211202 R immingl i terature Qu i ts

G I LE S C O R E Y O F T H E S A LE M F A R MS

BY

H E N R Y WADSWOR TH LON GF E LLOW l l

WI TH AN I N TR OD U C TOR Y N O TE

AN D AN APPE N DI " C O N T AI N I N G H I N T S AN D DI R E CTI O N S F O R TH E R E PR E SE N T ATI ON O F T H E PLAY O N T H E STAGE

H H T MI F F LI D OUG ON , N AN COMPAN Y w r k : 11 E Bost on : 4; Par k St r eet ; N e Yo a st Seven teen th St r eet Chi cago 3 78 - 3 88 Wab ash Aven u e

' “ l l ? "Riva ries un «I a b r b e a » l l gs, m i g 9 6 0 0 8

L i b r a r y o f C o n g r e s s

I we COPlES REi ‘ fl VCD DEC 29 1900

SECONDCOPY

Delivered to ORDER ows zou JAN 14 1901

BY E N ADS O T L N G E L H RY W W R H O F LOW.

Co r i t 1896 an d 1900 py gh , , ,

E E LON E LLOW. BY RN ST W. GF

C o r i t 1900 py gh , , O G TON I LI N BY H U H , M FF

A i l l r ghts r eser ved .

T i v m r e Mass . he R er si d e P r ess , Ca b i d g , ,

E l e tr t O . ou ton Com an . c o yped an d Pr i n te d by H . H gh p y N TE I N TR ODU CTOR Y O .

As early as 1841 Longfellow projected a long and t to the Chr i s tu s to elabora e poem , bear name of and ex press in three separate parts the aspects of Christen M M Th the A t . e dom in pos olic , iddle , and odern ages

t t to tt The G o l d en e en d firs par be wri en was L g , 1851 t t which appeared in , and was hailed wi h deligh I as a faithful ex position of medi aeval Christianity . t was n o t till 1868 that he published The N ew E n g l a n d Tr a ed i es t t t the t t g , which cons i u ed hird sec ion of the t th t ten e a r rilogy, ough prac ically ready years The h D i n e Tr a ed a . t T e i v lier firs division , g y , p

ear ed 1871 the t 1872 the t p in , and in au umn of hree t divisions , now harmonized and uni ed , were published

Chr i s tu s . as a single book , The N ew E n gl a n d Tr a ged i es was d esigned to set t t C t t the r t for h cer ain phases of modern hris iani y , fi s “ ” the two t E tt t of ragedies , John ndico , s anding for the fl t t the P t the the con ic be ween uri an and Quaker, ” C the S m F the second , Giles orey of ale arms , for t t t t t o x the wi chcraf delusion , and bo h in ended e press supremacy after bitter struggle of the divine spirit of charity as the central idea of a true Christian L d t freedom . ongfellow did in eed par ly plan a third the t o the M drama , scene be laid among oravians in t t t to Be hlehem , which his journal men ions as ending harmonize the discord of The N ew E n gl a n d Tr age d i es t n o t u n fi tti n to h , and hus give a g close t e work ; b u t the n t drama was ot writ en . ' i v I N TR OD U C T OR Y N T E O .

The drama of Giles Corey of the Salem F arms tt the tt t F was wri en rapidly in la er par of ebruary,

1868 the t i t the t r e , and in prepara ion of poe had t to S a l em Wi tchcr a t C course undoub edly f , by harles t t U m two Wen wor h pha , a work in volumes , pub l i shed 1867 t the t t t in , and s ill mos comple e accoun of the insane delusion which held an ex tr aordinary grasp on the N e w E ngland of the last quarter of the seven N te en th t . o t L u t cen ury doub , also , ongfellow cons l ed ’ Cotton Mather s L a te Mem o r a bl e P r o vi d en ces r el a t i n g to Wi tchcr a fts a n d P o s s es s i o n s and very likely ’ ' C al e fs Mo r e Wo n d er s o the I n vi si bl e Wor l d two f , t t t the t con emporaneous rea ises on subjec , and his diary ’ t D oem on o l o i e shows him consul ing King James s g , ’ N R a chel D er a Ta l e o and reading John eal s y , f H hi i tchcr a t. e t s u t W f no es also in diary , nder da e F 19 1868 C tt M t St d ’ of ebruary , , o on a her in his u y, t t t mos ly in his own words , as a scene he had jus wri tt t t th t en b u t e . , he omi ed his scene in prin ing drama The reader to - day who wishes for a succinct continu ous narrative of the witchcraft delu sion will find i t most conveniently in the fourth volume of John Gra ’ — H r o N ew E n l a n d . 96 13 P i s to 3 . ham alfrey s y f g , pp The beginning of the outbreak was pretty nearly ’ coterminous with the coming into the govern or s chair

in Massachusetts of Si r William Phips . Belief in witchcraft and devilish possession wa s n o t a new thing Th either in N ew E ngland or in O l d E ngland . e close attention to the details of the Ol d Testament which the Puritans gave could scarcely fail to make witch

t t o t n t t t t the craf hem a co s i uen in human na ure , and care with which they modelled their code upon the Jewish would lead them to provide for the pu nish t At ment of wi ches . intervals there had been cases I N TR OD C T R Y N TE U O O . V

T h Do r t to t . C t brough rial hree women in arles own , te C x t t t ches r, and ambridge were e ecu ed for wi chcraf n M P r 1648 . O e in ary arsons , who had murde ed her was t x t t S child , ried and e ecu ed as a wi ch in pring

field i h 1651.

F o r n o t t to some reason wholly clear , here came be a very lively interest in the matter among the mi n is t N ew E 16 81 w t t o u t ers of ngland in , hen hey sen a “ paper of Proposals for collecting facts concerning ” t A s witchcrafts and o ther strange appari ions . a t P t I M t H C resul , residen ncrease a her of arvard ollege published in London in 16 84 a book entitled I l l u s tr i Th f o u s P r o o i d en ces . e a whole business , however, ' ’ oot t I M t C tt f ed more s rongly ncrease a her s son o on , t t regarded as a prodigy of learning, and hen recen ly H e graduated from college . became so immersed in the subject that he took into his house a young gi r l said to be possessed of the devil and studied her case H e a t close range . published his book already r e to L 16 89 tu to the ferred in ondon in , and re rned t at t M l subjec leng h in his a gn a i a . The Mathers filled the air with stor ies and discus

t u sions , and soon here sprang p in diseased minds a

r n m kind of belief which ve y easily fou d and ade facts . The minister of a church in a part of Salem called Salem Village and n o w known as Danvers was Sa m P H e uel arris . had a daughter E lizabeth nine years

T An n . t old and a niece of eleven hese children , wi h Pu t t the nam, a girl of welve in neighborhood and a few r t a fi t t older gi ls , having heir e rs lled wi h ales , began in a mischievou s Spir it to take on the signs

t Th o r o of being bewi ched . ey g t togethe and began t t i t n o t t prac ise , and was long before wha was foolish

t t t F o r t nonsense was urned in o errible fact . wi h V i I N TR OD UC OR Y N O TE T .

something very like real deviltry they fix ed u pon

t t t t . O n e T t hree women as heir ormen ors was i uba, a I s t Mr . P half ndian , half negro ervan of arris , who t t had been brough from Barbadoes , and who was qui e enough of a savage to have the belief of her race in the t t t two S reali y of wi chcraf , and neighbors , arah

n Good and Sarah Osbor . The t t two S l hree were brough before a em men ,

H t t C r John a horne and Jona han o win , who were h H t t e C C . the members of olonial ouncil a horne , by t the t N t way, was an ances or of grea romancer a haniel H t the t aw horne , who was keenly aware of par played

h T t r by t e old magistrate . i uba confessed and cha ged t l Goodies Good and O sborn wi h being accomp ices . to t Al l three were committed jail . Mar ha Corey and

x t R ebecca N ourse were ne cried o u t against . Charges e d P cam in rapi ly, and when Governor hips arrived on the scene there were som e one hundred in jail t t g their rial . /awai in t t t t P t t t Wi hou due au hori y , Governor hips ins i u ed t m t t a special commission , consis ing of seven agis ra es , T headed by William Stoughton . heir first a ct was

to t r r t t t y one B idge Bishop , who was promp ly convic ed T at the and hanged eight days after . his was end of F t the t sat Ma 1692. y , our weeks la er cour again

t x t . and sen enced five women , all of whom were e ecu ed

I n Au t si x t t gus persons were ried , among hem a brave h I n the . t e t . old minis er , George Burroughs course of x t th t t t ne mon fif een persons were ried , convic ed , and t sen enced ; eight of them were hanged . The ex aminations of Martha Corey and of Giles C U ’ orey are recorded and preserved in pham s book , and i t is interesting to see ho w close Longfellow has “ t to the n e Th D kep original . O who reads e ivine I N TR 0 1) U C T OR Y N TE O . vii

T the t the t ragedy , which is hird member of rilogy of Chr i stu s at t t t i t tt , once perceives ha in par s is li le more than an arrangement of passages in the N ew

T t t the the t es amen , and in same way, poe has made u se of the old records in producing this scene in “ ” i l r Giles Corey . G eL Q o ey himself was a very At the t th noticeable man in Salem Village . ime of e t t t a e ou break he was abou eigh y years of g , very

- - H t W to t . e s rong, ell do , and indus rious owned some the I R meadows by pswich iver, and his farm was near what is n o w the crossing of the Salem and t t n I n Lowell and George own and Bos o railroads . the ~ y ear 1678 there had been a suit at l aw between C t orey and a farm hand , John Gloy d , over a ques ion h . P t t e t t of wages John roc er was one of arbi ra ors , and the d ecision appears to have been in favor of L t P t ’ Gloyd . a er roc er s house was burned , and a ’ m alicious r ep or fi con n ec ted Corey s name with the

f t t . C a fair, as if he ook his way of revenge orey was

t to t b u t t x t . brough rial , abundan ly e onera ed Al l t i ts f t t t his , however, had ef ec when somewha la er C t t Giles orey , like his wife , was charged wi h complici y th to H with e witches . Corey refused plead . e said the t t t t i t was whole hing was an impos ure , and ha use to u t t was less for him p himself on his rial , since he wa s r t foredoomed , as eve y one else in like predicamen . T t to the hen , because of his refusal , he was subjec ed t the E l aw the ei n e or te e penal y of nglish common , p f t d a r e t t to t t , ha is , he was pressed dea h wi h heavy t weigh s laid on his body . These terrible incidents were followed by a wild t t period of insane fear, of false accusa ion , and of error a t the possibility of the slightest occasion being mis t t t t in erpre ed in o evidence of guil in this particular. I N TR OD T R Y N T vi ii UC O O E .

F inally the horrible delusion broke down o f i ts own C t an d t weight . harges agains pure sain ly women

t t n crea ed a revulsion of feeling, a wave of indigna io t the t the swep over communi y, some of miserable t t t children and o hers confessed heir decep ion , and there was a general jail deliver y ; people awoke as Y et t t from a nightmare . S ough on and some of the clergy still persisted in maintaining stoutly the right eo u sn e s s of their action . There was one notable case of remorse in connection h o h with t e business . S deep was t e community t the tt t t the 14th J s irred by whole ma er ha of anuary, 16 97 t the C t to , was appoin ed by General our be sol em n l t y observed as, a day of fas ing and prayer on account of what might have been done amiss in the t t d S t i n str u la e rage y, raised among us by a an and his u h h t t t e t . O n t e men s , hro gh awful judgmen of God t t t S S occasion of ha fas amuel ewall, who had been h ” h t e u t t e . one of judges , p up a bill, as phrase was T t to the t the ha is , he caused be read from pulpi of H t Ol d South where he worshipped this paper . e s ood the i t during reading, and bowed when was finished “ S the t t t amuel Sewall, sensible of rei era ed s rokes

u of God pon himself and family , and being sensible that as t o the Guilt contracted upon the opening of the late Commission of Oyer and Term iner a t Salem to the t Da t ( which order for his y rela es), he is , upon t t t t many accoun s , more concerned han any ha he D t o t the S knows of , esires ake Blame and hame of An d i t A d . , sking par on of men especially desiring t t U t A t t prayers ha God , who has an nlimi ed u hori y, would pardon that sin an d all other his sins ; personal and R elative An d according to his infinite Benignity an d So t N ot t the o r f o f vereign y, Visi sin of him , any I T i x N R OD U C T OR Y N OTE . o t u the L her, upon himself or any of his , nor pon and Bu t that H e would powerfully defend him against all T m t t to Si n the t r h e p a ions , for fu u e ; and vouc safe

' hi m the fi Co n d u c t o f ef cacious , saving his Word and ” S t to Spirit . ewall is said priva ely have observed t this d ay of fasting annually thereaf er . Whittier has drawn a touching picture of the old Puritan in his ”

The P S . poem , rophecy of amuel Sewall The witchcraft delusion did n o t again raise i ts head N e w E b u t t t t h t in ngland , here were rials for wi c craf S t t 1722 in co land as la e as , when a poor old woman accused of transforming her dau ghter into a mare to ’ to t t to carry her wi ches ga herings , and causing her be the D u t t tar shod by evil , was condemned , p in o a D M at . t t barrel , and burned ornoch odern s uden s undertake to refer the belief in witchcraft to causes x the which are e plained by science of psychology, and the Salem cases have been ex amined in this light by M Dr . . tt The P s cho George Beard in his li le book , y l o he S a l em i tchcr a E x ci em e ogy f t W ft t n t i n 1692. So a s the d t C the far e i or knows , Giles orey of ” Salem F arms had n o t been p u t upon the stage be fore i t was selected for representation in con nection t the the Ol d S t H t t wi h work of ou h is orical Socie y . I n preparing i t for the stage those in char ge of the tt r the t x t b u t tt ma e made no changes in e , merely omi ed

fe w t r t a passages and made one ansposi ion of scenes . T t fe w t hey added , however, of necessi y a s age dirce h t . t r t t e t ions By heir cou esy , publishers of his edi tion are enabled to furnish others who m ay d esi r e to ” act Giles Corey with ex plicit inst r uctions drawn the t t l from the ex perience of firs represen ation . F o

the t lowing play , herefore , readers will find an appen d i x containing this valuable aid .

GI LES COR EY OF TH E SALEM F AR MS

DR AMATI S PE R SON zE .

GI LE S CORE Y F a r mer .

JO H N H A T H O RN E Ma gi str a te. s CO T T O N MA T H E R Mi n i ster of the Go p el .

JON A T H A N WA LCO T A y ou th.

- R I CH A RD GARDN E R S ea Cap ta i n . ’ JO H N GLOYD Cor ey s hi r ed ma n . r MAR T H A Wife of Gi l es Co ey .

TI T UBA A n I n d i a n wo ma n . MA A T O n e o the A i RY W LCO f fi cted .

i e a r 1692 The Scene i s i n Sa l em n th y e .

PR OLOGUE .

DE LU SI ON S the t t of days ha once have been , t t the Wi chcraf and wonders of world unseen , P t t t han oms of air, and necroman ic ar s That crushed the weak and awed the stoutest t hear s ,

T t to - t 5 hese are our heme nigh and vaguely here , T the t t t the t hrough dim mis s ha crowd a mosphere, We draw the outlines of weird figures cast I n h he P shadow on t e background of t ast .

Who would believe that in the quiet town Of S the t t n alem , and amid woods ha crow The the neighboring hillsides , and sunny farms T t i t t t ha fold safe in heir pa ernal arms , 2 L ON GF E LL O W

t t t l t Who would believe ha in hose peacefu s reets , the t t o u t the t Where grea elms shu summer hea s , t b t t Where quie reigns , and rea hes hrough brain and breast 15 The t t benedic ion of unbroken res , Who would believe such deeds could find a pl ace ‘ As these whose tragic history we retrace 7

3 T was b u t a village then : the goodman pl ou ghed H i s ample acres under sun or cloud The at t sat goodwife her doors ep and spun , A n d gossiped with her neighbors in the sun The only men of dignity and state W t the M t the M t t ere hen inis er and agis ra e , Who ruled their little realm with iron rod Less in the love than in the fear of God A n d who believed devoutly in the Powers Of D t arkness , working in his world of ours , I n t t t t spells of Wi chcraf , incan a ions dread, n t th A d shrouded appari ions of e dead .

U t t fl pon his simple folk wi h fire and ame , S t the C the D ai h old hronicle , evil came ; S tt fi r eb r an d s an d t ca ering his his poisonous dar s . To set on fire of H ell all tongues an d hearts ’ An d t th t is no wonder ; for, wi all his hos , T t t t t here mos he rages where he ha e h mos , An d is most hated so on us he brin gs Al l these stupendous an d portentous thi n gs l

Something of this our scene to - night will show ; An d t to the T ye who lis en ale of Woe , n o t too t t the t t Be swif in cas ing firs s one , GI LE S C OR E Y 3

N o r think N e w E ngland bears the guilt alone . This sudden burst of wickedness and crime

Was b u t the the t common madness of ime , W t t t the hen in all lands , ha lie wi hin sound f t O S W t ed. o abba h bells , a i ch was burned or drown

ACT I .

