diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:34:40 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:34:40 -0700 |
| commit | fa6b61fb1650267e0ebfa7cbc278d559904bc4d2 (patch) | |
| tree | 520b1fb09a8624ff0d121dbd0b91ae63e4bb760c | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 10541-0.txt | 5460 | ||||
| -rw-r--r-- | 10541-h/10541-h.htm | 4287 | ||||
| -rw-r--r-- | 10541-h/images/001.png | bin | 0 -> 65379 bytes | |||
| -rw-r--r-- | 10541-h/images/012.png | bin | 0 -> 11927 bytes | |||
| -rw-r--r-- | 10541-h/images/023.png | bin | 0 -> 26994 bytes | |||
| -rw-r--r-- | 10541-h/images/034.png | bin | 0 -> 8403 bytes | |||
| -rw-r--r-- | 10541-h/images/041.png | bin | 0 -> 14104 bytes | |||
| -rw-r--r-- | 10541-h/images/051.png | bin | 0 -> 26626 bytes | |||
| -rw-r--r-- | 10541-h/images/062.png | bin | 0 -> 18145 bytes | |||
| -rw-r--r-- | 10541-h/images/091.png | bin | 0 -> 28897 bytes | |||
| -rw-r--r-- | 10541-h/images/123.png | bin | 0 -> 14158 bytes | |||
| -rw-r--r-- | 10541-h/images/141.png | bin | 0 -> 35479 bytes | |||
| -rw-r--r-- | 10541-h/images/157.png | bin | 0 -> 25631 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/10541-8.txt | 5891 | ||||
| -rw-r--r-- | old/10541-8.zip | bin | 0 -> 57065 bytes | |||
| -rw-r--r-- | old/10541-h.zip | bin | 0 -> 339022 bytes | |||
| -rw-r--r-- | old/10541-h/10541-h.htm | 4690 | ||||
| -rw-r--r-- | old/10541-h/images/001.png | bin | 0 -> 65379 bytes | |||
| -rw-r--r-- | old/10541-h/images/012.png | bin | 0 -> 11927 bytes | |||
| -rw-r--r-- | old/10541-h/images/023.png | bin | 0 -> 26994 bytes | |||
| -rw-r--r-- | old/10541-h/images/034.png | bin | 0 -> 8403 bytes | |||
| -rw-r--r-- | old/10541-h/images/041.png | bin | 0 -> 14104 bytes | |||
| -rw-r--r-- | old/10541-h/images/051.png | bin | 0 -> 26626 bytes | |||
| -rw-r--r-- | old/10541-h/images/062.png | bin | 0 -> 18145 bytes | |||
| -rw-r--r-- | old/10541-h/images/091.png | bin | 0 -> 28897 bytes | |||
| -rw-r--r-- | old/10541-h/images/123.png | bin | 0 -> 14158 bytes | |||
| -rw-r--r-- | old/10541-h/images/141.png | bin | 0 -> 35479 bytes | |||
| -rw-r--r-- | old/10541-h/images/157.png | bin | 0 -> 25631 bytes | |||
| -rw-r--r-- | old/10541.txt | 5891 | ||||
| -rw-r--r-- | old/10541.zip | bin | 0 -> 57042 bytes |
33 files changed, 26235 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/10541-0.txt b/10541-0.txt new file mode 100644 index 0000000..3cf0842 --- /dev/null +++ b/10541-0.txt @@ -0,0 +1,5460 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 10541 *** + +CHILDREN'S CLASSICS IN DRAMATIC FORM + +A READER FOR THE FOURTH GRADE + +BY AUGUSTA STEVENSON + +Formerly a Teacher in the Indianapolis Public Schools + +1908 + + + + + + +TO +MISS N. CROPSEY + +Assistant Superintendent +Indianapolis Public Schools + + + + +[Illustration: "The moon changes into the red beard of the old +soldier"] + + + + +FOREWORD + + +This book is intended to accomplish three distinct purposes: first, to +arouse a greater interest in oral reading; second, to develop an expressive +voice--sadly lacking in the case of most Americans; and third, to give +freedom and grace in the bodily attitudes and movements which are involved +in reading and speaking. The stories given are for the most part +adaptations of favorite tales from folklore,--Andersen, Grimm, Aesop, and +the Arabian Nights having been freely drawn upon. + +Children are dramatic by nature. They _are_ for the time the kings, the +fairies, and the heroes that they picture in their imaginations. They _are_ +these characters with such abandon and with such intense pleasure that the +on-looker must believe that nature intended that they should give play to +this dramatic instinct, not so much formally, with all the trappings of the +man-made stage, but spontaneously and naturally, as they talk and read. If +this expressive instinct can be utilized in the teaching of reading, we +shall be able both to add greatly to the child's enjoyment and to improve +the quality of his oral reading. In these days when so many books are +hastily read in school, there is a tendency to sacrifice expression to the +mechanics and interpretation of reading. Those acquainted with school work +know too well the resulting monotonous, indistinct speech and the +self-conscious, listless attitude which characterize so much of the +reading of pupils in grades above the third. It is believed that this +little book will aid in overcoming these serious faults in reading, which +all teachers and parents deplore. The dramatic appeal of the stories will +cause the child to lose himself in the character he is impersonating and +read with a naturalness and expressiveness unknown to him before, and this +improvement will be evident in all his oral reading, and even in his +speech. + +The use of the book permits the whole range of expression, from merely +reading the stories effectively, to "acting them out" with as little, or as +much, stage-setting or costuming as a parent or teacher may desire. The +stories are especially designed to be read as a part of the regular reading +work. Many different plans for using the book will suggest themselves to +the teacher. After a preliminary reading of a story during the study +period, the teacher may assign different parts to various children, she +herself reading the stage directions and the other brief descriptions +inclosed in brackets. The italicized explanations in parentheses are not +intended to be read aloud; they will aid in giving the child the cue as to +the way the part should be rendered. After the story has been read in this +way, if thought advisable it can be played informally and simply, with no +attempt at costuming or theatric effects. It will often add to the interest +of the play to have some of the children represent certain of the inanimate +objects of the scene, as the forest, the town gate, a door, etc. +Occasionally, for the "open day," or as a special exercise, a favorite play +may be given by the children with the simplest kind of costuming and +stage-setting. These can well be made in the school as a part of the manual +training and sewing work. In giving the play, it will generally be better +not to have pupils memorize the exact words of the book, but to depend upon +the impromptu rendering of their parts. This method will contribute more +largely to the training in English. + +The best results will usually be obtained by using these stories in the +fourth grade. In some schools, however, the stories in the first part of +the book may profitably be used in the third grade. + +The author has been led to believe from her own experience and from her +conversation with many other teachers that there is a pronounced call for +this kind of book. She therefore hopes that in the preparation of this book +she may have been of service to the teachers and children who may be led to +use it. + +A. S. + + + + +CONTENTS + + +THE TRAVELLERS AND THE HATCHET +_Adapted from Aesop's Fable, The Travellers and the Hatchet._ + +THE OLD MAN AND HIS GRANDSON +_Adapted from Grimm's The Old Man and his Grandson._ + +THE CROW AND THE FOX +_Suggested by Aesop's Fable, The Crow and the Fox._ + +THE MILLER, HIS SON, AND THEIR DONKEY +_Suggested by Aesop's Fable, The Miller, his Son, and their Ass._ + +EACH IN HIS OWN PLACE +_Suggested by Grimm's The Mouse, the Bird, and the Sausage._ + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT +_Adapted from Hans Andersen's What the Goodman does is always Right._ + +THE CAT AND THE MOUSE +_Suggested by Grimm's The Cat and the Mouse._ + +THE GIRL WHO TROD ON THE LOAF +_Suggested by Hans Andersen's The Girl who trod on the Loaf._ + +THE UGLY DUCKLING +_Suggested by Hans Andersen's The Ugly Duckling._ + +THE RED SHOES +_Suggested by Hans Andersen's The Red Shoes._ + +THE STORY OF ALI COGIA +_Adapted from The Story of Ali Cogia from The Arabian Nights' +Entertainments._ + +THE WILD SWANS +_Suggested by Hans Andersen's The Wild Swans._ + +THE TWO COUNTRYMEN +_Suggested by an oriental legend; source unknown._ + +THE MAN AND THE ALLIGATOR +_From a folk-tale of Spanish Honduras._ + +THE SONG IN THE HEART +_Suggested by Grimm's The Three Spinners._ + +THE EMPEROR'S TEST + +CHRISTOPHER COLUMBUS + + + + +ILLUSTRATIONS + + +THE MOON CHANGES INTO THE RED BEARD OF THE OLD SOLDIER. + +THE TRAVELLERS AND THE HATCHET + +"WE HAVE LOST OUR DONKEY" + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT + +THE CAT AND THE MOUSE + +"'T IS SINKING! WHAT SHALL I DO?" + +THE UGLY DUCKLING + +"A THOUSAND PIECES AT LEAST" + +THE TWO COUNTRYMEN + +"HELP! HELP!" + +THE PRINCE SEES THE THREE GREAT-AUNTS + + + + + + + +THE TRAVELLERS AND THE HATCHET + + +TIME: _last week_. +PLACE: _a high road_. + + * * * * * + +FIRST TRAVELLER. +SECOND TRAVELLER. +THE CARPENTER. + + * * * * * + +[_The_ TWO TRAVELLERS _journey along the road. A hatchet lies in the dust +at one side._][Footnote: The explanations in _brackets_ may be read by the +teacher.] + +FIRST TRAVELLER (_seeing the hatchet, taking it up_).