

l - s d w ill l k u n stand se f manife t, an we t o fools w oo po ea r an mil ch othe d s e . Y S u ri es i n let it be . p ya. , fr e d, so K m n m m h nh r a . Y s e a a . The co e to my r s ou had n fa r m r fa o . wa dered , very from your c rade

i m n ll cl s me. Tak Supr ya. Co e eter a y o e to e your m n kin an i n judg e t from the d h d of a fr e d . RABINDRANATH TAGORE 173

( Kshemanhar strikes Supriya with his chains and i alls he un m ll Supr ya f to t gro d orta y wounded . ) h Kin Wh is in m T e g . o there ? Br g y sword ! M ini l . P . s a n him he ns. ardo , father ( S woo ) n u i l i inﬁni So e ds a very bea t ful p ay, w th te possi bilities for our western stage and with remarkable i i Opportunit es for the h ghest art of acting. In many respects the work of Tagore will recall t a Ma linck als N l h t of eter , o a recipient of the obe iz k f i alis i n c Al h h v pr e for wor o de t c te den y. thoug a in s m in c mm h h in g o eth g o on in their met od, T e K g of the Dark Chamber and Tintagiles form an inter T t il l n l s estin contrast. in ag es eaves o e very hope e s ; g — and I think that is why not only that it was not pop — ular but that it did not even leave a satisfactory im s n i i l i as in pre sio on ts spec a aud ence l t w ter . It is very natural and not at all to be decried that we should yearn for the impetus of uplifting and up uil in s n i h r n b d g e t ment in t e theatre, ather tha for al T an ytic psychology or destructive criticism. he im s l v pul e is as old as the wor d . We may ha e both, but w mus h m e t have t e for er . If the public does not care to see a play of which sul an lin l sn ss i a er the re t t fee g is hope es e , there s, ft all o al n , very good reason why it should n t. Re ism o h i n hr T t e stage s a anac onism. here is enough in lif li ma m all e . And yet the unrea ty of ro nticis is equ y un s c I l nd sati fa tory. t may be pretty, de ightful, a cha min but i alism in the li in s nse very r g, de , v g e of he l m h t word, is a ways ore real than eit er roman icis n ali m ince i i as n n t m or exter al re s , s t s b ed o co crete experience and is always constructively crea Thi u r l tive . s is not to say that a work o twa d y r alis i ma n t s n iall i alis ic ut sim l e t c y o be e se t y de t , b p y that without this essential constructive upbuilding, i r l d k f d realism s wo th ess, an that even a wor o i eal 174 RABINDRANATH TAGORE istic tendency which stops short with analysis must fall below the idealistic work that supplies a spiritual ur a e ha ha n u n l synthesis. O g s d e o gh of exter a real l ic anal is Tinta iles i a l ism and psycho og al ys . g s p ay m a ai ns es in i a li l lam a he of ato s g t d t y, w th tt e p s t l T n in ui n s in a i . i o e po t of g da ce, o t a gre t vo d here s h D D on on i Lif n the e n t e oor ; eath e s de, e o oth r, a d e uns n s s in in a uns en th ee power of de t y hover g bove, e , f a in i s ui usel ss u terri ying, ga st whom t i q te e to str g l Y k tali g e . et the west spea s of the fa sm of the east ! e It 18 a drama of f ar . The i n o the Dark h mb r n and K g f C a e , o the other h , is a play giving us a synthetic vision of the realiza

ti n li e . And so als 18 The P ost ice i ch o of f , o, Ofl , wh ain e ll s Ti t il e c u i c n a u th ag r ca n ag s, be a se t e ters bo t e l d ea bu i ife an d th of a child, t wh ch, although i nan l m in lea es one in an u li po g t y ov g, v p fted, rever Man esen ein m e ent mood . y who r t b g so ov d by a drama that does not excite applause by superficial n l lik e i a n im n al clever ess, refer to a p ay th s s se t e t , chi efly because they do not understand the distincf w m li n e u H au tion bet een senti enta ty a d b a ty. pt ’ H e ve But mann s annele may well be w pt o r. the ‘ tr agic beauty of The P ost Oflice has the hard clear uali q ty of cut stone. -Two of the plays by Tagore which have so far e n t ansla him The P ost c and hitra b e r ted by , Offi e C , r w u li h k h Kin th a e no p b s ed in boo form. T e g of e Dark h mb r is e e i i n it emie and C a e h r w th g ve s pr re, ,

u la Malin a e iven a s n sis. of the fo rth p y, i, I h v g y op Th are e la s Ta e a c and amas ere oth r p y by gor , f r es dr , li i al and m i c e in ha ase po t c do est c, orr spond g to t t ph ’ of the author s temperament that has sought outlet in ac i s cial in e c u s and ic has als un t ve o t r o r e, wh h o fo d expression in num erous short stories and novels of s c l al in e a e not p y ho ogic t rest . These, however, h v yet

176 RABINDRANATE TAGORE wisdom and experience of life which is recorded in

- Th Gi tan ali. The l rics are bas r li s a e j y e ef , s it were ; the plays are expressions of the same emotions ‘ in

the round. And of all these the most essentially representative and the most perfect expression is r hi D r pe haps t s King of the a k Chamber. A friend wh was r adin i la ai e T i o e g th s p y s d to m , h s is the ” to the moun ain nd it ll p of t a s base as we . The ideal of divinity which has ﬂowered in the heart “ of this oet is indeed matchless in beauty as in —p , , terror although the terror is only in the trembling r f the k h n i u i hea t o see er, for t ere is o retr b t on and no fear for one who knows in truth the mystery of

o oasm HEN E Am s C D RSON . THE KING OF THE D A RK CH A MBER

BY RABINDBANATH Tsaoan

Translated into English by the Author

I .

treet. A e a arers and cit r IA s f w w yf , a y gua d ]

'r MAN H ir Fms . o, S ! AR n A Cm GU D. What do you wa t ? MA ic wa s ul SECOND N. Wh h y ho d we go t We are Pl as ll strangers here. e e te us which street we should k ta e . m AR ou an o C GU D . Where do y w t to g 1 s i i i i s r Tm n MAN . Where tho e b g fest v t e a e going

l ou kn . W ic wa o to be he d, y ow h h y do we g t m AR One s is ui as as an C GU D . treet q te good other An ill l a ou s here. y street w e d y there . Go traight mi la H nn s ce . ahead, and you ca ot s the p [ e goes

out. ] “ Fm MAN s a h l a sr . Ju t he r what t e foo s ys : Any ” le street will ad you there 1 Where, then, would be the sense of having so many streets ? ’ MAN Y u n dn so aw u SECOND . o ee t be qy p t out A un s a man. i a n i at th t, my co try free to rra ge ts r i i a A a s in ur un aﬁ ai s n ts own w y. s for ro d o co try

— ll are as as non- is n na nd we , they good ex te t ; rrow a k lanes a la in u s and ack s Our croo ed , byr th of r t tr . king does not believe in open thoroughf ares ; he think s that streets are just so many openings for m hi s ki I his subjects to ﬂy away fro ngdom. t is 177 178 KING OF THE DARK CHAMBER

n a n s a s i ur quite the co tr ry here ; obody t nd n yo way, nobody objects to your going elsewhere if you lik e to ; and yet the people are far from deserting this r un ul kingdom. With such streets ou co try wo d cer n n ul e 1n n im tai ly have bee depop at d o t e . Mm M na Emsr . a a an I a al a y de r J rd , h ve w ys h ul in noticed t at thi s is a great fa t your character. u m s W i Jm . hat s ? Fmsr MAN T a u r al n . h t yo a e ways havi g a ﬂing u H w an ou hi at your co ntry. o c y think that open gh a s ma a c un ? L k e e Kaun w y y be good for o try oo h r , dilya ; here 1s a man who actually believes that open r sal a i n of a c unt highways a e the v t o o ry.

KAU NDILYA. T 18 no n Bhavadatta here eed, , of my pointing out afresh that Janardan is blessed with an lli n hic i ema k l k hi inte ge ce w h s r r ab y croo ed, w ch is i in an e s me da If kin sure to land h m d g r o y. the g our ien he ill m k comes to hear of worthy fr d, w a e it a pretty hard job for him to ﬁnd anyone to do him i n l i n i a h s fu era r tes whe he s de d. ’ Bm vm a'r'ra One can t l lin l . he p fee g that ife be comes a burden in this country ; one mi sses the joys — of privacy in these streets thi s jostling and brush ing shoulders with strange people day and night An n n makes one long for a bath . d obody ca tell exactly what kind of people he is meetin wi th in — g these public roads ugh l NDILYA An i i a u KAU . d t s Jan rdan who pers aded na to come to this precious country ! We never had n n lik him in r m l Yo kn any seco d perso e ou fa i y. u ew e c s was a a man i u my fath r, of our e he gre t , a p o s if was one H n hi l l man ever there . e spe t s who e ife

i l a - in u s within a c rc e of a r dius of forty n e c bit . drawn with a rigi d adherence to the injunctions of the scrip nd ne e in l da did c tures, a v r for a s g e y he ross this l A hi h i u diﬂi ult a circ e. fter s deat a ser o s c y rose

180 KING OF THE DARK CHAMBER

v If ou nl k n al m an SECOND s m . y o y ew the re e ing of all this mystery ! I could tell you if you would c keep a se ret . m ' rr mv ll we li in r rz . M F s C y dear fe ow, both ve u n but a ou the same q arter of the tow , h ve y ever ’ f ou s known me letting out any man s secret ? O c r e, ’ the matter of your brother s ﬁnding a hidden for il i in a ll— ll ou kn ll tune wh e d gg g for we we , y ow we h u You kn all the enough why I ad to give it o t. ow f acts. And i be E rn zn I kn . S COND C n . Of course ow t is ca I kn a I ask c ul ou k a ec if use ow th t , o d y eep s ret ll u a me n i n u all u I te yo ? It m y an rui at o to s , yo kn if o nc let i o ow, y u o e t ut. Tm n rrra Y u c ll O . o are a ni e man, after a , Virupaksha l Why are you so anxious to bring down a disaster which as yet only may happen ? Who will be responsible for k eeping your secret all hi s life ? mum xs a It i nl s ic m u V n . s o y becau e the top ca e p — ll n I s all not sa an thin . I am not we , the , h y y g the l man to say things for nothing. You had yourse f brought up the question that the king never showed himself ; and I only remark ed that it was not for nothing that the king shut himself up from the public

Fms'r rrr s P ll iru k h . C z n . u V s ray do te s why, pa a ’ Vmur m s s f u n ellin u n . O co rse I do t mind t g yo ’ - are all o ien s a n we t T can for we go d fr d , re t here m With — — be no har . [ a low voice ] The king is hid cons to look at ; so he has made up hi s mind never to s ims lf hi u how h e to s s bjects. ’ ' H Fmsr C ZE . a a s it I ITI N , th t ! t must be so. We have al a s n e ed i w y wo d r why, the mere s ght ’ of a king in all countries makes one s soul quake lik e an aspen lea f with fear ; but why should our king never have been seen by any mortal soul ? Even if KING OF THE DARK CHAMBER 181 he at least came out and consigned us all to the gi b w i be su a our kin was no bet, e m ght re th t g hoax. ’ Af ll t is muc in Viru aksha s lana ter a , here h p exp tion l u l n that sounds p a sib e e ough. ’ T R ZE N b — HI D CITI N . ot a it I don t believe in a lla l it sy b e of .

VIBUPAKS H A. ha Vis u ou m W t, h , do y ean to say that I am a liar ? ’ l n l —b V snu . I do t exact y mean that ut all the am I mus sa I cann s e t y ot accept your words as true. ’ IB A m l V UP KSH A. S al n a ou can t be . — wo der th t y lieve my words you who think yourself sage enough r c in n u H w l to eje t the op io s of yo r forefathers. o ong do you think you could have stayed in this country if the king did not remain in hiding ? You are no an fla ra t i better th a g n heret c. Vrsnu M a illa ! D . y de r p r of orthodoxy o you think any other king would have hesitated to cut ofi your tongue and make it food for dogs ? And you have the face to say that our king is horrid to look at! Vmu mxsm L k Vis u ill . oo here, h , w you curb your tongue ? I u u s nu. t would be s perfl ous to point out h s n e n s u in w o e to gu eed the c rb g. Pn a'r rn zan Hus m a ri n s— i l k C . h, y de r f e d th s oo s b I m a rather ad. t see s s if they are resolved m to put e in danger as well . I am not going to be ll is a party to a th . Th o t [ ey g ou . ] Enter a number o men dra in i u nnm r [ f , gg g n G nsn, who is in boisterous exuberanceJ

aoom) Crnzau . G an a m in S r dp , so eth g strikes me

- to day. Gm nm r m What is itt 111) 31-rl T 8110 0 ( a . his year every country has 182 KING OF THE DARK CHAMBER

its l u es l u k sent peop e to o r f tiva , b t every one as s, “ — Everything is nice and beautiful but where is ” u kin ? and n n ns yo r g we do ot k ow what to a wer. That is the one big gap which cannot but make itself l e n in r n fe t to ev ry o e ou cou try. “ ” m nnm r ms G r . Ga ou a ! Wh p, do y s y y, the whole country is all ﬁlled and crammed and packed “ ” i kin : an u ll hi h w th the g d yo ca m a gap ! W y, he ha s made every one of us a crowned king ! i [H e s ngs. ] W ar all kin in the kin dom o r kin e e gs g f ou g . W r it not so how uld w h i r h rt to e e , co e ope n ou ea meet him? We do what we lik h t h lik s e, yet we do w a e e , We are not bound with the chain of fear at the feet

l v - ownin kin of a s a e g g . W re it not so how could ho in ur h rt t e , we pe o ea o meet him?

Th kin honors each one o as thu h n r hi o n e g f , s o o s s w r ve y self. No littleness can k eep as shut up in its walls of ntr th r a u u fo ye . i t h c l Were t no so, ow ou d we hope in our heart to meet him?

We stru le and di our own ath thus reach his gg g p , th t h pa a t e end. n n v r t l t i h b s r ni ht We ca e e ge os n t e a y s of da k g . W r it not o ho coul we ho e in our heart to e e s , w d p meet him?

Bu l n Tnzmn ZE . t al cann s a CITI N , re y, I ot t d the absurd things people say about our king simply s i not s en in u becau e he s e p blic. Fmsr ZE ust nc ! An n lib lin me CITI N . J fa y yo e e g ni il n m of can be pu shed, wh e obody can stop the outh an rascal c s s slan the kin y who hoo e to der g .

184 KING OF THE DARK CHAMBER

When I came back I heard them

I n my songs. Who are you who seek him like a beggar from door to door? Come to my heart and see his face in the tears of my eyes ! [ENTER Ham s and AD VANCE GUARDS of the Pan NDEB TE . ] m ' E A n fi e a a m the F sr H R LD . Sta d o l G t; w y fro all u street, of yo ! Fmsr ZE Eh m n (1 ou ink ou CITI N . , a , who y th y ’ are ? You weren t of course born such lofty s i s m i nd 1—Wh s ul s an ofi m tr de , y fr e y ho d we t d , y dear sir ? Why should we budge 1 Are we street s a ? dog , or wh t w A r kin s m i a . SECOND HER LD . Ou g i co ing th s y E ZE Kin 1 W i kin 1 S COND CITI N . g h ch g ' kin i Fmsr HERALD . Our king, the g of th s coun try. r' ZE W is ll mad 1 Who Fms CITI N . hat, the fe ow ever heard of our king coming out heralded by these vociferous gentry ? E HERA The kin ill no l n S COND LD . g w onger de y ims l his u c He is c min c mman h e f to s bje ts. o g to o d es i i i m l the f t v t es hi se f . E C ZE B e i 1 S COND ITI N . roth r, s that 80 L k hi i v E HERAL . in S COND D oo , s banner s fly g o er there . E ZE Ah a is fl n es a i . S COND CITI N . , y , th t a g deed E HERA D re Kim h k S COND LD . o you see the d s u flower painted on it? ' Z Kim h k Fmsr C E . Yes es it is s n in ITI N , y , the deed ! What a bright scarlet flower ! ' Ham ell li Finsr . W ! do you be eve us now1

' ’ ZE n I i n . T ll Fmsr CITI N . I ever said d d t hat fe ow l i u Did Kumbha started al th s f ss. I say a word 1 KING OF THE DARK CHAMBER 185

ERAL P a s u a - lli an Fmsr H D . erh p , tho gh pot be ed m , he is quite empty inside ; an empty vessel sounds s ou kn mo t , y ow . s he I kin SECOND Hann a). Who i 1 s he any sman of yours 1 s o nn ZE at all He i s S o CITI N . Not . s ju t a cousin ’ ll e - - law nd of our vi age chief s fath r in , a he does not n li in am a our illa i u eve ve the s e p rt of v ge w th s. R us s ui l k SECOND HE ALD . J t o ; he q te oo s the sev ’ cuth cousin of somebody s father- in- law and hi s nu derstanding appears also to bear the stM p of uncle

- in lawhood. Kumam Ala m i n man a i s r . s, y fr e ds, y b tter or ow a m min a is it cam lik is g ve y poor d tw t before be e e th . It is only the other day that a king came and parad s wi man i l s in n him s cd the treets, th as y t t e fro t of a h u i the drums that made t e town hideo s by the r din. What did I not do to serve and please him ! I e n s n him I un a u him lik rain d prese t o , h g bo t e a — beggar and in the end I found the strain on my r u ce ha a But a a n eso r s too rd to be r. wh t w s the e d of all that pomp and majesty 1 When people sought an s and s n s m him c ul not s me gr t pre e t fro , he o d o how discover an auspicious day in the calendar ; though all days were red-letter days when we had to pay our taxes ! H ) D o an u SECOND anan . o y u me to insin ate that our king is a bogus king like the one you have

described .

Fn si HERAL Mr Uncl - in- law I l D . . e be ieve the , time has come for you to say good-bye to Aunty- in l w a . K A Pl i B . k ﬁ as s s not n en . UM H e e, r , do ta e a y o ce I am a c a u e—m sin res a l i irs poor re t r y ce t po og es, s ; I ill an in cus I e ui illi w do yth g to be ex ed . m q te w ng to a far l k move away s as you i e . 186 KING OF THE DARK CHAMBER

acom) Hanan ) All i c m e and m a S . r ght, o e h re for Th kin ll now—we s all o and line . e g wi come h g wa prepare the y for him. [ They go out ] E ZE M ea Kum a u n u S COND CITI N . y d r bh , yo r to g e will be your death one day. ’ F M dh i is m n K B A. i n a a t u UM H r e d v, n t y to g e ; i i n us kin a a I n t s fate . Whe the bog g ppe red ever said a word,though that did not prevent my striking at my own feet with all the self- confidence of inno c n And n w en a s the al kin has e ce . o , wh perh p re g l u a I m m s l u s n. t i come, I si p y mu t b rt o t tre o s fate, y dear friends ! AD V M i i in kin M HA . fa th s to o on obey g the g — y , g it does not matter whether he is a real one or a a we kn kin a pretender . Wh t do ow of gs th t we should judge them ! It is like throwi ng stones in the k— r lm i in m k dar you a e a ost sure of h tt your ar . I —g go on obeying and ack nowledging if it is a real kin ell and if not a a m i g, w good ; , wh t h r s there 1 K B I ul n min i n UM HA. sho d ot have ded f the sto es n hin e e a ne Bu e re en were ot g b tt r th n sto s. t th y a oft eci us in s e e a ls ance pr o th g ; h r , s e ewhere, extravag lan s us in m ien d poverty, y fr d . MADH AV L k ! T e m kin ! Ah a . oo her co es the g , kin in ! W a a fi ure a a ! W g deed h t g , wh t a f ce hoever — saw suc au lil - i c eam - soft l W a h be ty y wh te, r y h t now Kum a Wha ou ink now , bh 1 t do y th 1 K B He l k all i — e ma UM HA. oo s r ght s he be the y , y l kn real king for a l I ow. ADH A He l k s r m ul an M V. oo s a if he we e o ded d ca e kin s i a fi ure uisi and li rv d for g h p, g too exq te de ca comm n li da te for the o ght of y. Th K ” [ e ING enters . ] MADH AV P s i and ic a n . ro per ty v tory tte d thee, 0 King ! We have been standing here to have a sight

188 KING OF THE DARK CHAMBER

D ou ima in kin ill not se Mm m v. o y g e the g w e through him? His loyalty is obviously a little too u showy and prof se . ’ Ems MAN N s n Kin can t scen r . on e se ! gs t hypo I s ul not u is if kin crites as we do . ho d be s rpr ed the g ’ n nni be taken in by that fool s stre uous fa ng .

r EE UDABSH ANA nd H r [A Dark Chambe . QU N S a e M i H nour m NGAMA a d of o , S J

DABSH ANL Li li ! W is li 1 Will SU ght, ght here ght the lamp never be lighted in this chamber 1 m em M u n ll u S . Q ee a yo r other rooms are — y , lighted will you never long to escape from the light into a dark room like this ? asm i B ul i he k Sum . ut why sho d th s room ept dark 1 UM NGAM B cau s u S A. e se otherwi e yo would know i e li n a kn ne th r ght or d r ess. um nsm z Li S . ving in this dark room you have n s kl n grow to peak dar y a d strangely. I cannot un stan o uran ama B ll m der d y u, S g . ut te e, in what part of the palace is this chamber situated ? I can not mak e out either the entrance or the way out of is m th roo . Sm ou u T is m i lace . h roo s p d deep down, in r ar a The kin h uil the ve y he t of the e rth. g as b t this r m ci ll k oo spe a y for your sa e . u u s h h m S n m i . Why e as no dearth of roo s why need he have made this chamber of darkness specially for me 1 UBANGAM Y u S A. o can meet others in the lighted ms u nl in roo , b t o y this dark room can you meet your lord . KING OF THE DARK CHAMBER 189 — S UDABSH ANA. No I l i l n cann i u i . , o ot ve w tho t ght I am s l ss in his stiﬂin a k Suran ama if re t e t g d r . g , ou can in a li int i will y br g ght o th s room, I give you is n cklac in th e e of m e. SURANGAM A It is not in H . my power, 0 Queen. ow can I bring light to a place which he would have k ept always dark 1 S UDABS H ANA . Strange devotion ! And yet, is it not true that the king punished your father 1 UBANGAMA Ye is u M S . s, that tr e . y father used l n men c un to gamb e . All the you g of the o try used ’ — to gather at my father s house and they used to ink an m l dr d ga b e. UDAnsm NA An n S . d when the king se t away your a in il did it no mak ou l i l f ther ex e, t e y fee b tter y op pressed 1 UBANGAMA h i e ui w S . O , t made m q te furious. I as a in an ru i n en on the ro d to m d dest ct o . Wh that path w cl me I s m l i u an su as s o . o ed for , ee ed eft w tho t y —pp rt I raged and raved like a wild beast in a cage how I wanted to tear everyone to pieces in my powerless anger ! S UDAnsnAnL But how did you get thi s devotion towards that same king 1 UBANGAMA H w can I ll P l S . o te 1 erhaps I cou d r l and n n him e a wa r e y depe d o b c use he s so ha d, so pitiless ! unAasn n did i n S ANA. Whe th s cha ge of feeling take place 1 UBANGAMA’ l ll u— S . I cou d not te yo I do not know ha m s l A am n ll l t t y e f. day c e whe a the rebe in me kn i s l n an n l ew t e f beate , d the my who e nature bowed in um l n i down h b e resig at on on the dust of the earth. And I saw I saw that he was as matchless in b au in r h wa I w s e e ty as ter or . O , I s saved ; as re cu d. UDAas A r n m I im l e ou S nAN . Tell me, Su a ga a, p or y , 190 KING OF THE DARK CHAMBER

’ won t you tell me what is the king lik e to look at1 I H c m have not seen him yet for a single day. e o es me in knes an le s me in is a k m to dar s, d ave th d r roo H n n k B ain w a le a as . u ag . o m y peop h ve I ot ed t e a e n a n ns s I se m th y ll r tur v gue a d dark a wer . t e s to me that they all keep back something . T ll ou he u u I BANGAM A. t n ul SU o te y tr th, Q ee , co d ll i lik No—he is not a me not say we what he s e . wh t n n m call ha dso e . ’ n a N an s m ! SUDABsnAnA. You do t s y 80 1 ot h d o e N u n i n m A GAMA. o m s not a s SUB N , y Q ee , he h d o e ! To call him beautiful would be to say far too little m about hi . All u l k a — k Ans AnA. Sun n yo r words are i e th t dar , e I cann un s strange and vagu . ot der tand what you mean. BA GAMA I ill t c l hi an s m SU N . No, w no a l m h d o e . And it is because he is not beautiful that he is so n e ul so su e so mi acul us ! wo d rf , p rb , r o Aas Am n u o SUD n l . I do ot q ite understand y u u I like a o al a u him Bu tho gh to he r y u t k bo t . t I us se him an m t e at y cost. URANGAM A D u l i z S . o yo fee a fa nt bree e blowing 1 UDARSH AN A e S A. breez ? Where 1 S URANGAM A Do u no smell a s um . yo t oft perf e 1 ’ UDARSH ANA No I n S . , do t. UBAN GAM A The la e ha n S . rg door s ope ed. in m i c min i is com g ; y king s o g n. D S A w S U AB H NA. Ho can you perceive when he comes ? RANGAM A cann a : I e S U . I ot s y se m to hear his foot steps in my own heart . Being his ser vant of this a k c am e I a e el a s ns —I can kn d r h b r, h ve d v oped e e ow eel i eein and f w thout s g . D H AN l h d is sen S U ABS A. W u a a se o d th t I th , too, Surangama

192 KING OF THE DARK CHAMBER them1 Wilt thou not enter unless I go and open the doors ? [She sings-l ' At a breath ou c re ove m veils m lord y an m y , y ! I I all asl in th u t an h r no ur c ll f f eep e d s d ea t yo a , would you wait till I wake? Would not the thunder of your chariot wheel make the earth tremble? Would you not burst open the door and enter your own house unbidden?