SCE N E I . The wood s n ea r S a l em Vi l l a e. E n ter TI T A g UB , t o wi th a ba ske f her bs .

I T T UBA . ’ ’ H s - t t the ere monk s hood , ha breeds fever in blood ; An d t t t deadly nigh shade , ha makes men see ghosts An d t t t t con vu l henbane , ha will shake hem wi h SI OH S ;

An d - ff meadow sa ron and black hellebore , T t the f the w th ha rack nerves , and puf skin i dropsy 5

An d tt - t - t bi er swee , and briony, and eye brigh , T t t t ha cause erup ions , nosebleed , rheuma isms I t the t know hem , and places where hey hide I n field and meadow and I know their secrets An d gather them because they give me power A t O . t ver all men and women rmed wi h hese , I T t I , i uba, an ndian and a slave , Am stronger than the captain with his s word Am richer than the m erchant with his money Am t the t wiser han scholar wi h his books , t th M t M t t Migh ier an inis ers and agis ra es , With all the fear and reverence that attend them i F or I t t can fill heir bones wi h aches and pains , 4 L ON GF E LL O W

an t t t w t C make hem cough wi h as hma , shake i h

palsy,

t u t See t t t Can m ake heir da gh ers and alk wi h ghos s ,

O r fall into delirium and convulsions . I the E E e the E H have vil y , vil and ; A t t t ouch from me , and hey are weak wi h pain ,

A t . look from me , and hey consume and die

The t tt the t dea h of ca le and bligh of corn ,

The the t the shipwreck, ornado , and fire ,

T t i t n o t . hese are my doings , and hey know T I hus work vengeance on mine enemies , Who t to , while hey call me slave , are slaves me

E x i t TI T A E n ter MA T E booted a n d s u r r ed wi th a UB . H R, p ,

- r i d i n g whip i n hi s ha n d .

A T E M H R . Methinks that I have come by paths unknown I nto the land and atmosphere of Witches

F o r t t I , medi a ing as journeyed on , Lo I have lost my way " I f I remember R t i t Scr i b on i u s the igh ly, is learned T t t the t i ha ells s ory of a man who , pray ng F o r t t wa s E S t one ha possessed by vil piri s , Was struck by E vil Spirits in the face ;

I to t the t s , journeying circumven Wi che , S t urely by Wi ches have been led astray. I am persuaded there are few affairs I n which the Devil doth n o t interfere. t t We canno under ake a journey even , Bu t Satan will be there t o meddle wi th i t H e t By hindering or by furthering. ha h led m e I t t t t t i n the 45 n o his hicke , s ruck me face t the t t Wi h branches of rees , and so en angled The t t l fe locks of my horse wi h vines and bramb es, GI LE S C OR E Y 5

I t t t That mus needs dismoun , and search on foo

F o r the lost pathway leading to the village .

’ R eén ter T I T UBA . t ? t t t n What shape is his Wha mons rous appari io ,

x t t n t t ? E ceeding fierce , ha one may pass ha way T ell me , good woman , if you are a woman

T I T A UB .

b u t I n o t . I am a woman , am good I am a Witch

A T E M H R . T t t hen ell me , Wi ch and woman , Fo r you must know the pathways through this

wood , Where lieth Salem Village ?

T I A T UB . R everend sir, Th I ’ m e vill age is near by . going there I ’ l l f . F With these ew herbs lead you . ollow

E MAT H R . F t ? I t to irs say, who are you am loa h follow A t t s ranger in his wilderness , for fear

Of t . being misled, and lef in some morass Who are you ?

T I T U BA .

I T t the Wt am i uba i ch,

Wife of John I ndian .

E MA T H R . You are Tituba I D t . the l know you hen You have renounced evi , An d t t have become a peni en confessor . ’ The L I l l ou ord be praised Go on , follow y . W t t I t t t t ai only ill fe ch my horse , ha s ands T t the t n o t e hered among rees , far from here . 6 L ON GF E LL O W

T I T UBA . i Let et S r . me g up behind you , reverend

A T H E M R . The L l t the t ord forbid Wha would people hink, I f they should see the R everend Cotton Mather R ide into Salem with a Witch behind him ? The Lord forbid I

T I T A UB . I do n o t need a horse I t the t can ride hrough air upon a s ick,

A the t - t the bove ree ops and above houses , An d t no one see me , no one over ake me [E x eu n t

’ - T I E H A T N E . A cl oc i n SCE N E I I . A r oom a t J US C HOR S k E MA T E n E n t H A T O N a n d . the cor er . er H R H R

A E H T HO RN . Sl r t e You are welcome , reverend , hrice welcom here

Beneath my humble roof .

E MATH R .

I thank your Worship .

E HA T HORN . t t Pray you be seated . You mus be fa igued

With your long ride throu gh unfrequented woods .

n They si t d ow .

MAT HE R . w the t t You kno purpor of my Visi here , To t be advised by you , and counsel wi h you , An d t the R C the wi h everend lergy of village , Touching these witchcrafts that so much afflict you An d see with mine own eyes the wonders told 85

8 L ON GF E LL 0 W

the t t H Which are grea ar illery of eaven ,

Ar b r o u ht t the I t tt eb g in o field , see hem sca ered An d driven like Autumn leaves before the wi n d

A T E H HORN . t t t You , as a Minis er of God , can mee hem t t b u t Wi h spiri ual weapons , alas I M t t t t t , as a agis ra e , mus comba hem the h fl With weapons from armory of t e esh .

A E M T H R . T the 120 hese wonders of world invisible , These spectral shapes that haunt our habita t ions , The multiplied and manifold afflictions With which the aged and the dying saints H ave their death prefaced and their age i mbi t ter ed Ar e b u t prophetic trumpets that proclai m

The Second Coming of our Lord on earth . The evening wolves will be much more abroad , W the n the hen we are near eveni g of world .

A T H HO RN E . I When you shall see , as have hourly seen , The the t t t t t t sorceries and wi chcraf s ha ormen us, See e t t S t childr n or ured by invisible piri s , An d t was ed and consumed by powers unseen , the n ot t You will confess half has been old you .

A T E M H R .

I t t The t - th D mus be so . dea h pangs of e evil Will make him more a Devil than before ’ An d N ebuchadnezzar s furnace will be heated

t ho i t tt o u Seven imes more t before s pu ing t .

H A T HO RN E . A I to dvise me , reverend sir . look you GI LE S C OR E Y 9

r Fo counsel and for guidance in this matter . What further shall we do ?

A E M T H R . R t emember his, That as a sparrow falls n o t to the ground t t the n o t D Wi hou will of God , so a evil C an the t t come down from air wi hou his leave.

We must inquire .

A T E H HORN . D ear sir, we have inquired ; S t the tt t if ed ma er horoughly through and through, An d then resifted i t .

E MA T H R . I f God permits These E vil Spirits from the unseen region s To t t t visi us wi h surprising informa ions , t t t t We mus inquire wha cause here is for his, Bu t n o t receive the testimony borne By spectres as conclusive proof of guilt h I n t e accused .

A E H T HORN . U pon such evidence We do n ot rest our case The ways are m any I t t n which the guilty do be ray hemselves .

MA T HE R . he t x Be careful . Carry t knife wi h such e act

1 ness , 55 That on one side no innocent blood b e shed to o x the t By e cessive zeal , and , on o her

N o shelter given to any work of darkness .

E HAT HO RN .

For I n o t x . one , do fear e cess of zeal Wha t d o we gain by parleying with the Devil ? 10 L ON GF E LL O W

b u t t t to a ct You reason , you hesi a e Ah si r I s , reverend believe me , in such case i The only safety is in act ng promptly . T is n ot the part of wisdom to delay I n things where n o t to do is still to do A deed more fatal than the deed we shrink You are a man of books and meditation

Bu t I am one who acts .

E MA T H R . God give us wisdom

I n the t t t direc ing of his horny business ,

An d t N e w E m e guide us , les ngland should beco Of an unsavory and sul ph u rous odor I n the Opinion of the world abroad I

The cl ock str i kes . I never hear the striking of a clock Without a warning and an admonition T t t the we t n ha ime is on wing, and mus quicke O u r tardy pace in journeying H eavenward As I srael did in journeying Canaan -ward I i They r se .

AT O N E H H R . T l et t I o hen us make all has e and will show y u, I n what disguises and what fearful shapes

The U S t t t 18 nclean piri s haun his neighborhood , 0

An d o u x y will pardon my e cess of zeal .

DI A T H E R .

Ah N ew E I H e hu r r i can o ed , poor ngland who The house of Job is maki ng n o w on thee On e t t las assaul , more deadly and more snarled With unintelligible circumstances Than any thou hast hitherto encou ntered [E x eunt GI LE S C OR E Y l l

' ’ I I A om i n WA Lc o r s hou se . MA WA L SCE N E I . r o RY C O T

- TI T A i th a mi . sea ted i n an a r m cha i r . UB w r r or

MA RY .

T t t T t . ell me ano her s ory, i uba A dro wsiness is stealing over me

W n ot t I hich is sleep ; for, hough close mine eyes , 1 I th . 90 am awake , and in ano er world Di m faces of the dead and of the absent C fl t fl t ome oa ing up before me , oa ing, fading An d disappearing.

T I T UBA . L t t ook in o his glass . What see you ?

MA RY . N t b u t r o hing a golden vapo .

An 1 Yes t . t the sea 95 , some hing more island , wi h

i t i . Breaking all round , like a bloom ng hedge What land is this

T I T A UB . I t San S is alvador, W T t here i uba was born . What see you n ow?

A M RY . A man all black and fierce .

T I T UBA . That is my father H e Obi t t m was an man , and augh me agic, T t the augh me use of herbs and images . What is he doing?

MARY . H olding in his hand A x H wa en figure . e is melting i t S lowly before a fire .

T I A T UB . An d n o w what see you ? 12 L ON GF E LL O W

MAR Y . A woman lying on a bed of leaves , A t . h " Was ed and worn away , she is dying

TI T U BA u That is the way the Ob i men destroy The people they dislike I That is the way t Some one is was ing and consuming you .

BLAR YZ t T t I Oh You errify me , i uba , save me F rom those who make me pine and waste away " Who t ? T are hey ell me .

T I TU BA J

T t I n o t ha do know,

Bu t T to . you will see them . hey will come you

BLKR YZ

N o n ot l et t I I t i t " , do hem come canno bear i I am too weak to bear t I I am dying.

F a l l s i n to a tr an ce.

T PTU BA n H ark "there is some one coming"

A T E n WA Lc r' E n t r H A T O N E M a d o . e H R , H R,

WA LC OT . T s here she lie , Wasted and worn by d evilish incantations I O my poor sister I

BLN PH E R N I s she always thus

VWALC O T .

s she is sometimes tortured by co nvulsion .

BLN PH E R . child " H o w thin she is " H o w wan wasted "

I LN E H O R N FL

. he t Observe her S is roubled in her sleep . GI LE S C OR E Y 13

E MA T H R .

Some fearful vision haunts her .

E HA T HO RN . You n o w see W t o wn an d t th O wn i h your eyes , ouch wi y our

hands ,

The mysteries of this Witchcraft .

A E M T H R . O n e would need The hands of Briareus and the eyes of Argus 225

TO see and touch them all .

A T O E H H RN . You n o w have entered The t t the t realm of ghos s and phan oms , vas realm

Ofthe the unknown and invisible , Through whose wide - open gates there blows a wind

F the the D t 230 rom dark valley of shadow of ea h, T hat freezes us with horror .

MARY ( sta r ti n g). Take her hence I I Take her away from me . see her there I ’ She s coming to torment me I

A L W C OT ( taki n g her ha n d ). 0 my sister I What frightens you ? She neither hears nor sees

me . ’ She s in a trance .

MA RY . DO you n ot see her there 235

A T I T UB . i t ? My child , who is 14 L ON GF E LL O W

A M RY .

Ah I n o t . , do know

I cannot see her face .

TI T A UB . H o w is she cl ad ?

A M RY . I n She wears a crimson bodice . her hand he and i t S holds an image , is pinching Ah " t . t t Be ween her fingers , she or ures me

n o w I " I see her face . t is Goodwife Bishop Why does she torture me ? I never harmed An d n ow she strikes me with an iron rod " Oh I t I , am bea en

A E M T H R . This is wonderful " I can see nothing I I s this apparition t et t i t ? Visibly here , and y we canno see

A T E H HORN . I The t t is . spec re is invisible

U t b u i t t . n o our grosser senses , she sees

A M RY . Look "look "there is another clad in gray " She t t n s holds a spindle in her hand , and hrea e To stab me with i t I I t is Goodwife Corey " Keep her away " N o w she is coming at me I O mercy "mercy

WA LCOT ( thr u sti n g wi th hi s s wor d ). There is nothing there "

A E T E M T H R ( to HA HO RN ). DO you see anything

A E H T HO RN . The laws that govern The spiritual world preven t our seeing

16 L ON GF E LL O W

Only by prayer an d fasting can you drive

An These U nclean Spirits from you . old man d t ou M v . G o " Gi es you his blessing be wi h y , ary

ACT I I .

’

E E E R E Y M n i n . E n t O R E C N I . I L S CO s a r m . or er C S G f g Y,

wi th a hor seshoe a n d a ha mmer .

E COR Y . The su n The Lord hath prospered me . rising Shines on my H undred Acres and my woods

' n t As if he loved them . O a morn like his I t can forgive mine enemies , and hank God

F o r all his goodness unto me and mine . My orchard groans with russets and pear- mains My ripening corn shines golden in the sun M r t tt t y ba ns are crammed wi h hay, my ca le hrive ; The birds sing blithely on the trees around me I

An d t t the t t m 10 bli her han birds my hear wi hin e. Bu t Satan still goes up and down the earth ;

An d to t t t s ul t pro ec his house from his as a s , An d the Of r keep powers darkness from my doo , T I his horseshoe will nail upon the threshold .

N a i l s d n t ow he hor s eshoe .

T t- t t t t t 15 here , ye nigh bags and wi ches ha ormen

The n ot t " neighborhood , ye shall en er here What is the matter in the field ? John Gloyd I The cattle are all running to the woods I John Gloyd " Where is the man

E n ter J OHN GLOYD . Look there " What ails the cattle Ar e they all bewitched 20

T - hey run like mad . GI LE S C OR E Y I 7

L G OYD . T hey have been overlooked .

E C OR Y .

The E vil E y e is on them sure enough . G O t t " Call all the men . Be quick . af er hem

n n A A E x i t GLOYD a d e ter M RT H .

A T A M R H . What is amiss ?

E C OR Y . Th tt e ca le are bewitched . h They are broken loose and making for t e woods .

A T A M R H . Wh w a y ill you h rbor such delusions , Giles t ? t i t was b e Bewi ched Well , hen John Gloyd witched them I saw him even n o w take down the bars ’ I T r An d turn them loose hey e only frolicsome .

C ORE Y . The rascal I

A T A M R H . I was standing in the road l T t P t I saw . a king wi h Goodwife roc or , and him

E C OR Y . ’ With Proctor s wife ? An d what says Goodwife Proctor

MA RT HA . Sad things indeed the saddest you can hear ’ f t She s o u t n " O Bridge Bishop . cried upo

E C OR Y . P " I ’ oor soul ve known her forty year or more . She was the widow Wa ssel by ; and then

She x O an d t . married liver, Bishop ne ’ he s t I S had hree husbands . remember well 18 L ON GF E LL O W

’ My games of shovel- board at Bishop s tavern

I n the a old merry days , and she so g y With her red paragon bod ice and her ribbons I Ah t was t " , Bridge Bishop always a Wi ch

A T A M R H . ’ T l l tt n o w n s hey li le help her , her caps and ribbo ,

An d her red paragon bodice , and her plumes ,

With which she flaunted in the Meeting- house " 45 x i W t t t t . hen ne she goes here , will be for rial

E C O R Y . When will that be

A T M R HA . T d n his very ay at te .

E C O R Y .

o i t . Then get you ready . We will g and see h n Come you shall ride behind me on t e pillio .

A MA RT H . I n N I . o o t You know do t like such things .

I n I wonder y o u should . do o t believe

n I Witches nor in Witchcraft .

E C OR Y .

W I d o . ell , ’ T s st t i t here a range fascina ion in all ,

T t I n ot . ha draws me on and on , know why

MA RT HA . t we t Wha do know of spiri s good or ill , Or of their power to help us or to harm us

E C OR Y . ’ Surely what s in the Bible must be true . ? Di d n o t an E vil Spirit com e o n Saul Di d n o t the Witch of E ndor bring the ghost Of Samuel from his grave ? The Bible says

A T A M R H . T t ha happened very long ago . GI LE S C OR E Y 19

E C OR Y . With God a o There is no long g .

A MA RT H .

There is with us .