[Footnote: The words +in _parentheses_ are not intended to be read aloud; they will give the +child the cue as to how the part should be rendered.] Ah, see what I have +found! + +SECOND TRAVELLER. Do not say _I_, but rather, what _we_ have found. + +FIRST TRAVELLER. Nonsense! Did I not see the hatchet first? And did I not +take it up? + +SECOND TRAVELLER. Well, then, claim the hatchet, since that is plainly your +wish. + +[_Enter the_ CARPENTER.] + +CARPENTER (_to First Traveller_). Aha, thief! Now I have caught you! + +[_He seizes the First Traveller._] + +FIRST TRAVELLER. No thief am I, sir! + +[Illustration: THE TRAVELLERS AND THE HATCHET] + +CARPENTER. But my own hatchet is in your hand, sir. Come along to the +judge, sir! + +FIRST TRAVELLER (_to Second Traveller_). Alas, we are undone! + +SECOND TRAVELLER. Do not say _we_. You are undone, not I. You would not +allow me to share the prize; you cannot expect me to share the danger. I +bid you good day, sir. + + + + +THE OLD MAN AND HIS GRANDSON + + +TIME: _now_. +PLACE: _a certain_ MAN'S _house_. + + * * * * * + +THE MAN. +HIS WIFE. +THEIR SON--LITTLE HANS. +THE GRANDFATHER. + + * * * * * + +[_The_ MAN, _his_ WIFE, _little_ HANS, _and the_ GRANDFATHER _sit at the +table eating the noon meal._] + +MAN. Be careful, father! You are spilling the soup on your coat. + +GRANDFATHER (_trying to steady his trembling hand_). Yes, yes, I'll be +careful. + +[_Short pause._] + +WIFE (_sharply_). Grandfather! You have spilled the soup on my clean +tablecloth! + +GRANDFATHER (_embarrassed_). Dear me! Dear me! + +[_Short pause._] + +MAN. Here, father, is your plate of meat. + +[_The old man takes the plate, but lets it fall._] + +WIFE (_angrily_). There now! Just see what +you have done! + +GRANDFATHER. My hand shook so--I'm sorry--so sorry! + +WIFE. That won't mend the plate! + +MAN. Nor buy a new one! + +WIFE (_to her husband_). He should eat from wooden dishes. + +MAN (_nodding, pointing to a wooden dish_). Let him have that one for his +meat. + +[_The Grandfather sighs sadly. The Wife gets a wooden dish and fills it +with meat. Little Hans leaves the table and plays with his blocks on the +floor._] + +WIFE (_handing the wooden dish to the Grandfather_). Here's one you can't +break. Go now and sit in the corner behind the oven. You shall eat there +hereafter. I cannot have my tablecloths soiled--that I cannot! + +[_The Grandfather takes his wooden plate and goes to the seat in the corner +behind the oven. His eyes are filled with tears._] + +MAN. Come, little Hans, and finish your dinner. + +WIFE (_turning to Hans_). Bless me! What are you making, child? + +HANS. A wooden trough for you and father to eat out of when I grow big. + +[_The Man and his Wife look at each other; there is a pause._] + +MAN (_showing shame_). He will treat us as we have treated father! + +WIFE (_weeping_). 'T will serve us right! + +MAN (_kindly_). Father, throw that wooden dish out of the window. I am +ashamed of what I have done; forgive me! + +WIFE (_kindly_). Father, come back to the table. I too am ashamed. Forgive +me, dear father. + + + + +THE CROW AND THE FOX + + +TIME: _yesterday noon_. +PLACE: _a high tree in a grove_. + + * * * * * + +MADAM CROW. +MISS CROW, _her Daughter_. +MASTER FOX. + + * * * * * + +[MADAM CROW _sits in the tree. Enter_ MISS CROW. _She carries a large piece +of cheese in her mouth._] + +MADAM. O joy! O joy! Come, dear daughter, come! We'll dine as if we were +queen and princess! + +[_Miss Crow flies to Madam Crow. Enter_ MASTER FOX.] + +FOX. I bid you good morning, dear madam. + +MADAM. Good morning to you, dear sir. + +FOX (_sitting under tree_). With your permission, I'll speak with your +daughter. + +MADAM. She'll be pleased to listen, that she will--you are so clever. + +FOX (_modestly_). Nay, madam, not so clever, only thoughtful. + +[_He sighs deeply twice._] + +MADAM. You have something on your mind. + +FOX (_sighing_). Yes, dear madam,--I am thinking of your daughter. + +MADAM. Then speak! Speak now, sir!--at once, sir! + +FOX. I speak. O sweet Miss Crow, how beautiful your wings are! + +MADAM (_pleased_). Do you hear that, daughter? + +[_Miss Crow nods, spreading her wings proudly._] + +FOX. I speak again. How bright your eye, dear maid! How graceful your neck! + +MADAM. Bend your neck, child! Now bend it well that he may better see your +grace. + +[_Miss Crow bends neck twice._] + +FOX. But oh, that such a sweet bird should be dumb!--should be so utterly +dumb! + +[_He weeps gently in his little pocket handkerchief._] + +MADAM (_indignantly_). Do you think, sir, she cannot _caw_ as well as the +rest of us? + +FOX. I must think so, dear madam. Alas! + +[_Weeping again in his little pocket handkerchief._] + +MADAM. You shall think so, then, no longer! Caw, child, caw, as you have +never cawed before! + +MISS CROW (_opening mouth; dropping cheese_). Caw! Caw! + +[_Fox quickly snaps up the cheese._] + +FOX (_going_). Thank you, Miss Crow. Remember, dear madam, that whatever +I said of her beauty, I said nothing of her brains. + +[_He goes, waving the crows a farewell with his little pocket +handkerchief._] + + + + +THE MILLER, HIS SON, AND THEIR DONKEY + + +TIME: _this morning_. +PLACE: _a bridge, near a town and not far from a Fair_. + + * * * * * + +THE MILLER AND HIS SON. +FIRST MAID. +SECOND MAID. +THIRD MAID. +FIRST OLD MAN. +SECOND OLD MAN. +THIRD OLD MAN. +FIRST GOODY. +SECOND GOODY. +THIRD GOODY. +THE MAYOR. +HIS FIRST CLERK. +HIS SECOND CLERK. + + * * * * * + +[_The_ MILLER _and his_ SON _are driving their donkey across the bridge. +They go to the Fair._] + +SON. Do you expect to get a good price for our donkey, father? + +MILLER (_nodding_). Aye, lad; the Fair is the place to take your wares. + +SON. Our donkey is not so young, though. + +MILLER. Neither is he so old, though. + +SON. But he is not so fat, though. + +MILLER. Neither is he so lean, though. + +SON. Truly he might be worse. + +MILLER. Better or worse, he must be sold. + +[THREE MAIDS _enter the bridge. They go to the Fair._] + +FIRST MAID (_pointing to the Miller and his Son_). Look there! Did you ever +see such geese? + +SECOND MAID. As I live!--walking when they might ride! + +THIRD MAID (_to the Miller_). You'll get a laugh at the Fair, old man! + +[_The Maids pass on._] + +MILLER. This may be true. Get you upon the beast, lad. + +[_The boy mounts the donkey. Enter_ THREE OLD MEN. _They talk together +earnestly. They go to the Fair._] + +FIRST OLD MAN (_pointing to the Miller and his Son_). Look you there! That +proves what I was saying. + +SECOND OLD MAN (_nodding_). Aye! There's no respect shown old age in these +days. + +THIRD OLD MAN (_nodding_). Aye! There's that young rogue riding while his +old father has to walk! + +[_The Old Men pass on._] + +MILLER. Get down, lad. 'T would indeed look better should I ride. + +[_The lad dismounts; the Miller mounts. Enter_ THREE GOODIES; _they go to +the Fair._] + +FIRST GOODY (_indignantly, pointing to the Miller and his Son_). Look, +Goodies, look! Did you ever see anything so cruel? + +SECOND GOODY (_to the Miller_). You lazy old fellow! How can you ride while +your own child walks in the dust? + +THIRD GOODY (_to the lad_). You poor, poor child! + +[_The Goodies pass on, shaking their heads and their canes indignantly._] + +MILLER. Come, lad, get up behind me. + +SON. Why, father, I'm not tired! + +MILLER. I know, but we must try to please them. Come. + +[_The lad mounts, sitting behind his father. Enter the_ MAYOR _and his_ +CLERKS. _They go to the Fair._] + +MAYOR (_turning to his Clerks; pointing to the Miller and his Son_). Look, +will you! + +(_He turns to the Miller._) + +Pray, honest friend, is that beast your own? + +MILLER. Yes, my lord Mayor. + +MAYOR. One would not think so from the way you load him. Say you not so, my +Clerks? + +FIRST CLERK (_bowing_). Just so, my lord Mayor. + +SECOND CLERK (_bowing_). Even so, my lord Mayor. + +THE MAYOR (_to the Miller and his Son_). Why, you two fellows are better +able to carry the poor donkey than he you! Say you not so, my Clerks? + +FIRST CLERK (_bowing_). Just so, my lord Mayor. + +SECOND CLERK (_bowing_). Even so, my lord Mayor. + +MILLER. Come, my son, to please them, we'll carry the donkey. + +[_They dismount and try to lift the donkey. This frightens the poor beast. +He tries to get away, and falls over the bridge into the deep river._] + +MILLER (_weeping_). I have tried to please every one! I have pleased no +one! + +SON (_weeping_). And we have lost our donkey in the bargain! + +[Illustration: "WE HAVE LOST OUR DONKEY"] + + + + +EACH IN HIS OWN PLACE + + +TIME: _yesterday_. +PLACE: _in a tiny house_. + + * * * * * + +THE STRAW _who brings in the wood_. +THE COAL _who makes the fire_. +THE SNOWFLAKE _who draws the water_. +THE SUGAR LOAF _who lays the table_. +THE SAUSAGE _who cooks the meals_. + + * * * * * + +[_The tiny kitchen is seen. The_ SAUSAGE _is stirring the pot. The_ COAL +_is tending the fire. The_ SUGAR LOAF _is laying the table. Enter_ STRAW +_with a load of wood._] + +STRAW (_throwing down wood_). Think you'll need more wood for the dinner, +Sausage? + +[_Sausage does not answer. She gets into the pot to flavor the +vegetables._] + +COAL (_whispers to Straw_). Sausage is quite put out. + +STRAW. What's the trouble? + +COAL. No one knows. + +[_Enter_ SNOWFLAKE _with a pail of water._] + +SNOWFLAKE (_looking about_). Where's Sausage? + +STRAW. She is flavoring the vegetables. + +[_Sausage comes out of the pot._] + +SNOWFLAKE. Here is the water, Sausage. + +[_Sausage does not answer._] + +SNOWFLAKE (_speaking louder_). Will you come for the water, Sausage? + +SAUSAGE (_sharply_). No, madam, I will not! + +THE OTHERS (_with surprise_). Sausage! + +SAUSAGE. I've been slave here long enough! + +THE OTHERS (_as before_). Sister Sausage! + +SAUSAGE. I mean just what I say! + +SNOWFLAKE. Have I not done my share of the work? + +COAL. Have I not done my share? + +STRAW. Have I not done my share? + +SUGAR LOAF. And have I not done my share? + +SAUSAGE. Please to tell me what you do. + +STRAW. I bring in wood that Coal may make the fire. + +COAL. I make the fire that the pot may boil. + +SNOWFLAKE. I draw the water and bring it from the brook. + +SUGAR LOAF. I lay the table nicely. + +SAUSAGE. What do I? Eh? What do I? I must stand over the fire. I must not +only stir the dinner, I must flavor it with myself. For each of you there +is one duty. For me there are plainly three. + +STRAW. But, sister-- + +SAUSAGE (_interrupting_). Don't "sister" me! + +SNOWFLAKE. Sausage, dear, would you break up our pretty home? + +SUGAR LOAF. And we all so happy here! + +SAUSAGE. There must be a change! Some one else can stand over the fire--can +stir the pot--can flavor the vegetables. + +COAL. If I flavored them, they could not be eaten. + +SAUSAGE. That's what you're always saying, but I'm not so sure of it. + +SNOWFLAKE. If I stirred the pot, 't would be the end of me. + +SAUSAGE. Yes, you say that often enough, but I'm not so sure that it is +true. + +STRAW. Should I stand over the fire, I'd be no more. + +SAUSAGE (_scornfully_). Excuses! Excuses! + +SUGAR LOAF. 