T o u and n fo hen do you g , 0 Q een, ope the door r him ill not n is ; he w e ter otherw e . DAas AN n i n l SU n A. I do not see anythi g d sti ct y in he k I n kn are Y u t dar . do ot ow where the doors . o — d know everything here go an open the doors for me. um oAMA O ens the door ows to the K G [ S p , b IN , and o t The K mo will remain invisibl goes u . e thr ut th la ougho is p y. ] DAas ANA d n all me SU n . Why o you ot ow to see you in the light 1 K n m ING. So you wa t to see e in the midst of a thousand things in broad daylight ! Why should I not be the only thing you can feel in this darkness1 D A m l U AasnAN Bu I m t se . a n in S . t us e you I o g g ha u to ve a sight of yo . o Y ill l h i f Km . ou w not be ab e to bear t e s ght o will nl i u ain i nan and r me. It o y g ve yo p , po g t ove powering. unAnsm A H a ha I shall b S . ow can you s y t t e b a u can l n una le to be r yo r sight 1 O, I fee even i this dark how lovely and wonderful you are ; why should a rai u in he i h But ll me I be f d of yo t l g t 1 te , can you see me in the dark 1 K N Yes I n I G. , ca . Aas l S un nAn . What do you see 1 e ha rkn ss h KING. I s e t t the da e of t e inﬁnite KING OF THE DARK CHAMBER 193

v i l in li nd ein the hea ens, wh r ed to fe a b g by power of l has a n li a m ria s a n my ove, dr w the ght of y d t rs i to s l and incarna i s l in a m ﬂesh it e f, ted t e f for of and An in a m a a ns n blood . d th t for , wh t eo of thought a d i in un l a nin s limi l ss ki s str v g, to d ye r g of t e s e , the countless gifts of unnumbered seasons ! NA A l Sunm snA . m I so wonderfu , so beautiful 1

When I hear you speak so, my heart swells with i B t I i w gladness and pr de. u how can bel eve the on derful things you tell me 1 I cannot find them in myself ! m Y fl — K o. our own mirror will not re ect them it s n u limi u mak l k ma les e s yo , ts yo , es you oo s ll and si nific n Bu ul o se r in g a t. t co d y u e you self mirrored wn min an ul in my o d, how gr d wo d you appear ! In my own heart you are no longer the daily individual wh ch you think you are ; you are verily my second seli unAnsnANA m in n S . 0 , do show e for an sta t how to see with your eyes ! Is there nothing at all lik e dark n ss o 1 I am a ai n I hink e to y u fr d whe t of this. This darkness which is to me real and strong as death is this simply nothing to you 1 Then how can there n ni a all n la be a y u on t betwee us, in a p ce lik e this1 N no—i is im ssi l T a a o, t po b e ! here is b rrier betwixt — in i la u n t n not s c . s two o here, o, th p e I want to find ou and see ou I see s an a y y where tree d nimals, birds and stones and the earth m ll K o. V ou an fin ery we , y c try to d me. But no u Y one will point me o t to you. ou will have to rec o nize me if ou can u s l And n if g , y , yo r e f. eve anybody ss s s me ou how c b profe e to how to y , an you e sure he is speaking the truth 1 ABSH ANA k SUD . I shall now you ; I shall recognize ou I s all find ou ou y ; h y t among a million men. I cannot be mistaken. 194 KING OF THE DARK CHAMBER

V ll hen -n u i the f s val Km e. ery we t , to ight d r ng e ti d of the full moon of the spring, you may try to ﬁn me out from the high turret of my palace ; with your own eyes you may search for me amongst the crowd l of peop e. n em1 Sunn snANx. Wilt thou be there amo gs t th G h ll s l a in and a ain r m KIN . I s a how myse f ga g , f o i he Suran ama l every s de of t crowd . g

[ SM Gm A enters. ] AM i l asu l r SUM NG A. What s thy p e re , o d 1 T —n is ull m n e i al e KING. o ight the f oo f st v of th r sp ung .

B R A e I - ni h SU A G MA. What hav to do to g t 1

- I G T a is a s i da t da f w k . K N . o d y fe t ve y, no a y o or

- — The pleasure gardens are in full bloom you will

join in my festivities there. A A ll e r UB NGAM . I sha a ir s l S do s thou des t, o d.

The u n an s see me t - ni with KING. q ee w t to o ght h wn er o eyes. BANG ll SU AMA. Where wi the queen see you1

K G. W r musi ill l IN he e the c w p ay at its sweetest, where the air will be heavy with the dust of ﬂowers there in the pleasure grove of silver light and mellow

UBANGAMA n - S . What can be see in that hide and seek of darkness and light 1 There the wind is wild and res l ss r hin is anc and i m ve —t e ; eve yt g d e sw ft o ment will it not puzzle the eyes 1 Km Th u n e . e cu i u t q ee is r o s o search me out. m em A Curi l ha m S . osity wil ve to co e back baf ﬂed and in tears !

196 KING OF THE DARK CHAMBER you will tak e yourself away a little farther and leave in na peace. F ' ufi m a an of GRAND Arm . We never s er fro w t space ; we can afi ord to give you as wide a berth as u lik W a li l suflices us is n ne yo e . h t tt e for ever the bo n i l laim n I of contention between a y r va c a ts. s not

h s m li l i n s The in . t at o, y tt e fr e d 1 [ y s g ]

We have nothin indeed we have nothin at all! g , g We sing merrily fol de rol de roll S ome build high walls of their houses On th o the sand o old e b y of s f g . We stand before them and sing F l de rol de rol o . Pickpockets hover about us A h t t nd onour us wi h cove ous glances. We shake our empty pockets and sing F l r l e r l o de o d o . Wh n d ath the old ha steals to our doors e e , y, We sna our n ers at her ace p ﬁ g f , And we sing in a chorus with gay ﬂourishes F l r l r l o de o de o .

A L k K h l h r K NCHI . oo over there, os a a. W o a e those coming this way1 A pantomime 1 Somebody ut ma u a in a kin is o sq er d g s a g . HALA Th kin i lac l KOS . e g of th s p e may to erate all m l u n ’ his t . t to foo ery, b we wo t AN H a m u l AV TI . e is perh ps so e r ra chief. [ Gum s enter on foot ] KA I a un u ki NCH . Wh t co try does yo r ng come from1 ' H Fmsr w ms . e is kin i c un H So the g of th s o try . e i in mman s i i i Th s c s. e ut go g to o d the fe t v t e [ y go o . ] KOSH ALA a ! The kin . Wh t g of this country come out for the festivities ! AVA I NTI. ndeed ! We shall then have to return KING OF THE DARK CHAMBER 197 — with a sight of him only leaving the delectable u n uns n q ee ee . KA D e ll h nk t a ll k NCHI . o you r a y t i h t fe ow spo e the truth 1 Anybody can pass himself oﬁ as the king kin l s un Can u n t see h of this g e s co try. yo —o that t e man look s like a dressed up king much too over dressed 1 A Bu l k a m hi a AV NTI . t he oo s h ndso e ; s ppearance is not i u a c ain l asin a ac i n ss w tho t ert p e g ttr t ve e . H a l a in u u KA I . e s NCH m y be p e g to yo r eye, b t if you look at him closely enough there can be no mi s h Y ee I taking im. ou will s how expose him before all you . h ss ra msa nt r T e P r e e s. Psnrnnnsa lc m inc s ur kin . W o e o e, pr e , to gdom ! I trust your reception has been properly looked after by my oﬁicials 1 Km os with n r — . ei c u tes h e n in [ f g ed o y] O , y s oth g was lackin in i n g the recept o . KA If wa an c min NCHI . there s short o at all it y g , has been made up by the honour of our sight of your

Majesty. RE E ER l P T ND . We do not show ourse ves to the gen al u lic but u r a e i n and l l er p b , yo r g e t d vot o oya ty to us has made it a pleasure for us not to deny ourselves to you. KA It is rul a us u Ma NCHI . t y h rd for , yo r jesty, a i u aci us u to be r the we ght of yo r gr o favo rs. srs n ss e re a ai we s all n Pa n . W a fr d h ot be able to stOp here long. KA u l . I a so a a NCHI h ve tho ght , re dy ; you do not u quite look p to it. Ps ranns s In m s . the meanti e if you have any favors to ask of us KA e NCHI . W have ; but we would like to speak a l l m in itt e ore private. 198 KING OF THE DARK CHAMBER

Pnam srnns [ to his attendants] . Retire a little m re n Th r tir w fro our p se ce . [ ey e e ] No you can ex s u si i u an pre s yo r de res w tho t y reserve . A T ill n K NCHI . here w be o reserve on our part our only fear is that you might think restraint neces s l sary for your e f. rs nns h u n Paa a. O no, yo eed have no scruples on that score. KA C m n as ma lacin NCHI. o e the , do ho ge by p g un s your head on the gro d before u . n rn It s ems e n i b P s nnsn. e my s rva ts have d stri uted the Varuni spirits too liberally in the reception camps. KAN Fals n it is ou are suf CHI. e prete der, y who ferin m an s a an s i i s Y ur g fro overdo e of rrog t p r t . o a will n ki s us he d soo s the d t. R P h se ea k ar P E E ER . inces s e not T ND r , t e h vy jo e a kin worthy of g. T s ill l i o KANCHI . ho e who w jest proper y w th y u l are near at hand. So diers ! PRE E I n a u see T NDER. No more, e tre t yo . I can l inl I ma all The in p a y owe ho e to ou . head is bow — g y g down of itself there is no need for the application n l w I m of a y sharp methods to lay it o . So here do y i If ou ill kin l all me t obe sance to you all. y w d y ow o n n u escape I shall not inflict my prese ce lo g on yo . KA Wh s ul ou sca 1 We ill make NCHI . y ho —d y e pe w you king of thi s place let as carry our joke to its l i im finish Ha u an ll in eg t ate . ve yo got y fo ow g 1 aarnnnnn a E n me in P . I h ve. veryo e who sees k I ha m the streets floc s after me. When d a eager r i i retinue at first eve yone regarded me with susp c on, but now with the increasing crowd their doubts are n ss l in The c is in h no wa ing and di o v g. rowd be g yp o d tised by its own magnitude. I have n t got to o in anyth g now.

200 KING OF THE DARK CHAMBER

Rom The sam ﬂ h im h . e ; he whose ag as the K s uk w r i ﬂo e pa nted on it.

SUDABS HANA. co niz him at nc c u s I re g ed o e, of o r e, u it is s b t you who had your doubt . m m R . We are a mak mis ak u n o pt to e t es, my Q ee , and r ff n we a e afraid to o end you in case we are wro g . UDAasm NA m S . Would that Suranga a were here ! T e ul main n m u h re wo d re o roo for do bt then. R m m D h o . o you t ink her cleverer than any of us 1

S UDABSH ANL Oh no but she ul co niz him , wo d re g e ins an t tly. R m m I cann el a she h o . ot b ieve th t would . S e l him T mere y pretends to know . here is none to test her n l h k k ow edge if s e professes to now the king. If am l h i ul n a we were as sh e ess as s e s, it wo d ot h ve been diﬂicult for us to boast about our acquaintance i h e kin w t th g.

UDAs sm NA. But no she n as s S , ever bo t . m m I aff i n R . i u c a l o t s p re e t t o , the who e of it; h l n w ich often goes a o ger way than open boasting. She is up to all manner of trick s ; that is why we c ul n lik her o d ever e . N B ul DABS H A A. u u a I SU t whatever yo may s y, sho d

lik ask if she . e to her, were here ll ill n. I in . Rom m . Very we , Quee w br g her here She must be lucky if she is indispensable for the queen to know the king . ’ D NA h — i n —bu SU ABSH A . O no it s t for that t I lik a i i n would e to he r t sa d by everyo e. I n n sa in it1 h us R m . s o W om t everyo e y g y, j t listen ; the acclamations of the people mount up even to this height ! D T in : u ﬂow SU AasnANA. hen do one th g p t these l k m ers on a otus leaf, and ta e the to him. KING OF THE DARK CHAMBER 201

m And a um I sa Rom . wh t to y if he ask s who sends them1 UDAasnANz Y u ill not a sa n h n S . o w h ve to y a yt i g - H u a ul l he will know. e tho ght th t I wo d not be ab e l ff to recognize him. I cannot et him o without show a ing th t I have found him out. [Romm goes out with the ﬂowers ]

A nANA M a is all a- ui r and s Sun as . y he rt q ve re t

- h n l lik i Th less to night : I ave ever fe t e th s before . e il li f ull m n i ﬂoodin white, s ver ght o the f oo s g the heavens and brimming over on every side lik e the in It s iz s on me lik a bubbling foam of w e . e e e

lik an lin mtoxication. H r i yearning, e a m t g e e, who s r t t r here 1 [A se van en e s. ] M a ur lea ur a . Snavu rr. Wh t is yo p sure, yo jesty D u s i sin S UDAasnANA. o yo see those fe t ve boys g ing and moving through the alleys and avenues of the mango trees 1 Call them hither ; bring them to

e hem sin . The servant o me. I want to h ar t g [ g es out and soon enters with the boys ] l in m l m u ul s in be in Come, iv g e b e s of yo thf pr g, g your festive song ! All my mind and body is song

- — and music to night but the ineﬁ able melody escapes

Do ou n sin for m sake. my tongue. y the g y

i thi rin ni ht My sorrow is sweet to me n s sp g g . My pain smites at the chords of my love and softly

Visions take birth from my yearning eyes and ﬂit h lit k in t e moon s y. The smells from the depths of the woodlands have n m dream lost their way i y s. i r t m ears I n w t r Words come in wh spe s o y , k o no f om h w ere, 24nd bells in my anklets tremble and j ingle in time rt thrills with my hea . 202 KING OF THE DARK CHAMBER

n ANA En ! n u —I cann bear SUDAas . ough e o gh ot it any more ! Your song has ﬁlled my eyes with A n me me— a si a tears. fa cy co s to th t de re c n —i ain i never attain its object t need never att t. What sweet hermit of the woods has taught you this song 1 h a s c ul see him s s n m a s O , th t my eye o d who e o g y e r a a h ish—I is I c ul an h ve he rd ! O , how I w w h o d w der rapt and lovely in the thick woodland arbors of the heart ! Dear boys of the hermitage ! How shall I u u l reward yo 1 Thi s necklace is b t made of jewe s, — — hard stones its hardness will give you pain I have lik l w nothing e the gar ands of ﬂo ers you have on. h m m t r T e b s bow ut R n e s. [ oy and go o . o e ] UDABS H ANA I a ll—I a no S . h ve not done we h ve t l I s ask a ha ne l R ini . l a am to do we , oh fee h ed wh t p z n an pened . I have just reali ed that no ha d c really

i a s i ill let me ea all. g ve the gre te t of g fts. St , h r B nner When e kin s ﬂowers he o . I ga v the g tho e , n did not appear to understa d anything . ’ UDARSH ANA Y H did S . ou don t say 80 1 e not understand R m m N l l u . o sat ike a l i ut o ; he there do , w tho t in a n l ink he did n an t ter g si g e word . I th ot w t o show that he understood nothing ; so he just held his n u to g e . UDABS HANA Fi n me ! M s am el ssn ss has S . e o y h e e e n s l un di u not in a b e ju t y p ished . Why d yo br g b ck my ﬂowers ? R H ch m m . w ul 1 1 h K i o o co d T e ing of Kan , a e cl man was si in him k in v ry ever who tt g by , too in at a lance and us smil a bit and everyth g g , he j t ed “ sai E e n d r hana s n u d mperor, the Qu e Su a s e ds yo r , — Majesty her greetings with these blossoms the l s ms a l n od L e the i n b o so th t be o g to the G of ov , fr e d in Th m a ak i of spr g . e king see ed to w e w th a start, “ and sai T is is c n all m al l d , h the row of y reg g ory

204 KING OF THE DARK CHAMBER

[The Paarsnnna and KANCH I J l us ac as I a l ou. KANOHI. You m t do ex t y h ve to d y k Let there be no mista e of any kind . E T e s all no mi s ak PRET NDER. h re h be t e . ’ T u udarshana s mansi n ar KANCHI . he Q een S o s e in the

Pnsr s nnns Yes si I a s n the lace ll. . , re, h ve ee p we KA W a ou a is set ﬁre NCHI. h t y h ve to do to to a en and n ou ill ak a an a of the g rd , the y w t e dv t ge the hustle and confusion to accomplish your object a a str ightw y. E E ER ll m m PR T ND . I sha re e ber . KA L i P n NCHI. ook here S r rete der I cannot hel , , — p thinking that a needless fear is troubling you there all no kin in hi s c un is re y g t o try. nnss M s le a i d n f Pnsrs . y o im s to ri this cou try o na Y u c mm ma this a rchy . o r o on n cannot live without l a king, whether a rea one or a fraud ! Anarchy is l a s a ur an a w y so ce of d ger.

KA . Pi us n ac l u NCHI o be ef tor of the peop e, yo r wonderful self- sacriﬁce should really be an example all s I am inkin in hi xt ord to of u . th g of do g t s e ra i na s rvi l l ry e ce to the peop e myse f. Th t [ ey go ou . ]

VI .

[Inside the Garden ] m W Rom . hat is the matter 1 I cannot make out a is all is ! To the ard rs W r wh t th [ g ene . ] here a e you all going in such a hurry 1

n si GAR E ER. We are in u F D N go g o t of the garden.

Rom m . Where 1 ‘KING OF THE DARK CHAMBER 205

n n kn — Ssoon Gm s sa. We do not ow where the a ll us king h s ca ed . m m h kin i in the a n ! Whic Ro . W y, the g s g rde h king has called you 1

' a . Fmsr Gw m We cannot say. E ER Th kin a n Ssoos n GARD N . e g we h ve bee serv ll ur li c u s ing a o fe, of o r e . n r ill u all Ro m . W yo go1 ' —w Fms AR E ER . Yes all ha r G D N , e ve to go instant h w i et in u l ly. Ot er i se we m ght g to tro b e . T [ hey go out. R m m nn n an i s o . I ca ot u derst d the r word . m i T are m in off lik il I a afra d . hey sca per g e w d ani mal s that ﬂy just before the bank of a river breaks

down into the water . Th K K S t [ e ING or O HALA en ers. ] A R KOSHAL . ini ou kn ur kin oh , do y ow where yo g and Kanchi have gone 1 m m T are m h h ar but Ro . hey so ew ere in t e g den, n ll I could ot te you where.

KosnALA. I cannot really understand their inten n ll tions. I have not do e we to put my trust in Kanc i h .

[He goes out. ] R m m W a is hi s a k aﬁ air in n o . h t t d r go g o amongst these kings 1 Something dreadful is going

a n s n. all I a n in to h ppe oo Sh , too, be dr w to it1 A nt r [AV NTI e e s. ] A h AV NTI. Rohini, do you know where t e other princes are 1 R m I i iﬂi l h om . t s d cu t to say w ich of them is T e Kin K where . h g of oshal a just passed by m this i d rection. A A I i . V NTI . am not th nking of Koshala Where are your king and Kanchi 1 206 KING OF THE DARK CHAMBER

R mm I a no en e l n im o . h ve t se th m for a o g t e. A A K n V I a i is al a s a i in s. H NT . ch w y vo d g u e is ainl l nnin c i us ll cert y p a g to de e ve a . I have not done m ll ut m an in hi s i li . Fri n c uld we to p y h d t brog o e d, o you kindly tell me any way out of this garden 1 m m n . Ro . I do ot know A A I n n ill V NTI . s there o ma here who w show me the way out1 m T Rom . he servants have all left the garden. A A 0 1 V NTI. Why did they do 8 m ul l un s an Ro m . I co d not exact y der t d what they n T e sai kin had c mman em t mea t . h y d the g o ded th o h n a nc leave t e garde t o e . AN'ri Kin Whi c kin AV . g 1 h g 1 a Rom m . They could not s y exactly.

A A T i t s un ell. I s all a V NTI . h s does no o d w h h ve u cann ta a 0 find a way o t at any cost. I ot s y here sin l m m n m g e o e t ore . [H e goes out hurriedly ] a m s all I kin W Ro . Where h find the g 1 hen I ave him the flowers the queen had sent he did not g , seem much interested in me at the time ; but ever since that hour he has been showering gifts and s n m T usel s ne si mak pre e ts on e. his ca e s ge ro ty es me m i W e are i s fl in ore afra d . her the b rd y g at such an hour of the night 1 What has frightened them all on a sudden1 This is not the usual time of ’ their fli ht certainly Wh is the queen s pet g , y deer running that way1 Chapata ! Chapata ! She a n s n a does not even hear my call. I h ve ever ee night like this ! The horizon on every side suddenly ’ d k a a man s e The un s ms becomes re , li e m d ey ! s ee to be setting at this untimely hour on all sides at m n Al m is the same time . What ad ess of the ighty h h her s all I this ! O , I am frig tened ! W e h find the king 1

208 KING OF THE DARK CHAMBER

KA H F l u ! L no m ime . NO I . oo , get p ose ore t n E t r n m Kin ! Su AasnANA. [ n e i g . ] King, 0 y g m f a ! m un b save me, save e rom de th I a surro ded y

fire . P s' x h ki m no kin a rmrn a. W o is the ng 1 I a g ! unAns r kin S nANx. You a e not the g ? Paarnnnna N I a i ! I um a scoun . o, am hypocr te drel l [Flinging his crown on the ground ] Let my deception and hypocrisy be shattered into dust ! t t [H e goes ou wi h KANCHI . ] unAnsnANA N kin He n kin S . 0 g ! is ot the g 1 u o fir e— uc me to Then, 0 tho g d of e, burn m red e s all h m s l in an s u a hes ! I sh t row y e f to thy h d , 0 tho a urifier urn as s m ham m l n in gre t p ; b to he y s e, y o g g , my desire ! m E n e e re m nt ri . u en a R . e ou o [ g ] Q e , wh r y going 1 All your inner chambers are shrouded in i fir —d n e rag ng e o not e ter th re . ABS A e s u nin S UD H AN . Yes ! I will ent r tho e b r g chambers ! It is the fire of my death ! [She enters the palace ]

II VI .

T r r m The K and UDABS H ANA ! he da k oo . ING S J

K D a ai — ou a e no cause ING . o not be fr d y h v for

a fire ill n eac is m. fe r. The w ot r h th roo —bu am h S UDABS B ANA. I have no fear t oh, sh e as r M ac m m i lik a in fi . acco pan ed me e a r g g e y f e, y e ea a is in yes, my h rt, every p rt of my body, be g u n it am scorched and b r t by s fl es. I m im u t e KING. t will be so e t e before yo ge ov r this burning . A fir ill n c as — ill S UDABSHAN . This e w ever e e w never cease ! KING OF THE DARK CHAMBER 309

D n t be s n n ueen Km s . o o de po de t, Q ! Kin I ll not hi e h S H ANA. s a an t in SUDAB 0 g, h d y g ’ I ha e an a land r un m from you. v other s g r o d y neck . T lan is mine—how else c uld Kma. hat gar d, too, o he get it1 He stole it from my room. SUDABSH ANL But it is his gift to me ; yet I could not ﬂing thi s garland away ! When the ﬁre came roar in n all i e I u in i ar g o s d s of me, tho ght of throw g th s g

ﬁr Bu n I c ul n t. M min land into the e. t o, o d o y d i L t a a l n on ou in ur wh spered, e th t g r a d be y yo

. W a fire 18 is 0 Kin in o ich h t th , g, t wh h m u see ou l a like a m I, w o had co e o t to y , e ped oth that cannot resist the flame 1 What a pain is this ! Th fir k s urnin fiercel Oh, what agony ! e e eep b g as y but I o on li in i in its flames ! as ever, g v g w th K G But ou ha s n me at las — ur si e IN . y ve ee t yo de r f fi has been ul lled. d k see ou in S UDAnsnANA. But di I see to y the mi s i a ul m 1 I kn not a I s w d t of th s dre df doo ow wh t a , but my heart is still beating fast with fear. Km o W a did ou see 1 . h t y — S UDAasnANA. T i l l oh i was ri l ! I err b e , t ter b e i n in in l k a a it a . B l k am fr d eve to th k of ga ac , b ac u art lack lik las in ni ! I l k oh, tho b e the ever t g ght oo ed ne ul in an nl l z f on thee for o dreadf st t o y. The b a e o — the fire fell on your features you look ed like the awful night when a comet swings fearfully into our ke h n I cl m e es—I ul n. O , the osed y y co d not look Bl on you any more . ack as the threatening storm l ud l k as l s se c o , b ac the shore es a with the spectral red tint of twilight on its tumultuous waves ! K N Ha I n l r I G. ve ot to d you befo e that one cannot hear my sight unless one is really prepared for me 1 One would want to run away from me to the ends H of the earth. ave I not seen this times without 210 KING OF THE DARK CHAMBER number 1 This is why I wanted to reveal myself to u sl l and a uall not all su nl yo ow y gr d y, too dde y. ABS HANA B an S UD . ut sin came d destroyed all your — hopes the very possibility of a union with you has m un ink a l e now beco e th b e to m . K It ill be ssi l in im G . Th IN w po b e t e, my Queen. e utter and bleak blackness that has to - day shaken you to your soul with fear will one day be your l n a so ace and salvatio . Wh t else can my love exist for 1 unAas A A I nn be s S n N . t ca ot ; it i not possible. What will your love only do ? My love has now B au h turned away from you. e ty as now cast its

s ll o m . T is nz is in i pe n e h fre y, th tox cation will — , never leave me it has dazzled and ﬁred my eyes ; it has thrown its golden glamour over my very ll n w P m a dreams ! I have told you a o . unish e s you

K Th i m n a l G. e n s h s a a e un IN pu h e t re dy b g . unAasnANA ut if ou not ca fi S . B y do st me o , I will leave you KI Y u m NG . o have the ut ost liberty to do as you lik e . UDAB nANA nn h u S s . I ca ot ear yo r presence ! My ea is u Wh di u—b h rt angry at yo . y d yo ut what have you done to me 1 Why are you lik e this ? Why did they tell me you were fair and handsome 1 Thou ar l ck lack as ni —I s all n e n t b a , b ght h ev r, I can ever lik I a s n a I l —it i e you. h ve ee wh t ove s soft as c am li a hiri h au i re , de cate s the s s a flower, be t ful as a but terfly. K G I l a mi a m t as a u l IN . t is fa se as r ge, e p y b bb e . UDABS H ANA e—but I cann s an n a S . Let it b ot t d e r u—I sim l I mus fl a a m yo p y cannot ! t y w y fro here . — l Union with you it cannot be possib e . It cannot be

212 KING OF THE DARK CHAMBER go as free as the broken storm- cloud driven by the tempest . AB AN s m —s m in in S UD sn A. I can resi t no ore o eth g — me is immlling me forward I em breaking away ll from my anchor ! Perhaps I shall sink, but I sha h m h u es out. return no ore. [S e r s ] t r i in UBANGAMA en e s n . [S s, g g ] N A a ill in is is a n s SUBA GAM . Wh t w of th e th th t se d me afar ? Again shall I come back to thy feet from n I t l a i i all my wa derings. s i thy ove th t fe gns th s neglect 1 Thy caressing hands are pushing me away — m in m K to draw me back to thy ar s aga ! 0 y ing, what is this game that thou art playing throughout thy kingdom ?

UDABSH ANA - t r Kin Kin S . [Re en e ing . ] g, 0 g ! UBANGAMA H h n a S . e as go e way. UDABSH ANA n a a ? W ll n S . Go e w y e , the , ’ h s ﬂ ! a m then he as ca t me o for good I h ve co e back , but he could not wait a single instant for me ! Very l e m l ur n m l n I a now ec . a a a did we , th , perf t y free S g , he ask you to keep me back ?