E C O R Y . An d M M l ha d ary agda ene seven devils , An d he who dwelt among the tombs a legion "

T A MA R H . ’

I n o t t i t . God s power is infinite . do doub I f in H i s providence H e once permitted S t to the I t uch hings be among sraeli es ,

I n o t w H e t t n o w t does follo permi s hem ,

An d among us who are n o t I sraelites .

Bu t we n o t t t i t . will dispu e abou , Giles G O to the t i t t village , if you hink bes , ’ n I 11 o A d leave me here ; g about my work .

E x i t i n to the hou [ se.

E C OR Y . An d I o the will g and saddle gray mare . T T t ’ he t . n t las word always ha is woman s a ure .

I f Ol d an man will marry a young wife , H e t to t mus make up his mind many hings . ’ I t s tt n ew t t t pu ing clo h in o an old garmen , W the t i t the hen s rain comes , is old gives way.

Go t t es o he d oor .

O t I I t o Mar ha forgo t tell you something. ’ I ve tt d had a le er from a frien of mine , A certain R ichard Gardner Of N antucket

Master and owner Of a whaling- vessel ;

H e t t t to wri es ha he is coming down see us . I ’ 11 hope you like him .

A A M RT H . I will do my best. 20 L ON GF E LL O W

E CO R Y . ’ N o w I n That s a good woman . will be go e . ’ I ve n o t seen Gardner for this twenty year t the t Bu t there is some hing of sea abou him , t t Some hing so open , generous , large , and s rong, I t makes me love him better than a brother

A T A comes to t M R H he d oor .

MA RT HA . h Ol d O these friends and cronies of my husband, T t N t t the C hese cap ains from an ucke and ape , That come and turn my house into a tavern ’ W t t " St t s t i h heir carousing ill, here some hing frank

I n t t t t hese seafaring men ha makes me like hem . ’ Wh s n the y , here a horseshoe ailed upon door step I

t to h Giles has done his keep away t e Witches . I hope this R ichard Gardner will bring with him

' A Of m - to w gale good sound com on sense , blo The fo g of these delusions from his brain "

C O E n R Y ( wi thi ). H O I Martha "Martha I

E n t r E e COR Y. H ave you seen my saddl e

MAR T HA . I saw i t t yes erday .

C O RE Y . Where did you see i t

ART A M H . t t was mare , ha somebody riding

village road .

C ORE Y . Who was i t ? Tell GI LE S C OR E Y 21

MA R T I I A .

t at Some one who should have s ayed home .

C O E r estr a i n i n hi msel R Y ( g f).

’ T D t vex t . i t . on me , Mar ha ell me where is

A T A M R H . ’ I v i e hidden t away .

E C OR Y . t i t m Go fe ch e.

A A M RT H . O i t G find .

E CO R Y . ’ N I l l to the l O . ride down vil age

- an d the t Bare back when people s are and say, ’ C s I Giles orey, where your saddle will

answer , H o A Witch has stolen i t . w shall you like that ? 110

A T A M R H . i I shall n ot like t.

E COR Y.

Then go fetch the saddle . E A T [ x i t M R HA .

f Ol d I an man will marry a young wife , Why then why then why then he must spell Baker

E n ter MA T A wi th the sad d l e whi ch she thr ows d own . R H ,

MA RT HA . T here I There 5 the saddle .

E C O R Y.

Take i t up .

A A M RT H . I won ’ t I 22 LON GF E LL O W

E C O R Y . ’ I l l to h v l l 115 t . t e e Then l et i t lie here ride i ag ,

An d say y ou are a Witch .

IMA R T H A .

N o n o t t t l s. , ha , Gi e

She takes up the sa d d l e .

C ORE Y . l the N o w come with me , and sadd e gray mare With your own hands and you shall see me ride 119 Along the village road as is becoming m F " Giles Corey of the Sale arms , y our husband [E x eu n t

E E Th e n i n n - u s i n S a l em SC N I I . e Gr e fr o t of the Meeti n g ho e

l i n a n i n I LE O E . Peo e com d o . n S C Vi l l age. p g g g E ter G R Y

O E C R Y . A melancholy end I Who would have thought ’ That Bridget Bishop e er would come to this ? A t to t ccused , convic ed , and condemned dea h F or Witchcraft I An d so good a woman to o I

A A E F RM R . w C Good morro , neighbor orey .

C O E n ot hea r i n hi R Y ( g m). Who is safe 125 H ow do I know b u t under my own roof I to o W t may harbor i ches , and some Devil Be plotting an d contriving against me

A E F RM R . H e n ot Cor e I does hear . Good morrow , neighbor y

E C O R Y . o Good m rrow.

A ME R F R . H ave you seen John Proctor latel y ?

24 L ON GF E LL O W

E C OR Y . ’ By H ea ven " this is to o much " I l l seek

o u t ,

n d e a t t . A make him his words , or s rangle him ’ I l l n ot at t t be slandered a ime like his , W t hen every word is made an accusa ion , W hen every whisper kills , and every man Walks with a halter round his neck

E n ter LO i n t G YD has e. What n ow ?

GL OYD . T I came to look for you . he cattle

C O RE Y .

What of them H ave you found them ?

GLO Y D . T hey are dead . I t t the a the followed hem hrough woods , cross meadows 155 T t t the I R hen hey all leaped in o pswich iver,

An d b u t u n o t b the swam across , co ld clim bank

An d so were drowned .

C ORE Y . You are to blame for this ;

F or t the l et t . you ook down bars , and hem loose

GLO YD .

T T the d wn . hat I deny. hey broke fences o

You know they were bewitched .

E C O R Y . Ah attl e " , my poor c h E T e vil E y e was on them ; that is true . Day of disaster " Most un lucky day " Why did I leave my ploughing and my reapin g GI LE S C OR E Y 25

To plough and reap this Sodom and Gomorrah ? 105 h I x t I O , could drown myself for sheer ve a ion [E x i t

GLOYD . ’ H ’ H e s tt . e t t going for his ca le won find hem .

By this time they have drifted o u t to sea . T n ot 109 hey will break his fences any more , n Though they may break his heart . A d what care I [E x i t

’

E I E n . A wi th u MA T A SC N E I I COR Y S ki tche ta bl e s pp er . R H n kn i tti g.

A T A M R H . ’ ‘

H e s at t . I the come las hear him in passage . Something has gone amiss with hi m tod ay ; I i t t the know by his s ep , and by sound i H The door made as he shut t . e is angry

- A E n ter CO RE Y wi th hi sr i d i n g whip . s he sp ea ks he takes of i s t n l v a n d thr o s t em n i n h ha a d o es w h d ow v ol tl . g , e y

E C OR Y . I say if Satan ever entered m an ’ H e s in John Proctor I

A MARTH . ‘ t the tte I Giles , wha is ma r

Yo u frighten me .

C ORE Y . I say if any man C an D t t t have a evil in him , hen ha man I s P t P t t r I roc or, is John roc or, and no o he

MART HA . Wh t ? y , wha has he been doing

E C OR Y. E verything" 180 What do you think I heard there in the village 26 L ON GF E LL O W

IMAR TH A .

’ I m sure I cannot guess . What did you hear

E C OR Y . H e says I burned his house

IMA R T H A . Does he say that ?

E C OR Y . I H e says I burned his house . was in bed An d fast asleep that night ; and I can prove

MZ AR T H A .

I f t t I t the F t OfL he says ha , hink a her ies

I s surely in the man .

E C O R Y . H e t t does say ha , An d that I did i t to wreak ven geance on hi m F o r taking sides against me in the quarrel t t I had wi h tha John Gloyd about his wages . An d God knows that I never bore hi m malice F or t t I t hi m t t t " ha , as have old wen y imes

. A T A M R H .

" I t is John Gloyd has stirred him up to this . I d o n ot t I t . t t like ha Gloyd hink him craf y,

N o t to t t 195 t t . be rus ed , sullen , and un ru hful

. C v . ar e t an d hu n ome , ha e your supper You ired r g y .

CO RE Y . ’ m I r an d n ot . ang y, hungry

' A A M RT H . D O eat somethin g. ’ You 11 the tt i be be er for t .

E COR Y ( si tti ng d own). ’ I m n ot hungr y.

MARTHA . Let n ot the o d sun g own upon your wrath . GI LE S C OR E Y 27

C ORE Y . I t i t i has gone down upon , and w ll rise

- i TO w o t . morro , and g down again upon They have trumped up against me the Ol d story f ’ t t hi m O causing Goodell s dea h by rampling on .

A T A M R H . i I t o . Oh t t l . t , ha is fa se know be false

E C O R Y . 205 H e has been dead these fourteen years or more . ’ ? Why can t they l et him rest Why must they drag him O u t of his grave to give me a bad name ?

I n o t I n did kill him . his bed he died

A s t 209 mos men die , because his hour had come . I P t have wronged no man . Why should roc or say Such things about me ? I will n ot forgive him T ill he confesses he has slandered me . ’ Al l T I ve t . tt . hen , more rouble my ca le gone

A T A M R H .

They will come back again .

C O E R Y . o N t in this world . Di d I n o t tell you they were overlooked ? T t h the t the hey ran down hroug woods , in o mead

o ws ,

An d t to the e . ried swim river, and were drown d I t is a heavy loss .

Mf A R T H A . I ’ m sorry for i t .

E C OR Y . l l x I A . t t a my dear o en dead loved hem , Mar h , N x t to I to at t 220 e yourself. liked look hem , An d watch the breath come o u t of their wide n os r i t l s , 28 L ON GF E LLO W

I t t An d see their patient eyes . Somehow hough

I t gave me strength only t o look at them . An d ho w they strained their necks against the yoke

I fI b u t t t t the I 225 spoke , or ouched hem wi h goad They were my friends and when Gloyd came and told me

T I . hey were all drowned , could have drowned my self From sheer vex ation and I said as much

To Gloyd and others .

A MART H . DO n o t trust John Gloyd

With an ything you would n o t have repeated .

E C O R Y . As I m t the t t ca e hrough woods his af ernoon ,

I t t at x mpa ien my loss , and much perple ed W t t t I t the i h all ha had heard here in village , The yellow leaves l i t up the trees about me L t I ike an enchan ed palace , and wished I knew en ough of magic or of Witchcraft T o change them into gold . Then suddenly A t ree shook down some crimson leaves upon me ,

L an d the t m e ike drops of blood , in pa h before T h I St t t e the Ol d . ood i uba ndian , crone

A A M RT H . Were you n ot frightened

E C O R Y. N O I n ot t , do hink

I the t know mean ing of that word . Why frigh ened I am n o t one of those who think the Lord I s waiting till H e catches them some day GI LE S C OR E Y 29

I n the back yard alone I What should I fear ? he t t the the t S s ar ed from bushes by pa h , An d had a basket full of herbs and roots

F or t - t t the Ol d ha " some wi ch bro h or o her, g

MA RT HA .

She has been here tod ay .

E C OR Y . With hand outstretched She C s1 n the ? said Giles orey, will you g Book Avaunt " I cried G e t thee behind me Satan I 251 B At which she laughed and left me . u t a voice Wa s whispering in my ear continu ally

- Th Self murder is no crime . e life of man 1 7 9 I s to i t to t his , keep or hrow away

A A M RT H . ’ T was a temptation of the E vil O n e " G I t iles , Giles why will you harbor hese dark ‘ thoughts 7

E C O R Y ( r i si n g). ’ to o tired to talk . I 11go to bed .

M ART HA .

tell me something about Bridget Bishop . did she look ? You saw her You wer e there 260

C O RE Y . ’ - - I l l t t t to n ot to t . ell you ha morrow, nigh I ’ l l go to bed .

MA RT HA . F t l t irs e us pray together.

CORE Y .

- I cannot pray to night . 30 L ON GF E LL O W

MA RT HA . ’ Sa the L P r y ord s raye ,

An d that will comfort you .

CO RE Y . I t canno say, t t t t u s forgive hose ha have sinned agains ,

do n o t forgive them .

A T A kn eel i n n t a M R H ( g o he he r th). God forgive you "

E C OR Y .

I n ot " I to - t will make believe say, nigh ’ T s t t t I to here some hing hwar s me when wish pray, An d t u t t t Of 269 hr s s in o my mind , ins ead prayers ,

H t t t t n ot a e and revenge , and hings ha are prayers . S t Ol d Ol d ome hing of my self, my , bad life ,

An d the Ol d A u dam in me , rises p , n I A d will n o t l et me pray . am afraid w I The Devil hinders me . You kno say t t I t t Jus wha hink, and no hing more nor less ,

An d I t . , when pray, my hear is in my prayer

n O h r I cannot say one thing and mean a t e . ’ I fI t I n o t I can pray, will make believe

MA T A n ti n u E co kn i n . [E x i t COR Y . R H es eel g

ACT I I I .

’ M n i n . CO E n I LE S E ki tchen . or a d SCE N E I . G COR Y S g R Y

ak t- MA RT HA si tti n g a t the br e fas ta bl e.

E C O R Y ( r i si n g). ’ We n ow I ve t I s aw ll , old you all and heard

OfBridget Bishop and I must be gone .

MA RT HA . ’ D o h - d t t t e to a . on g in o village , Giles , y

Last night you came back tired and ou t o f humor .

82 L ON GF E LL O W

I never was more thankful in my life Than when I found you sleeping at my side "

E i t t n d n s C O R Y ( w h e er e s). t t t t t I t was our alk las nigh ha made you dream . ’ i I ’ l l t I m sorry for t . con rol myself A t t t I no her ime , and keep my emper down

I n o t . R M t a do like such dreams emember , ar h , ’ I m going to m o w the I pswich R iver meadows ’ I f l l t w to Gardner comes , you ell him here find E x i t me . [

A T A M R H .

SO this delusion grows from bad to worse . F t irs , a forsaken and forlorn old woman , R t t t agged and wre ched , and wi hou a friend ’ N o w i t s i t Then something higher . Br dge Bishop ; God only knows whose turn i t will be nex t "

The Ma i str ates ar e the " g blind , people mad I f t the Affl t C hey would only seize ic ed hildren ,

An d u t t the t p hem in Workhouse , where hey

S 40 hould be , ’ There d be an end of all this wickedness .

E E E n MAT E a n d A st t i n m i l l a e . ter SC N I I . r ee S a l e V g H R

H A T HO RN E .

E MA T H R .

Yet one thing troubles me .

HA T H O RN E . An d what is that ?

E MA T H R . May n o t the Devil take the o u tward shape

Of t ? A r e n o t innocen persons we in danger, P n o t t ? erhaps , of punishing some who are guil y GI LE S C OR E Y 33

A T E H HO RN . As I we n o t t t have said , do rus alone

To spectral evidence .

A T E M H R . A n d t hen again , I f l u t to t t t any shal be p dea h for Wi chcraf , b u t the n o t the We do kill body, soul . The U nclean Spirits that possessed them once L t to t t t ive s ill, en er in o o her bodies . ’ W t we ? S t s n t ha have gained urely, here o hing

gained .

AT E H HORN . D t n o t the S t T t n ot o h crip ure say, hou shal suffer ” A Witch to live ?

MA T HE R .

The S t sa eth i t 54 crip ure y , Bu t t to the C t speake h Jews ; and we are hris ians . What say the laws of E ngland ?

A T N E H HO R . They make Witchcraft

F elony without the benefit of Clergy. E Witches are burned in ngland . You have read F o r al l t n ot you read hings , a book escapes you The famous Demonology of King James ?

MA T HE R . A I curious volume . remember also

The t the Two H t F n plo of undred, wi h one ia , The R t the D at t egis rar of evil , heir head , To drown hi s Majesty on his return From Denmark ; how they sailed in sieves or riddles 65 34 L ON GF E LL O W

t N th i n L t U n o or Berwick Kirk o hian ,

n d t A , landing here , danced hand in hand , and

sang, o I o Goodwife , g ye before goodwife , g ye ’ I f 11n o t o l e t I ye g before , goodwife , me ’ While G ei l i s Duncan played the Witches R eel

- Upon a jews harp .

HA T H ORN E . Then you know full well The E l aw t t E t nglish , and ha in ngland Wi ches , t tt t When lawfully convic ed and a ain ed ,

Ar e p u t to death.

A T E M H R . When lawfully convicted

That is the point .

AT E H HORN . Yo u heard the evidence Produced before us yesterday at the trial

Of Bridget Bishop .

A M T HE R . O n e Of the Afflicted I tn to the t know, bore wi ess appari ion Of t t the t t 79 ghos s un o spec re of his Bishop, S I the t t f aying, You murdered us of ru h whereo There was in matter of fact to o much su spi n cio .

A T E H H ORN . An d t the Affl t when she cas her eyes on ic ed , T hey were struck down and this in such a manner T here could be no collusion in the business . An d when the accused b u t laid her hand upon

t 85 hem , GI LE S C OR E Y 35

As t t t t ht hey lay in heir swoons , hey s raig revived , Although they stirred n o t when the others touched

them .