'T is plain that I should not get into the pot. + +SAUSAGE. And why not, Miss? why not? + +SUGAR LOAF. 'T would be good-by for me, if I should! + +SAUSAGE. Excuses! Excuses! I say there must be a change! 'T is I who will +bring the wood or draw the water. + +COAL. But, Sausage, you should stay within. + +SAUSAGE. Not I, sir! I'll out of the pot and out of the house, I will! I'll +see a bit of the world, I will! + +SUGAR LOAF (_sighing_). Well, if she will, she will! + +SAUSAGE (_getting slips_). Come, now, and draw for it. + +[_She holds the slips for the others to draw._] + +STRAW (_drawing; reading from slip_). "Who gets this must make the fire." + +SUGAR LOAF (_drawing; reading from slip_). "Who gets this must draw the +water." + +SNOWFLAKE (_drawing; reading from slip_). "Who gets this must stir the pot +and flavor it with herself." + +COAL (_drawing; reading from slip_). "Who gets this must lay the table +nicely." + +SAUSAGE (_reading from last slip_). "Who gets this must bring the wood." +Well, that pleases me! Straw, see if the fire needs wood. + +(_Straw hesitates._) + +Come, come, do your duty! + +[_Straw crosses the hearth and looks into the fire. He is very careful, but +the fire reaches him and he is gone in a puff!_] + +SNOWFLAKE. Poor Straw! Well, 't is my duty to stir the pot and to flavor it +with myself. + +[_She crosses to the hearth, but just as she reaches it, she disappears +without so much as a cry._] + +SUGAR LOAF. Poor Snowflake! Well, 't is my duty to draw the water. + +[_She forgets that the pail is full, falls into it, and is seen no more._] + +COAL. Poor Sugar Loaf! Well, 't is my duty to lay the table nicely. + +[_He forgets that he is still burning from having lately tended the fire. +As he places the plates, the tablecloth catches fire and wraps itself +around him._] + +COAL (_from inside the burning cloth_). This is the end of me! + +SAUSAGE (_weeping_). Dear me! Dear me! Who would have thought 't would turn +out so badly! Well, 't is my duty to bring in wood. + +[_She opens the door and is face to face with a hungry dog who is sniffing +about._] + +DOG. Ah, I thought you'd be coming out soon! + +SAUSAGE (_pleased_). Do you want to see me, sir? + +DOG. Why, yes, I've been waiting for you. + +SAUSAGE. How good to be out in the world! They always said my place was +within. + +DOG. They did, eh? Well, just to please them, I'll put you there. + +[_He swallows her quickly, which ends both Sister Sausage and our story._] + + + + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT + + +SCENE I + +TIME: _early one morning_. +PLACE: _a very old farmhouse_. + + * * * * * + +THE GOODMAN. +HIS WIFE. + + * * * * * + +[_The_ GOODMAN _and his_ WIFE _are seated in their spare room because it is +Fair-day._] + +WIFE. Yes, I think it would be as well to sell our horse. Or, as you say, +we might exchange him for something more useful. + +GOODMAN. What shall we exchange him for? + +WIFE. You know best, Goodman. Whatever you do will be right. + +GOODMAN (_starting out_). It is Fair-day. I will ride into town and see +what can be done. + +WIFE. Wait till I fasten your neckerchief! You shall have a pretty double +bow this time, for you are going to the Fair. + +(_She ties the neckerchief. The Goodman starts out._) + +Wait till I have smoothed your hat! + +(_She smooths his old hat._) + +Now you are ready. + +GOODMAN (_going_). Be at the window, Wife. + +WIFE (_nodding_). Yes, surely, and I will wave at you as you ride by. + + +SCENE II + +TIME: _two hours later_. +PLACE: _near the toll-gate on the road to the Fair_. + + * * * * * + +THE GOODMAN. +FIRST PEASANT. +SECOND PEASANT. +THIRD PEASANT. +TOLL-KEEPER. +HOSTLER. + + * * * * * + +[_The_ GOODMAN _is seen riding his horse. Enter, from a country lane, a_ +PEASANT, _driving a cow._] + +GOODMAN (_stopping; calling_). Halloo, there--you with the cow! + +PEASANT (_stopping_). Yes, Goodman. + +GOODMAN. Your cow gives good milk, I am certain. + +PEASANT (_nodding_). None richer in this country! + +GOODMAN. A horse is of more value than a cow, but I don't care for that. A +cow will be more useful to me; so if you like, we'll exchange. + +PEASANT. To be sure I will. Here is your cow. + +GOODMAN. Here is your horse. + +[_The Peasant goes off riding the horse. A_ SECOND PEASANT, _driving a +sheep, enters from a field near by._] + +GOODMAN (_sees him and calls_). Halloo, there--you with the sheep! + +SECOND PEASANT (_stopping_). Yes, Goodman. + +GOODMAN. I should like to have that sheep. + +SECOND PEASANT. She is a good, fat sheep. + +GOODMAN. There is plenty of grass for her by our fence at home, and in the +winter we could keep her in the room with us. + +SECOND PEASANT. Do you wish to buy her? + +GOODMAN. Will you take my cow in exchange? + +SECOND PEASANT. I am willing. Here is your sheep. + +GOODMAN. Here is your cow. + +[_The second Peasant goes off driving the cow. Enter, from a farmyard near +by, a_ THIRD PEASANT _carrying a goose._] + +GOODMAN. What a heavy creature you have there! + +THIRD PEASANT (_stopping_). She has plenty of feathers and plenty of fat. + +GOODMAN. She would look well paddling in the water at our place. + +THIRD PEASANT (_stopping_). She would look well in any place! + +GOODMAN. She would be very useful to my wife. She could make all sorts of +profit out of her. + +THIRD PEASANT. Indeed she could, Goodman! + +GOODMAN. How often she has said,--"If now we only had a goose!" + +THIRD PEASANT. Well, this goose is for sale. + +GOODMAN. I will give my sheep for your goose and thanks into the bargain. + +THIRD PEASANT. I am willing; here is your goose. + +GOODMAN. Here is your sheep. + +[_The Peasant goes off with the sheep. The Goodman discovers a hen in the_ +TOLL-KEEPER'S _potato field._] + +GOODMAN (_calling_). That's the finest fowl I ever saw, Toll-keeper! + +TOLL-KEEPER. You're right about that, Goodman. + +GOODMAN. She's finer than our pastor's brood-hen! Upon my word she is! I +should like to have that fowl! + +TOLL-KEEPER. She is for sale. + +GOODMAN. I think it would be a good exchange if I could get her for my +goose. + +TOLL-KEEPER. Well, it wouldn't be a bad thing. + +GOODMAN. Then here is your goose. + +TOLL-KEEPER. Here is your fowl. + +[_Enter a_ HOSTLER _carrying a sack._] + +GOODMAN (_to Hostler_). What have you in that sack, friend? + +HOSTLER. Rotten apples--to feed the pigs with. + +GOODMAN. Why, that will be a terrible waste. I should like to take them +home to my wife. + +HOSTLER (_astonished_). To your wife? + +GOODMAN (_nodding_). You see, last year our old apple tree bore only one +apple, which we kept in the cupboard till it was quite rotten. It was +always property, my wife said. + +HOSTLER. What will you give me for the sackful? Your wife would then have a +great deal of property. + +GOODMAN. Well, I will give you my fowl in exchange. + +HOSTLER. Here is your sack of rotten apples. + +GOODMAN. Here is your fowl. + +[_The Hostler goes with the fowl._] + +TOLL-KEEPER. Toll, Goodman! + +GOODMAN. I will not go to the Fair to-day. I have done a great deal of +business, and I am tired. I will go back home. + + +SCENE III + +TIME: _two hours later_. +PLACE: _the old farmhouse_. + + * * * * * + +THE GOODMAN. +HIS WIFE. + + * * * * * + +[_Enter the_ GOODMAN, _carrying the sack. The_ WIFE _waits for him in the +spare room, because he has been away._] + +GOODMAN. Well, Wife, I've made the exchange. + +WIFE. Ah, well, you always understand what you're about. + +GOODMAN. I got a cow in exchange for the horse. + +WIFE. Good! Now we shall have plenty of milk and butter and cheese on the +table. That was a fine exchange! + +GOODMAN. Yes, but I changed the cow for a sheep. + +WIFE. Ah, better still! We have just enough grass for a sheep.--Ewe's milk +and cheese! Woolen jackets and stockings! The cow could not give all those. +How you think of everything! + +GOODMAN. But I changed the sheep for a goose. + +WIFE. Then we shall have roast goose to eat this year. You dear Goodman, +you are always thinking of something to please me! + +GOODMAN. But I gave away the goose for a fowl. + +WIFE. A fowl? Well, that was a good exchange. The fowl will lay eggs and +hatch them. We shall soon have a poultry-yard. Ah, this is just what I was +wishing for! + +GOODMAN. Yes, but I exchanged the fowl for a sack of rotten apples. + +WIFE. My dear, good husband! Now, I'll tell you something. Do you know, +almost as soon as you left me this morning, I began thinking of what I +could give you nice for supper. I thought of bacon with eggs and sweet +herbs. + +GOODMAN. But we have no sweet herbs. + +WIFE (_nodding_). For that reason, I went over to our neighbor's and begged +her to lend me a handful. + +GOODMAN. That was right; they have plenty. + +WIFE (_nodding_). So I thought, but she said, "Lend? I have nothing to +lend, not even a rotten apple." Now I can lend _her_ ten or the whole +sackful. It makes me laugh to think of it. I am so glad. + +GOODMAN. So you think what I did was right? + +WIFE. What the Goodman does is always right. + + + + +THE CAT AND THE MOUSE + + +TIME: _perhaps this minute_. +PLACE: _perhaps your own garret_. + + * * * * * + +MOTHER MOUSE. +HER DAUGHTER, MISS MOUSE. +THE CAT. + + * * * * * + +[MOTHER MOUSE _and_ MISS MOUSE _are in their spare room because Mother +Mouse is getting ready for a journey. Miss Mouse helps her. The_ CAT _is +outside, peeping now and then through the window, but so slyly that the +mice do not see her._] + +MOTHER MOUSE (_going_). Now mind you keep one eye on our grease-pot, child. + +MISS MOUSE. That I will, dear mother! + +MOTHER MOUSE. Let no one in,--no one! no one! + +MISS MOUSE. No one, dear mother! + +MOTHER MOUSE. I'll not be long away. Good-by, my child. + +(_Starting out; stopping._) + +Mind you show no one the grease-pot, child,--no one! no one! + +Miss MOUSE. No one, dear mother! + +[_Mother Mouse goes out of the front door._] + +CAT (_calling through window_). Oh, Miss Mouse! Oh, Miss Mouse! + +MISS MOUSE (_showing alarm_). Who calls? + +CAT (_very sweetly_). Only I! Will you please let me in? + +MISS MOUSE (_shaking head_). Mother said-- + +CAT (_interrupting quickly_). 