UBANGAMA. No sai n in . S , he d oth g UDABsnANA h a n h S . W y should he s y a ything ? W y s ul me ? I um n ho d he care for , the , free, per f l B n k ect . ut uran ama I a as on y free , S g , w ted to e in kin but ul n t u it in hi s th g of the g, co d o tter s pre T h i n i ence. ell me if he as pun shed the priso ers w th a de th . AMA D a 1 M kin n unis s SUBANG . e th y g ever p he with death .

UDABSH ANA. W a has n m n 1 S h t he do e to the , the H ha e h UBANGAMA e t m li . K c i S . s s the at berty an has acknowledged his defeat and gone back to his m kingdo . UD as A Ah a a li A n NA. ! S , wh t re ef KING OF THE DARK CHAMBER 213

NGAMA M u n n SUBA . I a o e a y Q ee , h ve pr yer to k ma e to you. DA snAnA S U n . You will not have to utter your a in s uran ama W a pr yer word , S g . h tever jewelry and rnam n kin a me I l av u— o e ts the g g ve , e e to yo I am not a e w worthy to we r th m no . UBANGAMA N n m S . o I not a m u , do w t the , y Q een. My master has never given me an ornaments to — y wear my unadom ed plainness is good enough for me He ha ot i n e n t . s n g ve m a y hing of whi ch I can as b l bo t efore peop e .

SunAasnAnA. W a ou an m n ? h t do y w t of e, the UBANGAMA I s all i ou m S . , too , h go w th y , y Queen. UDABSH ANA C nsi a ou are a in : u S . o der wh t y s y g yo re an in l u m a w t g to eave yo r aster. What a prayer for you to make ! UBANGAM A I ll f r — S . sha not go a from him when ou are in out un u ill y go g g arded he w be with you, l s u i c o e by yo r s de . UDABS ANA Y r lkin n n chil H . ou a a n s m S e t g o se e, y d . I an ak R ini i m but sh ul w ted to t e oh w th e, e wo d not u a n u come . What gives you co r ge e o gh to wish to come with me ? UBANGAMA I a n i c u a nor s n t S . h ve e ther o r ge tre g h. But I s all o—c u a ill com i s l and h g o r ge w e of t e f, s n ill c tre gth, too, w ome . UDAasm A N c k i m S . o I ann a ou e , ot t e y w th ; your presence will constantly remind me of my

s am . I s ul no a l n u h e ho d t be b e to e d re that . UBAN AM A Oh m n I a S G . u ma , y Q ee , h ve de all your good and all your evil my own as well ; will you treat m a an ill ? I e as str ger st must go with you. 214 KING OF THE DARK CHAMBER

[ The KING or KANYA KUBJ A father o SunAnsnANA , f , and his MINISTER ]

K r KA K B A I a in ING o NYA U J . he rd everyth g be a i al fore her rr v . TH E Mm rs a Th in l n rs . e princess is wait g a o e out si ci a s n n de the ty g te o the ba k of the river. Shall I send people to welcome her home ? TH E K me ! h h hl l l . What S e who as fait ess y eft — her husband do you propose trumpeting her in famy and shame to everyone by getting up a show for her ? r r' na m TH E M m s . ll n mak a an n Sha I , the , e rr ge e ts for her residence at the palace ? TH E K ill n in h ING. You w do oth g of the sort . S e h l m s wn as eft her place as the e pre s of her o accord . Here she will have to work as a maid- servant if she s us wishe to stay in my ho e . TH E M I ill i h INISTER. t w be hard and b tter to er, u Hi n yo r gh ess. TH E K ms k . If I see to save her from her suﬁ er m t ings, then I a no worthy to be her father . TH E M ER s ll a an t in as u INIST . I ha rr ge every h g yo wi s u Hi n ss. h, yo r gh e TH E K L a sh m ING. et it be kept a secret th t e is y daughter ; otherwise we shall all be in an awful l troub e . Mm r ran h i Tn s s . u W y do yo fear such d saster, your Highness 1 T W n ma ri H E KING . he wo n swerves from the ght a n she a a au i i s calam p th, the ppe rs fr ght w th the d re t n adl hi ity. You do ot know with what de y fear t s u in ha in m e c min da ghter of m e s spired e. Sh is o g l to my home aden with peril and danger.

216 KING OF THE DARK CHAMBER

m ’ B leave everything behind me in a oment s time . ut is it all my imagination only ? Why 18 there no sign of hi s coming anywhere ? AM A H m u are inkin id S UBANG . e of who o th d — y g not set ﬁre to the palace it is the King of Kanchi di who d it. DABSH AN ! Bu i s i l ? SU A. Coward t is t po s b e S o s m e i c in an n man in hand o e, so b w t h g, d yet o hood him ! Have I deceived myself for the sake of such l c ? h m a worth ess reature O , shame ! Fie on e ! ’ Bu ur ama n u ink u kin ul t, S ang , do t yo th yo r g sho d yet have come to tak e me back ? [SUBANGAMA re l Y mains si ent. ] ou think I am anxious to go back 1 Never ! Even if the king had really come I should not

have returned . Not even once did he forbid me to m a n u l co e aw y, a d I fo nd a l the doors wide open to let me out ! And the stony and dusty road over — which I walked it was nothing that a queen was n 1 n h — treading o it. It 8 hard a d as no feeling like your king ; the meanest beggar 18 the same to it as i s m Y ar il ss. ou e s n ! W ll I ll u the h ghe t e pre e t e , te yo , ’ u kin a i i —m an u ul yo r g s beh v or s e , br tal, shamef ! UBAN AMA E k S G . veryone nows that my king is n N hard a d pitiless. o one has ever been able to m h ove im. SUDABS H AN Wh u n call h A. o im da y do y , the , y and night ? UBANGAMA M S . ay he ever remain hard and re lentless lik ck—m , e ro ay my tears and prayers never move him ! Let my sorrows be ever mine only and may his glory and victory be forever !

SUDABSH ANA. Suran ama l k l g , oo ! A c oud of dust seems to rise over the eastern horizon across the ﬁ ld e s. BAN A SU G MA. Yes, I see it. KING OF THE DARK CHAMBER 217

ANA I a SUDABSH . s that not like the banner of chariot 1 I BA AMA n n i i . SU NG . deed, a ba ner t s H m ABS NA T n c min . e has c at S UD H A . he he is o g o e last ! m SUBANGAMA. Who is co ing 1 A r — l ? H ul SunAasn NA. Ou king who e se ow co d he live without me ? It is a wonder how he could hold out even for these days. BAN AMA N no i cann kin SU G . o, , th s ot be the g. UDABS HANA No in ! As if ou kn S . , deed y ew every ’ in Y kin is a s n i il s n he 1 th g ! our g h rd, to y, p t es , is t

L t us see a can be . I kn m e how h rd he — ew fro the begi nning that he would come that he would have B m m ran m n us a e. u u a a I to r h fter m t re e ber S g , ever m m k h c m Y u will for a single o ent as ed im to o e . o see how I make your king confess hi s defeat to me ! ust out uran ama and let me kn J go , S g , ow every N A B ll UBA G MA t. ut a I if thing. [ S goes ou ] sh go he comes and ask s me to return with him1 Certainly not ! I will not go ! Never ! r [SUBANGAMA ente s. ]

kin . SUBANGAMA. It is not the g, my Queen UDA S ANA N Are u ui u S B H . ot the king 1 yo q te s re 1 What ! he has not come yet 1 UBANGAMA N ki n e ais m S . o, my ng ev r r es so uch n dust when he comes. Nobody ca know when he m ll co es at a . a i SunA snANZ. Then this s UnANGAMA Th m i c S . e sa e : he s oming with the K n hi King of a c .

Sunm sm nz. Do you know his name 1 H UBANGAMA. is n m i uv S a e s S arna. “ UDAs snANA. It is he n. I u I S , the tho ght, am l in e lik e as r u e and oﬁ al i h n y g her w te ef s , wh c o one 218 KING OF THE DARK CHAMBER

” cares even to touch 1 But my hero is coming now Di kn uvarna to release me . d you ow S ? ’ UBANGAMA W n I a at m a m S . he w s y f ther s ho e, in the gambling den ’ unAasnANA No n I n a an t in S . , o, wo t he r y h g of H i wn —m nl him from you. e s my o hero y o y salva I s all kn hi i u u llin tion. h ow m w tho t yo r te g stories

a u him. Bu us see a nic an u kin i ! bo t t j t , e m yo r g s He did not care to come to rescue me even from hi s i Y l m t degradat on. ou cannot b a e me after this. I c ul not a ai him all m li o d h ve w ted for y fe here, ilin i n mini u l ik e to g g o o s y l a bondslave . I shall never ha our m kn ss and u mi n ve y ee e s b ssive ess.

[An encampment ]

’ KA I T KA A KUBJ A s Masss nonn T ll NCH . [ o NY J e your king that he need not receive us exactly as his w u s s. We are on our a ack our kin m g e t y b to gdo s, but we are waiting to rescue Queen Sudarshana from the servitude and degradation to which she is con d demne here . ME E ER Y m G . u Hi n ss ou ill m r SS N o r gh e , y w re e be ’ a inc s i in a u th t the pr e s s her f ther s ho se . A ’ KANCHI . daughter may stay in her father s m nl s l n a h mains unma i f ho e o y o o g s s e re rr ed . I the king chooses not to give up his daughter to me on ac ul m our shatrwa c i usn ss pe ef ter s, K ode of r ghteo e ill li m l Y u k w ob ge me to e p oy force . o may ta e hi s as m las t y t word . ME E GER Y u Hi . n s not a SS N o r gh e s, do forget th t r kin m i ou i un sa c . It s i l g, to, s bo d by the e ode d e to expect that he will deliver up his daughter by m l arin u r a ere y he g yo r th e ts.

220 KING OF THE DARK CHAMBER

ABNA Bu Hi n s UV . t u s ill ou S , yo r gh e , w y have the kindness to let me off 1

KAN I cann let ou o. I a m s CHI . ot y g h ve so e u e u i ff i for yo in th s a a r . A LD E nt r [ SO I R e e s. ] ‘ Y u Hi n ss Vi a Pan al n SOLD . o r gh e , r t, ch a, a d

idarbha a c m . T ncam on V , too , h ve o e hey have e ped i H ri t. the other s de of the ver. [ e goes ou ] KA In innin u all fi h NCHI . the beg g, we m st g t to L a l i K n K b firs gether. et the b tt e w th a ya u ja t be over ; then we shall find some way out of the dith cul ty.

UVABNA Pl s n a e in u l ns. S . ea e do ot dr g m to yo r p a m I s all be a u l e al n . a h h ppy if yo eave m o e I u poor, h — — mean creature nothing can KA L k K n H NCHI . oo here, i of ypocrites ways g , and means are never of a very exalted order ; roads and stairs and so forth are always to be trodden our The n a zin m under feet . adva t ge of utili g en like you in our plans is that we have to make use of no ask illu i n But if ns im m or s o . I were to co ult my pr e ini all m ster, it would be absurd for me to c theft by n ﬁ ﬁ I ll a y name less digni ed than public bene t. wi o n w n in lik n g o , a d move the pr ces about e pawns o the chessboard ; the game cannot evidently go on if all the chessmen propose moving lik e kings !

T t ri r th P l [ he In e o of e a ace. ]

UDAasnANA I ﬁ h l in u S . s the g t stil go g o 1 BA GAM As ﬁercel a SU N A. y s ever. ANA B m UDAB H . in a l S S efore go g out to the b tt e, y cam me and sai You a c m a a father e to d, h ve o e w y ne kin but ou a a n s n kin s from o g, y h ve dr w eve g after you ; I have a mind to cut you up into seven KING OF THE DARK CHAMBER 221

nd i u m am n n pieces a d strib te the o g the pri ces. It l r would have been we l if he had done so. Su angama l

S UBANGAMA. Yes 1 UDABSH ANA If u kin had S . yo r g the power to save ul m n a a l me, co d y prese t st te h ve eft him unmoved 1 M UBANGAMA. u n u k S y Q ee , why do yo as me 1 Have I the power to answer for my king 1 I know my understanding is dark ; that is why I never dare u him to j dge . UDABS A h in in h ﬁ h S H AN . W o have jo ed t i s g t? A All n in s SUBANGAM . the seve pr ce . UDABS HANA N one ls S . o e e ? Suvarna attempted to escape in se ﬁ h an ut Kan i ha k cret, before the g t beg , b ch s ept him s cam s a pri oner in his p . DABS H ANA O I ul a n a l n S U . h, sho d h ve bee de d o g o ! But Kin m Kin if ou had c m and ag , 0 g, y g, y o e l u am ul a n n ne he ped my father, yo r f e wo d h ve bee o m an i the less ! It would have beco e brighter d h gher . r a a n Are ou quite sure Su angam , th t he has ot y , come ? in UBANGAMA I kn n in c a . S . ow oth g for ert unAssnAnA ld in in alace c m s S . My o w dow the p o e m m m . I us c a ss back to y me ory ed to o e, fter dre in in nin and s an at m in and out g the eve g, t d y w dow, of the blank darkness of our lampless meeting- place l i s in an ib used to stream forth me od e , danc g d v rating dl s u s in en e s s cces ion. URAN AMA h and s a kn ss ! th S G . O , deep weet d r e e profound and mystic darkness whose servant I was ! AnA did ou c me a a i me SUDAssn . Why y o w y w th from that room1 B u e h ul ll us SUBANGAMA. eca se I kn w e wo d fo ow n n k a d take a bac . A Bu ill not m —he has SUDABSH AN . t no, he w co e h n t left us for good. W y should he o 1 222 KING OF THE DARK CHAMBER

AN AMA l SUB G . If he can eave na like that, then we a n n him T n n is f h ve o eed of . he he does ot ex t or us then that dark chamber is totally empt and — y void no vina ever breathed its music therch none called you or me in that chamber ; then everything n l n idl has bee a de usion a d an e dream. T D RKEE ER [ he OO P enters. ] UDAas NA ar S nA . Who e you 1 D nxs na m hi ala oo sp . I a c the porter of t s p e. UDABSHAN ll me ui kl h u a S A. Te q c y w at yo h ve to

say. D onxnsp ss Our kin ha n ak n ison r o . g s bee t e pr e . UDABS H ANA s ne ? M Ea ! S . Pri o r 0 other rth [S he

faints. ]

XIII .

[ The KING or KANCHI and SUVABNAJ

OVAR A Y sa n a ill n S N . ou y, the , th t there w be o more necessity of any ﬁght amongst yourselves 1 K i I a A N0 u n no a a . e NCHI . , yo eed t be fr d h v made all the princes agree that he whom the queen c e s an l rs a c pts as her hu b d wil have her, and the othe l n ll u l wil have to aba don a f rther strugg e. UVABNA Bu ou mus a n i me S . t y t h ve do e w th , u e l w nﬁ yo r Highness ; so I b g to be et off no . U t as I am an in ea im n in an for yth g, the f r of pe d g d ger h m an nne n ll t You as unnerved e d stu d my i te ec .

will therefore ﬁnd it difﬁcult to put me to any use . Y ill a o sit as m um KANCHI . ou w h ve t there y

- l brella ho der . UVARNA Y u rvan i a an hin S . o r se t s re dy for yt g ; but of what proﬁt will that be to you ? K n in ll ct A . M a I see a u ak NCHI y m , th t yo r we te e Y u a cannot go with a high ambition in you. o h ve no notion yet with what favor the queen looked upon

224 KING OF THE DARK CHAMBER

the da ? No no — aw m hin min led other y , , I s so et g g and transfused and blended with light and dark n ss i in an N no i nn be d um . o t ca e , w th w d perf e , , ot is h he ; that not e . UBANGA B S MA. ut everyone admits that he is ex ceedin l e i ul g y b aut f to look at. UDABS HAN H c ul h t ascina e S A. ow o d t a beauty f t me h a hall I 1 O , wh t s do to purge my eyes of their pollution 1 UBANGA A' u ill a in S M . Yo w h ve to wash them that ml ss a kn ss botto e d r e . ABS ANA B l me uran ama UD H . ut l S te , S g , why does one make such mistakes ? A A Mi ak r lu SUBANG M . st es a e but the pre des to s ru i n their own de t ct o . A ME E GE Ent ri P inc s kin SS N R. [ e ng . ] r e s, the gs re i in u in l H u . a wa t g for yo the hal . [ e goes o t ] m UDABSE ANA. ran a a in il . S Su g , br g me the ve K K UBANGAMA ut. 0 i m nl in ! [S goes o ] ng, y o y g Y a l e al n and ou a n b u ou h ve eft m o e, y h ve bee ut j st in a Bu ill ou not kn inm s u h in do g o. t w y ow the o t tr t within my soul 1 [She tak es out a dagger from with m Thi min ha i a in her boso . ] s body of e s rece ved

s k i - d tain. I shall ma e a sacriﬁce of t to ay in the dust of the all all s inc s ! But s all h , before the e pr e h I never be able to tell you that I know of no stain of faithlessness within the hidden chambers of my heart 1 That dark chamber where you would come to meet me lies cold and empty within my bosom

- d —b m L n h n to ay ut, O y ord ! no e as ope ed its doors, n it but u Kin ill u n r none has e tered yo , 0 g ! W yo eve n s n l come again to ope those door ? The , et death a lik l i s r come, for it is d rk e yourse f, and t featu es I —it is s l are beautiful as yours. t is you your e f, 0 KING OF THE DARK CHAMBER 225

The herin o the P rinc [ Gat g f es. ]

A Kin Kanc i i mAas n . i t V g of h , how s that you have not got a single piece of ornament on your person 1 KA B au n ain no s at all m NCHI . ec se I e tert hope , y n nam n ul bu u l s am f frie d . Or e ts wo d t do b e the h e o e my d feat.

A A Bu u - m K LING . t yo r umbrell a bearer see s to have made up for that ; he is loaded with gold and l all e jewe ry ov r. m 'r The Kin K c i a m ns ra V A . g of an h w nts to de o t te the futility and inferiority of outer beauty and gran s deur. Vanity of his prowe s has made him discard u m lli hm n lim all o ter e be s e ts from his bs. KosnALA I am ui hi ick r is . q te up to s tr e y ; he s kin hi own i ni main ainin a se ee g to prove s d g ty, t g la in vere p inness among the bejeweled pr ces. PA AL A nn mm hi NCH . I ca ot co end s wisdom in this ’ ma E n kn s a a man s re tter. v—eryo e ow th t wo s eye a like a moth they ﬂing themselves headlong on the la l n l g re and glitter of jewe a d go d. KAL GA Bu l n all IN . t how o g sh we have to wait more 1 KA D m a i n Kin K . o no i l NCHI t grow p t e t, g of a inga —s are ui la weet the fr ts of de y.

K . osnALA. Kanc i did ou l as if s m in h , y fee o eth g shook your seat just now? I s it an earthquake 1 KAN cm Ea u k . rthq a e 1 I do not know 1 VIDABBH A I nn u . ca ot regard this as a very a spi m cions o en. KA E l k s i h NCHI . verything oo s inau pic ous to t e e r ye of f ea . 226 KING OF THE DARK CHAMBER

nA. I a n n Fa e w VmAas fe r o e except t , before hich i il a u courage or heroism s as fut e s it is abs rd . ’ ALA darbha n k - PANCH . Vi , do ot dar en to day s happy proceedings with your unwelcome prognosti i ns cat o . KA n k NCHI. I ever ta e the unseen into account till c m it has be o e seen. mAns nA Bu i V . t then it m ght be too late to do

’ L GA I i m si KA IN . sn t that a mus c so ewhere out de 1 PA ALA Y lik mu c u NCH . es, it sounds e si , s re

KA O T n la u N HI . he at st it must be the Queen S dar an ho i a a n Asid ABNA Sh aw s ppro ching ear . [ e to SUV J uvarna ou mus hi n S , y t not de a d cower behind me k h ll h . m h li e t at Mind, t e u bre a in your hand is s ak ing ! m r nn dr d r i r r sw n e r nt . [G m ess as a wa o , e e s ] KALm GA Who i a 1 Who are ou 1 . s . th t y ANa LA a s n i P . Who is this th t dare to e ter th s hall unbidden1 Am z Kalin a u V RA . a in im u e s I T g p d nce ! g , j t pre n ll m a ancin u t ve t the fe ow fro dv g f r her. L Y u ar all u i in a e KA INGA. o e my s per ors g ; you ﬁ r d a an s l are tte to o th t th my e f. A h s Ans n L us a a as a . Vm . et he r wh t he to y m RA FA HER The kin has c . G ND T . g o e IDABBHA t rtin Kin 1 V . [S a g . ] g A ALA Whi kin P NCH . ch g 1 KAL GA W s m m1 IN . here doe he co e fro BANDFATH EB M kin ! G . y g Y VIRAT. our king 1 AL GA h K IN . Who is e 1 A m n Kosm . What do you ea 1 m e Y ll kn m I an. H GaANDFAr HEn. ou a ow who e has come.

228 KING OF THE DARK CHAMBER your regal umbrella is lying in the dust ; you have not noticed that your umbrella- holder has stolen

A All m K i n al . I o u NCHI. r ght, Ge er , to , going, bu n ma I ﬁ h him n t ot to do him ho ge. go to g t o the

- battle ground . RAN FA ER Y ll m m kin in fi ld G D TH . ou wi eet y g the e f a l i l u i o b tt e ; that s no mean p ace for yo r recept on. VIaA'r L k i n s a s e ll . oo here fr e d , perh p we ar a fly , — ing before an imagined terror it look s as if the Kin K nc i ill a s g of a h w h ve the be t of it. A P s l n PANCHAL . o sib y. Whe the fruit is so near the an it is c a l and lis a i h d, ow rd y foo h to go way w th lu kin it out p c g . KA A I i G . s e Kin n LIN t b tter to join the g of Ka chi. He cannot be without a definite plan and purpose n e in in mu whe h is do g and dar g so ch.

[SUDABSHANA and SUBANGAMAJ

unAs snANA The ﬁ ht is now W n ill S . g over. he w the king come 1 l UBA AM A kn l . S NG . I do not ow myse f I a so am l kin a hi s comin oo g forw rd to g. UDARS ANA l uc Su an S H . I fee s h a throb of joy, r m i i l ac in But am ga a, that my breast is pos t ve y h g . I in shall I s m ace dy g with shame, too ; how how y f to him1 uaAN AMA h in utm s umili and S G . Go to im o t h ty

si n i n nd all am ill anis in a m m n . re g at o , a sh e w v h o e t ABS N l ssin a I a S UD H A A. I cannot he p confe g th t h ve met with my utmost defeat for all the rest of my l Bu i a me l la s s a in ife . t pr de m de c aim the rge t h re h l l E n us sa I had suc i s ove so ong . veryo e ed to y h n ul au u h ac s and i tu s wo derf be ty, s c gr e v r e ; every KING OF THE DARK CHAMBER 229 one used to say that the kin showed unlimited kind — g ness towards me this is what mak es it diﬂicult for e n m a in umili m to be d y he rt h ty before him.

SUBANGAMA. T is diﬁ cult m u n will a s h y, y Q ee , p s ff o . ANA h l UDABS H . O es it il a s. h d S , y , w p s T e ay has arrived for me to humble myself before the whole But m world . why does not the king co e to take me back 1 What more is he waiting for 1 UBANGAM A Ha I n l S . ve ot to d you my king is c u l and a — r a n r e h rd ve y h rd, i deed 1 A nAnA u r m UD Bs . Go t an ama and in S o , Su g , br g e n him ews of . AN AM A n kn l S UB G . I do ot ow where I shou d go to n a k a m get ews of him. I h ve as ed Grandf ther to co e ; a s n c m s s all a s m in perh p whe he o e , we h he r o eth g h from im. UDAs nzi Al k il n snA . a m a ! I a S c , y ev f te h ve bee reduced to asking others to hear about my own

RANDFATH EB nt r [G e e s. ] ’ H ANA ea a ou are m kin SUDABS . I have h rd th t y y g s ien i me n s T ll e kin G . m n fr d . ve good ew e whe the g is c min ak me ack o g to t e b . F EB k GBAND ATH . You as me a a u n h rd q estio , in deed ! I hardly understand yet the ways of my l n . Th a i b no n ll frie d e b tt e s over, ut o e can te where n he is go e .

UDABSH ANA. I n a a n S s he go e w y, the 1 BANDFATHE nn ﬁnd an ac him G B. I ca ot y tr e of here . ABS A Ha n An ou call suc SUD H AN . s he go e 1 d do y h a person your friend 1 ’ r n ss Th is e l u Gm nm . at why h gets peop e s ab se ll i i l as we as susp c on. But my king simp y does not i l s mind t in the ea t. 230 KING OF THE DARK CHAMBER

n a h h h SunAnsnANA. Has he go e aw y ? O , o , ow u l c u l He is m e f s ne hard, how cr e , how r e ! ad o to ; h i ar as a aman ! I i to m him i h e s h d —d t tr ed ove w t my own bosom my breast is torn and bleeding n but him I could not move an i ch ! Grandfather, tell w ou mana it such a riend1 me, ho can y ge w h f r r I ha e kn n him now—I av GaAND A m . v ow — h e known him through my griefs and joys he can make n me weep no more ow. DAns AnA ill h t le e n him als 1 SU n . W e no t m k ow o H N BANDFAT EB Wh ill of u s . in G . y, he w , co r e oth g l sa i s him else wi l t fy .

UDABsnAnA. V ell all ee h b S ery w , I sh s how ard all s a n a in u can be l I sh t y here e r the w dow, witho t saying a word ; I shall not move an inch ; let me see if he will not come ! F Y u r — GRAND ATHER. o a e young still you can ’ ﬂ r ai him bu to me an old man a a o d to w t for ; t , , ’ moment s loss is a week . I must set out to seek him

e H ut. whether I succ ed or not. [ e goes o ] UDABSHANA n him— ill n k S . I do not wa t I w ot see him ! ur n I a kin ! S a gama, h ve no need of your g Why did he ﬁght with the princes ? Was it for me at ll 1 Did an s ff hi d a he w t to how—o s prowess an strength 1 Go away from here I cannot bear your H ha l u i si . e s um m an o ght h b ed e to the d st, d s n t satisﬁed still !

XVII .

[A band of citizens ]

Fms'r ZE n man kin met to CITI N . Whe so y gs u in m bi gether, we tho ght we were go g to have so e g fun ; but somehow everything took such a turn that nobody knows what happened at all ! ao w) I ZEN Did ou n ee 1 The uld S o C TI . y ot s y co

232 KING OF THE DARK CHAMBER

T E Thi a s all Tnmn CI IZ N . s be t mystery hollow. E Thi Saoow) CITIZ N . s sort of justice, to speak kl rik na as antas ic an ca i i us fran y, st es f t d pr c o .

' Fms EN. us o The r a s ff r CITIZ J t a . g e te t o ender is h Kin f anc i o certainly t e g o K h ; as f r the others, ain n w ss d m greed of g o pre e the to advance, now to draw back in fear.