A T E M H R . ’ What most convinced me of the woman s guilt Was finding hidden in her cellar wall

T t Of r a s . wi th 90 hose poppe s made g , headless pins St t t t t uck in o hem poin ou wards , and whereof h n o S e could t give a reasonable account .

A T E H HO RN . When you shall read the testimony given the C t the t Before our in all o her cases , I am persuaded you will find the proof

N o i less conclusive than t was in this . C t t I tax t ome , hen , wi h me , and will your pa ience With reading of the documents so far As may convince you that these sorcerers A tt r e lawfully convicted and a ainted . L t T ike doub ing homas , you shall lay your hand

U t t . pon hese wounds , and you will doub no more

[E x eu n t

’ MA T A a n d two E A oom i n CO E S hou se . SC N E I I I . r R Y R H n u Dea co s of the ch r ch.

A A M RT H .

I to . Be seated . am glad see you here e I know what you are come for . You are com

To t n s ques ion me , and lear from my own lip I fI have any dealings with the Devil ’

I n t I m t . shor , if a Wi ch

DE ACO N ( si tti n g d own ).

Such is our purpose . H ow coul d you know beforehand why we came 36 L ON GF E LL O W

A T A M R H . ’T was only a surmise A DE CON .

to We came ask you, Yo u t n t being wi h us in church cove an , W t t t tt ha par you have , if any , in hese ma ers .

A T M R HA . An d I N 0 t t make answer, par wha soever . I ’ W am a farmer s ife , a working woman ;

i i - o u You see my sp nn ng wheel , y see my loom, ’ Y o u the t know du ies of a farmer s wife , An d are n ot ignorant that my life among y ou H as t been wi hout reproach until this day . I S i t n o t true ?

E A D CON . ’ S O much we r e bound to o wn ; An d i t t t . say frankly, and wi hou reserve

A T A M R H . ’ I ve heard the idle tales that are abroad ; ’ I ve heard i t whispered that I am a Witch ; i I n ot I cannot help t . do believe

. I I n any Witchcraft t is a delusion .

DE AC ON .

H o w t t i t can you say ha is a delusion , When all our learned and good men bel ieve i t 125 O ur Ministers and worshipful Magistrates ?

A MA RT H .

T n ot the t th. heir eyes are blinded , and see ru i Perhaps one day they wil l be open to t .

DE AC ON .

The Affl t C n Yo u answer boldly . ic ed hildre

Say you appeared to them . GI LE S C OR E Y 37

A T A M R H . An d did they say What clothes I came in ?

E D A CO N . N 0 t n o t t ll , hey could e . T t t t hey said ha you foresaw our visi here ,

An d t t t t n o t see blinded hem , so ha hey could

The clothes you wore .

ZMA R T H A .

The t " cunning, craf y girls I to t 135 say you , in all sinceri y, I never have appeared to any one I f h D I n my own person . t e evil takes M to t t ffl t t y shape hur hese children , or a ic hem,

I n o t i An d I am t guil y of t . say ’ I t s the all a mere delusion of senses .

E A D C ON . I greatly fear that y ou will find too late I n o t is t so .

A T A M R H ( r i si n g). T hey do accuse me falsely. I t i t t is delusion or is decei . There is a story in the ancient Scriptures W I hich much wonder comes n ot to your minds . Let m e t i to repea t you .

DE AC ON . i We will hear t.

MA RT HA . I t came to pass that N aboth had a vineyard H A ard by the palace of the King called hab . An d A I to N t hab , King of srael , spake abo h , An d to t th said him , Give un o me y vineyard, T t I i ha may have t for a garden of herbs , 38 L ON GF E LL O W

An d I l tt i t wil give a be er vineyard for ,

r i t t to t i ts th O , if seeme h good hee , wor

An d N ab o th I n . t to A money hen said hab, The Lord forbid i t me that I should give The t Of t u t t inheri ance my fa hers n o hee . An d Ahab came into his house displeased An d at the N ab oth e heavy words which spak ,

An d t laid him down upon his bed , and urned H i s e at face away and he would no bread . An d the A Jezebel , wife of hab , came

An d to Wh th t said him , y is y spiri sad An d t I s ak e he said un o her, Because p To t to the ez r eel i te Nabo h , J , and said , th n Give me y vineyard and he a swered , saying, I n o t t t will give my vineyard un o hee .

An d the A Jezebel , wife of hab , said , Dost thou n o t rule the realm of I srael ?

A e at n d l et th t rise , bread , a y hear be merry ; I ’ will give N aboth s vineyard unto thee . ’ So t tt A she wro e le ers in King hab s name ,

" An d t t t the sealed hem wi h his seal , and sen letters U nto the elders that were in his city D t N t t the s welling wi h abo h , and un o noble An d the tt t P t in le ers wro e , roclaim a fas An d set t N t the his abo h high among people, An d set two the Of men , sons Belial, to t to Before him , bear wi ness and say, Thou didst blaspheme against God and the Kin g;

An d o u t t t t d i e " 180 carry him and s one him, ha he An d the elders and the nobles of the city Di d the A even as Jezebel , wife of hab ,

H ad sent to them and written in the letters .

40 L ON GF E LL O W

Ol d N 0 man so as he is has such strength . I The Devil helps him

E i n i C O R Y ( wp i g h s for ehea d ). ’ N o w 11 t we res awhile , ’ An d take our nooning. What s the matter with you 210 n o t t You are angry wi h me , are you , Gloyd ’ n o L l t . et s b e Come , come , we wi l quarrel

friends . ’ I t s t t t the R an old s ory, ha aven said , 214 R ead the Third of Colossians and fifteenth .

GL O YD . ’ Y o u r e at the sc the b u t I e t o u handier v , can b a y

At wrestling.

O E C R Y . I ’ W . t . ell , perhaps so don know I ’ t t . r e x " never wres led wi h you Why , you ve ed ’ C t h ar e . ome , come , don a grudge

GL OYD .

You are afraid .

E C OR Y . What should I be afraid of Al l bear wi tness Th e . N o w t m challenge comes from him , hen , y

I nan . 2% T he wr estl e a n d LO i s thr own . y , G YD

O N E O F T H E ME N . ’ T s hat a fair fall .

A N OT HE R . ’ T was nothing b u t a foi l " OT HE RS ’ You ve hurt him I

E l i n GL COR Y ( he p g OYD r i se).

N O t w- l i s s his meado and oft. ’ You r e n ot t hur , are you , Gloyd GI LE S C OR E Y 41

GLO r i i n YD ( s g).

N O n o t t . , much hur

E C OR Y . ' ’ W l l t t s Ofi t e , hen , shake hands ; and here an end .

H o w t t C hu ? 225 do you like ha ornish g, my lad ’ ’ An d n o w l l t S t we see wha in our baske here .

LO i G YD ( as d e). The Devil and all his imps are in that man I The clutch of his ten fingers burns like fire I

E r ver n ti a l l ta i n C O R Y ( e e y k g of hi s ha t). the H e t God bless food ha h provided for us , ’ An d t i t C t " make us hankful for , for hris s sake

H e l ts u a ke o ci d er an d d r i n ks r m i t. if p g f , f o

L G O YD . ’ ’ DO you see that ? Don t tell me i t s n o t Witch:

craft . Two of us could n ot l ift that cask as he does I

CO E u ts d own the ke a n d O en s a basket. A voi ce i s hear d R Yp g, p n ca l l i g.

E V OI C .

H O "C C " orey, orey

E C OR Y .

What . is that I surel y H eard some one calling me by name I

E VO I C . Giles Corey I

o r u n n i n an d ou t o br ea th. E n ter a b y , g, f

BOY . I s Master Corey here

E C OR Y .

I . Yes , here am

BOY . 0 Master Corey I 42 L ON GF E LL o W

C ORE Y

BOY . Your wife your wife

E C OR Y . ’ What s happened to my wife ?

BOY .

’ She s sent to prison I

C E OR Y . The "the d " O I dream ream God , be merciful

BOY .

h t to t S e sen me here ell you .

C O E u tti n on i a t R Y (p g h s j cke ). ’ Where s my horse ’ ’ D t t t t s on s and here s aring, fellows . Where my E x i t O E horse ? [ C R Y.

GLO YD .

U the t t . R u n Ol d I nder rees here , man , run , run ’ You ve go t some one to wrestle with you n ow ’ 11t t C hu Who rip your heels up , wi h your ornish g. ’ D o n I f t s t o w. here a evil , he has g you

Ah t I H i s t "245 , here he goes horse is snor ing fire

ON E O F T H E ME N .

’ ’ t t I I t s to t John Gloyd , don alk so a shame alk

H ’ h t e s t t . a good mas er, houg you quarrel wi h him

GL O YD . I f l o w t hard work and wages make good mas ers ,

T Bu t I t t . hen he is one . hink o herwise C l et ome , us have our dinner and be merry, An d t h th alk ab out t e old man and e Witches . I t t know some stories ha will make you laugh .

The si t d own on e r ass a n d eat. y th g , GI LE S C OR E Y 43

N o w t Cl o se here are Goody y and Goody Good ,

n o t o t t t t t t 254 Who have g a decen oo h be ween hem, An d y et these children the Afflicted Children Sa t t t t t Of t t y ha hey bi e hem , and show marks ee h Upon their arms I

ON E O F T H E ME N .

T t the t r ha makes wonder grea e . ’

T t s t t . t t t ha Wi chcraf Why, if hey had ee h like

yours , ’ T would be no wonder if the girls were bitten " 259

GL OYD .

‘ An d then those ghosts that come o u t Of their graves An d I I cry, You murdered us you murdered us

O N E O F T H E ME N . An d all those Apparitions that stick pins I I nto the flesh of the Afflicted Children

GLOYD . Oh those Afflicted Children I They know well I th . t t 5 Where e pins come from can ell you hat . 26 ’ A n d t s C o t here old orey, he has g a horseshoe N t to Off the t ailed on his doors ep keep Wi ches , h An d all t e same his wife has gone to prison .

E ME ON E OF T H N . ’ I ’ Oh s t . l l t t , she no Wi ch swear ha Goodwife Corey

N ever did harm to any living creature . ’

She s t . a good woman , if here ever was one

GLOYD .

W . As t t t ell , we shall see for ha Bridge Bishop , She has been tried before ; some years ago A n egro testified he s aw her shape S tt the t i ing upon raf ers in a barn , An d holding in i ts hand an egg; and while 44 L ON GF E LL O W

H e t to t t v . wen fe ch his pi chfork, she had anished

An d n o w u i et ' wi l l ? I t be q , you am ired ,

An d want to sleep here on the grass a little .

They str etch themsel ves on the gr ass .

ON E O F T H E ME N . There may be Witches riding through the ai r 280 t at t t O ver our heads on brooms icks his momen , ’ Bound for some Satan s Sabbath i n the woods

To be baptized .

GL Y O D . ’ I t d t e th t wish hey ak you wi hem,

An d o t h ld you under wa er, head and ears, Till you were drowned and that would stop your

t 285 alking, L I I f t . et no hing else will me sleep , say .

ACT I V .

’ - E I The i n n t t l M ti n u . SCE N . Gr een fr o of he vi l age ee g ho se

n x t E n L . A e ci ed cr owd ga ther i n g. ter J OHN G OYD

A E FA RM R . ‘7 Who will be tried to - day

A SE CON D . I d o n ot know .

H e . Ask er is John Gloyd him he knows .

E FA RM R . l d John G oy , Whose turn is i t tod ay D GLOY . ’ I t s Goodwife Corey s

FAR ME R . ’ Gil e s Corey s wi fe ? GI LE S C OR E Y 45

GLO YD .

he n ot . The same . S is mine o t t 5 I t will g hard wi h her wi h all her praying. ’ The hypocrite " She s always on her knees ; B h D u t she prays to t e evil when she prays .

Let us go in .

u t A tr mp e bl ows .

A E F RM R . H the t t ere come Magis ra es .

A E SE CON D F RM R . ’ Who s tall man in front

L G OYD . Oh t t H t , ha is a horne ,

A t the C t t t 10 Jus ice of our , and Quar ermas er H ’ l l I n the Three County Troop . e sift the m at

ter .

’ That s Corwin with him and the man in black

I s C tt M th M t Of t . o on a er, inis er Bos on

E n ter H A T O N E a n d other Ma i str a tes on hor seba ck ol l owed H R g , f ’ t i n T M b he Sher con sta bl es a n d a tten d a n ts o oot. he a y fi , , f g

- i str a tes d i smou n t a n d en ter the II I eeti n hou se wi th the r est. , g ,

A E F RM R .

Th M t - I e ee inghouse is fu ll . never saw O t S grea a crowd before .

GLOYD .

N O m tt . C a er ome . We Shall find room enough by elbowing

u r Pu t to i t. O way among them . your shoulder

E FA RM R . There were n o t half so many at the trial f O Goodwife Bishop .

L G OYD .

Keep close after me . ’ ’ I l l T l l t t . find a place for you . hey wan me here 46 L ON GF E LLO W

’ I Of C w am a friend orey s , as you kno , ’ An d he can t do without me just at present

— - MA T E n E I n t r i or o the Meeti n hou se. a d SCE N I I . e f g H R

the Magi str a tes seated i n fr on t of the p u lp i t. Befor e them a

MA T A i n cha i n s . CO E n ear her . r ai sed p l a tfor m . R H R Y

MA WA L O T i n a cha i r . A cr owd o s ecta tor s a mon RY C f p , g

n u si on a n d m u r mu r s d u r i n the scen e. them GLOYD . Co f g

HA T HORN E .

Call Martha Corey .

A MART H . I am here .

HAT H ORN E .

Come forward .

n t She asce d s the p l a for m . The Jurors of our Sovereign Lord and Lady 24 The t ou King and Queen , here presen , do accuse y Of the t t t t having on en h of June las pas , An t t t d divers o her imes before and af er, V V i ck ed l y used and practised certain arts C t t S I t t alled Wi chcraf s , orceries , and ncan a ions , A t M t gains one ary Walco , single woman , O f Salem Village ; by which wicked arts

The M t was t t aforesaid ary Walco ormen ed, T t ffl t d t or ured , a ic ed , pine , consumed , and was ed, Against the peace of our Sovereign Lord and Lady

The Of the St t t 35 King and Queen , as well as a u e ? W t ou Made and provided in that case . ha say y

A A M RT H . I to . Before answer, give me leave pray

A H T HO RN E . We n ot t have sen for you , nor are we here ,

L ON GF E LL O W

lMA R T H A .

I I n o t ndeed do t hink so .

I n o W t n o t W t . am i ch , and have fai h in i ches

HA T HORN E . Then answer me When certain persons came To t see you yes erday, how did you know Beforehand why they came ?

ZMAR T H A . I had had speech

The I t t I t u t children said hur hem , and ho gh T o i hese people came t question me about t .

A E H T HO RN . H o w did you know the children had been told To n ote the clothes you wore

A T A M R H . My husband told m e i What others said about t .

HAT HORN E . C Goodman orey, a t ? S y , did you ell her

E C OR Y . I must speak the truth ; I t . I did n ot tell her . was some one else

E HAT H ORN . Di d you n ot say your hu sband told you so ? H o w dare you tell a lie in this assembly Who t the t ? C the tr u th old you of clo hes onfess .

MA T A bi tes her l i s an d i s si l en t. R H p , You t b u t n ot I bi e your lips , do answer me

MA RY . Ah t " A " , she is bi ing me void, avoid

A H T HORN E . You sai t ou d your husband old y . GI LE S C OR E Y 49

MA RT HA . t Yes, he old me

The chil dren said I troubled them .

E HAT HORN . T t hen ell me, ‘ Why do you trouble them 7

A T A M R H . I i have denied t .

A M RY . She threatened me stabbed at me with her spindle An d t t t t d , when my bro her hrus her wi h his swor , H u 75 e t c t . ore her gown , and a piece away H h th t t t e e t . ere are hey bo h, spindle and clo h

- Shows them.

E HATHORN . An d there are pers ons here who know the truth f t O what has n ow been said . Wha answer make you

MA RT HA .

l o . I make no answer . Give me eave t pray

AT E H HORN . Whom would you pray to

A A M RTH . T o F my God and ather.

AT E H HORN . Who is your God and F ather

A A M RT H . The Al mighty "

AT E H HORN . Doth he you pray to say that he is God

I t the P n e D an d n ot . is ri c of arkness , God 50 L ON GF E LL O W

MI A R Y .

T er e ear h e is a dark shap whispering in her .

A E H THO RN . What does i t say to y ou ?

MI A R T H A . I see no shape.

A E H T HORN . ‘ Di d you n ot hear i t whisper 7

MA A RT H . I e t n h ard no hi g.

MARY . What torture I Ah what agony I suffer I

F l i n t n a l s o a swoo .

AT E H HO RN . Yo u see t t t e his woman canno s and befor you . I f l o u you would ook for mercy, y must l ook ’ I n 90 t . God s way, by confession of your guil Why does your spectre haunt and hurt this person ?