'T is a matter of business! + +MISS MOUSE (_shaking head_). But mother said-- + +CAT (_interrupting_). 'T is most important! + +MISS MOUSE (_as before_). But mother said-- + +CAT (_interrupting_). I wish your advice--you are so clever! + +MISS MOUSE (_showing she is pleased; starting to window_). Oh, do you truly +think so? + +CAT (_nodding_). Every one thinks so! + +MISS MOUSE (_showing she is more pleased; going to the window_). Oh, do +they, truly? + +CAT. Oh, truly they do! + +MISS MOUSE (_showing she is most pleased; opening window_). What else nice +say they? + +CAT (_jumping in_). That I'll tell you by and by. + +(_Sniffing about._) + +There must be a grease-pot about! Am I not right? + +MISS MOUSE. Mother said-- + +[Illustration: THE CAT AND THE MOUSE] + +CAT (_interrupting_). Only tell me if I be right! 'T will do no harm! + +MISS MOUSE (_hesitating_). Well--then--yes. But 't is put away for our +winter stores. + +CAT (_nodding_). Just so! Now, I can't decide where to keep my grease-pot +when I have bought one. Won't you give me your advice? You are so wise. + +MISS MOUSE. Do you truly think I'm wise? + +CAT (_nodding_). Aye, and if you will tell me where to keep my grease-pot +when I have bought it, I'll tell you something more. + +MISS MOUSE (_greatly pleased_). About me? + +CAT (_nodding_). Yes,--what every one says about your being so beautiful. +But first I must know where to keep my grease-pot. + +MISS MOUSE. Then listen--you must keep it, when you have bought it, in the +northwest corner. + +[_The Cat runs quickly to the northwest corner._] + +MISS MOUSE (_in alarm_). Come away! Come away! + +CAT. Why, here is your grease-pot! + +MISS MOUSE (_as before_). Come away, I say! + +CAT (_looking into the pot_). Truly, the fat is kept hard and cool here. + +MISS MOUSE. I pray you come away! Mother does not so much as let me look +into it. 'T is not yet time, she says. + +CAT (_looking again into pot_). Exactly! + +(_She leaves the pot and joins Miss Mouse._) + +'T is just what I'll tell my kittens about my grease-pot when I have bought +it. + +MISS MOUSE. Ah, then you have kittens at home? + +CAT (_nodding_). Such beautiful kittens! The eldest is white, with brown +marks. + +MISS MOUSE. He must be charming! + +CAT. I've a mind to tell you his name. First, though, run out to see if +your dear mother is not coming. + +[_Miss Mouse nods and runs out. The Cat quickly creeps to the grease-pot +and licks the top off. She crosses to the window just as_ MISS MOUSE +_returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now what did you name your eldest +child? + +CAT. Top-off. + +MISS MOUSE. Top-off? Why, that is a curious name! Is it common in your +family? + +CAT. Oh, no! My second child has a white ring around his neck. + +MISS MOUSE. Remarkable! + +CAT. Very! + +MISS MOUSE. What did you name him? + +CAT. I gave him an unusual name. I will tell you what it is. First, though, +run out to see if your dear mother is coming. + +[_Miss Mouse nods and runs out. The Cat creeps to the grease-pot and eats +half the fat; then crosses to window._ MISS MOUSE _returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now what did you name your second +child? + +CAT. Half-out. + +Miss MOUSE. Half-out? I never heard such a name! 'T is not in the calendar, +I'm sure. + +CAT. What does that matter, if it pleases me? Now the last child is really +a wonder. He is quite black and has little white claws, but not a single +white hair on his body. + +MISS MOUSE. What have you named him? + +CAT. I'm afraid that will please you no better than the others, but still I +will tell you. First, though, run to see if your dear mother is not coming. + +[_Miss Mouse nods and runs out. The Cat creeps to the pot and eats all the +fat. She then crosses to the window._] + +CAT. What one begins one must needs finish. + +[MISS MOUSE _returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now tell me what you named your +youngest child. + +CAT. All-out. + +MISS MOUSE. All-out? Why, that is more curious than the others. I have +never seen it in print. + +CAT (_glaring at Miss Mouse_). You never will! + +MISS MOUSE (_frightened_). What do you mean? + +CAT (_preparing to spring_). I mean to put you down with the fat! + +MISS MOUSE. Help! help! + +[_Enter_ MOTHER MOUSE _just as the Cat clutches her daughter and jumps out +of the window with her. Mother Mouse crosses and looks into the empty +grease-pot._] + +MOTHER MOUSE (_sighing sadly_). 'T was ever thus! Show your grease-pot, and +you'll go with it! + + + + +THE GIRL WHO TROD ON THE LOAF + + +SCENE I + +TIME: _the day before Christmas_. + +PLACE: _Ingé's Mother's home_. + + * * * * * + +INGÉ. +HER MOTHER. + + * * * * * + +[_The_ MOTHER _stands at the kitchen window, watching for Ingé._] + +MOTHER. Ah, here she comes at last! + +(_Short pause. Enter_ INGÉ.) + +I have waited long for you, my child. Where have you been? + +(_Ingé is silent._) + +Have you been to the Elf Hill? Tell me. + +INGÉ (_hesitating_). Just for a little while, mother. + +MOTHER. Ingé! Ingé! What have I ever told you? + +INGÉ. I thought I'd go just this once. + +MOTHER (_showing sorrow_). Ah, Ingé, that's what you always say. + +INGÉ. There's no harm talking with the elves. + +MOTHER. And I, your mother, say there is harm. + +INGÉ. But, mother,--they talk so prettily. + +MOTHER (_nodding_). Aye! and that's the harm. They've put such silly ideas +into your head. + +INGÉ. They say 't is friendship makes them talk as they do. + +MOTHER (_indignantly_). Friendship! 'T is friendship, is it, to tell you +not to fetch the wood? + +INGÉ. They say 't will spoil my hands. + +MOTHER. Out upon them and their pretty talk! You shall go there no more. Do +you hear me, Ingé? + +INGÉ (_pouting_). I hear. + +MOTHER. Now take this loaf of bread to your sick aunt. Say to her 't is her +Christmas gift. + +INGÉ. But, mother, I must cross the muddy road to go there. + +MOTHER. Well, you are neither sugar nor salt. + +INGÉ. I'll spoil my shoes! + +MOTHER. You think of your shoes, and your aunt lies ill? + +INGÉ. Wait till spring and the mud will be gone. + +MOTHER. Wait till spring and your aunt will be gone! Here is the loaf--now +off with you! + +[_Ingé takes the loaf and goes, but not willingly._] + + +SCENE II + +TIME: _a few minutes later_. +PLACE: _the muddy road_. + + * * * * * + +INGÉ. +THE WICKED ELF. + + * * * * * + +[INGÉ _is seen stopping at the muddy road._] + +INGÉ. 'T is too wide to leap! + +[_The_ WICKED ELF _suddenly appears on the opposite side of the road._] + +WICKED ELF. Good day to you, pretty maid! + +INGÉ. Good day to you, dear Elf! + +WICKED ELF. Wilt cross this muddy road? + +INGÉ. I must. + +WICKED ELF. Then I'll tell you how to do it and not so much as wet your +shoe. + +INGÉ. Oh, thank you, dear Elf! + +WICKED ELF. Throw down your loaf and-- + +INGÉ. (_showing surprise; interrupting_). Throw down the loaf? + +WICKED ELF. Why, yes,--to use it for a stepping-stone. + +INGÉ. But 't will spoil the bread! + +WICKED ELF. But 't will save your shoes! + +INGÉ. Well, that's true-- + +WICKED ELF. A pretty maid ne'er wears a muddy shoe. + +INGÉ. That's true, too-- + +WICKED ELF. Come, then, throw down the loaf! + +INGÉ. Well, I'll do it! + +(_She throws the loaf and steps upon it._) + +'T is sinking! What shall I do? + +WICKED ELF. Why, then, jump off! + +INGÉ (_trying to jump_). I can't! Don't you see I can't? + +WICKED ELF. Ha, ha! You're fastened to it! + +INGÉ. 'T is drawing me down! Help me! Help me! + +WICKED ELF. There's no help for you. + +INGÉ. No help? What do you mean? + +WICKED ELF. You must go down with the loaf. + +INGÉ. I pray you help me! See how I'm sinking! The mud will soon be over my +shoes! + +WICKED ELF. The mud will soon be over your head! + +INGÉ (_weeping_). Save me! Save me! + +WICKED ELF. Will you be saved by magic? + +INGÉ. Yes, yes! + +WICKED ELF. Listen, then--I'll change you into a bird. Are you willing? + +INGÉ. Yes, yes! Quick now, before I sink deeper! + +WICKED ELF (_nodding head three times_). A sparrow shall you be! Change, +now change! + +[_Ingé changes into a_ SPARROW, _with a tuft of white feathers, just the +shape of a loaf of bread, upon its head. The Sparrow flies from the mud._] + +SPARROW. Now change me back into Ingé. + +WICKED ELF. You shall remain as you are. + +SPARROW (_showing surprise_). Remain as I am? + +WICKED ELF (_nodding_). Until you can change yourself back. + +SPARROW. And when will that be? + +WICKED ELF. When the loaf has gone from your head. + +SPARROW. The loaf from my head? What do you mean? + +WICKED ELF (_going_). Fly away to the brook and see! Ha, ha, ha! + +(_She runs away, calling back._) + +Fly away to the brook and see! Ha, ha, ha! + +[Illustration: "'T IS SINKING! WHAT SHALL I DO?"] + + +SCENE III + +TIME: _the day following Christmas Day_. +PLACE: _an old stone wall by a brook_. + + * * * * * + +THE SPARROW. +THE PEASANT. +GRETEL. +FIRST STONE. +SECOND STONE. +THIRD STONE. + + * * * * * + +[_The_ SPARROW _sits in a hole in the wall._] + +FIRST STONE. Come, come, be not so sad, little Sparrow! + +SECOND STONE. Come, lift up your head and sing! + +THIRD STONE. Come, sing us your Christmas song! + +SPARROW. Sing! I have nothing to sing about. + +FIRST STONE. Sing of your friends. + +SECOND STONE. Sing of their love for you. + +THIRD STONE. Sing of their kindness to you. + +SPARROW. Talk not to me of friends, or love, or kindness! There's none in +the world. + +[_Enter a_ PEASANT _with his little_ GRETEL. _The Peasant carries two ears +of corn._] + +PEASANT. Now, my Gretel, we'll place the corn here on the old wall. + +GRETEL. Mother thought you brought too much. + +PEASANT. Well, 't is true there are only three ears left at home, but the +birds must have their Christmas dinner. + +[_He places the corn on the wall._] + +GRETEL. There's none about to see it! + +PEASANT. Oh, some bird will soon find it! + +GRETEL. But will it call the others? + +PEASANT. We'll wait to see. Come, we'll sit there on the log. + +[_They go to a log near by._] + +FIRST STONE. There, little Sparrow, say you now there is no kindness? + +SECOND STONE. Or love? + +THIRD STONE. Or friendship? + +SPARROW. No, no! I can never say that again. The peasant's heart is full +of kindness and love and friendship. I will sing of it! 