T R ZE . W at kin us ice is hi HI D CITI N h d of j t t s, I k I is if the i sc - il hi as ? t as t ger got ot free, wh e s tail ﬂ’ got cut o . E E h u n S COND CITIZ N . If I were t e judge, do yo thi k Kanchi would be whole and sound at this hour 1 T ul n in l hi l here wo d be oth g eft of m a together. mn ZE T Tn . are a i us i s m CITI N hey gre t, h gh j t ce , y friends ; their brains are of a diff erent stM p from s our . Fm r u H h ll s s s . ave t ey any brains at a I wonder 1 They simmy indulge their sweet whims n an hin m as there is no e to say yt g to the from above. E N ZE W a ou ma sa if w S CO D CITI N . h tever y y y, e had the governing power in our hands we should cer tainly have carried on the government much better n tha this. E n n l THIRD CITIZ N. Ca there be a y rea doubts u i about that 1 That of co rse goes w thout saying.

[A Road at

' [SUDAasnANA and S UBANGAMAJ

UDABS H ANA ha a l uran ama hat S . W t re ief, S g , w freedom ! It is my defeat that has brought me free d an n i wa min N in om. 0 what iro pr de s e ! oth g M a k n min c uld could move it or soften it. y d r e ed d o not in any way be brought to see the plain truth that KING OF THE DARK CHAMBER 233

it was not the king who was to come ; it was I who u a n him All o ght to h ve go e to . thr ough yesternight I lay alone on the dusty floor before that window lay there through the desolate hours and wept ! All night the southern winds blew and shriek ed and moaned like the pain that was biting at my heart; and all u it I a lain i thro gh he rd the p t ve Speak , bride of the nightbird echoing in the tumult out side ! It was the helpless wail of the dark ni uran ma ght, S ga ! B A L ’ SU ANG MA. ast night s heavy and melancholy air s m to an on n ni — h ee ed h g for a eter ty o , what a dismal and gloomy night ! unAssnAN Bu — S A. t would you believe it I seemed to hear the soft strains of the wind floating through all that wild din and tumult ! Could he play such an n un s h s u l sweet d te der t e , he w o is o cr e and ter rible 1 The world knows only my indignity ; but none but my own heart could hear those strains that all r u l n lin D c ed me th o gh the o e and wai g night . id ou uran ama h ar t at ind r w at y too, S g , e h v ? O as th but a dream of mine 1 UBANGAMA But i ar h am S . t is just to he t at s e ’ ina s i a u i v mus c th t I am always by yo r s de. It is is ll u ic ic d for th ca of m s , wh h I knew would one ay c m iss l all the a i l h a o e to d o ve b rr ers of ove, t at I h ve all al n lis nin o g been te g with an eager ear. Aa nANA m n SUD s . He did at last send e o the open — c n l road I ould not withsta d his wil . When I find “ h m fir ll ll i , the st words that I sha te him will be I — , have come of my own will I have not awaited your comin I s all sa For u sak e ave I g. h y, yo r h trod d r d en the hard and weary oads, and bitter an cease h ll h ” less as been my weeping a t e way. I shall at i i n m least have th s pr de in me whe I eet him.

Sum am A. But even that pride will not last. He 234 KING OF THE DARK CHAMBER came before you did ; who else could have sent you on the road 1

nAnsnANA ha e did. lon Su . Per ps h As g as a sense ff m in i l of o ended pride re a ed w th me, I could not he p thinking that he had left me for good ; but when I ﬂung my dignity and pride to the winds and came n m out on the commo streets, then it see ed to me that he too had come out : I have been ﬁnding him since m the mo ent I was on the road. I have no misgivings w i uff in a h no . All th s s er g th t I have gone throug for hi sak i n s f all i i i in m s e, the very b tter e s o th s s g v g e

m . Ah h hi s co pany , yes, he as come ; he has held me h n us a u by t e ha d, j t s he sed to do in that chamber of a kn ss n at hi s uc all m l d r e , whe , to h, y body wou d start a u n l i m with s dde thril : it s the same, the sa e touch a ain h a a i n — m g ! W o s ys th t he s ot here 1 Suranga a, ou not see a has c m in sil nc and can y th t he o e, e e k secret 1 Who is that there 1 Loo , Suran ma is a i v ll f is a k a a ga , there th rd tra e er o th d r ro d t i u ni th s ho r of the ght. UBANG K m AMA see. Ki n i S . I It is the ng of a ch , y

ueen. UDABSHAN n S A. Ki g of Kanchi ! ’ SUBANGAMA D n a ai m u n ! . o t be fr d, y Q ee unAnsnAn i h l I ai 1 S A. Afra d ! W y shou d be afr d Th e days of fear are gone forever for me.

- KAN Ent ri . u ou CHI . [ e ng ] Q een mother, I see y two on this road ! I am a traveller of the same path

a u s l . H n s yo r e f ave o fear of me, 0 Queen ! D we U AB SE ANA. I i ll Kin Kan hi ha S t s we , g of c , t t l in idch is is but shou d be go g together, side by s th m u w ﬁrs l i . I ca n a n t o r ght e o yo r y whe I eft my h me, e a a n wa ack o and now I me t you g in o my y b . Wh could have dreamed that thi s meeting of ours would augur so well 1

-m m KANC . But u n it is not a HI , Q ee other, eet th t

236 KING OF THE DARK CHAMBER

nAnA h n n ! He has ak n a a SUDAas . O , o o no t e w y , , — those regal robes from me forever he has attired ’ me in a servant s dress before the eyes of the whole world ; what a relief this has been to me ! I em his

- n i . da servant now, no lo ger h s queen To y I stand at the feet of all those who can claim any relation ship with him. RA FA ER Bu u n mi s ill lau h at G ND TH . t yo r e e e w g you now; how can you hear their derision 1 UDABS A A L i lau and isi n be S H N . et the r ghter der o — immortal let them throw dust at me in the streets ; this dust will to - day be the powder with which I shall l l deck myse f before meeting my ord.

aANDrA H Ea A his all in . G T . fter t , we sh say noth g Now let us play the last game of our spring festival - instead of the pollen of flowers let the south breeze blow and scatter dust of lowliness in every direc tion ! We shall go to the lord clad in the common us And s all find him c grey of the d t. we h , too, overed u F ink l with d st all over. or do you th the peop e spare him 1 Even he cannot escape from their soiled and u n ot u d sty hands, a d he does n care even to br sh ff hi m n s the dirt o s gar e t . KA O G an f a N HI . r d ther, do not forget me in thi s game of yours ! I also will have to get this royal garment of mine soiled till it is beyond all recog nition. GRA F ND ATHEB. T ill not ak l m a n r. h t w t e o g, —ybrothe Now that you have come down so far you will c an u l m u k c no im . st l at our u n —h ge yo r o or t e J oo q ee she got into a temper with herself and thought that she could spoil her matchless beauty by flinging away all her ornaments ; but this insult to her beauty has ma it s in t in n l a i n n n w de h e for h te fo d r d a ce, a d o i is it a n t in s un c i n. We a dor ed perfe t —o he r that our king is all innocent of beauty that is why he loves KING OF THE DARK CHAMBER 237

all this manifold beauty of form which shines as the

very ornament of hi s breast . And that beauty has to day taken off its veil and cloak and vanity ! What would I not give to be allowed to hear the wonderful ’ music and song that has ﬁlled my king s palace to- day l URAN AMA L S G . o, there rises the sun !

Th D rk h m [ e a C a ber. ]

A L ot i SUDAnsnAN . ord, do n g ve me back the hon or which you once did turn away from me ! I am the servant of your feet. I seek only the privilege f s in ou o erv g y . K ill ou bl m w ING. W y be a e to hear e no 1

UDABS H ANA. h s es Y i h S O , ye , y , I shall. our s g t repelled me because I had sought to ﬁnd you in the ’ m s pleasure garden, in y queen s chamber ; there even your meanest servant look s handsomer than T a l n in has l m s you. h t fever of o g g eft y eye for Y n t au i ul l — e . ou re o m d o s ver a be t f , y or y u tand beyond all comparisons ! K T ich m b ING. hat wh can be co para le with me l s hi u l ie wit n yo rse f.

SunAnsnANA. If hi a h n at is t s be o, t e th too be m l m — yond co parison. Your ove lives in e you are mi in a l and ou see u a r fl rrored th t ove, y yo r f ce e ected in r e n in of his is min it is all ou s ; oth g t e ; y r , 0 Lorfi1 K G IN . I open the doors of this dark room tod ay — am is finishe the g e d here ! Come, come with me now m u —nt h , co e o tside i o t e light! un A B S AnsnAn . b w h efore I go, let me o at t e feet of m l a k n ss m cru l m rri l m y ord of d r e , y e , y te b e, y peerless one ! AMERICAN DRAMATIC CRITICISM

S tudies in ta cr t b l n Hamil S ge af , y C ayto ton

H n H l and m an Y k 914 e ry o t Co p y, New or , 1

m a o ir Willi H s l So e ye rs ag , S am arcourt tart ed all En lan i c m lac n announc m n We g d w th the o p e t e e t, r all i w Thi m a e Soc alists no . s co prehensive pro nunciamento did not m i uni sal acc a ion eet w th ver ept t . F r n l n is o there were ma y peop e, even ma y Social ts, who denied the right of anyone else to stand sponsor i li T for the r po tics. hey preferred to speak for them — selves to pronounce their unalterable opposition to S cialism lu a n o , or to e cidate the sh des a d grada tions of Socialistic feeling or doctrine they repre ul sented . No one wo d have expressed more than mild surprise had Sir William spok en in particu in e l hi wn n in n larist mood, b ha f of s o i dividual op io . People reacted because he indulged in a sweeping n liz i n an esum s k a le ge era at o , d pr ed to pea for who

race . ’ The a anc Mr Hamil n s c n k ppear e of . to s e o d boo c all n e inl l ins h e g s our attention. Certa y we fee the v itable interest in the second book of an author whose u A ﬁrst book has achieved deserved s ccess. t the same time we instinctively wonder if that same facile n e in n aliz i n ains ic te dency to swe p g ge er at o , ag t wh h so many reacted in reading the Theory of the The tr ma o n s m a m e b a e, y n t have bee o ewh t te p red y “ n T a n ni n ﬁ tion D ama experie ce . h t co ve e t c of the r n ’ E i an and of Conversatio , from therege to Sher d n ma k l e i dis beyo d, r ed, we were to d, the p r od of the n a and et s c s and sub appeara ce of or tory s pee he , the 238

240 AMERICAN DRAMATIC CRITICISM

i nism c n m a scientific a i of utilitar a , the o te por ry h b t attributing disproportionate weight to the influence of environment in the shaping of creative and life s ha n ama ic c i icism the c l r form , s give to our dr t r t o o h lin l of theatric criticism. T e e of c eavage is suc cinctly illustrated in a signal instance : the disap l T pearance of the so iloquy. hose who hold that the s n i ll a a i su e limi drama is es e t a y cre t ve art, bj ct to a i i hin ic the ama is mus k main t t ons w t wh h dr t t t wor , I a l imes affirm a s tain, as h ve severa t ed, that it w s Ib en who in 1869 gave the death- blow to the soliloquy ; and that this decisive stroke was a natural couse n ssu alis in all m n art que ce of the pre re of re m oder , entirely irrelevant to the mechanical paraphernalia T s hi c Mr Hamil n i f a . he c l s o the the tre hoo of w h . to n in i E is n a talented represe tative ma ta ns that d o , n an n ul an n with hi s invention of the i c desce t b b, d ot

- l u he n Ibsen gave the death b ow to the soliloq y. T co sideration that Ibsen antedates Edison by a quarter of a century or less is a fact apparently without in n n in in is ussi n hear g or eve sta d g the d c o . I h a i it m c anism and t t is t e the tre, w th s e h i s prop t d ma on its c nical si in ich e ties, an the dra te h de, wh r H m n m ima il in s The M . a ilto see s pr r y to be tere ted . very titles of his books are eloquent : The Theory of tr tu i in ta cra t The a the Thea e, S d es S ge f . the tre a s re ssu l su c s and stagecr ft, the e a a red y the two bje t which are uppermost with the author in all his crit u i ar c is ic is ical work. Co pled w th this ch a ter t the n a n aliza i n ic ma k s his tende cy to bro d ge er t o , wh h r T i i i a l m am n al critical writing . h s tra t s p rt y te per e t , beyond doubt ; but at the same time it must be rec ’ a hic Mr Hamil n ognized that the m terials of w h . to s books are for the most part composed are deter ” mined by the circumstances of their original ap r r Each m n h i h keen l asu e pea ance in p int. o t , w t p e r rAMERICAN DRAMATIC CRITICISM 241

u s a in The Bookman and and gen ine intere t, we re d 1 cl Mr Hamil n am 3 a i s . t on in Vogue, for ex 1 e, rt e by o m n uil r he amiliar the drama of the o th, b t afte t f d pattern brought into fashion by Mr . Fre erick Taber m u r Cooper in his treat ent of c rrent ﬁction. Fi st

- n comes a well phrased generalizatio , neatly ex un on s m as of a or the po ded, o e ph e the the tre of drama ; this is followed by sketchy descriptive com l i m mentary upon a number of current p ays wh ch, ore r l a u a el illus a i inal en aliza o ess cc r t y, tr te the or g g er ni a s accom lis s is tion. No one in the U ted St te p he th Y r Hamil n. e task so successfully as does M . to t it ze hi k in c nsi abl must be recogni d that s boo s, o der e uc ne aliz a em n s measure made up of s h ge r ed st t e t , ir uali i s exhibit the defects of the q t e . H mil The critical work of Mr. a ton is a signiﬁcant illustration of the tendency of modern criticism of h a f l s ama i the drama. T e d y o the c o et dr s forever l n a a are u d ima il acc rd past. P ays ow d ys j dge pr r y o ing to one unalterable criterion : successful stage i h production. This stra n of appreciation of t e top icall su ssful of cia i n of the t icall un y cce , depre t o op y u s ul in a is l a in m i of s cce sf , the the tre, the e d g ot ve ’ s Al n i h h n n Mr H mil n i ici m. is te c . a to s cr t o g w t t de y goes the cognate tendency of ignoring all drama hi o n w ch he himself has n t see produced. Nor is it n l i h possible to evade the co c us on t at Mr . Hamilton is more interested in the drama as material for the theatre than in the drama as the creative manifesta m T tion of the hu an spirit. In the chapter on he s Function of Dramatic Critici m, he makes an elo u n l a for rama ic cri iciam of the ﬁrst ank q e t p e d —t t r , in the United States catholic in taste, sympathetic in u A e m im we n ns c i s i i . th sa to e, co tr t ve in p r t t e t e, ll l c n n ial n observe that the inte ectua o te t, the soc tre d, the philosophical bias of contemporary dramatic art 242 AMERICAN DRAMATIC CRITICISM

Th largely escapes his own consideration. e critic, he “ ” in n l s s mus be co nizan li pert e t y ob erve , t g t of fe , nd c i ical k S a A c Walk a the r t wor of h w, of r her, of l ic cc isc imina in ais ey, to wh h he a ords d r t g pr e, achieved eminence by very reason of that parallel life- interpretation which we are accustomed to term r aniz kn l I is cis l r o g ed ow edge. t pre e y in this espect ’ r H amil n c i icism is i all eﬁ that M . to s r t most s gn y d n e r inal s l ar in l cie t. Th three ca d te ts of a p ay e te l al and m i nal c n n li a m and ectu e ot o o te t, ter ry for , Th im li s technic. e deeper p cation of the movement in ur im il s hi c l si n of ideas o t e, the ph o op a ba s of co m a ama ic art c ns icu usl n te por ry dr t , o p o y represe ta

i hinkin - da — s Mr H mi t ve of the t g of to y for the e . a l l h r ton displays but s ig t concern. No does he lay ss in us i n u n li r stre , j t proport o , po the te ary form and color of the drama ; the esthetic of the drama li a i ﬁ l hi es, for the most p rt, outs de of the e d of s

s a i n. It is c ni s a a h k s ob erv t o te h c, t gecr ft, whic evo e his highest praise and wins hi s most sustained n ne in Am ican m i otice . O th g the er dra at st needs is contact with constructive criticism which empha siz s im n aul l ni im e the porta ce of f t ess tech c, of pec ca l a man hi Yet is ne in hic b e cr fts s p. there o th g w h the American dramatist needs still more : it is that larger constructive criticism whi ch emphasizes the necessity for thought in the creation of the drama

- d Th ﬁ a . e la k i a de ienc in i l of to y c of de s, the c y nte l u l n n i n m — ect a co te t, n the America dra a these have proved to be far more effective in retarding the progress of the American drama than inexpertness in s a r kn in ni The n t gec aft, wea ess tech c. preg ant sa n f i r n his yi g o Shaw, w th efere ce to S aturday R w r ma i i icis ull lu i a n i evie d a t c cr t m, f y e c d tes the e t re position : My real aim is to widen the horizon of the cri i es e iall f the rama ic c i ic ho t c, p c y o d t r t , w se

244 AMERICAN DRAMATIC CRITICISM

- a One Act Play in America, with its plea for theat rical policy that shall call our latent talent into i ll h active exercise Espec a y suggestive too, is t e , cha on O anizi an Au i nc i artic pter rg ng d e e, w th p ular reference to the pi oneer experimental eﬁ orts m thi s direction now being instituted under expert u D ama L a u s pervision by the r e g e of America. A work entirely made up of such essays as those men tioned by title would have a value far beyond that ’ s n l . Mr Hamil n k of the pre e t vo ume . to s best wor i so ﬁne a ur so ula in ns s of text e, pop r the proper se e m of the ter , that we have the right to hope that his n u lis k ma n i l no fr m n ext p b hed boo y be e t re y, t ag e r l k ta i y, representative of that best wor . THE SPANISH STAGE

HE Renaissance epoch of the Spanish stage commences about the middle of n n h e u the inetee t c nt ry, after a long period more than twenty years)during which it was almost completely given over to the invasion of French Roman m I i R ma i ti is . n n i c th s o t c per od, pre R a s h ev cursor of the en i sance epoc referred to , s eral authors had appeared who achieved consid erable fame with dramatic work s of extraordinary s u i u i z E succes , s ch as Garc a G t erre , author of l Tr d r a au rl ova o ; Gil y Zar te, thor of Ca os II cl H chizad a l II Be e o ( Ch r es , the witched), and José illa aut D n an n rio fir Zorr , hor of o Ju Te o . Ou the st ni El Trovador succ ss hi c was in ght of , the e of w h tan neo and immens cu l h s ta us e, oc rred positive y t e first known case of an author being called for by the public and applauded at the end of the representa Th s ar h tion. e repre entations of C los II el Hec izado gave rise in almost all the theatres throughout the Peninsula to noisy popular manifestations against m nk s In man i ies am n e a a the o . y c t , o gst th m S rr ssa li a u ll had in go , the po ce ct a y to terfere to pre n u li inc ns ains ve t the p b c, e ed ag t a certain monk — one of the principal personages of the work from mounting the stage and wreaking summary venge l i r ance upon the actor who p ayed the part . W th e s c Don Juan Ter rio imm al uc i n pe t to m , the ort prod t o illa im has l s it of José Zor , t e proved power e s to dim s i a s i ss fame, for in sp te of the ye r wh ch have pa ed sin first saw h li it i ill r s n e ce it t e ght, s st epre e t d 246 TE E SPANISH STAGE yearly in almost all the theatres in Spain during the m he ti first few days of Nove ber. T mo f of this drama l i in l b si ein bas u n is hard y or g a , for e des b g ed po an i ha en ea l a d m old legend, t s be rep ted y tre ted ra at ically by bygone authors but the elegance of the language and the brilliance of the poetic lines put into the mouths of the different personages are quali ties which seem to endow this popular drama with n u eter al yo th . To the names of the three famous dramatists of the Romantic period must be added that of another ll nis M e n H r exce ent Spa h author, anu l Breto de los e er ss s a i i m o al r os, who po e sed the dd t onal erit of n t lowing himself to be carried away by the prevailing impetuous current of Romanticism proceeding from c w l nis ul i a in F n . i ar a ra e H s t s pure y Spa h, c t v t g as did um us ks i h a succ ss hi s in he h oro wor w t gre t e , pr cipal comedies being El P elo de la Dehesa ( Rustic Mar l u l lo Tr Ma c la or ity), ce o; o, C a de s es ( r e ; ,

W. ic T Mu r V r Di and h h of the hree), e e y e as ( e ’ 11 r n l i ﬁ es Y u ee . n ini a n t o S ) I ou op o , the st s the of u i u n d lo H r his numero s comed es. Man el Breto e s e r u l i l h re os, al tho gh a most always orig na 1n is work, possesses as an author a certain likeness to the F n L re ch comedy writer, abiche. T he Renaissance period in the Spani sh theatre, i l i di mm wh ch, as has been previous y n cated, co enced u mi l nin n c n u was in abo t the dd e of the etee th e t ry, pr ci ll du new u pa y e to a a thor, who, by uniting a sobri ety in good modern taste and correctness of appre ciation of social customs and contemporary problems to the purity of diction of the class1e authors Cal n L e V a R l rcon d Ti so dero , 0 de eg , ojas, a an r — p ﬂ , de Molma gave the Spanish stage a real new lease Th un u h u i n m n li . e a in c o fe yo g t or q est o , who a e r m to Madrid from Ext e adura, was Adelardo Lopez

248 THE SPANISH S TAGE

Consuelo is superior to El Tanto P or Ciento; it is m an ss s more artistic, ore perfect, d po es es greater ’ na u al uc au s u i depth, the t r prod t of the thor mat r ty, whilst El Tan to Por Ciento was the work of a com v parati e youth. Another author who largely contributed to the Renaissance of our theatre was Garcia Gutierrez the au r of El Tr vador— r an abs nc tho o who, afte e e a s in Am i a a ain k u hi en i h sh of ye r er c , g too p s p w t fre n m l A l l ad k n vigor a d ett e . comp ete evo ution h ta e la i him m old R m n i influ p ce n , for, freed fro the o a t c nc a a alm a ew au i h hi e e, he re ppe red ost as n thor, w t s s d m a l m n ta te an art ad ir b y refined and oder ized . The success of his historic drama Venganza Cata na ( Catalonian Vengeance) was hardly less than in E T t P i t In Ven n t obta ed by l an o or C en o. ga za Cat lona Gu i z s a l i us e i i n of fi , t erre t ged the g or o xped t o he C taloneans and A a n s he O i n ca t a r go e e to t r e t, p n u an R tained by Bere g er d oger de Flor. Ou our ’ public s witnessing that heroic adventure placed in n acc m ni i f h sce e, o pa ed by a theatr cal interest o t e fir s lass i ll m s m i s i n t c , w th rea y a terly dra at c ituat o s, the fortunate author was made the object of a contin u us a si lau in Ma i Ba cel n o potheo s of app se dr d, r o a,

and Sarragossa, a meritorious tribute of apprecia i n i h las e l ea s u in i t o wh c ted n ar y two y r , d r g wh ch Venganza Catalana pursued a victorious progress u h all e P nin ula thro g the theatr s in the e s . The success attending another work by the same n Lorenz al u a s l ss s n author, Jua o, tho gh perh p e po w n l T is w u as rilli . nu taneo s, everthe ess b ant h as hi i al k a h other stor c wor , drama consecrated to t e n ula li i s in ic Ga ia Gutier defe se of pop r bert e , wh h rc rez depicted the rancorous strife of the Germanias in

al ncia. V. e n u z th Next to Lopez de Ayala a d Garcia G tierre , e TE E SPANISE STAGE 249

The principal dramatic production of iamayo y Baus and a ic un u l ac i e , th t wh h do bted y h ev d greater ucc s an his a ical k s e s th other the tr wor s, was Un Dr m v A ew D am a a Nue o ( N r a), where the author thrills the spectator with horror by cleverly fsign ing the actual death of one of the actors who had to simula s ssina i n Th te a sa t o by a sword thrust. e epcots s i in i s a um un d li in m tor r se the r e ts d bfo de , be ev g the l se ves in the presence of a corpse. Only when they c niz a a aire was not all m l nd re og e th t the ﬁ re y orta , a that the representation for that reason has not suf t n fe ed interruptio , being only the natural denoue m n ama m e t of the dr , do they beco e aware of the original nature of the work and break out in ap min u n s la e l i a i u i sm. An p us , acc a g the thor w th e th a other huge success of Zamayo y Baus was La Bola de Niauc (The Snowball) a model of ingenious com

ct al and of ca i a in in s . edy, perfe , he thy, pt v t g tere t k h This author wrote several wor s for the t eatre, but his an had he i en n the two cited are best, d wr tt o ul s ill h fi ure in first others, he wo d t be wort y to g the line amongst the most famous Spanish authors of n the past ce tury. Luis de Eguilaz established his claims to author ship with a magnificent comedy of manners and cus

V rd m r B T u h . toms, entitled e ades A a gas ( itter r t s) s i l r He is a keen, ob ervant crit c of the ife of ou petite b r i Wi u ss ssin l in i it ou geois e. tho t po e g the e evat g sp r f L z d A ala a s r alism as n a l o ope e y , he appro che e e r y

l kin m e -da amil as possib e, see g e otion in the very y f y life and incidents which many would judge of little E his h ne f the import. Luis de guilaz was in epoc o o h u w l authors who drew t e largest a diences. He as a so 250 TE E SPANISH STAGE

the avo i e au t at inc m a able artis f r t thor of h o p r t, h R m h h d Ju an o ea, t e greatest the most fini s e the , , exible n l most fl , a d probab y the most genial of the E ’ m actors Spain has produced . In guilaz co edy L os oldad de P m L a l i c S os lo o ( e d So d ers), produ ed by ulian R m T a del P i n J o ea in the e tro rinc pe, a d one of the biggest theatrical successes of which record ex ists ha n ul ac une ual e n b , t t wo derf tor, q ed ve yet y an e nis is s was n hi y oth r Spa h art t , to be see at s best, at the height of an art which must be considere d i prod gious. Another of the principal and perhaps more last in ucc ss s E uilaz w s a u i l g s e e of g a m s ca comedy, enti ' tled El Molinero de ubiza The Mill f u iza S ( er o S b ), i usic h m udrid l w th m by t e co poser O . Egui az was inclined to be careless and even slightly vulgar in u a m ut main his k n l the o tw rd for , b in the , ow edge of au i nc s w uc an his ca aci i d e e as s h, d p ty to go d rect to ea of s c a so a at wa the h rt the pe t tor gre t, th he s mi k n H ra l if e s a . e ss ss d as no one re y, ver, t e po e e , l d a i s a c a r c e se di , the gre t g ft of t ge r ft, the theat i al n s s k T u i cam a u se se, o to pea . h s t e bo t that actors and m na lam his k s h c a gers c ored for wor , w i h, al u an su erficial u tho gh incorrect d p , were undo btedly o i inal and m v of an in s at n al r g , , oreo er, tere t o ce p itatin n um p g a d h an. Na cis a w a mili a man c i l al r o Serr as t ry , r pp ed , h f al ic lm inuall i n par yt , and a ost cont y bedr dden, who co trived to obtain distraction amidst such sad sur un in i in k s a c mi c He ro d gs by wr t g wor of o c chara ter . ss sse a in the unanim us u m n po e d, ccord g to o j dg e t of ‘ anis c ics diflicult acili f B n l s Sp h rit , the f ty o reto de o ” Herreros for amusing the public with his situa ti ns im ul s a klin wit and i k s hic o , br f of p r g w th jo e w h ’ il k c a t The never fa ed to provo e the spe t tor s hilari y. br he s Al a z uin - da his na ural suc ot r v re Q tero, to y t