MA RTHA . H Ol I do n ot know . e who appeared of d ’ I n S t amuel s shape , a sain and glorified ,

May come in whatsoever shape he chooses . I " I cannot help i t . am sick at heart

CORE Y .

0 t t a "l et r . Mar ha, Mar h me hold you hand

HAT HO RN E .

N O t Ol d . s and aside , man

MA RY ( star ti n g up ). Look there I Look there " I l tt ll see a i le bird , a ye ow bird, P “ i k s at erched on her finger and t p ee me . Ah i t i te o u t " , w ll ar mine eyes

IMA R T H A .

I 100 see nothing. GI LE S C OR E Y 51

A E H T HO RN . ’ T the F S t t t tt is amiliar piri ha a ends her.

A M RY . o w i t fl I N has own away . t sits up there I U the t . t pon raf ers is gone is vanished .

A T A M R H . t t Giles , wipe hese ears of anger from mine eyes. W th m I e t . t ipe swea from y forehead am fain .

n n t t i i n She l ea s aga i s he r a l g.

MA RY. Oh she w t t " , is crushing me i h all her weigh

HA T H ORN E . ’ Di d you n o t carry once the Devil s Book To this youn g woman ? MART HA

N ever .

E HATH ORN . H i t ave you signed , Or touched i t

MA RT HA . N I i t O never saw .

E HAT HORN . Di d you n ot scourge her with an iron rod

MA RT HA . N O I n I f E t ot . S , did any vil piri H as t to t e d aken my shape do h se evil eeds ,

i I t . I cannot help t . am innocen

E H AT HO RN . Di d you n o t say the Magistrates were blind That you would open their eyes

MART HA ( wi th a scor nfu l l au gh). I t t Yes , said ha ; I f u ll m e es ou ar e " 116 y o ca e a sorc r s , y blind 52 L ON GF E LL O W

I fyou accuse the innocent you are blind " Can the innocent be guilty

A E H T HO RN . Di d you n o t ’ O n one occasion hide your husband s s addle TO hinder hi m from coming to the Sessions

A A M RT H . I thought i t was a folly in a farmer o h T waste his time pursuing suc illusions .

A E H T HO RN . What was the bird that this young woman saw Just n o w upon your hand

A T A M R H . I know no bird .

E HAT H ORN . H ave y ou n ot dealt with a F amiliar Spiri t

A A M RT H . N O n e n I , ev r, ever

A E H T HO RN . What then was the Book

Y ou showed to this youn g woman, and besought her TO write i n i t

A T A M R H . Where should I have a book I h n er n e e . showed o , nor have non

A M RY . The nex t Sabbath

I s the C n Da b u t t C 130 ommunio y , Mar ha orey Will n ot be there I

MART HA .

Ah ar e all a a n st m e . , you g i What can I do or say GI LE S C OR E Y 53

AT E H HO RN . Y o u can confess .

A M RT HA . I t I NO t . , canno , for am innocen

A T E H HORN . We have the proof of many witnesses

That you are guilty .

A T A M R H .

v to 135 Give me lea e speak. W ill you condemn me on such evidence , Yo u who have known me for so many years W t ill you condemn me in his house of God, Where I so long have worshipped with you all ? Where I have eaten the bread and drunk t he wine 140 ’ SO many times at our Lord s Table with you ? t o u t t o u w Bear wi ness , y ha hear me y all kno T t I l ha have led a blameless ife among you , That never any whisper of suspicion h 145 Was breat ed against me till this accusation . A n d shall this count for nothing? Will you take t My life away from me , because his girl Who t t n ot t is dis raugh , and in her righ mind , Accuses me of things I blush t o name ?

HA T HORN E . ? What "is i t n ot enough ? Woul d you hear mor e Gile s Corey I

E C OR Y.

I am here .

A T E H HORN .

C t n . ome forward , he

E n t t COR Y asce d s he p l a for m . I s i t n t t t t ot true , ha on a cer ain nigh 54 L ON GF E LL O W

? Yo u were impeded strangely in your prayers That somethin g hindered you and that you left T wo m an he r e w his , your ife , kneeling alone Upon the hearth

E C O R Y . e I t i t Y s canno deny .

E HA T HO RN . Di d you n ot say the Devil hindered you

E C OR Y . I I think said some words to that effect .

AT E H HORN . I s i t n ot t t t t tt rue , ha four een head of ca le, T o t e you belonging, broke from heir enclosur An d t the ? leaped in o river, and were drowned

E C O R Y . I t is most tru e .

A T O E H H RN . An d did you n ot then say That they were overlooked

E C OR Y . O u I S m ch said . ’ I t r e r see hey drawing round me closer , close , A n et I t t " Asi d e ) canno break, canno escape from (

A E H T HO RN . Who d i d these things ?

C ORE Y . I n o t do t know who did hem .

E HA T HORN . T I l l l l I t hen wi te you . is some one near you

You t w e . see her now ; his woman , your own if

E C O R Y . I l the to i t i t " ca l heavens W ness, is false he n e e d m e S v r harmed me , never hindere

56 L ON GF E LL O W

to N ot To make confession , or plead Guilty . O n ot A t ? D you hear me nswer, are you guil y Do n o t v t you know a hea ier doom awai s you , I f to t t you refuse plead , han if found guil y Where is John Gloyd

GLO comi n or YD ( gf war d ). H I ere am .

A T E H HORN . Tell the Cou rt ; H ave y ou n ot seen the supernatural power 198 Ofthis Ol d man H ave you n ot seen him d o Strange feats Of strength

GLO D Y . ’ I ve the el seen him lead fi d, n hot i n t 199 O a day, mowing, and agains I U s younger men ; and have wrestled with him . I H e threw me like a feather . have seen him L t t hi s if up a barrel wi h single hands , two t t t t er Which s rong men could hardly lif oge h ,

An d i t i t . , holding above his head , drink from

A T E H H O RN . 205 That is enough we need n o t question further . W t to t C ha answer do you make his , Giles orey

A M RY . See there I See there "

A T E H H O RN . i I n What is t ? see othing.

A M RY . "L " I t the t OfR t l l Look ook is ghos ober Goode , Whom fifteen years ago this man did murder By stamping on his body I I n his shroud H e comes here to bear witness to the crime I

The cr o wd shr i n ks b a ck fr om CO RE Y i n hor r or . GI LE S C OR E Y 57

A T E H HORN . Ghosts Ofthe dead and voices of the living t to t t I Bear wi ness your guil , and you mus die I t i t m gh have been an easier death . Your doom

n o t . 215 Will be on your own head , and on ours Twice more will you be question ed of these things ;

Twice more have room to plead or to confess . I f t to the C t you are con umacious our , An d t to if, when ques ioned , you refuse answer, Then by the Statute you will be condemned 220 To the p ei n e fo r te et d u r e TO have your body Pressed by great weights until you shall b e dead " An d may the Lord have mercy on yo ur soul "

ACT V .

— ’ I E n A I I n I . E n ter SCE N E . CO S ar m a s i ct . S ce e R Y f ,

R I C A A N E l ooki n r ou n d hi m . H RD G RD R, g

GA E RDN R . H t the I i t ere s ands house as remember ,

The four tall poplar- trees before the door ; The the the the l l house , barn , orchard , and we ,

With i ts moss- covered bucket and i ts trough

The t i ts t - garden , wi h hedge of curran bushes

The the t- fi el d s woods , harves and , far beyond,

The pleasant landscape stretching to the sea . Bu t everything is silent and deserted " N o t Offl blea ocks , no bellowing of herds , N O fl t t t n ow sound of ails , ha should be bea ing ; N or t t t ? man nor beas astir . Wha can his mean

K n ocks a t the d oor . 58 L ON GF E LLO W

What ho "Giles Corey "H illo - ho I Giles Corey "

N 0 b u t the the answer echo from barn ,

A n d the - the w ill omened cawing of cro , T t fl t the ha yonder wings his igh across fields, h A s if he scented carrion in t e air .

E n t T I T i er UBA w th a basket. ’ W t s t t t t n ha woman his , ha , like an appari io H aunts this deserted homestead in broad day W ? oman , who are you

A TI T UB .

I am Tituba . I I ’ I w . h am John ndian s ife am a Witc .

A E G RD N R . What are you doing here?

T I T A UB . ’ I m t s ga hering herb ,

C x n a . inquefoil , and sa ifrage , and pe nyroy l

E GA RDN R ( l ooki n g a t the her bs).

T n ot C i t t- I his is inquefoil , is deadly nigh shade

T n o t x b u t I his is sa ifrage , hellebore T n o t i t —I his is pennyroyal , is henbane DO you come here to poison these good peopl e

I T A T UB . I th D t th get these for e oc or in e Village . I th Beware of Tituba . pinch e children tt t t th Make li le poppe s and s ick pins in em ,

An d t the o u t t hen children cry hey are pricked . The Do to S Black g came me , and said , erve me "

I H t the . was afraid . e made me hur children

GA RDN E R . ’ ’ P " S t t D s oor soul he s crazed , wi h all hese evil

doings . GI LE S C OR E Y 59

I T T UBA . W the ? ill you , sir, sign Book

GA E RDN R . ’ N O I 11n ot S i 34 , ign t. Where is Giles Corey ? DO you know Giles Corey ?

T I T A UB . ’ ’

H e s . H e s t th safe enough down here in e prison .

GA N E RD R . Corey in prison ? What is he accused of ?

T I T A UB . Giles Corey and Martha Corey are in prison D th S . t own ere in alem Village Bo h are Witches . She to th came me and whispered , Kill e chil

dren I 40 Both signed the Book "

E GARDN R .

Begone , you imp of darkness " ’ You Devil s dam "

T I T U BA . Beware of Tituba I

E GA RDN R . H ow O t o u t at t t f en sea on s ormy nigh s , W the s t the hen wave hundered round me , and wind t the Bellowed , and bea canvas , and my ship C t the love hrough solid darkness , like a wedge , ’ I ve t t Of t hough him , upon his pleasan farm , L t t t t iving in quie wi h his hrif y housewife , An d t " envied him , and wished his fa e were mine An d n o w I tt find him shipwrecked u erly,

D t u o n thi s O f rif in sea sorceries , g p j An d t " los , perhaps , beyond all aid of man 6 0 L ON GF E LL O W

The r i son . I LE S O E i SCE N E I I . p G C R Y a t a tabl e on wh ch m a r e s o e p ap er s .

E C OR Y . N o w I have done with earth and all i ts cares I give my worldly goods to my dear chi ldren I t to t My body bequea h my ormentors .

n d t l to H i m who i A my immor al sou made t . 0 God I who in thy wisdom dost afflict me With an affliction greater than most men H et ave ever y endured or shall endure , Suffer me n o t in this last bitter hour F or an y pains of death to fall from thee I

MA RT HA i s hea r d si n gi n g. A O i t L " rise , r gh eous ord An d disappoint my foes T b u t t hey are hine avenging sword,

ar t o Whose wounds e swif t close .

O E C R Y . H "i t I She n o t I ark , hark is her voice is dead I She lives I I am n o t utterly forsaken

AR T A si n i n . M H , g g t By hine abounding grace ,

An d ul t mercies m iplied , I th shall awake , and see y face

I shal l be satisfied .

hi s a ce i n his ha n d s . E n ter the J A I LE R ol l owed CORE Y hid es f , f

by R I CHA RD GA RDN E R .

J A I LE R . ’ s R G H ere a seafaring man , one ichard ardner,

r to S t . A friend of you s , who asks peak wi h you T h mbr . CORE Y r i ses . ey e a ce

CORE Y . ’ m to ay t to . I glad see you , , righ glad see you G I LE S C OR E Y 61

A N E G RD R . An d I t to mos sorely grieved see you thus .

C E OR Y . Of the I d all friends had in happier ays ,

the t a the You are firs , y , and only one , That comes to seek me o u t in my disgrace I

A n t o r d y o u b u t come in ime t say fa ewell . ’ th They ve d u g my grave already in e field . T t I thank you . here is some hing in your pres

ence ,

I n o t t i t t t v t t know wha is , ha gi es me s reng h . Perhaps i t is the bearing of a man F amiliar with all dangers of the deep

F th the Of 85 amiliar wi cries drowning men , th at " Wi fire , and wreck , and foundering ships sea

E GA RDN R . Ah I a l I , have never known wreck ike yours r Wo u l d I could save you I

E C O R Y . D n O o t speak of that . I t to o t . I m is la e a resol ved to die .

GA E RDN R . Why would you d i e who have so much to live 7 for 90 d t Your augh ers , and

C O E R Y . a t he You c nno say t word .

t T -s My daugh ers have gone from me . hey are mar ried

T t t r t t t hey have heir homes , hei hough s , apar from me

I l n o t t t t t to o l . wil say heir hear s , ha were crue What would you have me do ? 6 2 L ON GF E LL O W

A E G RDN R . C onfess and live.

CO E R Y . ’ That s what they said who came here yester

96

To lay a heavy weight upon my conscience By telling me that I was driven forth As t t an unwor hy member of heir church .

GA E RDN R . I t t is an awful dea h .

C O E R Y . ’ T b u t to n is drow ,

n h the A d have t e weight of all seas upon you .

E GA RDN R . Say something say enough to fend Off death Till this tornado of fanaticism l Le t Blows itse f o u t . t me come in be ween y ou An d r t you severer self, wi h my plain sense Do n o t t t be obs ina e .

E C OR Y . I n o will t plead . I f I I deny, am condemned already, I n t t t cour s where ghos s appear as wi nesses, ’ An d I f I swear men s lives away . confess,

T I to l hen confess a lie , buy a ife

W n t o t b u t . hich is life , only dea h in life I n o t t t will bear false wi ness agains any,

N o t t I t l ast. even agains myself , whom coun e

GA RDN E R ( a si d e). Ah t l t t " , wha a nob e charac er is his

C O RE Y . I n o t to t t pray you , do urge me do ha You I would n o t do y ourself . have already

64 L ON GF E LL O W

GL D OY . I wonder n ow

I f the old man wil l die , and will n ot speak ? ’ H e s obstinate enough and tough enough

F o r anything o n earth . A bel l tol l s . H ark "What is that ? M A AN . H ’ The passing bell . e s dead "

GL D OY . We to o t are la e . E x eu n t i n t [ has e.

— E . I LE S E l n SC N E I V Afi el d n ea r the gr a vey ar d . G COR Y y i g ’

d ea d wi th a r a t t n n hi s br ea t. T Sher i i , g e s o e o s he fi a t h s

head R I C A A N E a t hi s eet. A cr owd behi n d . The , H RD G RD R f bel l tol l i n E n H A N E n MA E t r T O a d T . g. e H R H R

A E H T HO RN . h ’ h This is t e Potter s F ield . Be old the fate Oft t t n s hose who deal in Wi chcraf s , and , whe que i o n t e d , R efuse to plead their gu ilt or innocence An d stubbornly drag death upon themselves .

MA T HE R . O t t I I n t sigh mos horrible a land like his , S t C E pangled wi h hurches vangelical , I t t nwrapped in our salva ions , mus we seek

I n mouldering statute - books Of E nglish Courts S tt Law to d ? ome old forgo en , do such dee s ’ Those who lie buried in the Potter s F ield W ill rise again , as surely as ourselves That sleep I n honored graves with epitaphs An d th i t m is poor man , whom we have made a v c i , H ereafter wil l be counted as a martyr I D APPEN I " .

H I N TS TOWAR D T H E ST AGE R E PR E SE N TATI ON F I LE COR E Y OF T H E ALE M F AR M O G S S S .

T A N SP SI TI ON S A D S I R O N OMI S ON S .

A t I I I t r an s o se Sce n e s 2 an d 3 . c , p Act I V Sc en e 2 i n the l a st S e e ch o m i t 7 l i n es b e i n n i n , , p , g g ”

i e m o r e e tc . T w c , ’ “ Ac t V Sce n e 2 o m i t ar d n e r s s ee ch I t i s an a wfu l d e ath , , G p , , ’ ’ a n d Co r e s n e x t S e e ch. Om i t al so i n Cor e s n e x t s ee ch b u t y ‘ p y p ” h l i f l h r u r n e t e two n e s I e e t e e ss e e tc . o , p ,

E i ther o m i t Sc e n es 3 a n d 4 O f A ct V o r have the sher i ff e n ter

he n d o f Sce n e 2 wi th H atho r n e Ma the r n d A n d n at t e , , , a tte a t s , i n whi ch case H atho r n e a n d Mather ar e to l o o k o u t o f the wi n d ow an d s a the l i n es o f Sc en e 4 wi th the o m i ssi o n o f the r st y , fi

five wo r d s .

E I E TI STAG D R C ON S .