'T will be my +Christmas song! + +[_The Sparrow leaves the hole and flies to the corn._] + +GRETEL. Look, father, there is a sparrow! And hear it sing! Just hear it! + +PEASANT. It is calling the other birds. + +GRETEL. Why, it doesn't even touch the corn! + +PEASANT. It's waiting to share it with the others. Is it not a pretty +sight? Come, we must go to tell mother. + + +SCENE IV + +TIME: _one month later_. +PLACE: _same as_ SCENE III. + + * * * * * + +OUR SPARROW. +THE VERY OLD SPARROW. +THE OLD SPARROW. +THE YOUNG SPARROW. +THE VERY YOUNG SPARROW. +THE WICKED ELF. + + * * * * * + +[_All the_ SPARROWS _except Our Sparrow sit on the stone wall._] + +YOUNG SPARROW. I say the stranger should be driven away! + +VERY YOUNG SPARROW. So say I! + +OLD SPARROW. The stranger is a sparrow, but still not a sparrow. + +VERY OLD SPARROW. And yet she is only different by a tuft of white +feathers. + +YOUNG SPARROW. And such a tuft! For all the world like a loaf of bread! + +VERY YOUNG SPARROW. I'd think it shame to carry such on _my_ head! + +OLD SPARROW. I fear 't will shame us all to have this stranger about. + +VERY OLD SPARROW. And yet we are not ashamed to eat the crumbs this +stranger brings. + +OLD SPARROW. Well, 't is true she has been most kind. + +VERY OLD SPARROW. 'T is a hard winter! Shall we drive away the one who +finds food where we find none? + +YOUNG SPARROW. And calls us every time! + +VERY YOUNG SPARROW. And never eats till we have come! + +VERY OLD SPARROW. I've kept in mind the crumbs she has found us. Now, how +many do you think? + +OLD SPARROW. I cannot say, for I did not think to notice. + +VERY OLD SPARROW. There only lacks two or three now of being a loaf. + +OTHER SPARROWS (_greatly surprised_). A loaf? + +VERY OLD SPARROW (_nodding_). A loaf. + +VERY YOUNG SPARROW. Here comes the stranger now! + +OLD SPARROW. She brings a crust! + +[OUR SPARROW _flies up with a crust in its bill._] + +OUR SPARROW. Come, friends, 't is for all of you! + +VERY OLD SPARROW. Do you know, stranger bird, that, with these crumbs, you +have brought us in all one loaf? + +[_Our Sparrow drops the crust for the others. At once it changes into_ +INGÉ. _The birds fly away frightened._] + +INGÉ. Ah! Now I understand. The loaf had to be made up, crumb by crumb. + +[_The_ WICKED ELF _suddenly appears._] + +WICKED ELF. Come, pretty maid, come to the Elf Hill! + +INGÉ. No, no! I will not! + +WICKED ELF. But we have such pretty things to tell you! + +INGÉ. I care not for your pretty things! I go to fetch wood for my mother. +I go to walk in the mud if need be. Away with you! I'll have none of you! +Away, away, I say! + + + + +THE UGLY DUCKLING + + +SCENE I + +TIME: _one summer morning_. +PLACE: _the farmyard of the Moor Farm_. + + * * * * * + +MADAM DUCK. +FIRST DUCKLING. +SECOND DUCKLING. +THE UGLY DUCKLING. +THIRD DUCKLING. +TURKEY. +GRAY GANDER. +WHITE GOOSE. +PLYMOUTH ROCK HEN. +RED ROOSTER. + + * * * * * + +[MADAM DUCK _enters the farmyard with her new brood of_ DUCKLINGS. _The +other fowls approach._] + +TURKEY (_showing displeasure_). A new brood of ducks! Look you all--a new +brood of ducks! + +GRAY GANDER (_also displeased_). As if there were not enough of us here +already! + +WHITE GOOSE (_likewise displeased_). True enough,--I can scarce find a +corner for my afternoon nap! + +RED ROOSTER. It seems to me, Madam Duck, that you should not have brought +us a new brood this summer. + +MADAM DUCK. What is that you are saying? + +TURKEY. It seems to all of us, madam, that there is no room here for a new +brood. + +PLYMOUTH ROCK HEN. Friends, be just. Madam Duck has a perfect right to +bring her ducklings here. Besides, the children are quite pretty. + +MADAM DUCK. They are beautiful! You shall all see that for yourselves. +Come, children, into a row with you! + +[_The Ducklings form themselves into a row. The Ugly Duckling is last._] + +MADAM DUCK. Legs wide apart! Toes out! Now speak prettily to my old +friends. + +DUCKLINGS (_all but the last_). Quack! Quack! + +MADAM DUCK. There now--are they not charming? + +GRAY GANDER (_looking down row_). Why, yes, they all seem graceful +enough--here--wait a moment! Does that last one there belong to you? + +[_All the fowls look at the last Duckling._] + +MADAM DUCK. Oh yes! He is larger than the others and perhaps not so pretty, +but-- + +TURKEY (_interrupting_). Make no excuses for him, madam. We can see for +ourselves what he is. + +GRAY GANDER. In all my life I never saw anything so ugly! + +WHITE GOOSE. He is neither duck nor goose! + +PLYMOUTH ROCK HEN. Nor duck nor chick! + +TURKEY. I'd be 'shamed to have a turkey look like that! + +RED ROOSTER. I'd allow no hen of mine to claim him! + +MADAM DUCK. Come now, come now, friends. The poor child is not pretty, but +he is good, and he can swim even better than the others. + +TURKEY. That he can swim well is nothing to me! + +RED ROOSTER. Nor to me! He should be driven out, I say! + +MADAM DUCK. Let him alone; he is not doing any harm. + +FIRST DUCKLING. But, mother, no one will look at us if he stays with us! + +MADAM Duck (_thoughtfully._) Now perhaps it may turn out that way. + +SECOND DUCKLING. I'll not walk about with him! + +THIRD DUCKLING. Nor I! + +MADAM DUCK. Well, well! He must be uglier than I thought! + +FIRST DUCKLING. Besides, dear mother, he will not quack. + +MADAM DUCK. What is this? Did he not quack but just a moment ago? + +SECOND DUCKLING. He turned his toes out, but quack he would not. + +THIRD DUCKLING. 'T is true, dear mother. + +MADAM DUCK (_to the Ugly Duckling_). Quack! Quack now--at once! + +[_The Ugly Duckling tries to quack, but chokes. The fowls laugh and jeer at +him._] + +GRAY GANDER. Ha, ha! There's a "quack" for you! + +WHITE GOOSE. Ha, ha! + +PLYMOUTH ROCK HEN. Ha, ha! + +RED ROOSTER. Ha, ha! + +TURKEY. Ha, ha! + +MADAM DUCK (_angrily_). Once more I tell you--quack! + +[_The Ugly Duckling tries again; chokes._] + +ALL FOWLS. Ha, ha, ha, ha! + +UGLY DUCKLING (_weeping_). I'm sorry--I'd quack if I could. + +MADAME DUCK. Ah, if you were only far away! + +[Illustration: THE UGLY DUCKLING] + +FIRST DUCKLING. I wish the cat would eat you! + +SECOND DUCKLING. I wish the swans would kill you! + +WHITE GOOSE. And they will when they see him--you may be sure of that. + +GRAY GANDER (_nodding_). Aye, they'll not suffer such an ugly creature to +swim in the brook! + +RED ROOSTER. We must drive him off--that's clear! + +(_Running at the Ugly Duckling._) + +Come now, out with you! + +PLYMOUTH ROCK HEN (_pecking Duckling_). Out with you! + +UGLY DUCKLING. Mother, save me! + +MADAM DUCK. Call not on me! + +GRAY GANDER (_striking Duckling with his wings_). Out with you! + +UGLY DUCKLING (_running to Ducklings_). Brothers, sisters, save me! + +FIRST DUCKLING. Come not to us! + +SECOND DUCKLING. We'll not save you! + +THIRD DUCKLING. Away with you! + +TURKEY. At him, hens to peck him! At him, geese to beat him! At him, all of +you! + +[_They all rush upon the Ugly Duckling, who escapes them, running out of +the farmyard into the moor._] + + +SCENE II + +TIME: _the next winter_. +PLACE: _the Peasant's cottage_. + + * * * * * + +THE PEASANT. +HIS WIFE. +ELIZABETH. +THE CAT. +THE HEN. +THE UGLY DUCKLING. + + * * * * * + +[_The_ PEASANT _enters the cottage, carrying the_ UGLY DUCKLING.] + +PEASANT. See what I'm bringing you! + +WIFE. Why, 't is a duckling--half frozen, too! + +PEASANT. I found him frozen in the pond. I had to break the ice to get him +out. + +ELIZABETH. Give him to me, father. I will put him behind the stove. + +PEASANT (_giving Duckling to Elizabeth_). That's a good child. + +WIFE. Handle him tenderly, daughter. + +ELIZABETH (_taking off her shawl_). He shall lie upon my shawl. You poor, +dear, ugly little duckling! + +[_She places the Duckling upon the shawl behind the stove, near the_ CAT +_and_ HEN.] + +PEASANT. 'T is the duckling I told you of! + +WIFE. The one you saw on the pond yesterday? + +PEASANT. Aye, and the day before, and all winter long, for that matter. +Yesterday I saw him try to join the wild ducks on the river, but they drove +him back to the pond. + +ELIZABETH. Poor duckling! The pond was freezing then! + +PEASANT (_nodding_). Then he tried to find a place among the rushes on the +moor, but the birds drove him from there. + +ELIZABETH. Why did they all treat him so, father? + +PEASANT. I do not know, unless it is because he is so ugly. + +WIFE. Come now to dinner, father--Elizabeth. By the time we have finished, +our duckling will be warmed and awake. + +[_They go into the kitchen. The Duckling stirs and looks about._] + +HEN. Can you lay eggs? + +DUCKLING (_politely_). No, madam. + +CAT. Can you set up your back? + +DUCKLING. No, dear sir. + +CAT. Can you purr? + +DUCKLING (_frightened_). No. + +HEN. Then you can't stay here. + +DUCKLING. Do not drive me out, I pray you! + +CAT. Will you learn to purr? + +HEN. And to lay eggs? + +DUCKLING (_sadly_). Alas, I can do nothing but swim. + +CAT. Swim! Well, I must say that is very queer. + +DUCKLING. Oh, no, dear sir! It is most pleasant when the waters close over +your head and you plunge to the bottom. + +CAT. Plunge to the bottom, indeed! I'd never think of doing such a silly +thing! + +HEN. Nor I! + +CAT. 