252 THE SPANISE STAGE

i n i n d ince the court with theatr cal represe tat o s. An s it was in the theatre of this Royal Palace of Zarzuela that scenic work of this class was first produced in “ in new nus was s l a a zu la s c Spa , the ge ty ed Z r e pe l n n a c i im l name tac e, a d he ceforw rd re e ved the s p e z l of Zar ue a. n u About the middle of the nineteenth ce t ry, a the in M i eciall i the atre was built adr d, esp y ded cated to zu l s n i a — c n l production of Zar e a . I th s the tre re e t y destroyed by fire but reconstructed and reopened thi s — ‘ ’ year to which the name of Teatro de la Zarzuela w s i n man k s is kin anis a g ve , y wor of th d, by Sp h d m s u k authors an co poser , were prod ced, wor s whi ch obtained in many cases brilliant successes and hi imm n ul i Am n s ac eved e se pop ar ty. o g t the most n a l a zu las and a ic ain m s ot b e of Z r e , th t wh h obt ed o t fame and material profit to its authors and com s s s ul nam Marina in ac he po er , ho d be ed , two ts, t l i am n and musi A T yr cs by C prodo the c by rrieta. he work of the composer is infinitely the superior of h i t e two . S o great was the tr umph achieved by A i i k rrieta n th s wor , that it was afterwards con

in a - act a n n verted to three oper , a d was tra sferred to Ma i a H us T a R al h the dr d Oper o e ( e tro e ), where t e leading part was admirably rendered by the cele a n Tamberlick ami clam b ter te or , dst the orous ap

lause u lic. The a zu la in a s P p of the p b Z r e three ct , an Toros k s i y , the boo by Jo é P con and music by the S ani s c m s Ba i i was an b p h o po er rb er , other of the ig s succ ss s c in is a and B r ge t e e re orded th the tre, a i i had l a n b er , who a re dy bee heard and applauded in a i us k a simila kin n i l prev o wor of r d, e t t ed Jugar con Fue o Pla in i Fi g ( y g w th re), was proclaimed one of ur ﬁnest c m s ﬁnes o o po ers, the t, perhaps, with the i n A i A n w except o of rr eta. e Zarzuela which attained ' to e a ina succ s El B rb rill d L xtr ord ry e s, a e o e avapies TE E SPANISE S TAGE 253

Th Li l Ba La i s i music ( e tt e rber of vap e ), w th by the s m m s a him an ium h a l a e co po er, g ve other tr p h rd y in i a ac i Pan Tor The music fer or to th t h eved by y os. of several of these scores is still to be heard through u n e h A i a nd B i o t Spain, a d the poc of rr et a arb eri must be considered as the golden age of our national z l A r m s lin re Zar ue a. t the ve y mo ent the e es a being nn M rina i in s n at A l The pe ed, a s be g pre e ted the po o

a one l a in Ma i la us s. tre, of the e d g dr d p yho e T i i m m c in dr h s renovat on move ent, as u h the a matic and comedy theatres as in tho se where Zar zu l lu i u i n n n i e a was the exc s ve prod ct o , bega a ot ce l 86 e n a ab e decline in the year 1 7 . Ou the on ha d, i li ical is u anc s one ic in 1866 ser es of po t d t rb e , of wh h, , converted the streets of Madrid into a shambles ’ l m l si ( after a day s b oody co bat, no ess than xty sergeants were shot outside of the wall s of the M i El R i e an mak l sh adr d Park, et ro), b g to e peop e y Th of venturing forth at night to visit the theatres. e n al s a alarm s ciall at ni was such ge er t te of , e pe y ght, that the mere closing of a door or the shutting up of a place of business was sufficient to make people apprehensive that a fresh scene of violence was about M lu l u t ms l s in to be enacted . any abso te y sh t he e ve ni c n u l had doors at ght, and o seq ent y the theatres n in si n a ns. t a a s a few p tro Ou the o her h d, fre h v o had fallen upon our stage in the form of the comic a a fi enb in Pa in asi n oper cre ted by O ach ris, an v o i lik is c F n had Ro wh ch ew e pro eeded from ra ce, as m ici T l li ant sm. hose who in moments of re ative po t ical calm decided to rally forth and visit a theatre went with the intention of seeing the novelty of that da s f l m us ancin a ua ill y, the god o O y p d g q dr e to the hasty compass of the music composed by Ofi enbach Or hé ux En r fi b h had m l l for p e a fe s. O en ac co p ete y replaced the Spanish composers in the Teatro de la 254 THE SPANISH STAGE

e a ni s of new Zarzuela. Th prot go ts the school were in a in T a V i d notlong in v d g the e tro de ar e ades, where R m n w u the great Julian o ea, o in the ult ria period l u is i ca had of his g orio s art t c reer, been appearing z i nightly to two or three do ens of fa thful admirers. Arderius and his farcical comedians soon laid siege T el i ac i in n i to the eatro d C rco , h ev g yet a other tr umph with La Gran Duquesa de Gerolstein and Genoveva B r t n n Arderius ass r de aban e, a d o p ing to the latte c mi m an theatre, a light o c opera co p y was installed T l ed h L in the eatro de Vari ades, wit Valles and eijon

l a in a ac i ns. T s la i he as the e d g ttr t o he e tter, w th t object of competing with the representatives of the i i i i n n new invas on, d vided the r so ree e tertainme ts n c i n r i to se t ons or acts, each independe t of the othe , reducing the price per seat to ﬁf ty centimes of a s i i m nn th peseta for each ect on. In th s a er e modern “ ” l a ne ic as it is ne all ight Oper , or ge ro ch o, ge r y st l was c ea and in the e a y ed here, r ted, v ry the tre which had been witness of the apotheosis of the

- - - l m never to be forgotten Ju ian Ro ea, probably the c h best a tor Spain has ad. As the company managed by Valles and Leijon was and i i a i l ec good, the pr ce of the r w res h gh y o nomical Va i a s T a was nl one , the r ed de he tre the o y which was able to resist the competition of the “ ” ﬁ c l no m l l in ssi n opera bou e s hoo , w co p ete y posse o

f Ci c a zu la and Ci c Ri as. o the r o , the Z r e , the r o de v At Va i a s T a a u is im s al the r ed de he tre, bo t th t e, ever highly diverting one- act farces by Ricardo de la uc m n s em D eta e al Vega were prod ed, a o g t th e G f ' Paraiso Ln B da del Tio M r ma success , 0 o a o , the of which was so great that the work appeared upon the

- l su ssi The is nc play bil for two cce ve years. ex te e of the remaining declamation theatres became every m ca i us and cla sical T a Es a day ore pre r o , the s e tro p

256 THE SPANISE STAGE

u li fillin E fi l Bu back the p b c and g the Teatro spa o . t to hi s friends he is reported to have said at that im i hi c a ac is ic smil T is is a l t e, w th s h r ter t e, h h rd y ufii i n m in us aim s c e t; so eth g better m t be ed at. Some hin s n mus m l and where owder t g tro ger t be e p oyed, p ” n m t ll i useless the aid o d a i e must be ca ed in. s , f y I a i a a s i aliciz Ec a a n the phr se wh ch ppe r t ed, heg r y himself confessed the nature of the procedure which he afterwards employed for wi nning everybody back c d n to the theatre at any ost, an whe the word every ’ is m l it us mem a body e p oyed, m t be re bered th t ’ Echegaray s public was drawn from all classes of i n l i an m n nd society. H gh a d ow, r ch d poor, e a m k a lau h c ed a im. wo en, all flo to the the tre to pp d H u was e rm is s ccess in Spain , if we may us the te , s A uc i n L E s d l univer al. fter the prod t o of a spo a e r E P n l E d n Vengado , came n cl u o de a spa a, prese ted An ni Vi o—ami an by a great actor, to o c dst incess t applause at the Apolo Theatreb followed with other k ac ne n an c in — ks wor s, e h o stro ger th the pre ed g wor ic si s causin n usiasm am n s an e wh h, be de g e th o g t ver in asin u lic ci li l iscussi n am n s cre g p b , ex ted ve y d o o g t ’ c E s ium c n the ritics. chegaray tr ph a quired e or u l s i n nd dis u i n be mo s, co o sal proport o s, a the c ss o tween critics reached a reat height and almost g — degenerated into a personal question since some condemned the procedure by which the author pro duced his efi ects ils s a lau his a in , wh t other pp ded h v g endowed the Spanish stage with a new long lease of T i h c i h life . his coinc ded with t e produ t on at t e T a E an l Loc r ntid d a i e tro sp o of O u a 6 S a a , a tr g c l k m s s an i i a s . dra a of the ta te, ty e, d sp r t of Sh e peare Thi s n was a Ech a a an and a , the , wh t eg r y w ted, wh t he referred to when he had emphasized the necessity l h of employing dynamite. After a veritab e apot eo sis with which an enthusiastic public rewarded his THE SPANISE S TAGE 257

ﬁ u ss au was a m ni e orts, the s cce ful thor cco pa ed through the streets of Madrid by a huge procession i ca in li e c s m ns of adm rers, rry g ght d tor he , the de o tra tion only terminating at an advanced hour of the n ’ h u morning in fro t of the author s house . T e prod c i n mo Em i z omo Ac b L M t o s of Co p e a y C a a, a uerte n lo Labios and El Gran Galeoto c a e s , were h racter ized by spontaneous demonstration of a similar char

acter . In El ra Gale to Ec a a ac i n G n o , heg r y h eved the crow ing triumph of a long and glorious career of dra m i au s i The es i i c at c thor h p . repr entat on of the p e e w n inu l f a i n i un u l as a co t a round o ov t o . It s do bted y i las k At im i i and n h s t wor . the t e of wr ting t, ow during many years in the enjoyment of a success so thorough that the public literally stormed the the re hi k s uc Ec at s where s wor were prod ed, hegaray was no longer preoccupied with the question of at ac in l a and us his El Gran tr t g peop e to the the tre, th — Galeoto was written with one idea only that of artistic beauty ; one of the most successful and beau tiful work s of modern Spani sh theatrical literature s was the re ult. In 1904 he was awarded the Nobel prize (jointly i Mis al and on i n h Ma w th tr ), the e ghtee t of rch of the same year a solemn oﬂicial homage was paid him in ani s na Kin Al nso the Sp h Se te, where g fo , who pre si a a isc u s ull of ais o r o a i ns ded, re d d o r e f pr e, the r t o being pronounced by the Prime Minister and the Mini i n i Th ll Swedish ster Plen pote t ary. e fo owing ’ d as an 8 E ar s am d ay, the fe t of S J0 6 ( cheg ay n e ay), a popular manifestation was held in his honor with la i l in T e El Gran a ga fest va the eatro Real, wher G l n E i a eoto was represe ted . chegaray s now eighty

three years of age. F ll in c nis aut of m s o ow g E hegaray, the Spa h hors o t 258 THE SPANISH S TAGE

ame are B ni o P z Gald a in v f e t ere os, J c to Bena ente, Al and the b s a ez uin . Th r rother v r Q tero e theat e, r ns itu s nl a as f ald s l howeve , co t te o y ph e o G o iterary in u career, s ce he has devoted m ch more time and work tothe writing of novels and to his celebrated ll cti n i na E iso s c r co e o of Nat o l p de . In his sceni wo k s

La de an uintin and L Loc d la. w ich S Q a a e Casa, h are hi s m di s Galdos s s be t co e e , propo es the creation of the new and future Spani sh society by the forma tion of a mixture between the impoverished and ruined aristocracy and those who become enriched by work in its most rude form and who naturally lack i r l E ll n ar stoc atic ustre . l Abuelo is also an exce e t m co a ldo hak s a ian ins i a i n. edy by G s, of S e pe r p r t o But the work which has obtained the greatest success is un u l Electr uc i n ich i do bted y a, the prod t o of wh s memorable because the liberal elements utilized the occasi n to c n a isin a ains cl ical reac o o greg te, r g g t er i n and m s ciall a ain onv ti li m t o ore e pe y g st c en ona s , since the author in this work found inspiration in a judicial process regarding alleged undue inﬂuence exercised upon a young lady well known in Madrid s cie i c li in m ac o ty, w th the obje t of ob g g her to e br e a r li i us lif ial f ic wa e e g o e, the tr o wh h s a theme of g n e al i u i Th esen a i r d sc ss on here at the time . e repr t t on of Electra and the manifestations during its produc ’ i n c inci in i Galdos ium cei a t o , o d g w th tr ph, re ved n immediate echo throughout Spain and exercised a o ul inﬂuence in li ical n p werf po t eve ts. Jacinto Benavente underwent a solid preparation before eventually launching out as a dramatic u nl i u n ci n i l a thor. Not o y d d he st dy co s e t ous y the ei n s a ea s u in ac ui in for g t ge for y r , p to the po t of q r g kn l li it ic has a l been a ow edge, the so d y of wh h prob b y ll no n in ain u n cam an exce ed by o e Sp , b t he eve be e actor and lived perpetually amidst theatrical sur

260 TE E SPANISE S TAGE the fact that they have succeeded in transplanting in m the l l n n m the ight, co or, a d ge eral at osphere of Andalusia has contributed in no small measure to i ul T r the r pop arity. he brothers a e of Andalusian i n in n or gi , a region of Spa which e joys the sympa t i all ania s and nam l n h es of Sp rd , whose e a o e, Anda usi s m fill i n l a, ee s to w th co tent all who hear it pro c m oun d. T ar not nl u n e hey e o y h orous authors, since a i n k i i u a n they h ve wr tte wor s wh ch, w tho t ba doning n i l s i mus ss in i e t re y the fe t ve e, po ess the r ensemble s i u an n im n nd Am a er o s idea d a se t e tal e . ongst the inci al achi m n s mus i L G l t pr p eve e t t be c ted os a eo es, Las Flores La Z a ala El Genio Ale re and M lv , g , g , a a l ca all h a nd n o , of t em of gre t beauty a of a attraction c Th c is ic n whi h seduces the spectator. e chara ter t ote of the brothers Al varez Quintero is that of always s n in anis li in its difi eren s s T i pre e t g Sp h fe tpha e . he r k s ss ss a ma k na i nal c a ac wor po e , therefore, r ed t o h r ter which explains the unprecedented success whi ch hi In a a it their comedies have ac eved . the gre t m jor y of the theatres throughout Spain the work s of these u r n n ilin a thors a e daily represe ted, ever fa g to pro k m n c s The vo e singular mirth a o gst the spe tator . m s i e in are e a s El Nido P e ita Re es o t d v rt g , p rh p , , p y , L M L L Bu n mbr L Mala ombra a usa oca, a e a S o a, a S , d L P tr h an a a ia C eca . Guimeré and Felin y Codina are two eminent dra matic authors who have achieved successes of the ni m a al first order on the Spa sh stage, the for er re i rr B the sensation with his superb drama T e a aja, ur c B as ha favorite work of o great a tor orr , who s interpreted it throughout Spain and Spanish Amer ec n u hi a a ica for years. The s o d a thor ac eved gre t success with another drama of which audiences are and ic un l fi ects m n i very fond wh h profo d y a the , e t D l r T rr B and L Dol res ha e tled La o o es. ie a aja a o v TE E SPANISH S TAGE 261

crossed our European frontier and have been con ’ uim ra h verted into opera. G e s work as been heard in Paris and has been presented in English as Mar th the Lowlands a Felin ina i a of ; th t of y Cod , w th music i n our am us c m s T mé Br wr tte by f o o po er, o s e n i c Na i nal Aca m Mu i to , d re tor of the t o de y of s c in i ein un in our w a R l Madr d, after b g s g o n Te tro ea and m s im an l ic a in ain h in the o t port t yr the tres Sp , as n l n a in I al and u rece t y bee he rd t y other co ntries. m n ﬁ F l Another ag i cent work by e in y Codina, a ama n i l Mari el armen hi c wa dr e t t ed a d C , w h s pro u ed Ma ia Gu in T a E aﬁ l d c by r errero the e tro sp o , l ur T enjoys also large y the favor of o public. his impressive work of Murcian manners and customs has also been done into opera and was produced in

Paris with great success. The two last named authors oﬁ er a curious con F d n n w w al ni trast. elin y Co i a, o dead, as a Cat o an, but wrote and produced his work s in the language of meré aut Tierr B a an Cas ill . ui a d t e G , the hor of a j L Reina J ven uc i n ic u in a o , the prod t o of wh h d r g the last Madrid season constituted the greatest success E ﬁ l l a i nd u in the Teatro spa o , a w ys wr tes a prod ces k l nia di l in his wor s in the Cata o n a ect, spite of the f c - I s n i a t that he is a Canary la der by or gin. In order to represent his work s in Madrid these had to be n l ni tra s ated into pure Spa sh. Ma uina an un u l rq , other yo g a thor a ready cele brated his c ns an ucc ss s mus for o t t s e e , t be regarded as S anis R s an and i s all his the p h o t d, wr te dramas T i r i in verse. he r fo m s always superior to the n an m l m thought. Cade ce d rhy e p ay a ore important a in his k an a um n and it mus ad p rt wor th rg e t, t be mitted that the technical part of his work is some Af all i a ak . n i wh t we ter , w th very few exceptio s, th s failing is noticeable in all the work s written by poets 62 THE SPANISE S TAGE

M i n for the stage. arqu na comme ced hi s brilliant e i a ama en i l L H care r w th dr t t ed as ijas del Cid, whi ch Ma ia Gu uc at T a E aﬁ l n r errero prod ed the e tro sp o , a d l ’ which obtained mere y a Succes d estine. Soon he i ium hi m n l d ach eved greater tr phs, s ost otab e ra matic eﬁ orts being Eu Flandes S e Ha Puesto cl S ol

d F r los Pecado del Re ll a lau e . an o s y, both we pp d d In the ﬁrst of these work s the audience sees the loss i m n h of Flandes to the Span sh ar s, a d in t e second l witnesses the separation of Portuga . Marquina also n ll m wrote and produced a exce ent dra a, but without i in n i l uand Fl r z o histor c terest, e t t ed C o o e can l s Rosa i k ic was u les. In th s wor , wh h prod ced by Maria Guerrero during the last season at the Teatro de la in c u n Pr cess , o c rred the co trary to what we have been accustomed to expect from this author in his i u s ical amas h prev o s hi tor dr , in that t e theme of the ama it n al i a and a um n dr , s ge er de rg e t, were very superior to the form ; and the work received applause for that reason rather than for any inherent beauty in the prose . As ill s n ama i r in w be ee , therefore, dr t c a t in Spa can hardly be considered as decadent ; on the con trar it has e n main ain on am i l y, b e t ed the s e h gh evel established by Echegaray during the second stage of the Renaissance of the Spani sh stage inaugurated in

18 4- 5 7 7 . During the long crisis from which our theatre suf “ fered in consequence of the invasion of opera ' bouﬁ e and the frequent disturbances during the Revolution which eventually overthrew the throne of I sa l II a ma i Ma be , the gre t jor ty of the drid theatres, c m a zu la ll he whether devoted to o edy or Z r e , fo owed t m l e Va i a s - a exa p e s t by r ed de , that is to s y of divid , ing their evening entertainment into sections or inde n s n h pe dent acts. In the e sectio s t e price of a stall

THE TOY THEATRE OF BOSTON

HE To T B s n w y heatre of o ton, o bring in a cl s its i succ ss ul s as n g to o e th rd e f e o , is a tiny playhouse seating only one

e - e n hundred and tw nty s ven perso s. Until three years ago the place was a l i l l a i n a e stab e. A few s mp e a ter t o s h v changed the stable into a most attract iv li l a A aise s a a ne end ith e tt e the tre . r d t ge t o w the necessary space overhead for the borders and

- w ll Th main f he ﬂy gallery as insta ed . e re der o t space was used for the auditorium ; the walls were in a li a and a ink l cu ain was t ted so d gr y, p ve vet rt l e h p ac d at t e proscenium. The To T a i is en Mr L an y he tre owes ts ex t ce to s. ym W itman al c n i i a n h G e, who o ce ved the de for the orga ization and gathered the work ers and who has n n in i headed the e tire ve ture s ce ts inception. In seas ns ac c nsis in nl the three short o , e h o t g of o y ei iﬁ erent ills To has i n m an ght d b , the y g ve ore th

- ﬁve la s ﬁrs uc i n k forty p y , t prod t o s of the wor of na i Am i an au la s i n dra t ve er c thors, p y of fore g ma is n e n in is c un and t te ever b fore see th o try, the c n c En lis m n f re e t pie es of the modern g h e . O these — ’ some of the most important have been Shaw s P ress Cuttin s H ow H e Lied to H er Husband The g , , Dark Lady of the S onnets and Getting Married; ’ l mm K . Arno d Bennett s Cupid and Co onsense; G . ’ ’ Chesterton s Magic; Josephine Preston Peabody s ’ Win s Pe c MacK a e m Av ra e and huck g , r y y s S a e g C ’ ’ Cale Young Rice s A Night in Avignon; Sudermann s ’ Das Gluck im Winkel and F ritzchen; Schnitzler s ’ The Literary S ense; George Middleton s In His ’ House and Madonna; Strindberg s Pariah and The 264 TOY THEATRE OF BOSTON 265

’ tron er Guimeré Mari Rosa S g , s a , which has since ’ gone to the professional stage ; Tchekoﬁ s The Swan ’ on and Giacosa A Ri ht o an t r S g s g f S c ua y. The entire work of the theatre has been carried on by amateurs. Between sixty and seventy actors have k n in ta e part the plays each year . Some of these have appeared as often as four times in one season but more than half of them were seen only once dur i m s P l ing the e ght perfor ance . robab y in no other city coul d be found such a supply of experienced and m n am u c Th co pete t ate r a tors. e supply has come m as man as l n ama u ama i s ci fro y e eve te r dr t c o eties, some of which have been in existence for two genera

i ns in and a u B s n. The rama ic sc l t o bo t o to d t hoo s, i B s n ha s ls of wh ch o to s everal, have a o provided a num un as i an s a n m ber of yo g p r t , e ger for eve a s all l part on the Toy stage . Not ess than eighteen pro fessional a a a at T T a i i s h ve ppe red the oy he tre, g v ng i all their serv ces like the rest . r n While the services a e give freely by the actors, the work is carried on in a most serious manner. A person found incompetent or unﬁtted for a part dur ing the rehearsals of a piece is immedi ately dropped n h n n u from the cast . Compete cy as bee the o e ccea a c n d n nsi a i n al s ry rede tial, an o other co der t o , soci r i s n in e or othe w e, has bee allowed to weigh th least f in s n or or aga st a pos ible ca didate . This serious ness of purpose on the part of the producers at the Toy Theatre has speedily developed a conscientious nd ai h uln s on a a rs hi ness a f t f e s the p rt of the cto , w ch has had much to do with the success of this dramatic in m a s s has a er venture. Only the ost r re ca e p l s n ss l k unctuali or former shown care e s e , ac of p ty, l ai And in s ins anc s any unmanageab e tr t . the e few t e , his name has been immediately removed from the l list of available materia . 266 TOY THEATRE OF BOSTON

ll u am The plays are not a prod ced by the s e person. Thi s plan at once makes for variety in the perform i in in a iff n m ances. It s terest g to w tch the d ere t eth ods employed and the results obtained in the finished h l r product. T e majority of the p ays a e prepared in a i s l u on ccasi n an u si ro the the tre t e f, tho gh o o o t de p hi n i u i n T duoer imports s e t re prod ct o for the oy. Such a case is the recent visit of two actors from the Li tl T C m an u Chicago t e heatre o p y, who bro ght to ’ Boston a dramatic version of Oscar Wilde s The rin hi a a Happy P ce w ch they h d done in Chic go. While no member of an existing dramatic club has e n ofliciall nn c e wi To T a se b e y co e t d th the y he tre, the organizations have been of immense aid in other a s an in su l c T a i w y th pp ying a tors. hey h ve prov ded enthusiastic subscribers who were already trained to appreciate something better than second- hand pro fessional la s n a a u and n th p y , wor thre db re p dow e land and then produced by a club in as close imita n i inal ssi n c i s l tio of the or g profe o al ast as s pos ib e . Thus the audience is eager to welcome the atmos phere which is created by the union of out- of- the ordinary plays with unusual settings and acti ng per fectly adapted to the intimateness of the tiny audi um Th fi ec h en m s i tori . e total e t as be o t refresh ng to the jaded theatregoer and to the person who has been depressed by the ordinary amateur produc i ns The acc m lis m n To has n t o . o p h e t of the y bee uni u in a it has m s a u q e th t , for the o t p rt, bro ght for ward plays which otherwise would not have been seen and in that it has produced these pieces in a manner in which they could scarcely have been pro u l d ced e sewhere . When it is remembered that the stage of the Toy is only fifteen fect in width and twenty- three feet in difliculties a n c depth, the of the st ging at o ce be ome

268 TOY THEATRE OF BOSTON

T in n policy of the Toy Theatre . his no se se implies that the settings have become crude or unsatisfac I nl a in are ein la tory. t means o y th t sett gs b g p ced i us si i n a ne m ans i in in the r j t po t o , s o of the e of g v g adequate interpretation to the work of the dramatist d as an end in m l an not the se ves. The cramped conditions behind the curtain have not been calculated to promote a rapid change of en and a l c m issa is ac i n sc e, p rt y to over o e the d t f t o c a i n l n ai w n ac s a tea o c s o ed by o g w ts bet ee the t , ﬁrs H room was provided after the t season. ere the audience may retire during the intermissions to chat l i In a a i and be genera ly soc able . prep r t on for the second season a more complete lighting system was ll also insta ed. For s n i s as n ic su the pre e t, the th rd e o , the pr e of b scription seats was reduced from twenty dollars to T l ﬁfteen doll ars. his was made possib e because there were virtually no alterations to be made in the “ i l Al s a in di cal ll h theatre tse f. o t y perio ca ed T e ” w s i T i li l a Crier as in t tuted. h s tt e p per goes to the subscribers and to the newspapers two week s before each performance and carries to them the names of la s be inclu in n am the p y to ded the ext progr , the names of the actors who will take part and news of au c n the thors of the pie es a d of the theatre . Ou the Wednesday afternoons of the performance week s there is always a Toy Theatre tea to which all sub scribe rs are welcomed to meet the authors and the actors and an occasional distinguished visitor in B n osto . ’ In order to increase the scope of the Toy s activi i ties it has become des rable to have a larger home . A friend of the theatre is erecting a theatre building which will be leased to the Toy Theatre on most ta v le m u s th n ra h use i orab ter s, m ch a e Bosto ope o s TOY THEATRE OF BOSTON 269

s a leased to the pre ent opera management . Sh res of stock are being sold which entitle the shareholder a s a s a n c b to e t for the e so of eight performan es, e sides a share in any profits which may accrue from the letting of the theatre to visiting companies from li l a s and suc musicals i other tt e the tre for h , rec tals, and uc n a a find il other prod tio s s m y it ava able . There is to be a large organ in the new theatre and besides the regular dramatic productions of the To s a n i i lann i r m y e so , t s p ed to g ve pe for ances of s m li l a ui nl an in ima o e tt e oper s s ted o y to t te place, and of some of the shorter classics and of the ori gi nal k Am ican m wor of er co posers. Several of the younger musicians and composers are interesting themselves in the plan and there are undoubtedly amateur performers of sufiicient ability and enthu siasm to carry the project to accomplishment equal in s an a T T t d rd to the oy heatre work . ’ A series of children s plays to be given on Satur da m nin is als l n n y or gs o part of the p a for next seaso . The enthusiasm which the little group of friends brought to the initiation of this amusing venture has only grown stronger as the seasons have passed and has spread and increased to an even wider circle f as i m o soc ates. In atte pting to interest a larger public the aim of the Toy Theatre is to hold to its own s an a s l li in a si ua t d rd devoted y, be ev g th t, t ted as the little theatre will be in the centre of a metro li an is i illi l po t d tr ct of over three m on peop e, acces i l s a n m ll s b e to te m a d electric cars fro a directions, ac icall in C l ua ic is all Bos pr t y op ey Sq re, wh h re y ’ ton s c n e n u kin i i ill fin i and e tr , e o gh dred sp r ts w d t su pport it to mould it into a stronghold of delight, a creative enterprise of art in which the workers and the audience shall feel themselves equally respon

Hom sa Hnmaar n HOWARD. TRINDBER REINHARDT AND BERLIN S G, ,

F r s in at l B lin ha s s n o the pre ent w ter east, er cho e ’ t in ucin Th to do honor to Sweden s poe , prod g e

r B rid n H t- li htnin a an C own e a d ea g g , r ther th to the somewhat gloomy psychologist with whose Creditors and Countess Julia the American public is only too ’ r a ass cia in e s nam e dy to o te Str db rg e.