Ad d to Dr ama ti s Per son ae,

i o De a o n s her i ff C on stabl es ai l er J o n athan Co r w n , Tw c , S , , J ,

F a r m e r s H i r ed Me n an d Vi l l a e r s . , , g

I n d r a m ati c er fo r m a n c e the a r t o f the F ar m er i n Act I I p , p , D o n h r s o f he Sc . 2 m a b e i ve n t o o n e Of the ea c s t e a t t , y g , p

F ar m e r s i n Ac t I V Sc . 1 m a b e i ve n to two o f the hi r e d m e n , , y g , an d the p ar t o f the J ai l er m ay b e gi ve n to the She r i ff o r o n e o f the o n l r m a e d ou bl e he r e the n u m b er C stab e s . Othe r p a ts y b d w o f a cto r s i m l s s a l .

[The fol l o wi n g d i r e c ti o n s ar e i n a d d i ti on to tho se su ppl i e d b y h t e au thor . T o m ak e the m a tte r c l ea r the a e n u m b e r s an d , p g 6 A I 6 PPE N D X .

s o m e ti m es the l i n e n u m b er s a r e gi ve n a r e fe r en ce wi l l il ho what ha s e n a d d e d t o he o r i i n al r ead y s w b e t g . ]

ACT I .

E E Th n ea r S a l em Vi l l a e . E n ter TI T A SC N I . e wood s g UB " wi th a ba sket of her bs a n d a staj.

TI T A taki n u the her bs on e b on e . UB , g p y [

Pa e 4 b etwee n l i n e s 27 a n d 28 . g , n f Sha ki g her staf ex u l tan tly . P 4 E x i t T I T A E n ter MA T E o t d n age . UB H R b o e a d

- S u r r ed wi th a r i d i n whi i n hi s han d . p , g p

R een ter TI T A L . Page 5 . UB ( )

Pa e 5 afte r l i n e 5 8 . S tar ts to o o g , g f n d of r st hal f l i n e 73 ex i t Pa e 6 . At e g fi , A n d Of l i n e 6 i n st ea d o f ex eu n t ex i t L Pa e 6 . t e 7 . g , , ( ) Pa At e n d Of s a e d i r e cti o n fo r Sc en e I I ge 6 . t g

’

11 E E . C N I I I . A i n A u D Page . S r oom W LCO T S ho se oor i n A L fl a t. MA RY W C O T sea ted i n an a r m chai r I A i n n T T UB stan d g i fr on t of her wi th a mi r r or .

12 l i n 2 —218 Pa e e s 16 . g ,

E E i n E n ter H A T O N MA T an d WA LCOT b d oor a t. H R , H R , y fl

VVALCO T .

h r h l T e e s e i es, Wasted an d wor n by d evi l i sh i n can tati on s I O m y p o or s i ster I

MA T E ad va n ci n towar d her . H R , g

I s she al way s thu s

Pa e 13 l i n e 234. g ,

n n n h n i h r h What fr i ghte s y o u ( tur i g to the other s . ) S e e t e ear s

n o r se es m e . h ’ i S e s n a tr an ce .

MARY ( p oi n ti n g i n fr on t of her ).

DO y ou n ot see her ther e

1 n l i n s 2 2 . 4, b etwe e e 39, 40

n wr i thi g as if i n p ai n .

14 l i n e 244. MA T E tu r n i n to H athor n e . , H R ( g )

fC. L. o AP E D P N I X .

Pa e 14 at cl ose O f r st hal f O f l i n e 253 . g , fi c v er i t h ha n d s ( o er s h fa ce w h er ),

Pa e 16 a t c l o s e o f Ac t I . g , As he u tter s these l a st wor d s he p l a ces hi s l eft ha n d on her hea d a n d H a th r n e n I a l c t r a i ses hi s r i ght a s i n ben ed i c ti on . o a d V o

s ta n d r ever en tl r a i si n thei r ha ts . Ti tu ba i n the r ear y , g , ,

A LE A . s ha kes her fi st i n ma l i ci ou s tr i u mp h. T B U ( Cu r ta i n )

ACT I I .

’

E I LE S O E S a r m . H ou se a n d ba r n Wel l SCE N I . G C R Y f r r d n su r r ou n d ed b cu r r a n t wi th cu r b a n d sweep r ea . G a e y

u sh s n i n E n ter CO E r om ba r n wi th b e Mor g. R Y f

a hor s eshoe a n d a hammer .

f e r l i n Pa e 17 a t e 23 . g , E x i L n t O a d n r MA A L . fr o m h ho u se G YD e te RT H ( ) t e .

Pa e 19 a fte r l i n e 72. g , [ E x i t i n to the hou se

1 r fi r h l Pa e 9 a fte st a f o f l i n e 84 . g ,

MA T A r om wi thi n R H ( f ). Pa e 20 a t c l o s o f l i n 8 e e 9 . g , E i L x t . i n t n [ ( ) o ba r . MA RT H A com es to the d oor P 20 f e r r s h l f f l i n a e a t t a O e 100 . g , fi E n t r E n L e CO R Y fr om bar ( ). Pa 21 t cl o se o f l i n 1 e a e 11. g , [E x i t MA RT HA i n to hou se Pa e 22 a t cl o se o f en g , Sc e I . [E x eu n t i n to ba r n

E E T - SC N I I . he Gr een i n fr on t of the El ecti n g hou se i n S a l em

- Vi l l a e . I II eeti n hou se . P e l m n g g (R) op e co i g a n d goi n g.

E n r E E R - te I L S CO . r om Meeti n u G R Y ( )f g ho se .

E CO R Y .

A m el an c ho l y e n d I Who wo u l d have tho u ght ’ Tha t Br i d get Bi sho p e e r w o u l d c o m e t o thi s

A cc u s e d c o n vi c t n n , e d , a d c o n d e m e d to d e ath F or Wi tc hc r aft I An d s o go o d a wo m a n too I

A F A E en ter i n RM R , g

Pa 23 l l e ast i n . g , e

E x [ i t ( L ). APPE I 6 8 N D X .

Pa e 24 to of a e . g , p p g

CO E sha ki n hi s st. R Y , g fi f er r st hal f o f l i n 1 2 Pa e 24 a t e 5 . g , fi E n ter GLOYD i n haste r Page 25 . Afte l i n e 166

Pa e 25 after l i n e 170 . g , [E x i t

’

E N E I I I . O E S i t n . D a n i n i n SC C R Y k che oor d w d ow fl a t. F l i t c n n tt D i r ep a ce w h r a e a d ke l e oor ( I ). A ta bl e MA T A n i tti n wi th supp er ( L ). R H k g As the cu r ta i n r i ses a l ou d s ta m a n d sl am o the d oor ar e h ar d , p f e t i n the r ear of the s age.

MA T A a u si n i n her kn i tti n R H , p g g.

’ l h r hi m i n a st . I ea the a s H e s c o m e at p sage . So m ethi n g ha s gon e a m i s s wi th hi m t o - d ay

k n o w i t b hi s ste an d b the so u n d I y p , y h h i t H i e s e s u t e s an r . The d o o r m a d a . g y She p u ts u p her kn i tti n g a n d ta kes food fr om the fi r e a n d p u ts i t on

the tabl e.

O E a t d oor i n a t wi th hi s r i d i n - i E n ter C fl wh . A s he s eaks he R Y . g p p ta kes o hi s ha t a n d l oves a n d thr ows them d own vi o f g , . l n tl e y .

Pa e 26 at cl ose Ofl i n e 196 . g ,

Si ts a t R . o t ( ( ) f abl e. )

f e r r s hal f f l Pa e 26 a t t o i n e 198 . g , fi CO E s i tti n d o n w L l . R Y ( g ( . ) of ta b e) fter l i n e 230 Pa e 28 a . g , i n i shed s u er the H avi n gf p p y p u sh ba ck thei r cha i r s fr om the ta bl e. Pa e 29 after r st hal f o f l i n e 262. g , fi MA T A R H ( r i si n g).

30 afte r l i n e 2 P e 6 . ag , 6

( soft mu si c).

E CO R Y . Du r i n g thi s sp eech Gl oy d app ear s a t the ba ck a n d l ooks i n thr ou gh th n e wi d ow.

Pa e 30 a fte r l i n e 278 . g ,

A s n e l i n . [ E x i t CO RE Y ( L ). MA RT H con ti n u e k e g

( Sl ow Cu r ta i n . ) APPE N DI 6 X . 9

ACT I I I .

— ’ CE N E I . I LE S COR E Y s ki tchen a s be or e . Mor n i n . CO E S G , f g R Y

n A T A i tti n - a d M R H s g a t the br eakfast ta bl e.

f r l i n 2 a e 30 a te e . P g , MA T A i n R H ( r si g). P 1 f r r t h l f o f l i n e a e 3 a te s a 9 . g , fi

MA RT HA ( si tti n g d own ).

Pa e 3 2 a fter l i n e 32. g ,

E x i t d oor i n a t. [ , fl

E E I . Pa ge 32. SC N I

- E A E n l m i l l a . n M T n SC E N E I I . A str eet i S a e V ge ter H R a d

A N E R i n con ver sa ti on . H T H OR ( . )

Pa e 35 afte r l i n e 102. g , [E x eu n t — ’ A n E D i n . MA A E E I I I . m i O S ou se oor a t T SC N r oo C R Y h . fl R H

en gaged i n hou sewor k . A n ck i s hea r d Ma r tha o en s the d oor a n d two d ea con s o the k o , p , f

chu r ch en ter .

Pa e 36 a fte r l i n e 123 . g ,

E DE S C O N D ACON .

Pa e 3 7 after l i n e 140 . g ,

E DE A S CO N D C ON .

Pa e 39 after l i n e 203 . g , E A TABL U .

— SC E E . i v N . I V Mea d ows on I p swi ch R er A tr ee i n cen tr e .

Un d e - i r - E n i r i t l u n ch ba sket a n d c d e ba r r el . C OR Y a d h s men en ter L E i n ( . ) m owi n g CO R Y a d van ce .

Pa e 41 a fte r l i n e 226 g , .

br i n i n i t i n to th mi g g e d st of them . Pa e 41 a fte r l i n e 2 g , 33 .

CO E u ts d wn the ke a n o d O en s a basket. A voi ce i s hear d R Y p g, p ca l l i n g Pa e 41 f i n a ter l 2 . g , e 34

E n t er a bo R . r u n n i n a n d u y ) g o t of br ea th. Pa e 42 a fte r l i n e 2 g , 40 .

E x i t C O E ol l owed b bo [ R Y f y y . Pa e 44 a t c l o se o f A t g , c I I I .

u t C r ai n . ) A 70 PP E N DI X .

Pa e 44 at b e i n n i n O fAc t I V . g , g g

T n n on t t i M ti n - SCE N E I . he Gr ee i r o he V l l a e ee hou se as f f g g ,

A I I n 2. n i n E i n ct S ce e A ex c ted cr owd a ther i . n ter , , g g J OHN GLO YD

Pa e 45 a fte r fi r st hal f o f l i n e 8 . g , A tr u m et bl ows o p , f

Pa e 45 afte r l i n e 13 . g ,

E n ter H A T O N E MA T E a n d CO I N a ccom an i ed b the H R , H R , RW , p y l n a tt n n t T t e st e sher i con sta b es a d e d a s . he cr oss h a f, , y g ,

- T l s ct u l l make a n d en ter the Mceti n g hou se . he p eop e r e p e f y

way for them .

Pa e 45 a fter l i n e 20 . g , n T t r n r u l l E l bowi n g thei r way a mo g the p eop l e . he h o g g ad a y n cr owd i after them .

Pa e 46 a fter l i n e 22. g ,

M t n - E x u n t R . i n to ee i u [ e ( ) g ho se.

- E E I n t i t M ti n u . D o i n t. H i SC N I I . er or of he ce g ho se o r fl a gh ’ p u lp i t wi th d ea con s sea t I n the cen tr e a n en cl osed

A A L n n t p l a tfor m . M RY W C O T i a chai r betwee the p l a for m n u l i E n t A c a t CO ea r the l a or m . cr owd o s e d p p . R Y p f f p

ta tor s a mon them LO . Con u si on a n d mu r mu r s , g G YD f n d u r i g the scen e . MA T A i s l ed i n b the con sta bl es a n d the u sti ces a n d MA T E R H y , j H R ’ a r e escor ted to the d ea con s sea t by the sher ilf The p eop l e

n a n sta d s they come i .

Pa e 46 a fter l i n e 23 . g , i n R ea d g. l i 18 Pa e 55 after n e 3 . g , E MA T A l d o u t x i t e b o i cer s . [ R H , y fi l Pa e 55 after r s t ha f o fl i n e 185 . g , fi E t CO R Y s ep s for war d . l i Pa e 55 a fte r n e 189 . g , n n Du i n t st n Gen er a l co ster a ti on . r g he r e of the scen e r emai s n si l e t wi th ar ms fol d ed .

Pa e 5 7 to l i n e . g , p H A T E i O N w th sol emn i t . H R , y P 5 en o f A I a e 7 d c V . g , t ( Cu r tai n )

A E DI 72 PP N X .

Th r f n - S cen e I I . e G een i n r o t o f the Me eti n g ho u se (fir st

r oo ve . The d r o m a sho w an o r d i n ar vi l l a e str e et g ) p y y g , i n whi ch ca se the Mee ti n g- ho u s e wi l l b e a wi d e wi n g s et

R - a t the i ht . Or the d r o m a Sho th M i n h u g p y w e eet g o se . A r a ti abl e d o o r i n s r p c c s ec e sa y . I ’ h i n . F u l l h I . or e k D r n S cen e I C y s tc e d ep t of sta ge . o o a d

l - fl F i r a c R . i wi n d o w i n at . e e w th o t ho ok s k e ttl e s p ( ) p , ,

an s an d i r on s e tc . A d r e sser wi th a n ti u e e wte r a n d p , , q p

c hi n a a se ttl e s i n n i n - whee l a n d o the r a r ti cl e s o f Ol d , , p g ,

f n i i l l d d t o the r eal i sm a n d effe c o f the en u r tu r e w a t s c e .

A o l i th u er hai r s k n i ti n r i d P r o er ti es . s ab e tab e w s c t p v , pp , , g,

- i n g whi p .

ACT I I I .

r d r o r ti s a i n he l ast s n n I . en e an S ce e Sc y p p e e s t ce e .

I n d r am ati c r ep r e sen tati o n i t i s r e c om m en d e d that Sce n e 3 b e I n c se h n joi n ed o n to the e n d O f Sce n e 1. a a a d l o o m a n d “ s i n n i n - wheel c an n o t b e Obtai n ed the l i n e Y o u se e m s i n p g , y p ” - n i n whe el ou se e m l o om m u st b e o m i tted . I f the two g , y y sce n e s ar e u n i ted Mar tha d o es n ot l eave the sta e at the e n d o f , g

Sce n e 1.

n I I W r e the am ou n t o f sc en er i s l i m i ted hi s scen e Sce e . he y , t ’ H h n ho u e s i n A I 2 m a b e at or e s s a ct Sc en e . y , ,

R r T h ear I swi h i ve Me ad o ws . F u l l sta e . e a Scen e I V. p c g pp an ce o f a m o wi n g- fi el d m ay b e c r e ate d by havi n g two cl e ats r u n a cr o ss the stage 4 o r 5 i n che s ap a r t an d fil l i n g

the Sp ac e b e twe en wi th ha y .

“ i es Sc thes i tchfor ks b ask et o f l u n ch ci d er o er t . Pr p y , p , ,

b ar r el . 73 APPE N DI X .

ACT I V .

I n e 2. Scen e I . Sam e as Act I , Sc e

- F I n te r i o r o f Pu r i ta n Me eti n ho u se . u l l sta e . I I . g g Thi m a b e ve r si m l e b u t fo r tho se who can c o m m an d s y y p , the fac i l i ti e s the fol l owi n g ar r an ge m en t i s r ec o m m e n d e d

la tform

The p u l pi t shou l d b e the Ol d - fashi o n e d hi gh o n e wi th

- - - i n b o ar d ho u r l a ss an d l e ather c ove r e d Bi bl e . s o u n d g , g , i n l l f r ha i r l atfo r m s d e r a c o th. Wa n d s o r i s . C Pr op e t e , p , p , g y

n o n stabl es a e r wi th se al fo r the i n d i c tm e n t . she r i ff a d c , p p

ACT V.

’ or e s far m a s i n Act I I . I f i t i s n ot c o n ven i en t t o S cen e I . C y

h v he fo u r o l ar - tr ee s the s ec on d l i n e o f the sc en e a e t p p ,

m u st b e o m i tted .

P er ti es . Ba sk et o f he r b s b u n d l e a n d sti ck . r op , , l D fl i n . i n d i n F u l sta e . o or at o The Pr so . W w S cen e I I . g

i h r u i l n n l l Pr o er ti es . T abl e w t a e s l s a d i n k sta d . Pa et p p p , q ,

o f str aw i n the c o r n e r .