'T is clear you can't remain here. + +DUCKLING. Where am I to go? + +CAT. Go lie in the rushes. The birds flew south this morning. + +DUCKLING. I shall starve there. + +CAT. It would really be a good thing for you if I should eat you. + +DUCKLING. I'd thank you to do so, dear sir. + +HEN. Eat him, since he is so willing. He is too ugly to live. + +CAT (_turning away_). I can't, he is too ugly to eat. + +(_To the Duckling._) + +Come, out with you! + +HEN (_running at him_). Yes, yes! Out with you! Out with you! + +[_They push the Duckling out of the door into the snow._] + +DUCKLING. Alas! What shall I do? Where shall I go? Why was I made so ugly +that every one despises me! + + +SCENE III + +TIME: _the next spring_. +PLACE: _the brook on the Moor Farm_. + + * * * * * + +THE UGLY DUCKLING. +THE MOLE. +THE FATHER. +THE MOTHER. +THE CHILDREN. +THE SWANS. + + * * * * * + +[_The_ UGLY DUCKLING _sits on the hill of a_ MOLE _near the brook which +winds through the Moor Farm._] + +MOLE (_from the mole hill_). Will you please move? I wish to come out. + +DUCKLING (_rising quickly_). Why, 't is a mole hill I've been sitting on! + +(_The Mole comes out from the hill._) + +I'm sorry, friend Mole, I didn't notice your hill. + +MOLE. Who are you? + +DUCKLING. Madam Duck of this farm is my mother. + +MOLE. That can't be! You are no duck. + +DUCKLING. Yes, but I am. Only, I am uglier than any duck in the world. + +MOLE. You have not the voice of a duck. You do not speak with the quack of +which they are so proud. And then, if you are truly a duck, why are you not +with your family? + +DUCKLING. They drove me out last summer because I was ugly and could not +quack. + +MOLE. Then why have you come back? + +DUCKLING. To let the swans kill me. + +MOLE. What! To let them kill you? + +DUCKLING. I would rather be killed by those beautiful birds than pecked by +the hens, beaten by the geese, or starved with hunger in the winter. + +MOLE. Perhaps you are not so ugly now as you were then. + +DUCKLING. I have not looked at myself in the water since spring came and +took the ice away. But I know well enough how dark and badly formed I am. +The swans will kill me if I dare to approach them. + +[_A noise is heard in the distance._] + +MOLE. They are coming! Go, while there is yet time. + +DUCKLING. There is no place to go to. All winter long I was driven from +moor to moor. I could not make a friend--I no longer wish to live. + +[_The_ SWANS _are seen swimming down the brook._] + +MOLE. They are here! Do not go to them, I pray you! + +DUCKLING (_shaking head_). Farewell! + +[_He flies to the water and swims toward the Swans. They see him and rush +to meet him with outstretched wings._] + +DUCKLING. Kill me! Kill me! + +FIRST SWAN. Kill you! Why, we have come to welcome you, beautiful stranger. + +SECOND SWAN. We saw you from afar, and came to meet you. + +THIRD SWAN. We are so happy to have you with us! + +[_Enter several_ CHILDREN.] + +FIRST CHILD. See, there is a new swan! + +SECOND CHILD (_calling_). Father, mother, come! There is another swan! + +[_Enter the_ FATHER _and_ MOTHER.] + +FATHER. What were you calling? + +THIRD CHILD. A new swan has come! Look! + +MOTHER. I see him! He is beautiful! + +FATHER. He is very young, but he is the most beautiful of all! + +FOURTH CHILD. See how the others stroke him with their beaks! + +MOTHER. They are showing him how glad they are to have him with them. See +how they swim around him and how gently they touch him! + +FATHER. I have never seen anything so pretty. How happy the new swan is! +See how he rustles his feathers! See how proudly he curves his slender +neck! + +FIRST CHILD. And see how he looks at himself in the water! + +SECOND CHILD. Let's get bread and cake for him! + +THIRD CHILD. Yes, yes! + +FOURTH CHILD. Yes, yes! + +[_The Children run off, followed by the Father and Mother._] + +MOLE (_going into his hill_). 'T was not so bad after all--not to have the +family quack! + + + + +THE RED SHOES + + +SCENE I + +TIME: _one morning_. + +PLACE: _the Shoemaker's shop_. + + * * * * * + +GRANDMOTHER. +KAREN. +SHOEMAKER. + + * * * * * + +[_The_ GRANDMOTHER _and_ KAREN _enter the shop of the_ SHOEMAKER.] + +GRANDMOTHER. This is my little granddaughter Karen, Shoemaker. Please to +take her measure for a pair of shoes. + +SHOEMAKER. What kind do you wish, madam? + +GRANDMOTHER. Morocco, the finest you have, Karen is to wear these shoes to +church. + +SHOEMAKER. What color do you wish, madam? + +GRANDMOTHER. Black. + +KAREN (_whispering to Shoemaker_). Red. + +SHOEMAKER (_puzzled_). Eh? + +GRANDMOTHER (_louder_). Black. + +KAREN (_whispering to Shoemaker_). Red. + +SHOEMAKER. Of course, madam, if you say black, black they shall be. + +KAREN. The little princess wore red shoes, Grandmother. + +SHOEMAKER (_nodding_). That is true; I saw them myself. + +GRANDMOTHER. Red shoes? + +KAREN (_nodding_). Of beautiful red morocco. The queen let the princess +stand at a window so every one could see her new shoes. + +SHOEMAKER. It is all true, madam. + +GRANDMOTHER. No matter; Karen is to have black shoes. + +(_Taking up a pair of shoes._) + +Here, this pair suits me exactly. + +SHOEMAKER (_surprised_). But, madam, those shoes are-- + +KAREN (_interrupting; whispering_). Hush, Shoemaker! Do not tell her. She +can't see very well. + +GRANDMOTHER (_giving shoes to Karen_). Are they of polished leather? They +shine as if they were. + +KAREN. Yes; they do shine. + +(_Trying on the shoes._) + +And they just fit me, Grandmother. + +GRANDMOTHER. I will take them, Shoemaker. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting; whispering_). Hush, Shoemaker! She will never know +the difference. + +GRANDMOTHER. Here is the money, Shoemaker. Come, Karen. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting_). I am ready, Grandmother. + +GRANDMOTHER. Good day, Shoemaker. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting_). Good day, Shoemaker. + +[_The Grandmother and Karen go._] + + +SCENE II + +TIME: _the next Sunday, after church_. +PLACE: _the Grandmother's home_. + + * * * * * + +THE GRANDMOTHER. +KAREN. +THE NEIGHBORS { _First_. + { _Second_. + { _Third_. + { _Fourth_. + + * * * * * + +[_The_ NEIGHBORS _sit with the_ GRANDMOTHER _in the spare room because it +is Sunday._] + +FIRST NEIGHBOR. I did not see you at church to-day, Grandmother. + +GRANDMOTHER. I could not go, but I sent little Karen. + +SECOND NEIGHBOR (_mysteriously_). Oh, yes; we saw her! Everybody saw her! + +GRANDMOTHER (_proudly_). People do look at her; she is so pretty. + +THIRD NEIGHBOR. People didn't look at her face to-day. + +GRANDMOTHER (_alarmed_). What do you mean? + +THIRD NEIGHBOR. Ask Karen when she returns. We're not the ones to carry +tales. + +GRANDMOTHER (_looking out window_). Here she comes now! + +FOURTH NEIGHBOR. Just ask her about the sermon and the hymns! + +GRANDMOTHER (_proudly_). She will tell me almost every word the pastor +said. She is a smart girl--that Karen. + +[_Enter_ KAREN.] + +KAREN. Well, Grandmother, here I am! Good morning, Neighbors. + +NEIGHBORS (_coldly_). Good morning, Karen. + +GRANDMOTHER. Now tell me about the sermon, Karen. What was the text? + +KAREN (_with confusion; stammering_). The text? It was--it was--Oh, I will +tell you all about it by and by, Grandmother. Our Neighbors want to talk +with you now. + +FIRST NEIGHBOR. Oh, no! We would rather hear you tell your Grandmother +about the sermon and the music. + +GRANDMOTHER. What hymns did they sing, Karen? + +KAREN (_as before_). Hymns? They sang--let me see--they sang-- + +[_She stops in confusion._] + +GRANDMOTHER. Why, Karen! Are you ill? + +SECOND NEIGHBOR. No, Grandmother, Karen is not ill. She is ashamed. She was +not thinking of the beautiful music nor of the sermon this morning. Is that +not true, Karen? + +KAREN (_ashamed_). Y-e-s-- + +GRANDMOTHER. What is this? + +THIRD NEIGHBOR. Tell your Grandmother what you were thinking about in +church, Karen. + +KAREN. I was thinking about--about--my new shoes. + +GRANDMOTHER. A great thing to think about in church--a pair of plain black +shoes! + +FOURTH NEIGHBOR. She did not wear her black shoes; she wore _red shoes!_ + +GRANDMOTHER (_gasping_). Red shoes--to church? + +FIRST NEIGHBOR (_nodding_). Every one was terribly shocked! + +GRANDMOTHER (_still gasping_). Red shoes to church! + +SECOND NEIGHBOR. Even the pastor looked at her shoes! + +GRANDMOTHER (_indignantly_). Red shoes to church! + +THIRD NEIGHBOR. The choir looked! All fixed their eyes on Karen's red +shoes. + +GRANDMOTHER. It is the most shocking thing I ever heard! Do you hear me, +Karen? + +KAREN (_hanging her head in shame_). Yes, Grandmother. + +GRANDMOTHER. You must never, never, so long as you live, wear red shoes to +church again. It is not at all proper. Do you hear me, Karen? + +KAREN (_as before_). Yes, Grandmother. + +FOURTH NEIGHBOR. Do you think she should have her Sunday dinner? + +GRANDMOTHER. Not one bite! She shall stay in her room all day. Do you hear +me, Karen? + +KAREN. Yes, Grandmother. + +GRANDMOTHER. Thank you for telling me, Neighbors. To think of it! Red shoes +to church! + + +SCENE III + +TIME: _the following Sunday, after church_. +PLACE: _the churchyard_. + + * * * * * + +THE GRANDMOTHER. +KAREN. +THE OLD SOLDIER. +THE COACHMAN. + + * * * * * + +[_The_ GRANDMOTHER _and_ KAREN _come from the church. The_ OLD SOLDIER +_stands near the church door. He tries to speak to the Grandmother, but she +does not hear him._] + +KAREN. Wait a moment, Grandmother! The Old Soldier wants to speak with you. + +GRANDMOTHER (_turning_). What do you want, Old Soldier? + +OLD SOLDIER. I want to dust your shoes, madam. + +GRANDMOTHER. That is very good of you. + +(_Old Soldier dusts her shoes_). + +Thank you; now I will go to my carriage while you dust Karen's shoes. + +[_She goes._] + +OLD SOLDIER. Stretch out your foot, little Karen. + +(_Karen thrusts out her foot._) + +What is this? Red shoes for church? + +KAREN. I looked at my