Heat- li htnin uc at the Kamm s i l g g, prod ed er p e e by Max Rein a w s la l n unc emi h rdt, a te y pro o ed by the nent critic and publicist Maximilien Harden as one , ,

of the two really signiﬁcant novelties of the season . “ ” Thi s charming intimate play concerns the fate of a man who left his wife and daughter to live with n m n au a other wo an ; the return of the wife a d d ghter, ’ us an s a n min and a u the h b d go y of d, the dep rt re of i and au m n ea la c ns i u the w fe d ghter, a y y rs ter, o t t te T i s ms at chief outlines of the simple story. h s ee

- k n mula ﬁrst sight to be the well now Strindberg for , s k l n i e but it is but the bare t s e eton upo wh ch the po t, ai Rein a uil s u a ma l us ic u ded by h rdt, b d p rve o p t re of l l h l The ﬁr i i e u l e i en na u . st qu et so tud , f of t s ce of t re

as u si a m ll ci us H l - wa u act p ses o t de s a ty ho e . a f y p a is i l a a m n ich st ge a typ ca three story p rt e t, of wh nl r isi le The li a l o y two stories a e v b . soft ght of e r y nin the ain ﬂick erin s e lam the eve g, f t g of the tr et p, ui e in lea s on the sli lin ens es un in q v r g ve m d , the r o d g

si e alk en in r un - ﬂoor d w , the op w dows of the g o d a a men i an un ink ﬂashes p rt t, the d st t th der and p of — - — heat lightning all combine to re create for us the v ssence umm nin Two men ery e of a hot s er eve g . stroll in and sit down on a bench before the house n lk— inu e in li l a d ta for twenty m tes. Seat d the tt e 270

272 STRINDBERG AND REINHARDT

t n au i nce and nion be wee d e stage, sympathy and un s an in et n ama is and u li der t d g b wee dr t t p b c. Du in sen seas n Ge man i r g the pre t o r y s, broadly kin not in e s in l m l spea g, t re ted prob e or thesis p ays ; the chief dramatists are all turning to the past for i su c s and la s au s lik the r bje t , the p y of thor e Strind i n eal i s cial nd l berg, wh ch do ot d w th o a pure y psy h l ical u s i ns are in i ut a i c o og q e t o , be g tr ed o , s t were, T with phenomenal success . he Theater in der ’ Kliniggriitzerstrasse has found in Strindberg s The r B r its e a i i ac i m C own ide one of ﬁn st rt st c h eve ents, as well as a piece which almost invariably plays to capacity houses. It is interesting to note that three Scandinavians are s nsi l is la —Au us in re po b e for th p y g t Str dberg, the Au us Enna com s and S n poet ; g t , the po er, ve H din sc nic a i Th sul is one th e , the e rt st . e re t of e most touching and beautiful productions of the pas t Th l le wi s i few years. e p ay aves one th a ensat on of spiritual elevation similar to that produced by The Blu Bird nl m i nan i a e er e , o y ore po g t ; there s de p s ns alit a s an e lin eau e e of re y, tr ger f e g of b ty. Th r wn B rid i s r a un l wh e C o e s the to y of yo g gi r o, i aid a i c c an es her ill i ima w th the of w t h, ex h g eg t te chil c wn s m l u it n d for the ro , the y bo of p r y wor by h i e n H is an e F t s t e br d s of Swede . ere oth r aus tory

- — the theme of atonement but how different are the two treatments ! In a ee alle n nd l k u u d p v y, o e e of which oo s o t pon the sun- lit lak es and islands so characteristic of n n c n r li i l K s i and m s l . orther e e y, ves tt e er t her other As nin a ac m e es a u her eve g ppro hes, the oth r go bo t k and l a s The i l n wor e ves Kersti by her elf. g r the sin s in is anc in s a call on n and g to the d t e, w d the hor , ’ un l ille s son Ma s uns in a her yo g over, the m r , t , r m m n la earin i in an c il . She l s o e t ter, b g the r f t h d ove S TRINDBERG AND REINHARDT 273

l ut i l a he n t Mats deep y, b b tter y regrets th t s can o Ma makin K wear the crown. ts, however, g ersti e him n unc s a sim l in c r kneel b fore , pro o e p e wedd g e e n c an in s a and c nsi r mo y, the two ex h ge r g , pr y, o de ll man n i . i i a n r one another a d w fe St , the de of e te ing the church on the day of the ﬁnal consecration u l u i rriﬁe K T witho t the symbo of p r ty te s ersti. he

lai in its in amm ck - lik a l un child is d t y h o e cr d e, h g As Ma l a s Mi w e a lin s. s i bet e n two s p g t e ve , the dw fe Witch comes in and declares that she will come to sh l K an im e s . the wedding ; me t e, begs for he ter ersti i a ut a ac h attempts to dr ve her aw y, b is ttr ted by t e ’ e i c n n m n r promis of the br de s row . Whe her other e te s s wi l unexpectedly ju t after the tch eaves, Kersti , s c a l and c s it wi lank Th goe to the r d e, over th b ets. e lm mm ia l a in witch returns a ost i ed te y, be r g the cov eted crown ; then Kersti puts more blankets upon the

l n s il . Da kn m crad e, a d smother the ch d r ess co es and il n m n m i s ence, whe to the acco pa iment of yster ous music the green waterfall becomes transparent and a m a k h i the W ter an ppears, spea s prop et c words of a nin the i l an isa a s w r g to g r , d d ppe r .

W TC Takin th r m h r H . e ro t r ! I H [ g c wn f o e pocke . e e KERST S eein the witch b the cradl . t I [ g y e . ] you taking 1 WIT P Y i C . ointin to the cradle. ou t I it H [ g ] see , see , the whol w rl i i n e o d sees t, and yet t is ot there ! KER T Tak i S I. e t ! WIT n C . Be din o er th r le I hav i ! N H [ g v e c ad . ] e t ow may I come to the wedding 1 a ' m rl o . K as . C e

And i c l the w t h bears away the tiny bund e, Mats c m in and K s i s h the c n— o es , er t hows im row her m a i h l t s e sa s. But li one other g ve her, y the tt e ” li l one ? man s M s the tt e de d at .

KER T M ar v nts ha m n . S I . y p e e ade certain co ditions Mu . I s know. 274 STRINDBERG AND REINHARDT

w nt me to b c wn r r t The a e a ro b ide. W i Km a . y . hat s rl h w a crown bride ? A gi w o ears the crown. ' r With honor . MA s.

With r with ut. What n kn Km art. o o is ot own, mak es no diﬁ erence .

T il K i s s in r s . N he ch d, erst ays, is afe the fo e t ow at “ ” last she can appear with honor at the wedding m M s u and n . a t s l K r cere o y ts goe o , , wift y, e sti l n a throws the crad e into the e rby pool of water. The Li l Whi hil in isi l K s i alk s h ou h tt e te C d, v b e to er t , w t r g the l ais s a fin er a nin and ti s poo , r e g of w r g , re re noise lessl Wat man sin s hi s a nin K s i es y ; the er g w r g, er t go in b an s i s fire and sc n l to the ut d t r the , the e e c oses. n lai he M ’ f The next sce e is d within t mill . ats am Th m k ily is at evening prayers. e fa ily nows of Ker ’ sti uil u m s i us Ofl cer kee s g t, thro gh the y ter o , who ps s f i s an s Th the record o b rth d death . e part is played with memorable dignity and impressiveness

P ul W n . B i a s i i a Ma by a ege er ) r t , the p r t of h tred, ts is l s K s i kn in no unc ain mann her s ter, et er t ow ert er T n ﬂi e m d attitude toward her. he the O c r co es in an M u s i K e i ns terriﬁ d. a q e t ons ersti , who b g to be e ts, in i i s l al n i his i - - b the best of sp r t , eft o e w th br de to e, in i Th shows her the dark ter or of the mill . e huge mill- l at ack ins u n an n an i whee the b beg to t r , e ch t ng dance from the orchestra accompanying its slow rev l Bu all at nc i s s and ins n o utions. t o e t top beg to tur “ ” c i n sus l i i . in the opposite d re t o Je , he p 1 cr es Mats ; “ ” mil ack 1 He un u l a i the l goes b ward r s o t, e v ng K n As anc il l m s i al . s er t o e the d e grow w der, the oo

k s innin - l u n a k begins to wor , the p g whee to t r , the s c s n rm and the stove to dance. The the Wate an a a s . ppe r ill- wi h n l n above the m wheel th is eter a war ing. As a s a a Wi c c m s in and anc s t e he f de w y, the t h o e d e , h n disappears into the stove . Brita comes in

Kas Wh m ar u l kin for s“. o e yo oo g 1

276 STRINDBERG AND REINHARDT

’ sti s life miserable ; the consciousness of her deed ll n begins to te o her. The wedding day comes at last ; the old mill is brightened with the feast tables and the gaily be k s n l d l . K dec ed gue ts a the port y o d pipers ersti , a l arin c n h f de d y pale, but we g the row , receives t e hal c m lim n s m l m hearted o p e ts from the as e b ed co pany . A she l l in am h s goes to the whee to ook to the stre , t e ll n a n th crown fa s i to the w ter, to the consternatio of e nl r n n e l guests. Sudde y the ﬂoo ope s, a d the d ad chi d, s a in a in lack un l sl l is s w thed t y b b d e, ow y r e before i u s K i u her the d stra ght murderes . erst is acc sed of m n ss i a i manacl hil cri e, co fe es t, nd s ed, w e her mother ’ lack u c The puts a b hood over her da ghter s fa e .

i - s ick n Ma l a s mill ll all gr ef tr e ts e ve the , fo owed by K s i u i i il in m . b t er t , who s ts w th the ch d her ar s F c i c ut it ack she sink or ed by the w t h to p b , s to the H floor and ais s her a ms a n. A m m n , r e r to e ve o e t of il n il m m lins s e ce, then the s very otif fro muted vio and flutes an Li l W i e il als in be , d the tt e h t Ch d ste i w r n an h hi flo e s . h d her, d strews her head wit w te “ ’ Kersti s ac ic e was a ic u f e, wh h b fore p t re of tor ” tured a n h n m n . go y, as ow beco e tra quil and happy

Bu K e~ t ersti must pay the price of her crime . B the c u e e i an he k ra a fore h rch, b twe n t d t dar g vey rd, she li M s s cl e in a l n n l . a e , oth d o g brown robe a d cow t n s a in i coﬂin c il e ter , be r g the wh te of the h d .

M T l n A tan in K t Ther is th litt e o e. . S d b r i e e S [ g y a s . ] H e is li h li ht s hi k w man. g t, g a the thoughts of t s wi c ed o Now h sle — on ill sl e eps so w you eep . KER TI H h i h S . er ead n her hands O ! [ . ] MAT h ! ll ma h ! a i S . O We y you say O S y t a in an in— m i h ga , d aga that the little one ay hear t, so t at the Lor in H n ma f r i ou ! Good 1 d eave y hear it, and o g ve y K he littl whi c ﬁin— r r the little f eet iss t e te o there, the e a e , the little feet that will never patter on the earth again ! [KERSTI kisses the cofﬁn ] STRINDBERG AND REINHARDT 277

’ K r i n s But if there is still hope for e sti s forg ve es , l l a le in there is none for her earth y ife . The be d br gs c ﬂin in s s it and s out her o , how to her, goe by the u T n Wi c c m u side of the ch rch . he the t h o es to tort re nd m is s ill im ﬂee and not a te pt her ; there t t e to , n nd e repe t a di .

W T Shall we meet on Thursda ni ht at th ross I CH . y g e C roads 1 na 'rr Thr u h the ross shall I mee m Savior K s . o t g C y , not you ! Leave me ! Th i in h an l h r n ar T . ere s a boat t e c a a o se a d c t WI CH , n lan —Mats is there but not he ﬁicer—Run run o d . , t O , ,

KER T Stru lin ith h r el h od Lead w e s . O G ! S I. [ gg g f ] n in m tati n bu liv r fr vil na ot to te p o , t de e na om e ! WITC Nonsense ! Th cart ! H . e KER T ts u rom her bench ulls th r b th [ S I ge p f , p e ape y e h r h rin in th bell thr t m h WIT u c door e ee i . T e c , g g es CH ru s aw in ear The LITTLE W TE ams a ears n ay f . HI C pp ] Dazz Wh ar ou littl chil who KER T . led o e d S I [ . ] e y , , always appear when evil goes away 1 [ The LITTLE WHITE H LD ut h n r t her li i as sn w whi C I p s er ﬁ ge o ps Wh te o , te — ] as purest linen why are you white 1 In a so t voic Th faith a h WHITE CHILD. [ f e ] y h t F m h rn f h Th I D redeemed thee ! ro t y hope is bo ait . [ e CH L approaches Kassn ] KER T rush not the ant who is before thee ! S I. C W TE I D Love is the reatest thin of all HI CH L . g g ; i i f r l r n m l t s o livin r e t a d s a l . b a l g creatu es, g a Dou t n l h t B li v t n f i . o o ave ai h K r . e , y t , e s e e Ks 'rr H n I as . ow ca 1 W TE H D hi a l r B h v ! LD. rin i e HI C I [ isappea g be nd p la . ] a e “ The motif of the Waterman is heard ; his words ( I believe that the Redeemer will forgive thee ring l K i ‘ H in out c a . h a e me e r to erst S e s ys, s gs to of my ” R m H 1 r edee er . e gives me hope Then the Oﬂice , is ime in en l m m K s i d l s th t g t er ood, co es to er t , an et kn a she is i n her ow th t forg ve .

m . i 0 m Are you happy, Kerst 1 278 STRINDBERG AND REINHARDT

Kna 'rr a k h s . I m than ful t at my shame is forgiven, but am n f r lif n I ot happy, o a e in bo dage is less than ever in f last g li e. T Om ens . his is only in preparation for something T h ater hink of t . gre . at Kaa 'rl ! f s . I do I ear not, for I have seen death ! m ns Th n f w m ! O e . e ollo e Kna ' ﬁ srr. Free me, rst ! m ns T k . a in th m n T O e [ g e a acles. he organ is heard ' th n th chur h. Kaasn stret ort n wi i e c che s f h her ha ds, tak es lls o th r a step, then fa t e g ound ]

The la c n is a a l k st s e e gre t a e, covered with ice ; ” a canal in the foreground. The two families are n in i i in is u a m m n sta d g d v ded d p te for o e t, when a u T litter is bro ght in. he Oﬂicer follows and stands li at the head of the tter .

m n W b in B O e s . e r the rown rid w brin K i g C e e g erst . Pam 'r I sh 1 s . s e dead

m n . 18 O e s She dead. The ater took h r w e . Pa 'r h L r ms . May t e o d take her soul ! The lake o ens and little b little the church ri es [ p , y s r th ni Th n om e o e n . . W t f p g . e a erma is heard singing

Pam ' Th sr. ank and praise we the Lord ! ALL Kne l . [ e ing at the litter and extending their hands ’ to on nother er Ksa d e a ov sn s bo y. ]

Lor od ank Th d G , we th ee,

Lord God, we praise Thee !

280 GOLDONI : A BIOGRAPHY the charm of this personality the distinction that belongs to the leader of an epoch- making dramatic i l rm int s a a ach s to and theatr ca refo , the ere t th t tt e u u his environment as a citizen of the pict resq e, de a in R u lic V nic and his la i n se c y g ep b of e e, re t o to tho momentous monuments of life and thought which his — generation achieved and witnessed and we must

M H h fi ld- Ta l r n his n r . . at e u co gratulate . C C y o po uni c anc in uc the a opport ty, the h e to trod e to gre ter English- speaking public a personality of so much m A charm and a play writer of so much i portance. t the same time we must felicitate ourselves that it has been done in a book at once so readable and so ’ fi l - T l scholarly as Mr. Chat e d aylor s Go doni : A Bi r h og ap y. The main source of information concerning the li l l i ém ir ri n in fe of Car o Go doni is h s own M o es, w tte F n l hi li T i k re ch, toward the c ose of s fe . he r fran ’ ness and sincerity with regard to Goldoni s own i n s i h ulln s and alm st exper e ce , together w t the f e s o photographic accuracy of detail as concerns the life of the eighteenth century makes the Mémoires one of the most precious documents we possess relative to i m i s ts i . In first a s c iv na t e the p rt of th —re ord he g e the events of his own early life escapades and ad ventures so romantic as to rival a novel of the elder Dumas ; all told with a quaint and blithe candor such as can be equaled only in the Autobiog raphy of Ben v n t llini u i ff n —C llini e u o Ce , b t told with th s di ere ce e was an unmitigated scoundrel and an unpardonable rufi an G l ni a man ac and m st ; o do , of pe e, , for the o a n s his nl ices ein am lin and son p rt ho—e t, o y v b g g b g brettes and concerning these he is most often gentle and um us c n ssin i l s a mis h oro , o fe g to the fo b e of chi ev us o boy. The second part of the Mémoires is taken up with GOLDONI : A RIOGRAPH Y 281

c s l i in i n n si a counts of hi p ays ; the r cept o , ge e s, com i sen a i n succ s ailu H pos tion, pre t t o , e s or f re. e was s n iall and a all els a la i and at es e t y bove e p ywr ght, wh c n n his la s s m in s in him ever o cer ed p y ee ed tere t g to . Out of the mass of material contained in this part k n a find and in alua le of the boo , o e m y here there v b ’ m an u B records of the dramatist s ethod d p rpose. ut l rst a A it lack s a together the charm of the fi p rt . s li c T i l k s third part records hi fe in Fran e. h s ac both the vagrant joy of the first part and the critical im ull an n value of the second. It is somet es d d ofte concerned with things of ephemeral interest . in Goldoni was born in Venice 1707, in the midst of one of those carnival times that were then almost c n inu us and ea ci n n in o t o there ; the gr t ty, the e ter g a i s nil was c nc lin lack on spec e of se e decay, o ea g her of true stability and real magnificence with a gilding

u n in in ll- ni n u of ga dy fétes, e gag g we gh u interr pted a u a s ic th h c an re m sq er de , wh h were bo t e over d the p i n text for all sorts of licentiousness. Those sect o s

in hi Mr h ﬁeld- Ta l cts of the book w ch . C at y or proje for us with almost cinematographic eﬁ ect the disso lute and indulgent practices of Venetian society in d llin an city an country, are among the most te g d alua l in k v b e the boo . As m c a in V ni ight be expe ted, the the tres e ce ex ss n al n n and li e inism and pre ed the ge er i dece cy b rt , in wa bu were deed schools of vice. It s t to be ex ted a s a la s ul be pec , perh p th t the p y sho d for the m s i u ar nd wi u cl rn o t part w tho t t a tho t eve ess, tied hand and foot by the traditions of the moribund ’ mm di d ll art The ama i s a e in Co e a e e. dr t c t t of th gs which Goldoni was destined to change is strikingly t u in a c a The Im rovised Com pu before s h pter, p edy. In ci V nic i as it hi to the ty of e e, he r proved, to t s m i i an e was rn a l dra at c inher t c , bo C r o Goldoni, in 282 GOLBONI A BIOGRAPHY

H am mil of reviou l ua 1707 . e c a a s Febr ry, e of f y p y ’ n i i n u im a l bi prosperous co d t o , b t at the t e of C r o s rth in somewhat straightened circumstances owing to hi n a T is l the extravagance of s gra df ther. h gay o d gentleman seems to have pursued diversion with en i rv and littl G l ni ma true V et an fe or, the e o do y have inherited from him some of his taste for the — drama a taste in the case of his grandfather ex pressed in costly fétes champétres and private theat i l H e i ma be he in e i er r ca s. ow ver th s y , h r ted v y mall ma e ial un hi s a mana in to save s t r fort e, f ther g g only a modicum from the wreck of the family for n Hi m sician in V ni ce tu es. s father beca e a phy e , in whi ch capacity he seems to have had both fame eli e a l n en u and success. Whether d b r te y or ot, he co r aged the little Carlo in hi s interest in the theatre , even going so far as to purcha se a puppet- show and n l ’ n fi conduct performa ces for the litt e boy s be e t. ’ Thi s same boy s childhood and youth were replete He ran a a m a m ical sc ol with adventure . w y fro ed ho at Rimini in order to mak e a vagabond voyage home with a troupe of wandering comedians ; he was ex pelled from the law school at Parma for a libelous and scurrilous lampoon on the townspeople ; he nar rowly escaped being married three or four times ; he had the smallpox twice ; at last he fell most ro m n i l n ma ie hi N c ll a t cally in ove a d rr d s good i o etta, v i l l bu l who pro ed to be a dut fu , oyal, t scarce y c m ani ona le i e and li e wi him fift o p b w f , who v d th y seven ea s an i h m H u y r d surv ved i . e p rsued for a il a i l ma ic ca e e s n in a i u wh e d p o t re r, r pre e t g v r o s courts at other courts in the indiscriminate way of ei een cen u in i l m c he n ss the ght th t ry d p o a y ; wit e ed, in the ca aci of an on l s i p ty h orab e py, the s ege of a town by the Austrians and saw a battlefield after the — fight sights which awoke in him that horror of

284 GOLDONI : A BIOGRAPHY

lazzi im vis c me r al s ee h l of the pro ed o dy the e p c , p ain, ten c a s s m im i u V f al . of o r e, o et es w tty, o act enetians B in a a a i e g gre t rt st, he could be also a great natu relist and put on the stage the people of Venice a s kn m l u isi a is he ew the , the peop e, the bo rgeo e, the r t crac as li an lk l o y, they ved d ta ed. In this Go doni is su remeL —unl ss S n in our own da can i al —p e y ge y r v him catching the spirit of the people and display in i in e wn s c s ciall in his la s in g t th ir o pee h, e pe y p y V n i l a Th Chio i n Br wl the e etian d a ect, such s e yy a a s, T r Th he B ea s, and e New House A s V n ian m s r propos of the e e et co edie , M . Chat field- Taylor makes a wise and far- reaching distino tion between the realism of Moliere and the natural M lie w i m l ni. H en a s as s of Go do owever, wh he s y o re the first dramatic realist and his characters are k n m li ’ m l in large degree ta e fro fe, he see s to ose d m hi sight of the ol French popular farces fro w— ch Moliere derived so much of his inspiration old k farces li e that masterpiece of realism and satire, M ttr Pierr Path lin s s na s are the a e e e , who e per o ge illa u illa la and n vil v ge j dge, the v ge wyer, eve the l m l la i i a i a al in rais b anc . ge d ot, portr yed w th pp g v e e ’ B r fie - l i in ut the details of M . Chat ld Tay or s d st o ’ m s lie tion between the two dra atists are ju t . Mo re s “ asan s a are cl ns and n his mi dl pe t , he s ys, ow eve d e class characters are not exactly translated from life ld i ’ M s a a are man o on s. to the t ge, s y of G oreover, their sentiments are sometimes so tempered by their ’ author s avowed purpose to paint ridiculous like s ic s his im a ccasi nall his nes es of the v e of t e , th t o o y l ni had n persons become merely thematic. Go do o n n u s fulfill a c ul thesis to maintai , o p rpo e to th t o d im s il na u e and he s n e li as tempt h to po t r , pre e t d fe ” it appealed to him ; he loved human nature too “ ” s s ns much to depict merely humorou per o . GOLBONI A RIOGRAPHY 285

Probably just because he knew hi s Venetian and hi n n i s so ll an ut C ogga e ghbor we , d p them on the s is l as kn m hi m i h tage prec e y he ew the , s co ed es in t e V n ian ial c are far and a a es T e et d e t w y the b t . hey

in um u r ﬁ d- T are a n s b t M . hat el l r ther few ber , C ay or ’ u l - min n very j st y gi ves them pre e e ce . Goldoni s enormous dramatic product cannot be satisfactorily

fi M hatfi d- T l i s classi ed. r el a d s l . C y or ev es a c as ifica i sa i r tion wh ch, though un t sfacto y in many ways be caus artificial and a i a s i i e rb tr ry, does erve to d v de l in u mall n u nsi the p ays to gro ps s e o gh to be co dered. His division is this : comedies in the Venetian dia l c m i s u isi m i h ect, o ed e of the bo rgeo e, co ed es of t e a is c ac ic c m i s m i s in s . H r to r y, exot o ed e , co ed e ver e e ’ gives only incidental consideration to Goldoni s h n i c s is a a d m i al . other ver e, to oper s other us c p e es l h imm ns an m u Hi Go doni ad e e d i mediate s ccess. s n li lli in in nal a usin go do ers co d g the ca , e ch ref g to ack a a in and ua lin cla in ir b w ter, ro r g q rre g, de r g the intention of remaining where they are forever rather than yield ; his fishermen and their sweet

a s lac - mak s l i a lin s u in he rt ; the e er , ov ng, br w g, ho t g an m n u l s d sta ping o the sunny q ays, the dwel er in “ one se n call m ielli r of tho ope spaces ed ca p , whe e two tortuous Venetian streets cross each other and — a whole neighborhood work s and plays these were al l is eal li and au i c l re peop e, th was r fe, the d en e oved l l n d i us u s a r them al . Go do i ha the ser o p rpo e of s ti kn u i i i r izing the wea ess of the bo rgeo s e : avar ce, so did social ambitions ; he really meant to score the ic a is c ac mad in ul nc and v es of the r to r y, the d ge e V l u il i is extravagance of the il eggiat ra, the ev s of c c b i m a u i u ci s licens ma i al inﬁ e s , th t c r o s spe e of ed r t d u m u elity which, a degenerate s rvival fro fe dal is l l l s i the tic sentimenta ity, went hope ess y to eed n u s n l and d eighteenth century. B t he was o ge t e goo 286 GOLDONI : A BIOGRAPHY

natured and so hated to spoil a play that his con H i n m . demnat o s were rather ild owever, he did bring upon himself the disapproval of the aristoc c i ra y, whose opposit on he was able to bear quite n i l debo a r y. Not so lightly could he meet another opposition