I t i s r e c o m m e n d ed tha t a t the e n d o f thi s s c en e the She r i ff

n o n stabl e s e n e r a n d l e ad O ff o r Th u s i s n d a d C t C ey . e J t ce a

Mather e n te r wi th them an d l o o k o u t o f h Af r t e wi n d o w . te

Co r e i s l e d a wa the s e ak the l i n e s o f S ce n e 4 o m i tti n y y y p , g ’ ” Thi s i s the Po tte r s F i el d . At the e n d o f these l i n e s the c u r

t i n fal l s e n 3 b i n o m i tt d n i l a Sc e e e e t r e . , g y 74 APPE N DI X .

C OST UME S .

l e c o at fu l l tr u n k s ti e d a t k n ees wi th H a thor n e. Bl ack ve v t ,

h Sho e i th b u kl Bl k o se . s w c e s l a k r i bb o n an d l o n cl oak . a c . b c , g l d r i u d i l i J ci a . l n d u ffs Swo r d a n d b a c . w Pu r i tan c ol ar a c . g

- l f I n Ac t I V the s wo r d i s o m i tt e d a o wn l u r o a hat . B a ck s ga , g

h cl oak a n d a b l a ck ve l vet Sk u l l ca wo r n . s u b sti tu te d for t e , p

’ ' Cor wi n Si m i l ar t o H atho r n e s d r e ss i n Act I V . .

Bl l h c o a t t r u n k s an d cl o ak o f s i m i l ar at Ma ther . a ck c o t , , , p ’ u I n A H h r n Bl k ho se Sho es wi th b ckl e s . ct ter n to at o e s ac . .

- I Sc e n es 1 an d 2 a ai r o f l e i n s o r r i d i n b o o ts i s wo r n . , p gg g g

l r Cl e r i c al wi . Bl a ck s u a r Pu r i tan c u ffs a n d c l e r i cal c ol a . g g

- I n A ct I V a en e van l o f h R i d i n whi i n the fi r st s ce n e . a at . g p G

n i u i u ed fo r h l o a k Se e the i c tu r e o f C o tto n go w s s b st t t t e c . p M the r a .

C o Dar k b r o wn oat tr u n k s wi th r i bb o n ti es an d sho r t r e . c y , ,

- n A I l l R i i n b o o ts i ct I . k H o se . ho i h b u ck e s d c o a S es w t . . g

i n c o l l a r n d u ffs I r o n - r a i Br o n u r - l oaf u r w . w s a P ta a c . g y g g

h u l d m ak e u s o u hat S o t t . . p

t Li ht b r o wn o at n d t r u n k c a s . h r r k r o wn Wa l co . g S o t d a b

l ho i u l k . H o s e . es th b k e s Pu r i oa S w c . t n l n u ff c a c ol ar a d c s .

d n d b el t Br o n u r - l o a f h wo r a . w s a a t S g .

n e Pe e r - a n d - l o n d r im u h ar d r . sa t c a t a ffs o m atc G pp t k s . C t c o at F a n c wai stc o a t r ho ho i h u kl . . a e t es w b c es . y G y s . S

H a n d k e r chi e f a r o u n d n eck Sl o u ch hat ti ck i th b u n d l e ti e d . . S w u i n n n n a p b a d a .

r fl n n l hi r R o u h r u n k n Gl o d . a a e s t d ho se ho es . t s a S y G y g .

i th r i n l u h ha t R o u h l i n r d I n w s t s . S o c b a ck w a d b e a g . g g . A c t I V a r o u gh gr ay c o at an d a b an d an n a ar o u n d the n e c k m ay

b e wo r n .

F l o s B k h e . i r st Dea c n Li ht b r o wn c o a t a n d tr u n k s . a c o . g Sho e s wi th u l n o l l r n u ffs Bl a k s u ar Pu r i a c a a d c . c b ck e s . t g l a o f hat .

ho e s S n d D r u n k s r a ho e . S eco r a o at a n d t . s ea con . G y c G y

i u w th b u ckl e Le h r r ki n u r i tan c o l l ar an d c ffs . s . P at e je .

Gr a su ar - l o af hat y g .

S B . ho es i . l a k ho se S her ifi Gr a y c o at an d tr u n k s . J er k n c

- wi h b u l r l Bl k u ar l o af ha t . t Pu i t n l r n d u ffs . ac s ck es . a c o a a c g

Wa n d . I 75 APPE N D X .

i l o h r i ff Con sta bl es . Si m ar t s e .

B l s H i Li ht b r o wn co a ts a n d tr u n ks . r e ast ate . Gu a r d s . g p p Mo r i on s i k e s o r hal b o o ts Pu r i tan c o l l ar s a n d c u ffs . . P .

he r d s .

H i d n Si m i l a r to l o d . r e me . G y

i l l a Si m i l a r to Co r e Wal co t an d d ea co n s . V ger s . y , ,

Ma r tha r a wai s t an d sl i htl fu l l ski r t . Whi te k er chi e f . G y g y I n A n u i an u ffs Whi te a r o n a n d c a . c t I V the a d P r t c . p p a r o n an d c a ar e o m i tte d a n d a d ar k r a ho o d an d cl o ak p p , g y

d d e d a .

T i tu ba Lea ther ack et . R e d shi r t wi th r o tes u e bl ack an d . j g q

el l o fi u r s e d o n Bl a n k e t fa ste n e d a r o u n d n e ck l i k e a y w g e se w .

- i ht bl c k h i r i h l Bl e l e cr o n ha t . Str a a a w t m an t e . a ck s te p w g

T - h ff n f th r i n i B d s n d a m u l e ts . s a ed sta . I d i a n e a e s t . e a a p

d r n n r m p o w e o fa ce a d a s . i h l e e sl a shed i th Ol d ol d Dar k br o wn wa st i t s e v s w . Ma r y . w g l l r o d u n d r ki t . Dar k b r o wn o ve r sk i r t O p e n i n fr o n t . O d g e s D i tr i m m Lac e c o l l a r a n d c u ffs . ar k b r o wn c o f o f vel ve t ed wi th

l a c e .

i l Si m i l ar to Mar tha . V l ager s .

t n S u gges i o s .

The c hea est cl o ths s u ch a s d e n i m an d c an to n fl n n el m k p , a , a e e x a c tl y a s se r vi c eabl e an d e ffe cti ve c o s tu m e s a s m or e e x p en si ve

- m ate r i al s . F o u r a r d s Of 27 i n c h m ate r i al wi l l m ak e a c o a t a n d y ,

i r O f r u n - two a p a t k s . H ats m ay b e m ad e of b r i sto l b o a r d c o v

e r e d wi th ca n to n fla n n e l . Co l l a r s an d c u ffs c an b e m a d e o f c o t to n d u ck b u t i t m u st fi r st b e tho r o u hl shr u n k Sho e - b u c kl e s , g y . ’ fr m i B can b e c u t o t n . o u ghto n s p i ct u r es of the Pi l gr i m s gi ve e x cel l en t su esti o n s fo r c o stu m e s gg . APPE N DI X .

' MUSI C

F O R N S N G A T T H E ’ E GI N N I N G OF A CT V SCE E I I HYM U B N . I An d an te m a es oso . t . 80

A i e r i t- n L " A n r s , 0 gh eo s o r d d d i s ap

p o i n t m y

e n i n s o r d h e u n d s ar i ft l . v g g w , W o s wo e s w c o s e

Henr Wad sworth Lon fell w y g o .

O MPL T K C E E WO R S . S UBS CR I P TI ON E DI TI N O . E T A L W O R ' O I C K S . S u bscr i ti o E Co n t i n i n P p n d i ti on . a g a fi n e Po r t r ai t an d o ver si x u n d r ed I l l u str ati o n s b the b e st Am er i c an r i I n h y a t sts .

t i r t 4to ar t s . Pr i c e of eac Par t 50 c en t s . h y p h , PR O S E W O R K S wi th a r Po em s an d a Bi o r a hi k h , L t e g p c al S e tc .

u bscr i ti on E d i ti on . n i o r m i n st l e wi t th Po eti c al r u e r l S p U f y h e Wo ks . S p b y

i l l u st r ated . I n fi teen 4to Par ts . Pr i c e of e ac Par t 50 c e n t s . f h , The en ti r e set of for ty- fi ve Par t s ( whi c h m ay b e had i n thr ee b ou n d vol u m es ) ’ n i LO OW Poe ti c al an d Pr se r i ti n s . S ol d on l u co t a n s al l Mr . NGFELL S o W g ( y by S b

r i . D r i ti ve ci r cu l ar s of t i s e d i i n wi l l e s en t u on a l i c ati on sc p ti on ) esc p h t o b p pp .

DE E DI TI N R I VE R S I O .

Wi th T ex t fr om the l a st r evi s ed b the Au tho r i n cl u d i n al l Po em s y , g w i c a ve b e en au t or i z e d t o a ear s i n ce hi s d eat an d the t r an sl ati on Of the h h h h pp h , Di i m m d i D n i t m n n . L n l w v a Co e a of a t e W h N ote s ( a y o f them b y Mr . o gfel o ) i vi n var i ou s r e ad i n s an d Li ter ar i st or i cal i o r a i c al a n d i b l i o r a g g g , y , H , B g ph , B g ph

i c al I n or m ati on a T ab l e o f i r st Li n e s I n d ex e s e tc . To et er wi t fi ve st e el f , F , , g h h

Por tr ai ts OfLon el l o w. I n el even vol u m s c r wn 8V O i l t t o the se t gf e , o , g p , , al cal al c al i l t t o al ol i s e d m or occ o al h f f , h f f , g p , h f p h , h f v l e an t ,

P R O S E W O R K S ol u m s 1 an d s e ar at e (V e p ,

P O E T I C A L W O R K S o l u m e 3 s e ar a te (V s p , T R A N S L A T I O N O F T H E D I V I N A C O M M E DI A O F DA N T E ol u m e s 9 se ar at e ( V p , CO MPLET E PO ET ICAL WOR K S.

i E i F r om e n ti r el n e w l at es r i n te d fr o m l a r a mbr d e d i t on . e C g y p , p g

t e on O a u e a er . i t Por tr ai t . Lar e c r own 8vo i l t t o yp , p q p p W h g , g p ,

- h t l u d ol u me E d i i on . 5 vo l s . 16m o i l t t o t s e i n c oth b o x . V t e n y , g p , , ,

H ou sehol d E d i ti on . Wi th Po r tr a i t I n d ex an d N o t e s . Cr o wn 8vo , , , u l l i l t al c al l evan t o r tr ee cal f g , h f f , , f ,

a ted Li br a r E - - I l l u str y d i ti o n . Wi th Po r tr ai t a n d fo r ty e i ght fu l l p a ge

I l l u st r ati on s . 8vo i l t t o al c al t r ee c al o r l evan t , g p . h f f , f , , a i E d i ti on Wi th Po r tr i n u m r N e w C b n et . a t b e e d l i n e s n x e s t o , , a d I n d e

Ti tl e s an d i r st Li n es . 16m o i l t t o al c al F , g p , h f f ,

I l l u str a ted O cta vo E d i ti on . Wi th o r tr ai t a n d thr e h n r e d I l l u s p , e u d

t r ati on s . 8 vo u l l i l t al cal l e van t or t r ee c al f , f g , h f f , , ,

D n r C H R T r I n Thr e Pa r ts . I . The i vi e T a d I U S A M s t e . e e S . y y g y w n an T r i es : — n I I I . Th N e E l d a ed J o n E n i ot t I I . The Gol d en Le ge d ; e g g h d c ;

i n al e t . J o n . Gi l es Cor ey ofthe Sal em Far m s . F S h

i l f fl e x i b l e cal f o r fl x i l a b n d . 1 m h l fc a e b e C et E i ti on 8 o , a , , l e n r va t , t ee c al f ,

r n 8 o hal f cal f l an t H ou sehold E d i ti on . I l l u str at e d . C ow v , , ev , r a o t r e e c l f, M PO E S . l l l I l l u r . 8 o fu l i t a mi E d i ti on . s t at ed v F y , g ,

n t n t i Di vi n e T r a ed The ol n Le n d an The ab o ve vol u m e d oe s o c o a n The g y , G d e ge , d ” The N ew E n l an d Tr a ed i es w i c a r e r ou ed i n C r i st us . g g , h h g p h

T WO ADMIR ABLE BO OKS

FOR SCH OOL AND COLLEGE

JO H N F I S KE , Li t t . D LL. D.

A H I ST OR Y OF T H E UN I T ED ST AT ES FOR SCH OOLS

I T T O PI CAL A N A L S I S S GGE ST I E E ST I O N S W H Y , V Q . U U AN D D I R E C T I O N S F O R T E AC HE R S

B F R AN A LPI N E H I LL Li tt . D . fo r m er l H e ad Mas ter of the y K , , y E n l i sh H i h Scho ol i n C a m b r i d e an d l ate r o f the Me c han i c Ar ts g g g ,

H i h Scho o l i n Bo s to n . C r o w n 8vo hal f l e a the r s m a l l i c a g , , p

t e x x i a e s n e t . y p , 573 p g ,

’ F i ske s H i story of tb e Un i ted S ta tes co n tai n s 235 I l l u s tr a ti o n s (l n cl u d i n Ma s n o t c o l o r e d fu l l - a e c o l o r e d Ma s an d 2 d o u b l g p ), 6 p g p , e p age c o l o r ed Map s .

CI VI L GOVER N MEN T I N T H E UNI T ED ST AT ES

C ON SI DE R E D WI T H SOME R E F E R E N CE T O I T S OR I GI N S

Wi th u e s ti o n s o n the tex t b F R AN A . H I LL fo r m er l H e ad q y K , y Mas ter o f the E n l i s h H i h Sc ho o l at C a m b r d e Mass an d Bi b l i o g g i g , ,

r a hi cal N o tes b Mr . F i ske . C r o wn 8vo x x x 6 0 a e s g p y , "3 p g ,

n e t .

A n I n q u i ry R el a ti n g to Tr a i n i ng for Ci ti z en ship i n Me P u bl i c

S enool s m ad e b H E N R W . T R ST O N o f the H d e Par k H i h , y Y HU , y g ‘

ho o l o f C hi c a o s ee Scho o l R e vi ew fo r O c to b e r 18 8 . S c g ( , 9 , p h ws tha t i n the S e c o n d ar S c ho o l s l o ca te d i n 12 Sta te s whi ch s o 37 y , , ’ n t i n r e o r ts F i s k e s C i vi l G o ve r n m e n t i s u s ed er c e n t . m o r e s e p , 33%p

wi d el y than an y o the r b o o k .

’ “ F i sk e s H i sto r y an d C i vi l G o ver n m en t s u p pl y an i r r ep r o achab l e tex t b a r eat s cho l ar S u e s ti ve u es ti o n s b a r ea t te acher y g , gg Q y g , l i n i vi l r s ar an d Bi o gr ap hi cal N o tes i n va l u ab e fo r d d u a e e ch.

’ ’ D es cr i ti ve ci r cu l a r s w i t/z s a m l e a es a n d eom m en a atzon s r om p , p p g f u s d tne book wi l l be sen t on a l i ca ti on tea r /t er s zo/z o na ve e , pp .

MP Y H OUGH TON , MIFFLI N CO AN

4 Park Street, Boston ; 11East 17th Str eet, N ew Y ork

- 378 388 Wabash Aven u e, Chi cago A H I ST O R Y O F E N G LAN D

FOR THE USE OF SCH OOLS AND ACADEMI ES

. L N E D By J N . A R

F or m er ly S up e r i n ten d en t of the B ufi a l o P u bl i c Li b r a r y “ E d i tor a n d Comp i l e r of H i s tor y for R ea d y ” R efer en ce a n d T op i c a l R ea d i ng

PI C A L A N A LY SE S R E SE AR C H E ST I O N S WI T H T O , Q U A N D BI BLI O G R A PH I C AL N O T E S

BY

WI S H O ME R P . LE

Wa P r i n ci a l o tl ze E n l i sl i H i l z S cl zool Wor cester I ss . p f g g , ,

- v0 hal fl e athe r x x i i i 6 a e s n et. C r o wn 8 , , 73 p g ,

' CH AR /1C TE R I S TI C PE A T UR E S

A n a c c u r ate an d i n te r e s ti n r e s e n tati o n o f the T H E T E " T . g p e f e ve n t i n E n l i s h H i s to r s e c i al atte n ti o n b e i n i ve n to c hi s g y , p g g ’ i T h o i a n the gr o wth o f E n gl an d s C o n s t t u ti o n . e s c al d i n d u s tr i al h i z d e ve l o p m en t i s d u l y e m p as e d . R E F E R E N C E S A N D R E S E A R C H U E S T O P I C S , , Q A r r an e m e n t b s e c ti o n s c o r r e s o n d i n to the s e c T I O N S . g y p g hi h he fo l l ti o n s i n e a ch c hap te r w c t y o w .

S U R V E Y S O F G E N E R A L H I S T O R Y Br i e fs u m m ar i es o f o n te m o r a n e o u s e ve n ts i n fl u e n ci n E n l i sh hi s to r a r o r i c p g g y , p p p a l r r an e d b c en u r i s te y a g y t e .