old black shoes-- + +OLD SOLDIER (_interrupting_). And then at your new red ones? + +KAREN (_nodding_). Yes, and then at my black ones again-- + +OLD SOLDIER (_interrupting_). And then put on your red ones! + +KAREN. Sh-h! Grandmother must not know. + +OLD SOLDIER. She can't hear, for I am talking through my long red beard. + +KAREN. Why is your beard so red, Old Soldier? + +OLD SOLDIER. To make more light for my eyes--that I may see without +looking. + +KAREN. See without looking? + +OLD SOLDIER (_nodding_). I was not in the church, yet I saw you clearly +when you knelt at the altar and raised the golden cup to your lips. + +KAREN (_surprised_). You saw that? + +OLD SOLDIER (_nodding_). And more--I saw your thoughts. + +KAREN. You saw my thoughts? + +OLD SOLDIER (_nodding_). It was to you as if your red shoes passed before +your eyes in the cup. Am I not right? + +KAREN (_showing fear_). Y-e-s-- + +OLD SOLDIER. And I saw by the light of my beard that you forgot to sing the +hymns; eh, Karen? + +KAREN. Y-e-s-- + +OLD SOLDIER. And that you forgot to say your prayers; eh, Karen? + +KAREN. Y-e-s-- + +OLD SOLDIER. You were thinking of your red shoes all the time. + +KAREN. Y-e-s, Old Soldier. + +OLD SOLDIER (_holding Karen and stooping until his beard covers her +shoes_). Cover and touch and change, my beard! Cover and touch and change! + +KAREN. What are you doing? Let me go! + +OLD SOLDIER (_holding her firmly_). I am turning your red shoes into +dancing shoes! + +KAREN. I am afraid of you! Let me go! + +OLD SOLDIER (_slapping soles of her shoes with hand_). Now I have made them +stick fast to your feet! + +KAREN (_calling_). Grandmother! Grandmother! + +OLD SOLDIER. Now you may go! Ha, ha! + +KAREN. Why! I am dancing! I can't stop! Grandmother! Grandmother! + +GRANDMOTHER. What is this? Mercy on me! She is dancing down the street! Run +after her, Coachman! Quick! Stop her! + +COACHMAN (_running after Karen_). Stop, Mistress Karen! I'm after you! + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER (_calling after Coachman_). There she goes around the corner! + +COACHMAN (_calling off_). I'll get you, Mistress Karen! Just stop a bit! + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER. My poor Karen! My poor Karen! + +COACHMAN (_returning_). I couldn't catch her, madam! She danced right out +of the town gate! + +GRANDMOTHER. Out of the town gate? + +COACHMAN. Yes, madam, and straight for the dark wood. + +GRANDMOTHER. We will drive after her! + +[_Coachman jumps to his seat._] + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER. Quick, Coachman, quick! We must catch her before she gets to +the dark wood. My poor Karen! My poor Karen! + +[_The carriage dashes off._] + + +SCENE IV + +TIME: _three days later; evening_. +PLACE: _the dark wood. A hut is seen among the vines_. + + * * * * * + +THE FORESTER. +HIS SON. +KAREN. +THE EXECUTIONER. +THE OLD SOLDIER. +THE FAIRY QUEEN. +MOON. + + * * * * * + +[_The_ FORESTER _and his_ SON _are felling a tree._] + +KAREN (_heard calling off_). Stop me! Stop me! + +SON. Heard you that cry? + +FORESTER (_looking off_). Mercy on us! 'T is the dancing girl I told you +of! + +[_Enter_ KAREN, _dancing._] + +KAREN. Stop me, Forester! + +FORESTER. No, no! I dare not! + +KAREN (_to Son_). Stop me, I pray you! Three days have I danced! I can +endure it no longer! + +SON (_to Forester_). Come, let us help her! + +FORESTER. Do not touch her! She is bewitched! + +KAREN. 'T is my shoes are bewitched--not I! + +SON. I say, little maid, pull off your shoes! + +KAREN. They will not come off. See! + +[_She pulls at her shoes._] + +SON (_starting towards Karen_). I'll get them off, bewitched or not +bewitched! + +FORESTER (_seizing Son_). Would you get yourself into trouble? Come home +with me! + +[_Forester runs from wood with Son. The_ MOON _arises suddenly in a fir +tree._] + +KAREN. O Moon, see how I dance below you! Pray tell me how to break this +spell! + +MOON. Ha, ha, ha! + +[_The Moon changes into the red beard of the_ OLD SOLDIER.] + +OLD SOLDIER. My beard makes moonlight for me that I may watch you dance. + +KAREN. Mercy, Old Soldier! I pray you break your spell! + +OLD SOLDIER. You forgot to say the prayers! You thought only of your red +shoes! + +KAREN. I will go barefoot to church! + +OLD SOLDIER. You whispered "red" to the Shoemaker! + +KAREN. I will never deceive my dear Grandmother again! Have pity! + +OLD SOLDIER. You shall dance in your red shoes till you are pale and cold! +By night and by day you shall dance; in sunshine and in rain; in snow and +in sleet. Over highways and byways shall you dance; in dark swamps and on +mountain tops. You shall go on dancing, dancing, dancing, forever and ever! + +[_He disappears._] + +KAREN. I cannot dance on forever! I cannot! I cannot! + +(_Weeping; pause._) + +Well, I know a way to break the spell, and I'll do it! + +(_Crossing to hut of the_ EXECUTIONER; _knocking._) + +Come out! Come out! + +EXECUTIONER (_from within the hut_). Come in! + +KAREN. I cannot come in; I must dance. + +EXECUTIONER. Then I will come out. + +(_The Executioner comes out from hut._) + +Well, do you know me? + +KAREN. You are the Executioner. + +EXECUTIONER. I am the Executioner. I cut off the heads of wicked people +with this great ax. + +KAREN. Do not strike off my head! + +EXECUTIONER. And why not strike off your head, pray? + +KAREN. I must have that to repent of my sin. So please to cut off my feet. + +EXECUTIONER. It shall be as you say. Thrust out your foot, maid. + +[_Enter_ FAIRY QUEEN.] + +FAIRY QUEEN. Stay, Executioner, stay! I've come to save you, Karen! + +KAREN. To save me? + +FAIRY QUEEN. Whenever a child repents of a sin, lo, I am there to save. + +KAREN. Will you remove this spell from me? + +FAIRY QUEEN. Will you give up your red shoes? + +KAREN. Gladly! Gladly! I wish I might never see them again! + +FAIRY QUEEN. Then dance to me that I may touch you with my wand. + +[_Fairy Queen touches Karen's shoes with her wand. The shoes fall off._] + +KAREN. Dear Fairy Queen! Dear Fairy Queen! I thank you! I thank you! + +FAIRY QUEEN. Look, Karen, your shoes are dancing away! Soon they will be +lost to you forever. Shall I not bring them back? + +KAREN. No, no! Let them go! Now I am free! Now I can rest! + +FAIRY QUEEN. Then come, dear child, I will guide you to your home. + + + + +THE STORY OF ALI COGIA + + +SCENE I + +TIME: _one evening_. +PLACE: _the house of a merchant in Bagdad_. + + * * * * * + +THE MERCHANT. +THE MERCHANT'S WIFE. + + * * * * * + +[_The_ MERCHANT _and his_ WIFE _are at supper._] + +WIFE. Our neighbors bought some fine olives to-day. It has been a long time +since we have had olives. I am quite hungry for them. + +MERCHANT. Now you speak of olives, you put me in mind of the jar which Ali +Cogia left with me. + +WIFE (_pointing to a jar in another part of the room_). There is the very +jar waiting for him against his return. + +MERCHANT. Certainly he must be dead, since he has not returned in all this +time. Give me a plate; I will open the jar, and if the olives be good, we +will eat them. + +WIFE. Pray, husband, do not commit so base an action. You know nothing is +more sacred than what is left to one's care and trust. + +MERCHANT. But I am certain All Cogia will never return. + +WIFE. And I have a strong feeling that he will. What will he think of your +honor if he finds the jar has been opened? + +MERCHANT. Surely a jar of olives is not to be guarded so carefully, year +after year. + +WIFE. That is Ali Cogia's affair, not ours. Besides, the olives can't be +good after all this time. + +MERCHANT (_taking a plate_). I mean to have a taste of them, at least. + +WIFE (_indignantly_). You are betraying the trust your friend placed in +you! I will not remain to witness it. + +[_She leaves the room. The Merchant crosses and takes cover from jar._] + +MERCHANT (_looking in jar_). My wife was right--the olives are covered with +mould, but those at the bottom may still be good. + +[_He turns the jar up and shakes out the olives. Several gold pieces fall +out._] + +MERCHANT. What is this? Gold pieces! As I live! Gold! gold! + +[_He shakes the jar again; a shower of gold pieces fall._] + +MERCHANT (_dropping the jar in astonishment_). A thousand pieces at least! +The top of the jar only was laid with olives! + +(_He puts the gold into his pockets._) + +To-night, when my wife is asleep, I will fill the jar entirely with fresh +olives, for these show they have been disturbed. And I will make up the jar +so that no one, except Ali Cogia himself, will know they have been touched. + +[Illustration: "A THOUSAND PIECES AT LEAST!"] + + +SCENE II + +TIME: _one month later; a moonlight night_. +PLACE: _a small court opening upon a narrow street of Bagdad_. + + * * * * * + +THE CALIPH. +THE GRAND VIZIER. +FIRST CHILD, _who plays he is the Cauzee_[Footnote: A Mohammedan judge.] +SECOND CHILD, _who plays he is the officer_. +THIRD CHILD, _who plays he is Ali Cogia_. +ZEYN, _who plays he is the Merchant_. +TWO BOYS, _who play they are Olive Merchants_. +MANY OTHER CHILDREN, _who look on_. + + * * * * * + +[_The_ CALIPH, _accompanied by his_ GRAND VIZIER, _enters the narrow street +upon which the court opens. They are in disguise, appearing as merchants._] + +CALIPH. Perhaps we may hear some talk of this affair of Ali Cogia and the +merchant, as we go through the city to-night. + +VIZIER. It is possible, O Commander of the true Believers! The affair has +made a great noise in Bagdad. + +CALIPH. Ali Cogia carried the merchant before the Cauzee, I believe. + +VIZIER. Yes; he claimed that the merchant had taken from him one thousand +pieces of gold. + +CALIPH. Proceed; I would know all. + +VIZIER. Ali Cogia left with this merchant, so he says, a jar in which he +had placed this money. Upon his return, which was but yesterday, he went +to the merchant, and, having received the jar, opened it. To his surprise +he found that the gold, which he had hidden