- a finall a s . Mr hatfield Ta l r th t y ro e . C y or gives a ve y ’ clear and important account of Goldoni s experience i hi i al la i Pie i w th s r v p ywr ght, tro Chiar , and with hi l zz T en m i. is sam zz w m s e y, Car o Go h e Go i as a ost l m r u interesting man. His Use ess Me oi s is a curio s and intimate picture of the Venetian life that sur e im a round d h . The p ges teem with descriptions of ’ hi al i la k the author s life, s de ings w th wyers, bro ers, ew and ll s of s ns hil m J s, a sort odd per o , w e the ore i i s n li a i n var ed p ctures they pre e t of ter ry, soc al, a d stage life make them a richer document for the study of Venetian customs in the eighteenth century than ’ m i Goldoni s more restricted me o rs. Gozzi was a uri u ll a r nic uc al a s s kin a c o s fe ow, ch o gro h, w y ee g l i a k n ain min an a i na quarre , w th ee tr ed d, d a p ss o te I H s a u is in lan a n I love of taly. e wa p r t gu ge a d tal u m a n a u r ian c sto s. He reg rded Goldo i s a corr pte ’ f rama la in C mm di dell o the d , dec r g that the o e a r — m a te was the glory of Italy its di stinctive dra a. ’ He bitterly resented Goldoni s attempt to substitute ns u H his inventions for this popular i tit tion. e opened fire upon Goldoni with a series of coarse a hi c ama is al a s a man and bitter s tires w h the dr t t, w y a l n as c ul ein c of peace, endured s o g he o d, b g for ed l r l at length to reply in kind . Final y the quar e reached a stage where Gozzi boasted that he could fill a theatre with a play after the manner of the ’ ’ Commedia dell arte written about an old wives l h L v th tale. He fulfil ed his boast with T e o e of e Thr r n He inv n e a and he ee O a ges. thereby e t d type

288 GOLDONI : A BIOGRAPHY

Goldoni ; the invaluable chapter on Improvised Com e d the accoun an as l y ; t of the f t tic repub ic of lette r s, ’ ’ L Accademia dell Arcadia s in En , the be t th g in g lis on a u I n c s h th t s bject . t is i fa t a sati fyingly amu s ing account of the pastoral occupations of fat abbés an s u uc s e in m d to t d hesse , sheph rd g their la bkins and piping on the syrinx amid the shady groves and green meadows back of the castle of S an Angelo or insi a all a n Pi a de w ed g rde of s . One is inclined to question the value or intere st of so man anal s s m di e lin h y y e of the co e s, fee g t at perhaps a rather detailed account of a few typical ones would have been sufficient and would have left r m m ni al i icism E u oo for ore ge cr t . very reader sho ld feel grateful for the excellent translations of the assa es u m i inals—c m i m p g q oted fro the or g o ed es, me i s m — m s o r , or poe s a thing so rare as to be o t note a r un l c worthy. We h ve snfi e ed to d affli tions in the s a in i ansla i ns an n u h pe of her ted tr t o , h ded dow to s reeking with the psychology of the seventeenth and i n i n n i l i n e ghtee th centur es a d e t re y al e to our own. un n ansla i n i in s We h ger for moder tr t o , g v g the ense and spirit of the origi nal as they appeal to the mod ern c ns u n uc ansla i ns hatfield- T o cio s ess. S h tr t o C ay lor i e — ac slan b g v s r y often to the verge of g, ut rep ’ r s n in oldoni ula n iale S e ch e e t g G s pop r, ofte d ct p e , “ as : Some have attempted to bring good taste back to the theatre by producing comedies translated from the Spanish and French ; but mere translations could k l The s n not ma e a hit in Ita y. ver e renderi gs of th c me ies are c ll n in m cas s im e poetic o d ex e e t, so e e ’ ld r li pr oving on Go oni s pedestrian Ma tel an verse . ’ h field- Ta l us s as in eni Mr . C at y or e a phr e Ch er s eulogy of Goldoni in the National Assembly as a text for a somewhat exhaustive comparison of Moliere mu a e n a m a m and Goldoni. It st h ve b e so ewh t co mon GOLDONI : A BIOGRAPHY 289

m is n us a it wa n l co par o , ed s s by Casa ova as ear y as 1 60 an Fav rt a a n l h 7 , d by o ye r a d a ha f before C é ’ ni s s ec . In it s em er pe h deed, e s to have been a sort ial m a is An i of proverb co p r on. d s it not possible

a Mr h ﬁ ld- T l ak it i s . C a e a s s u l re th t t y or t e too er o y, garding what was only current and ﬁgurative as if it were permanent and critical 1 One could call Gol ni M lie I al and m an nl a w do the o re of t y, e o y th t he as a s n a i c mic ama is M lie in repre e t t ve o dr t t, o re be g a n m m H represe tative co ic dra atist in France . owever

i ma be mus ic a Mr ha fiel - Ta th s y , we t rejo e th t . C t d y l r k it i usl since i u ni s asi n o too so ser o y, t f r she occ o for a most interesting and illuminating parallel u m w w a i . n s st dy of the t o dra t sts Goldo i, he say , as an I ali n cifi all a V n i i t a , spe c y e et an of the e ghteenth n u M l r i l h ce t ry. o ié e s for all time . Go doni as not the overwhelming universal genius of the French u m man. It m st be remembered that Moliere ade me s w so what exten ive studies in philosophy, as a u il Gass n i a isci l c in Le p p of e d , d p e of the do tr e of bon naturel and at the same time a bitter satirist wn Mi s l ni wa the prototyp e of his o anthrope . Go do s no s a n l i n n let philo opher, only ge t e sat rist, co te t to ’ m ni i n the sinner and hi s sin ofl with a gentle ad o t o , instead of crushing both the fool and hi s folly with a un in cia i n The la i n n th der g denun t o . re t o betwee u the two proves very fruitful and interesting in st dy. Though the book very wisely and skillfully con fine s l su c flowin s it e f to the biography of its bje t, g l n i m um n a ra i s the a o g n the manner of ost h a e n r t ve , footnotes and references bear testimony to the schol a an i to his s cial rly habits of the author, d test fy pe h k ne se s oo m s asci studies for is tas . O e , t , the o t f nating vistas opening in every direction : such as the whole history of the improvised and erudite comedy in Italy ; Richardson in Italy ; the curious 290 GOLDONI : A BIOGRAPHY paradox of the classical and the romantic as devel oped m the quarrel between Goldoni and Gozzi ; the ’ relation of the improvised comedy and of Goldoni s f m to m n ama and lik re ormed co edy oder dr , the e . ’ fi l - Ta l r ll- kn n ndn s f r Mr. Chat e d y o s we ow fo e s o studies in the eighteenth and seventeenth centur ie s k n has left some mar s upo hi s own style . One detects a réci si és suc as c ns an ersonifica few p o t , h the o t t p n o m a and hi s re uent tio f co edy, tr gedy, tory, the f q introduction of Thalia and Melpomene and their shrines ; the naming of many of the exploits of Gol ‘ ’ “ r s Mu . fas doni 8 early ca eer, a cha e of the ses A tidious and annoying play on words is this The fawning of these geniuses of comedy 18 more venial c n than venal. Thi s con eit co cerning the situation in the House Party is quite Marinistic in its convo lutions : a triangle of domestic infelicit'y similar in outline to the conventional framework of the plays of modern Europe ; yet he has so tempered his situ ationa that the apical angle describing hi s story of l in m i ili n i i i sl h marita co pat b ty, being e ther v c ou y o r ins ua l u l m tuse no in ting y acute, may be j st y ter ed ” right . A few details of usage and punctuation one would m n i n l et m ff his c nsci n suc e t o mere y to g the o o e ce, h “ as th ho ll i a 5 Tut! Tut ! N e i po o , p ge 17 . obody elects Greek any more ! Ou page 137 the omission mm r n n of a co a after the second wo d in the se te ce , “ ” Y n l d c s a s et . ce u e r after whe he had trave e , , for s r h r imili to ead it twice over . T e use of the word ve is t d he n n 2 9 zzl L u e in t foot ote o page 5 is pu ing . a M pmeslé is mentioned as belonging to the troupe m F n i — h 8 of the Co édie ra ca se in 1763 s e died in 169 . T n u le i l l b b he i val ab b ographica chrono ogy, the i li ’ ra h an ca al u l oni s la s og p y, d the t og e of Go d p y were

F L n . T prepared by Prof. . C. . van Stee deren hey

THE NEW STAGE ART : FOBTUNY

CHANGE amounting to a quiet revo lution in technical modes and aims is at thi s moment occurring in modern stage r a t. A new impulse is astir in the ains s esi ns and br and the eye , the d g the models of the most original and expert a n k s t is an st ge producers a d wor er . I impulse belonging with the dawn of this marvelous k l new century of ours. It has inspired a remar ab e change in stage technique within barely more than a zen ea f i w m ul m u a e do y rs. O th s ne i p se so e of s h v Ye c l s heard vaguely . twe have scar e y gue sed how rev olutionar i is nor c nsi i e it is akin y t , o dered wh th r t g M n n n ula us. in ic u es o o e a a ov g p t r , the h d, t the pop r “ ” en he s le nd l l n d of t ca , a itt e theatres, o the other

an a an i- ula clusi e end are a ou h d, t the t pop r or ex v , b t all a man us as a c In e we h ve y of gr ped s fresh fa ts. t r s in as s re ac in it own lin si niﬁ e t g the e a , e h s e of g canc e are u as i n an e e nal s as e, th y b t f h o s of xt r ort m b kin co pared to this new impulse . They go ut s deep . Possibly they are of the symptomatic nature a am k u w m l is of dr atic s in disease . B t thi s ne i pu se penetrating and reanimating the very heart of the m n ama ic i m in the ea oder dr t body. It s pro pt g th t rics of the stage to be as true to the transforming spirit of the times as the true dramatic author is. It seek s even to ﬁt the stage to be able to follow him as he may yet become ! Another marvel about it : it is closer in spirit and promise than any other movement has been to the great magi cal moments of dramatic activity and a c m lish n n eek c o p me t . I mea that of the Gr stage for 292 THE NEW STAGE ART 293

one s m men s ak s a ian of tho e o t , the Sh e pe r , for the ’ If ou ask me Wh is it cl s 1 I ill sa other . y , y o er w y “ Because the new- born spirit now vividly manifest in several quarters in Europe is bent upon ways to substitute the imaginative for the imitative in the i ualiz eali c the m il and um v s ing of the r sti , ob e h anly ” im l i a int ate for the remote y postured n st ge action. Instead of uniformly mechanical methods of attain in s i ff s it n u s u n isc i g pre cr bed e ect , ve t re po d over ng fresh methods of simplifying stage realism and rec n e m onciling it to the natural . I st ad of de anding that the author subordinate life to scenic conve niences n en i nall s a lis it s ek s a a co v t o y e t b hed, e to d pt ’ i u inn si ki scen c methods to the a thor s er de gn, ma ng l u m them pliab e to that s pre acy. I e a m sum u and c a iz a h re tte pt to p h racter e bro dly. Nothing so complete has actually been realized in an ne ua t But n nc as l y o q r er . the te de y, a who e,

e i - l u n i e i cl arly s two fo d . O the o e s d , t is bent upon repossessing objective Nature herself on the u n i in minan la uman s i i other, po g v g do t p y to the h p r t

i n As e n n s i wo- l n in ma . s t n w th xpo e t of th fo d te de cy, I shall select the work of two of the most revolu i r m s T re l t ona cen . a a s a s y of re t refor er hey o , perh p , the least known as yet in this country of the group of earnest men in Germany and elsewhere in Europe k n who are see ing the re ovation of stage art. In thi s article I shall attempt to describe the result of the ac ical k ne ese en i very pr t wor of o of th m ; n another, to characterize the very radical standpoint of the An in i nn all n l s c n . d s ma I s a e o d th er h be e b ed, per a ut e ou s u lemen h ps, to p befor y , here, the e two s pp tary tendencies more tersely and strikingly than if I tried to indicate all those whose work and ideas are running in the same new parallel directions along n a the same ew ro d . 294 THE NEW S TAGE ART

’ The aim of Mariano Fortuny s ingenuity is to apply the essentially modern means of electrical and mechanical science toward the attainment upon the scene not of an artiﬁcial but of a natural physical n u s light. His i ventive st dy has been to di cover how to give back to the modern indoor stage those pure radiances of external Nature herself that were a matter of course upon the outdoor stage of the — Greek s and the open roofed stage of Shakespeare. l ‘ In the new warfare upon the unsight y borders, i l l s the gar sh footlights, the squea ing y fal e spot

li old- s l s a F rtun l s a m st ght of the ty ed t ge, o y ho d o influenti l la He sai a a h a p ce. may be d to h ve g t ered up in his theatric sky and lighting system about all the sporadic attempts yet ventured upon i e al n i lin em or des r d o g th s e . The reform his syst has u a u a ll s e bro ght bo t m y we repre ent, therefor , the various reforms that have been carried on toward clarifying and simplifying the hitherto dis jointed scenic efi ects sought by elaborate stage ma c The s h hinery. gi t of t e reformation brought to a climax by hi s unified contrivances is to make the artifi l n cia potent e ough to present the natural . B mec anism i sel n at las s a machin y h t f, the , t, t ge er h - Th m as en as it e out machin . e u y be , w re, ed c ber s m c m le un m o e o p xity, the ro dabout inutia of the c u l s ectacula i an in in lace r de y p r, h therto st d g the p of the comely and unobtrusive aspects of Nature e s l l is a n e uc a an . h r e f, h ve bee r d ed or together b hed ’ And by Fortuny s inventive genius more than by any other one means may it now be said that the u l li s a ie g y foot ght b rr r, the ragged borders, and ’ any need for the will- o - the- wisp spotlights ghosting it about hither and you at utterly unnatural cross u ses a e een s e m a s th p rpo , h v b w pt fro the bo rd of e

ll- ns uc hea we co tr ted t tre .

296 THE NE W S TAGE ART

How Fortuny went to work with the idea of attain c li is ne m n ins f ing su h a ght, o of the oder tances o the mechanician proceeding by means of the appre The inci le hin ciating eye of the artist. pr p s be d Na ’ ture s beautiful susceptibilities of light and shade inspired his processes and results. By an applied analysis of the fundamental principles to be ob d in n m na sunli is serve the phe o e of ght, he dev ed the principles of a corresponding reproduction of its n en e l He n Na u quiet ca dor and t d r co or. oted that t re had two ways of lighting : by direct sunlight going u in a all l a s and iffu li a o t p r e r y , by d sed ght spread far k B es w a m m s . o s a one fro the y y th e t w y de , or by

ifi u ed li al ne all ac i li . r i d s ght o , sp e s ghted Fo d rect n nl ne i light ca o y pe trate . It does not pervade w th u r fi i n m o t e ect o fro objects responsive to light . When sunlight illumines all parts of an enclosure m le el it all u su ac s i in ou ain co p t y, f s pon rf e g v g t ag a ffusi n i lumin u u li di o of ts o s q a ty. A room hung with black may receive through a e ice a ra sunli but ill n ll cr v y of ght, w ot be a pervaded with light unless the ray falls upon a light- colored all s m cl a ull surf h — a i n n w or o e e r d acc th t s, upo a y ull un lis e u ac s n flectin lik mi s ot re a . d po h d rf e , g e rror T en l m ill li e ifi used h , the who e roo w be ght d by a d i n h i l n a a ce . T e la i ns l c a d re on r d re t o of ght, o or, sp si su aces a e all en ee if simila ve rf h v , th , to be h ded a r natural beauty joined with gradation and unity of ff ec is a ain is la i i n in i e t to be tt ed . Th re t v ty a d d rect quality in natural atmospheric illumination and in the beauty of permeating color and thi s continual shifting of light and shade constitute the foundation i i princ ples upon wh ch Fortuny built up his system. The ff c si was be s cu n not in e e t de red to e red, the , usual wa c u li ul the y by r de ght, however powerf , i l in ni usl l i c l r n man fo d, or ge o y co ored, d re t y th ow THE NE W S TAGE ART 297

a li s u n s m s flie . po the t ge fro foot ght , border , or s Direct light from the lamp fixtures used by him was absolutely prevented from reaching the stage at any li u i I in s s s t n it out. ns ea i po t by de h t g t d, the l ght he used was cast first upon the light - colored dull su ac an arc iz n all s e m rf e of or hor o t y tr tched do e, completely over- arching the rear and top of the ’ a e an n wa in c ifi u st g , d the ce it s dire ted or d sed every e at nc all a M e wh re o e over the st ge. or over, the light directed upon the neutral- tinted surface of this m i e do e, n order to sh d over all the stage only its iffus adi anc c ul i i ulf d ed r e, o d be given in add t on a s u si n an i l l h o of y degree of var ed co or, ight and s ade, and sensiti m ili firs a in u ve ob ty, by t p ss g thro gh cer tain intermediary contrivances specially devised for s u ses : namel im ue li h the e three p rpo y, to b the ght t at w in n difi used i an si l as te ded to be w th y de red co ors, i n s a rilli n n or any gradat o of h de or b a cy, or a y degree i sl m ili of sw ft or ow ob ty . To mak ene al lan is at all cl a e the g r p of th e r, yet u in c ni li i s le cus fir witho t go g into te h ca t e , t us dis s st li e n s e a i i nal a m the ght us d, the the e thre dd t o eco an in c n i anc c l s a and m i n p y g o tr v es for o or, h de, ot o ff ll m c fina . e e ts, and, y, the do e The color and quality of the source of light whence the difi used light was to be derived had to be true artistically in order to match the capacities m a i s nli n n of pure sunlight . Co p red w th u ght, i ca li i d ll e l l descent ght s a re dish ye ow . Th b uer yel ow of the arc light more nearly approaches the white u ’ light of the s n. Fortuny 8 source of light 18 prefer ably the electric light produced by the white arc

u n u - li light elicited from p re carbo s. His so rce ghts are arc lamps throwing light upon the dome from h the front at the top and from below at t e back . The lik sk is r c tacl the li ht dome, e the y, the e ep e of g 298 THE NE W STAGE ART

u i i it li ui e in e n it diff ses, and t rece ves s ght q t d pe d en l is a an m n an h li t hat t y, by th rr ge e t, of y ot er gh t

may be thrown upon the scenic decoration. From the arc lamps the light passes through the adjunct contrivances already mentioned that aecom m h a u l n h pany each la p . T e appar t s for ight a d s ade consists of fittings of transparent blue and opaque glasses by whi ch the light transmitted may be modi fied h ans a n la l i n , t e tr p re t p tes etting t pass i f ull brillianc s m e lu n s a in it the y, the o b r b e o es h dow g , a u ne u in i ff B n l op q e o s c tt g t o . y a seco d app ied n i anc n isel s l i m r m m co tr v e of o e s e ectr c oto s, ove ent of these glasses separately or together at any degree of velocity is arranged and the equally sensitive mobility of the light and shade efi ects transmitted i ain by them s att ed . By the thi rd adjunct apparatus ui in ac lam li eq pp g e h p, the white ght from the ca r ns u l in n bo , th s made capab e of any degree of te sity s a an e u a ili is iffus or h dow or of y d gree of m t b ty , d ed n l i l n i with a y degree of co or. Th s co or co tr vance consists of two superimposed screens of luminous

eﬂe in uff i n- lik an ilk r v lv r ct g st s, or r bbo e b ds of s e o in on en less c lin e s a e and el ac sc e n g d y d r bov b ow e h r e . T ese sc eens are set eac li a a h r before h ght, so th t ll the light passes through these rolling screen bands h of color . T e inner one of these endless screen bands of silk ribbon stuff is vari- colored for a third of its l n in lue sec n i in red e gth b , the o d th rd , the

in ell Th - r s . e u one is a i in e one e t y ow o ter v r t t d, i in lack s c n in i n s th rd b , the e o d wh te, a d the re t en The c l s l u op . o or ca e is s pplied by the inner rib bon a scal s a in in u , e of h d g t ts by the o ter one . These cylinder- mounted ribbons revolve in opposite or similar directions independently or together and at an esi e el ci in n lam s y d r d v o ty fro t of the p . These moving streams of ﬂexibly shaded or in

300 THE NE W S TAGE ART

l n D n T a e framework in solid p aster . I the resde he tr m in asemen a c it extends so e forty feet to the b t, r h ing up over the stage about twelve feet from the u m a it is m a l floor level . B t the top ost p rt of ov b e an ma sli out wa n here, too , d y be d over of the y whe bulky scenery needs to be brought in at the rear of he s t tage . F r un m ina n To the eye of the spectator, the o t y do e y of its forms of construction does not seem to be any m u thing so substantial. It see s rather to be an act al sky space with limitless illusive effects of atmosphere mi s n i is a. B means als a d aer al v t y , o , of rror of and izes eams li can r diverse shapes s , b of ght be p o e n a ucin ject d from overhead dow w rd, reprod g the aspects of luminous cloud- fieeces and variable open n l i gs of ight . I i as e a a in n i n t s e y to s e th t, ap rt from the ve t o i l e ne c n i n u e i i tse f, the m re w o cept o of the s p r or ty s a na u al c n i i ns li h uch as for the t ge of t r o d t o of g t, s ’ i l i F r un s in n i s s i s invo ved n o t y ve t ve proce se , s a conception alone influential enough to work a refor m i n in he ea at o t th tre. ’ Although no English or American stage has been alive enough or advanced enough to adopt the For ’ tuny aerial stage- dome and unified difl used lighting s s m i n innin i n y te , where s there ot beg g to be ev de t “ ’ the same critical attitude toward the old stagey c n i i ns n u s i n ic ins i o d t o , ever q e t o ed before, wh h p red ’ Fortuny s inventive ingenuity ? Such a critical atti tude toward the old- style artificialities in house dec a i n us in n t an a s sinc a s or t o hered , o m y ye r e, the rt and c s m i n Th an n F r raft refor at o . e ch ge i taste o ’ tuny a work betokens is one of the signs of the

It is a leasure to add in ualiﬁcation of his that h n w Re er p q t , t e e p tor Theatre of Birmin h m is now e ui with F r un om y g a q pped a o t y d e.