1 I L L U S T R A T I O N S . S e l e cte d wi th r eat c ar e who l l r e 33 g , y p r en t i v f hi s to r i c al r e al i ti e e s a t e o s . C O L O R E D M A P A L A K —A D—W H I T E 8 S , N D 10 B C N T E " T —M A P T he c o l o r d a s ar k e e d to m ak e e as S . e m p e y y

the fi n d i n g o f a l l pl ac e s m e n ti o n e d i n the tex t .

D E A wo r ki n r h o o k c o n ta i n i n i n a d d i T H E I N " . g p a t o f t e b g ti o n to the u s u al f r w o f i m o r tan t s u b e c ts e a t u e s to p i c al r e vi e s p j ,

a e o r a hi c al u i d e a n d a r o n o u n i n vo c ab u l a r . g g p g , p c g y

H l r t e c ar e M E C A N I C A L E E T I O . La r e an d e a " C U N g c yp ,

fu l l s e l e cte d a e r d u r ab l e a n d ha n d s o m e r e e n hal f- l e athe r y p p , g b i n d i n an d a r ti c u l ar a tte n ti o n ai d t o the e n r avi n an d g, p p g g

p r i n ti n g o f m ap s an d i l l u str ati o n s .

A d escr ip ti v e ci r cu l a r w i t/z sa mp l e p ages w i l l be sen t on app l i ca ti on

N I F F H O U G H T O , M LI N C O .

O I E . 1 W PA R ST . BO ST N I T H ST . N E Y O R 4 K , ; 7 , K 8— 88 WA BA S A V E C I CA GO 37 3 H , H d i E R L E t e d b y E S T E L L M . H U L

G e r e t ti e tu o f r r e e t t e t t iv s rep es n a v p ic res ep s n a iv ar is s, th ful l n f r at n l d the t r e h c h the wi i o m io , inc u ing s o i s w i

p icture s il lus tra te . I t ap p e al s to T E AC H E R S O F LI T E R AT U R E as s u p l e m e n tar e a d n to T E A C H E R S O F AR T as a p y r i g, t x t a n d t o a l l the who w h to h e at ha d the e , o rs is av n t th a n d a b t ar mos imp ortant ings in ou t . I t is al so a good p rep aration or sub stitute fo r F O R E I G N T R AVE L.

[ S S [JE D [ N o C T OBE R D E CE MBE R , , F E BR A R Y A N D A P R I L U ,

E a c h n u m b e r 12m o a b o u t 10 0 a e s w i th 16 fu l l - a e , , p g , p g r e r o d u c t i o n s o f c ha r a c t e r i s t i c w o r k s e x l a n a to r t e x t a n d p , p y , v a l u a b l e i n t r o d u c t o r y m a t t e r .

PAPER , 3 0 ce n t s , n et ; C LOTH , 40 c e n ts , n et .

1899 - 190 0 MI E N E 1. RAPHAEL 3. CH LA G LO ‘ MB AND 4 J. I . MI LLET 2. RE R T .

[ 90 0 —190 1

5. SI R JOSHUA REYNOLDS 7. GREEK SCULPTURE

MU I L 8. TI TI A 6. R L O N

Ot/zer s wi l l be a n n ou n ced l a ter .

S U B S C R I PT I O N P R I C E

F o r an f c e c u t e e : I n a e y our ons iv issu s p p r, in l th n et t a c o , , p os p id .

A d escr i ti ue ci r cu l a r wi i n sa m l e a es a n d i l l u str a ti on s p , p p g , ti on wi l l be sen t on app l i ca .

N D CO MPA N Y H O U G H T O N , MI F F L I N A

w Y o r k P a r k S t . 11 1 th t . N e 4 , B o s to n ; E a s t 7 S , ; — 8 W a b a s h A v e n u e Chi c a o . 378 3 8 , g “ - m y fi tht t si b t i ti tt t atut t ét t i ts c om ”m

’ ’ i l to n s L Al l e r o I I Pen ser os o Com u s L ci d as an d S on n etsfi“ 72 . M g , , , y , ’ " T n n n E n o c A r d e n a n d Ot e r Po em s . 3 . e ys o s h , h 7 . ‘ ’ w r s J o n G l l l n etc . G r a s E l e e tc . Co e 74. y y , ; p h p , ’ S c u d d er s gc or e a s i n to n . 75 . g W h g § ’ o r d s wor th s O n the I n ti m at i on s o f I m m o r tal i t a n d Ot er Poem s 76 . y , h . W ‘ ‘

Bu r n s s Co tt er s S a tu r d a N i t a n d Ot er Poem s . 7 7. y gh , h ' G o l d sm i th s i ca r of Wa e i e l d 78 . V k f § ’ La m b s Ol d C i n a a n d Ot er E s s a s o i E l i a . 79 . , h y ' h . ’ ’ l er i d e s R i m e o f the A n ci en t a r i n er e tc . am b l l s 80 . Co g M , ; C p e Lochi el s n fl‘ a r n i g, e t c W ' 1 ol m e s s A u t o c r at o f the r ea a st 8 . H B kf ’ 8 awt or n e s T wi c e - T o l d 2 . H h ‘

8 Geo r e E l i o t s Si l a s ar n er . 3 . g M § Da n a ’ s T wo e a r s e o r e t he 84 . Y B f ’ ’ H u hes s T o m r o wn s S c o ol 85 . g B h S c o tt ’ s 86 . ’ De o e s R o b i n s on 87 . f ‘ tow ’ n c l e T o m s 88 . S e s U ’ ’ “ wi Gu l l i ve r s o a e to Li l l i u t . 89 . S ft s V y g p ‘ ’ l i a Br d i n M Swi t s Gu l ver s o e t o ob n a . 90 . f V y g g g a wt or n e ’ s o u s e o f the Seven 9 1. H h H ’ . u r r ou s s A u n c o f e r b s a n d Ot er Pa er s . 92 B gh B h H , h p S a es ear e ’ s A s Y ou Li e I t fi“ H 9 3 . h k p k ‘

i l t on s Pa r a d i s e Lost . o o s I . 94. M k ‘ B

6 8 . Co o e r s La s t o f the o i c an I n o r ts s . u ar . 95 , 9 , 9 7 , 9 p M h f p Tb e ou r a r ts a l s o bo u n d i n o n e vo l u m e l i n e n 0 n t ( f p , , 0 ce s . ) ‘ T en n s on s Com i n of A r t u r a n d O t er I d l l h i . s o f t e K n 99 y g h , h y g. ’ 7“ u r e s Con ci l i ati on wi t the ol on i es . R 10 0 . C O B A . B k h R , A M3 ' ERT NDE SEN I l i d " m e r s a . . V l I I n . d . H o o o s I . a I 10 1 PO P . . B k , , XX , XX V E a c au l a ’ s E s sa s o n J o n s on an d G l d m i “ 10 2 . M y y h o s thfi a c a u l a ’ s E ssa o n Mi l ton fi‘ 10 3 . M y y ’ ca u l a s Li e an d r i ti n s o f A d d i son fit H 10 4 . Ma y f W g n d 10 ar e e d i te d b A N o s . 10 2 10 a P. T . , 3 , 4 y WILLI M RENT ’ “ l l e s E s sa on u r n s . G O G R . N o va s ) 10 5. Car y y B E R E ’ 0 6 . S a es ear e s a cb et . R A G A e n a n d H GR A 1 h k p M h ICH RD R NT , ELEN Y H ‘ Co ma)“ ’ l d T l r n u s e o a es . I n w 10 10 8 . Gr i m m s Ge m a o t o ar ts t 7 , H h p ’ ’

. M n 0 u n an s Pi l r i m s Pr o r es s . . o o v . 1 9 . B y g g W V § ’ “ De u i n c e s l i t o fa T ar tar Tr i b e . e o n A G T U R K fi 110 . Q y F gh H I HT ’ e D o u bl e N u b n w . m e r 0 n T en n s on s Pr i c es s . R o ce ts . A l so i n 111. y ( , 3 , ’ ’ o e s S tu d e n ts S er i es cl o th to Tea che r s c en ts . R l/ , , , 53 ) ' - i r i l s E n ei d . o o s I . I I I . T r an sl a ted b C A 112 . V g B k y R NCH E " TR A JVUMBE R S

l eb r a i o n o fthe A Am er i can Au thor s an d thei r Bi r thd a ys . F o r the C e t Bi r th

t . . R O E . d ays o i A u h o r s By A S . B Por t r ai ts a n d Bi o gr aphi e s o f Twen t y A m er i can Au thor s .

l ho l s an d So ci e ti es . C A Lon gfel l ow N i ght . F o r C atho i c S c o

E . . D Li ter atu r e i n S cho ol . E ss ays b y H O R A CE S CUDDER i c w Di al o u e s a n d Sc e n es . E H ar r et Bee her Sto e . g F Lon gfel l ow Le a fl ets .

i ti r Lea l et E h a D ou bl e u ber 0 cen ts l i n en 0 ce n ts . G t e s . ac N m Wh f ( , 3 ; , 4 )

H m L a l Po e m s an d Pr o se Pa s sa e s fo r R ead i n a n d R e c i tati o n . H ol e s e f ets . g g w l l l 0 Lo e Leaf e ts . s t n n l u st v e so n s 1 T he R i ver s i d e Ma n u al for T ea cher s . S u gge i o s a d I l r ati e L s

n t o m e d i n . . A . Le ad i g u p Pr i ar y R a g B I F . H ’ LL ‘

K The R i ve r s i d e Pr i m er an d R ea d er . S ec za l N u m ber . Pa er wi th cl o t Kp ) p , h

b ac 2 c en ts r o n li n e n 0 c e n ts . k , ; : s t g , 3 v 12 0 l a s i m r i L The R i e r si d e Son g B ook . C s c A e c a n Po e m s se t to Stan d ar d

Mu s i c . Do u bl e N u m ber 0 ce n ts bo a r d s 0 cen ts ( , 3 , 4 . ’

M Lowel l a l o i i . D u bl e N u m be r s f r t . F b e r C c s ( o , 3 0 ce n ts ) N S el ecti on s r om the r i t i n s o f E l even Am er i can A f W g u thor s . ’ P Th i a w i m S ec i a l N u m ber . a s d o n L n n e H atha Pr e r . ( p ) B e o gfel l o w s So g o f ’ i aw at a a n d d e si n e d as the c i l d s fir s t b o o i n r e ad i n . O H h , g h k g By FL R l o o n l n t O B O O K . C th 0 c e s . ENCE H L R y, 4 Sel ecti on s r om the r i ti n s o f E l even E n l i s Au h Q f W g g h t or s .

F or ex l a n a ti on o s n s see n d . p f ig , e of l i st ti the fi thtt stnt i nst ant LI BRGRY OF CONGRESS

I Po em s r om the r i ti n s o f R al h 113 . f W g p

l i E P I l d Gr e e o St or es . OS H N E 114. O k F k J I n i n ’ Pi e d Pi er f H m el i n Br ow g s p o a , ’ 0 a es ear e s am l et . R A G R A 1 1 16 . Sh k p H ICH RD 0 00 9 5 4. 3 7 9 7

1 1 18 . Stor i e s r om the A r 7, 1 f ’ “ Po e s R aven The al l o f the ou se of s er e tc . 1 19 . , F H U h , ‘ “ Go l d - Bu The Pu r l oi n e d Letter a n d Ot er T al 120 . Po e s g, , h es .

N o s . 1 1 12 0 ar e ed i te d b A P . T . 9 , , y WILLI M RENT ’ “ 12 1 he Gr eat Deb ate : a n e s S eec . . T H y p h ‘ “ T h D t : eb ter R e l t o K a n e . 12 2 . e Gr eat eb a e W s s p y y

N o s . 12 1 12 2 a r e e d i ted b L A SW . , , y INDS Y IFT ‘ “ 2 w l l D m r a n d t r P er . 1 3 . Lo e s e oc c y , a O he ap s A l d r i c ’ ab el l the Li ttl e i ol i n i st etc 12 . s . 4 h B y B , V , ’ " l m n n i . . 12 5 . Dr yd en s Pa a o a d A r c te A RTHUR GILM AN 12 The K i n of the Gol d en R i ver b O R u s x m an d Ot er Won d er 6 . g y J HN ; h Stor i es fi“

’ 2 K e at d e on a Gr eci an U r n an d t er Poem s . 1 7 . s s O , O h ’ r n Pr i s n e o f hi l l n n d t er P oe m s . 12 8 . By o s o r C o , a O h ’ A l . l The u d m n o f : ei n The o o Cr i to an 129 P ato s J g e t S o cr ates b g p gy , , d

h l i n n h T n sl ate d b PA E . O t e C os g S c e e o f P a ed o . r a y U M . ‘ L RE ’ m r on s The Su er l ati ve a n d t er E ssa s . 130 . E e s p , O h y ’ WA E m r n N atu r e an d m en a i on . E d i ted b E . O N . 1 1. E e s o s Co s t 3 , p y D RD W MERS ’ m 1 2 . Ar n ol d s S o r ab an d R u stu m an d Ot er Poe s . LO I O 3 h , h UISE M GEN GUINEY . ’ “ ar l S c u r z Ab r a am Li n c ol n . 133 . C h s h ‘

L f th La t i n tr el . 1 . S cott s a o e s s R O . D o u bl e N u m ber 0 cen ts . 34 y M LFE ( , 3 ’ ’ A l s o i n R ol e s S tu d e n ts S e r i es cl o tb to Tea cl zer s c f , , , 53 e n ts . ) ' u c er Pr ol o u e The K n i t ’ T ‘ ’ Cha s g , gh s al e , an d The N u n s Pr i est s

d u i o n he r l ’ T al e . 1 I n tr o c t an d T P o o u e . 1 6 T he K n i ht s T [ 35] , g [ 3 ] g al e . ’ ’ “ Pr i e s t s T al e . A n K M . a d T he N u n s J . A R FR N THER , J ’ I I d n l i . I V I . an a l a e 1 . H om er s I a d o o s . . I . T r s t d b A 3 7 B k , , XX , XX V y BRY NT . wt or n e ’ The u st om ou se a n d a i n 1 8 . a s C 3 H h H ; M Str eet . ‘ w l l D or A u ai n tan ce a n d 1 . H o e s s o ste c Ot er 39 p q , h Ske tches . ’ 1 0 . T a c era s en r E sm on d . i t I n tr o d u c ti o n an d m an l l 4 h k y H y W h y I u str ati on s . r u i tu l e N u m be r . Pa e 60 c en ts l i n e n c en ts (Q n p ) p , ; , 75 .

1 1 T r ee Ou td oor P er s b T . . H O 4 . h ap y W IGGINS N . ’

R u i n S e s am e a n d Li l i e . 142 . sk s s ’ ’ 1 . Pl u tar c s Li e ofAl e x an d er the Gr eat . N o r th T 43 h f s r a n sl a ti on . ' " cu d d er oo ofLe en d s . 144 . S s B k g

‘

wt or n e s Gen tl e Bo an d Ot er T al e . 1 . a s 45 H h y , h n el l ow ’ s Gi l es Cor e of the Sal em a m 6 Lo r . 14 . gf y F s Otl zer N u m ber s i n P r e a r a ti o p n . n d i n i n n : “ Al so b ou l e c e n ts . an d i n o n e v l . , 4 5, o , 40 ce n ts ; l i kewi se 1 1 n d 6 8 n 6 an d 3 1, a 3 , 2 a d 36 , 2 9 an d 10 30 a n d 1 a n d 12 0 a n d 6 n , 5 , 3 9 3 , 4 9, 55 a d 6 n d 0 n d 1 n 7 , a 8 a 2 a d 8 an d 0 a n d 10 6 10 an d 10 1 1 57 5 , 7 7 , 7 94, 9 9 , 93 , 3 4, 3 an d 42 , 1 1 an d 120 12 1 a n d 122 1 an d 2 1 a n d 1 6 . Al s i n o n e v o ol . 9 , , 3 3 3 , 3 5 3 i , 4o c en ts 1 an d 0 a s o I n o n v l i t 4 e o . , 0 c en ts l ikewi se 8 an d 2 8 a n , , 3 ; d 2 l 5 7, , 9 ; , 37 , 7 ; 3 3 , 34,

n d 6 6 a n 66 . a 35 ; 4, 5 , d § Do u b l e N u m b er a er 0 ce n ts l i n e n 0 c e n ts , p p , 3 ; , 4 . T r i l e N u m b er a e r n ts i n 4 c e l en 0 c en ts . u a d r u l p , p p , 5 ; , 5 Q p e N u mb er l n a er 0 c e n ts i en 6 0 c en ts . p p , 5 ; , N M H O U G H T O , I F F LI N A N D C O MPA N Y

PA R T BO ST O N 11 E S . A ST I T H S T . N E W 4 K , ; 7 , Y O R K — 8 88 WA AS AVE C I CAGO 37 3 B H , H