G P. THE NE W S TAGE ART 301

n ne s m e adve t of the w tage art. We have beco e s n i ive u line nna u ln s s t to the g ss of u t ra es . The attainment merely of a natural light must

- modify the whole atmosphere of the stage world . l difi d um The scenic effects wil first be mo e . H an ’ fi ll c nic a i n ill e ects will fo ow. S e decor t o w perforce “ ” l N ac s n c m ss s a . be o e e t gey ext the tor , too, o longer needing to be subjected to the harsh and pitiless glare of artificial direct lights from foot to ill no l n au and disfi ure lin a head, w o ger d b g the e ments of the face with outrageous unrealities of “ ” exaggerated mak e - up to outmatch and over shout the scenic circumstances they have had to cope with . H in ff u n ac is e s n ere, the e ect po the tor, xpo ed o e ’ of the link s connecting Fortuny s scenic reformation with the more psychi cal reformation accompanying it Fortun es n s c i si . y repr e t the obje t ve de of the two l w n The uman si n n fo d ne tende cy . h de of the te de cy n i n i l will be represe ted n a other art c e . AR E P s ' n CH LOTT o r a. — ME. SHAW AND OTHERS

Euro ean Dramatist A chi al H n s p s, by r b d e der on S a Ki m an incinna i 19 tew rt dd Co p y, C t , 13

’ BOOK such as Professor Henderson s collection of biographical criticisms should either present new material or make illuminating and fresh use of l f o d. O the six men treated in thi s n a l ma lum u Ib n M e t y de vo e, fo r, se , . Ma linck Wil and Mr eter , de, . Shaw, ha e n la much is u — v bee of te d c ssed indeed, what many critics are disposed to regard as temporarily i Mr h definit ve work on . Shaw as been done by Pro s H n hims l The fes or e derson e f. two remai ning nd Mr ill B k i s in a . G an a ar wr ter , Str dberg r v e r er, e i il Am ican P less known n deta to er readers. rofessor Henderson thus links together the names of six men whose influence upon present- day drama is just now incal culable. Precisely what artistic excuse the author can plead for the choosing and ordering of his larger i ffic groups of material it s di ult to divine . Few writers would care to include in such an august m Mr Ba k s ill ul is list the na e of . r er ; fewer t wo d w h to give him the emphatic and honorable task of end As la s s cial u i s W st and lum . s a e ing a vo e p y or o t d e , The Voysey Inheritance are not to be mentioned in as Man an u rm An E m the same breath d S pe an, ne y of le n first ssa l c a le the Peop , or eve the e y of the de e t b Al as a a e so far u n Fanny. th t we h v o tgrow the ‘ - m h ul pseudo social and i perfectly trut f drama of 302

HA —AND T E 304 MR. S W O H RS

o nin n - c n u e in s i f b dy of etee th e t ry h ro e , the des re o r “ ’ e men s a power ov r , the wi h to be n influence m l i i s. It is is ich ac ua es her and whi c the r ve th wh t t h , aggravated by her melancholy and tigress- lik e d e ai sul s her ma ia ac in u o n sp r over the re t of rr ge, t g p he inh i elem n s her a ac e mak s h t er ted e t of ch r t r, e t e As infl uence e eac a an s a tragedy. her ov r h m n w e n d he s the in e her a s a achin is s ees w t r of d y ppro g, ex t mes im ssi l and ea s ence for her beco po b e, d th i th e only solution of the life- question which fate ha s k as ed her . i M ’ W ll n as the I s n s r . S a s i a e do e b e , h w b ogr phy I s m el it. f m e ic i an P ss H exc s O the et or r h , rofe or en derson knows more and understands more than any m l in inclu in Mr a im l Th e an . s . oth r iv g, d g Sh w h e f e i a hical ma e ial i c u se au i a i b ogr p t r s, of o r , thor t t ve “ n m necessa u men on is li e a eve ore ry, the j dg t th t r ry ” “ P —e a e s ul sa li ar Peter an p rh ps on ho d y, ter y —i Struldbrug s sound . F ink M nl am ar too often we th of r . Shaw o y as dr a i t an wit an e a e e wa nc a n t s d , d forg t th t th r s o e ge e rati n a kn him not H e e a his a e n o th t ew . b g n c re r ot i li Y e e en alis as cr tic but as nove st . et v n th Soci m hi m T his ea lie e i l n was in s syste . o r r p r od be o g those important if relatively uninteresting novels ’ Love Amon the Ar tists Cashel B ron s P ro ession , y f g , and An Uns cial cialist T e are c a ac e is ic o S o . h y h r t r t all S a ian but Cas el B n i his s el y h v , h yro , w th go p of “ ” L i h l n n u ife s a fig t, a o e of the heroes stands i tr e relation to later development ; the prize - fighter is nl h l The wi es in o y Jo n Tanner in nonparei . s t th g M di wa s i hi alle n e m r . Shaw ever d s to h ft s gia c fro the no el music and the la music u v to p y, for bro ght him into touch with the work and thought of Richard T P r Wa ne and the ama s e him I sen. he e g r, dr how d b ct Wa n rit ma a had i s da but as a in f e g e e y h ve t y, d r g HA —AND THE MR. S W O RS immessionism in criticism it owns no super1or 1n c nin u P ss r the last de ade of the eteenth cent ry. rofe o Henderson strangely enough fail s to draw the par allel between certain Wagnerian- heroic qualities and m many later Shavian develop ents. The music was T little ; the thought was much . he Quintessence of I i m a m e a an I n and in bsen s m y be or Sh w th bse , , P s B an e Mr a ma a i s s . S e sp te of rofe or r d , h w y h v dealt in Ibsen material and motives long before he came into contact with the great little man ; but the m uni u se ice in li a is book perfor ed a q e rv ter ry h tory, for it gave Ibsen English ears and made it possible Mr S a a an n c i icism and i in o for . h w to b do r t r de t the arena of the drama in the chariot whi ch be him d i self ha fash oned . I i e e influen es e l n sp te of th s c , it has be n a ways “ i M a a i as l B n i li r. s S c a w th Sh w w th C he yro , o sm or ” sm h His e F an E n as . pr face to aby ssays a d his own c a s in k his illian c n sial am h pter the boo , br t o trover p phl ets which are both entertaining and logical if n i ma mise are a mi h o ce the r jor pre s d tted, and t e in u a i hi la n l trod ctory m ter al for s p ys, otab y that to ’ Widowers Houses and Gettin Married are e g , r do len cialism T e is li ical sa i - l n t of So . h re po t t re a p e ty in alm s e k I i man n u o t ev ry wor the r sh tur s o t, even if it is not always so trenchant as that in Press Cut tin In e i ui e s a gs . d ed, t q t over h dows the important ’ ’ social satire of F anny s First Play and The Doctor s Dil mma P e s Hen n i e . rof s or derso s to be thank ed for ’ in i n M a m in i n l a s sti g that r . Sh w s ainspr g s a d a w ys h c l in him as been So ialism. On y by view g in relation to that actuating force can one arrive at a proper c m l d o prehension of his ife an writings. The plan of European D ramatists and the treat men Wil and Mr Ba k e are it eak s t of de . r r s w e t in r l po ts. Perhaps unity and evenness a e hard y to ME SHAW—AND THE 306 . O RS be expected in a collection of reprinted pieces ; yet it seems as if adequate revision and wise substitu tion might have rid the book of even these faul ts and brought the whole up to the excellence of most of a s. m s . H WARD the p rt J S O .

308 CONFERENCE ON PAGEANTRY

l un and as one i s ms the o d or yo g, of the h ghe t for of la i i A i l i n u p y sp r t. ccord ng y there s o a dience, or cer tainl n n au i n bu all a and y eed be o d e ce, t , te chers u il s c n ibu n an ousl an m a icall p p , o tr te spo t e y d de ocr t y makin ei s i al ucin e to the g of th r fe t v , prod g ther by for themselves and for each other a worthy expres l k sion of the joy of the schoo wor . To the end that the school festival may ripen into its best possibili ties there is need of teachers who have the cr eative s i i a is i i and Dr B n ma e an a al p r t, the rt t sp r t, . oh d ppe all a an k s mmuni ac nd com to p ge t wor er , co ty te hers a muni a is a r el a c a ty rt ts s they a e, to h p spre d the re

i s i i u l a l s H . t ve p r t thro gh the schoo s. Prof. Ch r e ’ Fa nsw t T ac s ll was in r or h of e her Co ege, who tro duced to speak on The Educational Value of Festal Music at n ee hi s e im u a i n , o ce fr d s ubj ct from the p t t o “ he i e ens of t word educat ona in the narrow r s e, calling for devotion to music for its own sak e with l e m asiz d the out any so emn ulterior design. H e ph e in a es ival u in u a li si ua i n po t th t the f t , by p tt g p ve t t o i e nce s l c i n c m si i n and w th r fere to the e e t o , o po t o pro u i n mu ic e i i d ct o of s , induced aesth t c activ ty of the s alua l Mu i u ecam n ssi mo t v b e sort . s c th s b e a ece ty and people gave thought to the eff ectiveness of its a li i n hil in hi un dif c n a u s . W pp at o d p rpo e e t s co try, t in Eu i l un i er g from the ropean and Or enta co tr es, we have not an elaborate system of holy days and s ecial casi n i all acc an in music p oc o s w th the omp y g , s e c s um and a i i n the m e n in tory, po try, o t e tr d t o , od r terest in the festival is going to give us the needed vital occasion for the production of artistic work and Mr i n a i . F u the educat o of true pprec ation . rank Cho au B n B s n in hi a ess on The W i te row , of o to , s ddr r t in n B k su e he esi ili in g of the Pagea t oo , gg sted t d rab ty, addition to the development of pageant technique as

e ar sa ua in non- ssi nal ele a fin t, of feg rd g the profe o CONFERENCE ON PAGEANTRY 309 m n in a an e n e n m e t p ge try, ve to the xte t so etimes of preferring the untrained local writer who is familiar wi l cal is as au a ean k th the o h tory thor of the p g t boo . He asserted that one of the u portant values of a ean i its lack es a lis p g try, w th of t b hed technique, esi in it imen al uni i r des s exper t opport t es, which are more likely to be developed by the new rather than l by the trained writer. In order not to ose all cer tainty of sequence and of dramatic unity in the pag k Mr B als u s s i ili s ant boo , . rown o s gge ted the po s b ty of combining both the experienced and the experi mental ability by having a pageant book written in part by the local amateurs under the guidance of the n Master of the Pagea t . The annual inn Ass cia i n a u a d er of the o t o , S t rd y ni h s i ali Na i A eve ng, enjoyed t e ho p t ty of the t onal rts lu nn w l us a l in n e C b . The di er as he d th e r y the Co f r ence in order that it might serve to acquaint all the members of the Association and attendants at the Conference with each other and spread a cordial in m e ll ssi formal pageant at osphere ov r a the se ons. n This purpose was gratifyingly fulfilled. O e of the most valuable features of the conference was the good- natured hostility that was developed in the dis cus i n nfid n ankn s i hi c v s o s, the co e t fr e s w th w h e ery one advanced his own opinion without fear of ofi end in e u ic s e s and the ual ankn ss g the pr j d e of oth r , eq fr e n fiel n w as with which others replied . I a d so e is so muc i inali and pageantry, where there h or g ty ll s a lis in which few principles are as yet we e t b hed, h W Al Mr n . c s . o thi s was espe ially de irable . J ex wa an a l k in e m ander, who s e r y wor er the fr e for of i al was a s k en on The O uni fest v , to h ve po pport ty of A i Pa n but ickn ss confined him hi s rt n gea try, s e to him house and deprived the members of hearing . K k on The F m and Val ue Mr . Percy Mac aye spo e or 310 CONFERENCE ON PAGEANTRY

u a ac izin ical os i ili of the Masq e, ch r ter g the typ p s b ties of festival work as a line with the pageant at

one end and the masque at the other . In the pageant he would include the processional and the realistic i l k il mas u e a s histor ca type of wor , wh e the q e he r g rd li and ama i conﬂict in as the more symbo c dr t c, the ' herent in the progress of civilization being therein

more clearly evident . Any particular pageant or festival might be located anywhere along this line according to the proportions of these typical ele n s i He illu a ments e tering into its con truct on. str ted

n hi Bi - Mas ue S anct his points by refere ces to s rd q , u

r nd e mas u hi c is i in St. a y, a th q e w h he wr t g for L Mr T m e ns a an acc un ui . s W o s. ho a ood St ve g ve o t of the work in festivals that has been done by the Ar at i and iscusse s m the t Institute Ch cago , d d o e of technical conditions with which he ﬁnds himself con in n L uis l sin fronted in writ g the Pagea t of St. o , c o g with a virile and absorbing description of the epi h il s n Mr sode of T e Mound Bu der in that pagea t. . l B L m e P a an A s cia i n Char es . a b gr eted the ge t s o t o in behalf of The Older Arts and called attention to the great ﬁeld of opportunity in public holidays and c l i r e ebrat ons for cobperation between the arts. M s. Anne Throop Craig outlined certain of the theories that guided her work in writing the Irish Historical P an and Miss Ma a e MacLaren Ea a e age t, rg r t ger g v some reminiscences from her pageant expe riences with a description of one of the scenes in her Page n f ica Dr Elli P l z a a a t o Ut . . s axson Oberho t er g ve very entertaining and trenchantly practical discus si n f The La Pa an in ins anc in in o o rge ge t, cit g t es po t m his P ila el i s nd nla in fro two h d ph a pageant , a e rg g on the municipal value of a series of adequate page ants under the direction of a permanent pageant as

s cia i n. ank u au B n as n l o t o Fr Cho te row , the ew y

312 CONFERENCE ON PAGEANTRY

s l a an d human expre sion in work or p ay, in dram

anc c l s un and m i n. In u n h e the d e, o or, o d ot o t r declared the need of the Church in its work f or th e vital human expression of the drama and the f e s v l k e l m s a n ti a , and spo e of the gr at va ue the y tery d the play and the festival had proved to have f o r i hn lli him ln his work as a parish pr est. Jo Co er o f ’ P l Ins i u New Y k un the i l f the eop e s t t te, or , der t t e o The New People and the New Festival discussed th e value of the pageant and of other types of festiva l i in le ur ci ies th for soc aliz g the peop of o great t , for e true assimilation of the immigrant peoples into

Am ican li c n in lk - art and lk er fe, for o serv g the fo fo cul u a in i m and uni i t re th t they br g w th the , for fy ng all the elements of our civilization in a joyous citi z n hi Illus i l l e a e s p. trat ve y he to d about the pr p ra ’ tion under the auspices of the People s Institute for a pageant of a number of the nationalities that gather in the new social center at Public School 63 E Mi L la k B s o on as i . ss a A C n the t S de ott . r of o t considered The Educational Signiﬁcance of P a eantr its la i n r in un le g y, re t o to the g ow g yo g peop and the value of the prophetic pageant showing is l l h u Mi the v ion of idea possibi ities in t e fut re . ss L n n missi na m in i Alask a gdo , the o ry fro the ter or of a , gave a simple and very moving account of a Christ mas mystery play given by the Indians at Nenana the li tle lo missi n c u c a la Ma in t g o h r h, p y of ry, ose h the s e er s and k in s all i J p , h ph d , the three g , n ian ess an the w s s k e in I ndian a Ind dr , d ord po n , nd of its effect upon her and upon the Indians of Ne nana ; and of a hostile tribe who had come two hun dred miles over the mountain to hear and see the o i t a thei ld enemie le rn n st r es h t r o s were a i g . At the Monday morning session at Columbia Uni versity attention was given to technical and prac CONFERENCE ON PAGEANTRY 313

l s a ean an i l i n A tica a pects of p g t d fest va product o . s two speakers had been prevented from coming at the m Mr n las m en . La n su s i u i an d t o t, gdo b t t ted w th a ss on ac us ics i in s m l hi dre o t , g v g o e of the resu ts of s study of thi s side of pageant producing with relation to the choice of pageant grounds and the employment of dialogue and of vocal and orchestral music in Du ri le pageant construction. rr F ed y of the Metro politan Museum of Art spok e of the visual aspect a an u in a a si niﬁcan c l of the p ge t, rg g reg rd for g t o or scheme in the planning of the episodes and for an artistic treatment of the whole general aspect of ack un and c s um i in man s eciﬁ b gro d of o t e, g v g y p c ic l u e i n l i l a a s s s k n in . pr ct gg t o for wor a o g th s e Prof. La Mont Warner of Columbia similarly discussed su c a ean i s i in man l the bje t of p g t propert e , g v g y he p ful suggestions for the construction of scene build i s and i alik n P ng propert es e, draw from the ageant f W c un B n ill N o s s C a Y. e t he ter o ty t ro xv e . , where , had c a es ma Mi Ma P he h rge of th e tters. ss ry orter B le Ba na C ll alkin a u ele eeg of r rd o ege, t g bo t the m n l ical m i n is in uis i nc e t of yr ot o , d t g hed fest val da ing from indoor dancing as consisting of rhythmical motion of the whole person and of the group of dancers rather than of a step or motion of the arm and le s in iff n e ui m n the g, how g the d ere t r q re e ts of the out door conditions and the peculiar expressive n s i kin an i Vi i n e s of th s d of d ce . M ss rg nia Tan er of Boston took up the use of the historical dances in the a an us s su s and wa sh p ge t, the e they b erved, the y e had u n lk n n nc sed these da ces, the fo a d cou try da es and in i an s in a an in i the terpret ve d ce , p ge ts wh ch she h k n as ta e part. The Monday afternoon session was given up to a lan n li m sium in ic i an ter s de sy po , wh h var ous page t i c s k a illus a in i ma k ie d re tor too p rt, tr t g the r re r s by p 314 CONFERENCE ON PAGEANTRY

i an s nd s al n h tures from the r page t a fe tiv s. I t e eve ning the Association was the guest of the MacDowell ll Club, where Arthur Farwe delivered an address on Music and Ne i i ual A ak nin r the w Sp r t w e g, p e senting the broad revolutionary principle of musical s a s n Y k progre s s ee in the New or municipal music, and citing the pageant or community music drama as the natural vehicle for the spread of the new i i m l u Tu s a man sp r t a ong the peop e . O e d y y of the members attended the Conference on Bird Conserva ’ tion and the performance of Percy MacKaye s Bird M u nct r H l A as a ua at s . q e, S y, the ote tor During the Conference an exhibit of pageant ma i l c n i in n k i ter a , o s st g of pagea t boo s, c rculars, s s c s um si ns a s m ls and po ter , o t e de g , photogr ph , ode , music was on i a the A Lib a l , v ew t very r ry of Co um bi ni i Th i i m i - a U vers ty. e exh b t co pr sed twenty four a si num s n A u c ses, be des a ber of cree s. t the req est a i n Mr E a mi e li a . R in of the br r , dw rd . S th, whose t r es w m s c ial and l ul i i m t as o t ord he pf , the exh b t re ained at the library for two week s after the close of the Th m e n conf erence . e me b rs of the association a d many of the public as well showed great interest in ma ial u u mi ei m i the ter th s s b tted for th r exa inat on. At usin ss m in Ass cia i n atu the b e eet g of the o t o , S r da m nin fﬁ r ew y or g, the o ce s for the n year were l ll i n F e ected as fo ows : Pres de t, rank Chouteau B n B s n ec a Mi Ma e B row of o to ; S ret ry, ss ry Port r ee le Ba na C lle New Y k i T a u g of r rd o ge, or C ty ; re s rer, H H Da n m vill M u oward . ve port of So er e, assach setts. A n i u i n was a i i ﬁve co st t t o dopted, wh ch prov des for lass s m m s i Ac i Guil Ass cia Sus c e of e ber h p, t ve, d, o te, i n n L A i m e r l ni a d i e . c m a e c ta g, f t ve e b rs e e ted by the Board of Directors on proof of meritorious serv ice as a director in one or more pageants or festi als uil m m s are s e k v . G d e ber tho e who hav ta en part

A SELECTIVE LIST OF ESSAYS AND BOOKS ABOUT THE THEATRE PUBLISHED DUR ING THE FIRST QUARTER OF 1914

K u COMPILED BY FRAN CHOUTEAU Baow .

The same method of indicating the character of publications as has been used for the preceding Se lective Lists is continued for the titles that follow ( 1 )Technique ; ( 2)Biography ; ( 3)Historical Treat ise ; ( 4) Criticism of Drama ; ( 5 ) Critical Dramatic Records ; (6) Essays ; ( 7 Drama Study ; ( 8) Tech e Fu u nique ; ( 9) Sociology ; ( 10) Th atre of t re .

A BE AR a Ame ican . C MP LL, OSC J J . ( r ) 3 m H l . Co edies of o berg, Harvard University Press net W En DBINK ATEB 0 1111 lis . , J ( g h) Du 4 u An . n net . Swinb rne : tto BERG DB I AA Am i an GOLD , . S C ( er c il A u M n 4. Sir William S . G bert : St dy in oder P b n a . . e Satire . Str tford u Co t HA AY Am ican MILTON, CL TON ( er ). r H l n 8. a e 4. Studies in St g c aft o t et H s P P ow , . . D le n 2. ramatic Portraits Kenner y et H EKER A E Am i UN , J M S ( er can).

2 The Pa Di n . n ne . thos of sta ce . . Scrib ers t omv n A E e i n J so , . . (Am r ca ). The Russian Ballet Houghton Miﬁlin net ETTLETON EORGE HE R En li N , G N Y ( g sh). En lis D am n 3. 6. g h r a of the Restoratio

and 18t n u 642- 1 8 h Ce t ry, 1 7 0,

The Macmillan Co. net 316 E T VE LI T OF PLAY 31 S LEC I S S 7.

' M Am ican Rosas rsox , J . ( er ) The Baconian Heresy Dutton Am ican Anrnun . Rum , ( er ) Ni hts Sc i n s 4. Second g r b er WAnDa FREDER K Am ican , IC ( er ) T l k s a 3. he Foo s of Sha e pe re,

Br Nas . Mc ide, t Co Wn rrwoa'rn Ga m ar Am ican , o ( er ) 2 T Ni insk . he Art of j y, d M Br N . c i e, ast Co A R BY AH CT ESS . u li nd u e 6. The Tr e Ophe a a other St di s ’ of Shakespeare s Women. Putnam net

A SELECTIVE LIST OF PLAYS PUBLISHED DURING THE FIRST QUARTER OF 1914

Compiled by Frank Chouteau Brown

The same method of indicating the character of publications as has been used for the preceding Se lective Lists issued by the Drama League of Amer ica is continued for the titles that follow : Plays professionally acted in English ; ( 1 ) Representative modern plays for techni cal study and reading ; ’ ( 2) Plays typical of the author s methods ; ( 3) Rep resentative modern plays available for younger readers ; (4) Plays possible for advanced amateur use ; ( 5 ) Simpler plays for amateur use ; ( 6) Notable modern plays ; ( 7 Notable modern poetic plays ; 8 ’ l ( ) Closet or literary dramas ; ( 9) Children s P ays. Axm s Z s i n , o (Amer ca ). Papa Kennerley net Ann Ls mn s asm , o (Rus ian). T T in m . h D n he Pretty Sab e Wo en . e rama et 318 SELECTI VE LIST OF PLAYS

BARKER um AND LAURENCE Housm , v , En lis ( g h). ‘ n ll e n 7 . Pru e a Duﬁi ld et B us HE R F aco , N Y ( rench) 2 Th ur . e Vult es. T an P i K nn rle net he Wom of ar s. e e y

- - The Merry go round . Banes'rsom HYALMA Da h , B ( s ). n rd Sy gga 0 0 . Kennerley net K o n aren B rneme .

BJ anson Bs ansr m nns N e ian . ii , b ( orw g )

Introduction by Edwin Bjorkman. Plays ( Second Series) Scribners net L n a ove a d Geogr phy .

6. Beyond Human Might .

Laboremus. D s n ER ES En lis ow o , N T ( g h). The Pierrot of the Minute Mosher net

D A L an I is . UNS NY, o ( r h) F Pl Kennerle net ive ays . y

The Gods of the Mountains. Th l n n e Go de Doo .

King Argemenes and the Unknown Warrior. Th li e G ttering Gate. L L l H The ost itt e at. M i an Frans AR R DAW e c . , THU SON ( r ) Kennerle n Mr . Faust y et

AL W RT En lis . G S O HY, JOHN ( g h) ‘ T F i i c i n s 2. 6. he ug t ve S r b er AYLEY C AR E M LLS Am ican G H L S I er ). , ( En li m i s Representative g sh Co ed e , Macmillan net ‘ H Every Man in His umor. ‘ E picoene . ‘ T mis he Alche t . ‘ Eastward Hoe.

320 SELECTI VE LIS T OF PLAYS

r Mrss E Lovnsssa , ( nglish) P t ai of D ian a or r t or Gr y, Simpkin Marshall MAoKAYs n Am ic n , Pn cr ( er a ).

4. M Sanctuar Bi a u . k y (A rd sq e) . Sto es ‘ 7 . A Thousand Years Ago ( Drama League Series) Doubleday Page MACM LLA MAnY Am ican I N, ( er ). l 3. Short P ays Stewart Kidd a w a Sh do ed St r.

Th e Rose . L k uc . ’ Entr A e ct . ’ ’ A W man s a man A T a o Wo for h t. A Fan w k and T o Candlestic s. A Modern Masque.

The Futurists. T he Gate of Wishes. M rm li h Asn m En s . , JOHN ( g ) “ 6. The T e P m rag dy of o pey the Great, net MIDDLETON Gnoaen American) , ( Nowadays Holt M ns n e oo , G om (Irish) ‘ Esther Waters Luce net Elizabeth Cooper Luce net Roesas Mm oAna'r D om s i n , ou (Amer ca ) The Gift Stewart Kidd net r nn Anr on ur z s nua Vi nn s . S , ( e e e) Th n ka d Pl e Gree Coc too an other ays, McClurg net Th e Mate. P l arace sus. m onsou us'rAvs Am a S , G ( eric n). ’ Horace Walpole Moh at Yard net SELECTI VE LIST OF PLAYS 321

ramnssno A G S S , U U T ( Swedish) ( Translated by Edith and Warner Oland) Luce net w hi S anw te.

Advent.

The Storm. trm nsoN A G S A Am ican S , U U T ( er ) h m H 9. Plays for t e Ho e oughton Mimin net he n x T Crow a d the Fo .

The Ugly Duckling . s The Red Shoe . Th n in H e So g the eart . ’ The Em peror s Jest. Tac ma RABINDRANATH Ea In i n o , ( st d a ). M mill . ac an net m 'rs sm B An AM Am i W as n can . , J ( er ) ‘ 4. Sn W i and n Dwa s ow h te the Seve rf , D M odd, ead net Wraem KA E D UGLAS Am ri n , T O ( e ca ). 4 Bl H . uebeard arper Note : Substantially all the Bernard Shaw plays ’ may be obtained in Brentano 8 paper cover edition in l at each, c uding ’ Mr n s s. Warre s Profes ion. B Major arbara. Arm an M s d the an. ’ The D il D ev s esciple. Wi ’ H u dower s o ses. Th P e hilanderer . ’ Ca Brass nd pt . bo s Conversion. e l Ca sar and C eopatra. Y T ll ou Never Can e . ’ I l John Bull s Other s and. ’ Dil mm The Doctor s e a.

Man and Superman. 322 SELECTIVE LIST OF PLAYS

r Getting Mar ied . And the shorter pieces

A Man of Destiny.

Press Cuttings. T e wi u Blan P n h Sho ng p of co os et .

The Admirable Bushville.

The ﬁrst ( l arch) lu ne eenteine :

A w w l ehn oalewu thy l 'l ve h m l ’rinte ( Poem )

“ e l a st i c:

h m as t Dyn -ie ' Ra h el Van ham z l eminh t .

A i ta une ce d emic re ie evot to v l. v w d ed a recia tion and creative inter reta tion pp p . u of th e se d r i f ll pul an powe of l ve writers.

' m nn ru : REVIEW in one of th e cle ve res t and be st ” — t in s I h ave e n I t es rve ccess. F ra L e n se . e s su G n d to . h g d . k y LITTLE REVI EW in a Middle West response to th e sa m e sort of thing which produced Th e Eng lish Re view in ”— on on. a re it m a tter Wiiliam L . L d s . C h ene ry

“ ’ Mine An—d e rson s e nthusiasm won our admira tion and our e nv too. ucien Ca r in Th e Chica o Pu t. y . L y g m “ 1 am ve r ad to no t a t suc a t in s ou be starte y gl k w h h h g h ld d. a nd it should be both a ca use a nd a n s tre e t of be tter time s in " i te ra ture I s a d o ev r t i n 1 ca n to m a it e tter no n . l . h ll e y h g ke b k w - Wiiiia m on P e Ly h lps. Th e ﬁrst numbe r of m LITTLE REVIEW cam e as a d e i tfu sur rise I artic r a r iat th e s irit of a recia l gh l p . p ula ly pp ec e p pp tion runni n t rou th e a es w ic I e ie ve i be of g h gh p g . h h b l w ll " — inestim a e s rvi t i itc e K e nne rle . bl e ce o young wr ters. M h ll y

25 Cents a Copy. a Year T H E E G O IS T

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Dora au e n R em d e G ourmont trans ate C. d . y ( l d by e a E zra P un F int Ri r Ai in F or a : H ue er o . 8. F c a d M d . d, l . h d d g ton A ie n U ar W n am e i s F rances G re Jo n . l pw d . y dh L w . h “ ” Cournos Wi C r o i B D . S i i t anne li iam a s W ia ms . , ll l ll . k pw h , J am es o a e H unt Carter G au ier J ce D 3 . L r nce y . . w . ly . d B rzeska. m M OIST keeps its read ers in close touch with modern F renc i e rat re h l t u .

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B m r tr L nd n loo bu eet W. . s y S , o o , C L. IV N VO o. II

MAY, 1914

Ernest Fenollosa

Translation of a Japanese Nob Drama

The Rainbird

Poems Skipwith Cannell

— - Ik one The Blind Manv The Dwarf Speak e

Epilogue to the Crown.

Poems William Butler Yeats

To a Friend Whose Work Has Come to Noth ing Peudeen To a Shade When H elen Lived Beggar to Beggar Cried The Witch The Peacock— Running to Paradise The Player—Queen T—o a Child Dancing in the Wind The Magi A Coat.

Editorial Comments

The Enemies We Have Made The Later

Yeats Reviews Notes.

ass S r hi o 543 C t eet, C cag

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