below a layer of olives, was no +longer there. + +CALIPH. Ah, that is what Ali Cogia says. What says the merchant? + +VIZIER. The merchant made oath before the Cauzee that he did not know there +was money in the jar, and so of course could not have taken it. + +CALIPH. And the Cauzee dismissed the merchant, I believe. + +VIZIER. Yes, Commander of the Faithful, the merchant was acquitted. + +CALIPH. This Ali Cogia presented a petition to me to-day, and I promised to +hear him to-morrow. Would that I could know the truth of the matter that I +may give a just sentence! + +[_They arrive at the court where several_ CHILDREN _are playing in the +moonlight. The Caliph stops to watch them._] + +FIRST CHILD. Let us play that the Cauzee is trying the Merchant. + +SECOND CHILD (_joyfully_). Yes, yes! + +THIRD CHILD (_joyfully_). Yes, yes! + +ALL CHILDREN (_clapping their hands_). Yes, yes! + +CALIPH (_softly to Vizier_). Let us sit on this bench. I would know what +these children are playing. + +[_They sit, but are not seen by children._] + +FIRST CHILD (_taking his seat with great dignity_). I choose to be the +Cauzee! + +SECOND CHILD (_taking his place behind the Cauzee_). I choose to be the +Officer! + +THIRD CHILD. I choose to be Ali Cogia! + +CAUZEE. Who chooses to be the Merchant? + +[_Long pause; all the Children hang back._] + +CAUZEE. Come, Zeyn, you be the Merchant. + +ZEYN. Not I! The part does not please me. + +OFFICER. Would you spoil everything, Zeyn? + +ZEYN. Oh, well, then, I'll be the Merchant this time. + +CAUZEE. Officer, bring in the accused and his accuser. + +[_The Officer presents the Merchant and Ali Cogia before the Cauzee._] + +CAUZEE. Ali Cogia, what charge have you to make against this Merchant? + +ALI COGIA (_bowing_). Sir, when I journeyed from Bagdad seven years ago, I +left with this Merchant a jar. Now, into this jar I had put, with some +olives, a thousand pieces of gold. When I opened the jar, I found that it +had been entirely filled with olives; the gold had disappeared. I beseech +your honor that I may not lose so great a sum of money! + +CAUZEE. Merchant, what have you to say to this charge? + +MERCHANT. I confess that I had the jar in my house, but Ali Cogia found it +exactly as he had left it. Did he ever tell me there was gold in the jar? +No. He now demands that I pay him one thousand pieces of gold. I wonder +that he does not ask me for diamonds and pearls instead of gold. I will +take my oath that what I say is the truth. + +CAUZEE. Not so fast! Before you come to your oath, I should be glad to see +the jar of olives. + +(_Turning to Ali Cogia._) + +Ali Cogia, have you brought the jar? + +ALI COGIA. No; I did not think of that. + +CAUZEE. Then go and fetch it. + +[_Ali Cogia goes._] + +CAUZEE (_to the Merchant_). You thought the jar contained olives all this +time? + +MERCHANT. Ali Cogia told me it contained olives at the first. I will take +oath that what I say is the truth. + +CAUZEE. We are not yet ready for your oath. + +[ALI COGIA _enters. He pretends to set a jar before the Cauzee._] + +CAUZEE. Ali Cogia, is this jar the same you left with the Merchant? + +ALI COGIA. Sir, it is the same. + +CAUZEE. Merchant, do you confess this jar to be the same? + +MERCHANT. Sir, it is the same. + +CAUZEE. Officer, remove the cover. + +(_The Officer pretends to remove the cover._) + +These are fine olives! Let me taste them. + +(_Pretending to eat an olive._) + +They are excellent! But I cannot think that olives will keep seven years +and be so good. Therefore, Officer, bring in Olive Merchants, and let me +hear what is their opinion. + +OFFICER (_announcing_). Forward, two Olive Merchants! + +[_Two_ BOYS _present themselves_]. + +CAUZEE. Are you Olive Merchants? + +BOYS (_bowing_). Sir, we are. + +CAUZEE. Tell me how long olives will keep. + +FIRST OLIVE MERCHANT. Let us take what care we can, they will hardly be +worth anything the third year. + +SECOND OLIVE MERCHANT. It is true, for then they will have neither taste +nor color. + +CAUZEE. If it be so, look into that jar and tell me how long it is since +those olives were put into it. + +[_Both Merchants pretend to examine and taste the olives._] + +FIRST OLIVE MERCHANT. These olives are new and good. + +CAUZEE. You are mistaken. Ali Cogia says he put them into the jar seven +years ago. + +SECOND OLIVE MERCHANT. Sir, they are of this year's growth. There is not a +merchant in Bagdad that will not say the same. + +CAUZEE. Merchant, you stand accused. You must return the thousand pieces of +gold to Ali Cogia. + +MERCHANT. Sir, I protest-- + +CAUZEE (_interrupting_). Be silent! You are a rogue. Take him to prison, +Officer. + +[_All the children seize the Merchant and run from the court, laughing and +shouting._] + +CALIPH (_rising_). I know now what will be a just trial. I have learned it +from the child Cauzee. Do you think I could give a better sentence? + +VIZIER. I think not, if the case be as these children played it. + +CALIPH. Take care to bid Ali Cogia bring his jar of olives to-morrow. And +let two olive merchants attend. + +VIZIER. It shall be done, O Commander of true Believers! + +CALIPH. If the olives be indeed fresh, then the merchant will receive his +punishment and Ali Cogia his thousand pieces of gold. + +(_Starting off; stopping._) + +Take notice of this street, and to-morrow present the boy Cauzee with a +purse of gold. Tell him it is a token of my admiration of his wisdom and +justice. + + + + +THE WILD SWANS + + +SCENE I + +TIME: _a long time ago_. +PLACE: _on the seashore_. + + * * * * * + +ELIZA. +THE GOODY. + + * * * * * + +[_The_ GOODY _is seen walking along the shore._ ELIZA _enters from the +forest._] + +GOODY. Bless me! What is the little girl doing in this lonely place? And +alone, too! + +ELIZA. I seek my eleven brothers. + +GOODY. Ah! Then you must be the Princess Eliza! + +ELIZA (_sadly_). Yes, Goody. + +GOODY. And the eleven brothers you seek are the eleven little princes! + +ELIZA. Yes; do you know them? + +GOODY. I saw them in school one day. Each prince wore a golden crown on his +head, a star on his breast, and a sword by his side. + +ELIZA (_nodding_). They studied very hard, just as princes should. + +GOODY. They wrote on gold slates with diamond pencils. I myself saw them! + +ELIZA. I sat on a little stool of plate-glass. Did you know that? + +GOODY. Oh, yes! And I know about your picture-book worth half a kingdom. + +ELIZA. We were all so happy then! Our dear mother was alive and sometimes +went to school with us. Now all is changed. + +GOODY. What has happened? + +ELIZA. They have driven us from the palace. + +GOODY (_indignantly_). I said so! On the day of that wedding I said so. + +ELIZA. Then you know that my father married again? + +GOODY. Yes, I know. I wept when I heard our good king had married that +wicked queen. + +ELIZA. She drove my brothers away, the very day of the wedding feast. + +GOODY. And now she has driven you away! + +ELIZA (_nodding_). If only I could find my dear brothers! + +GOODY. You may hear something about them very soon. + +ELIZA (_quickly_). Do you know where they are? Tell me! I pray you tell me! + +GOODY (_shaking her head mysteriously_). I cannot say where they are. I +only know what they are. + +ELIZA. I do not understand-- + +GOODY. The wicked queen has turned your brothers into wild swans. + +ELIZA. Wild swans? + +GOODY (_nodding_). I saw them yesterday, at sunrise, flying out over the +sea. Each swan wore a gold crown on his head. + +ELIZA. The queen could not take their crowns from them! + +GOODY. As the swans flew upward, their eleven crowns glittered like eleven +suns. My eyes were dazzled. I was obliged to look away. At that moment the +swans disappeared. + +ELIZA (_sadly to herself_). My poor brothers! I shall never see them again. + +GOODY (_suddenly_). Do you see those great blue bluffs to the south? + +ELIZA. Yes; the sea is dashing against them. + +GOODY. In those bluffs, back from the shore, is a cave. Go at once to that +cave and enter. + +ELIZA. And what shall I do there, good woman? + +GOODY. Perhaps you may learn how to break the spell over your brothers. + +ELIZA (_surprised_). How to break the spell? + +GOODY. Ask no questions, but go at once to the cave. + +ELIZA (_going_). Thank you, good woman. You are very kind to me. + +GOODY. Go now, child, and fear nothing. + +[_Eliza goes; the Goody disappears._] + + +SCENE II + +TIME: _a half-hour later_. +PLACE: _the cave_. + + * * * * * + +ELIZA. +THE FAIRY. + + * * * * * + +[ELIZA _is seen at entrance of cave. She stops; is afraid to enter._] + +ELIZA. I am afraid to enter! It is so dark--I know not what is within! It +may be the den of some wild animal. + +(_Listening._) + +Not a sound do I hear! But wild animals are cunning. They know how to lie +as still as death and then to leap quickly. + +(_Pause._) + +Well, be it so. I will enter, for I must save my +brothers. + +[_She enters the cave._ FAIRY _is within the cave, but invisible._] + +FAIRY. You have courage, little Eliza. + +ELIZA (_showing relief_). Oh! Are you here, good woman? + +FAIRY. Behold! + +[_The cave is filled with light; a beautiful Fairy is seen._] + +ELIZA. Ah! I thought it was the Goody. + +FAIRY. No matter, dear child. I knew you were to come here. + +ELIZA. I was afraid to enter. + +FAIRY. But you did enter. Your love for your brothers was greater than your +fear. + +ELIZA. It was that which gave me courage. + +FAIRY. It was a test of your courage. And now I can tell you how to break +the spell over your brothers. + +ELIZA. I will do whatever you say. + +FAIRY. You will suffer greatly. + +ELIZA. What matter, if I save my brothers! + +FAIRY (_nodding_). Then listen. Do you see the stinging nettles which I +hold in my hand? + +ELIZA. Yes, dear Fairy. + +FAIRY. You must gather great quantities of these. + +ELIZA. I noticed many of the same sort growing near this cave. + +FAIRY (_shaking head_). You must gather only those that grow in graveyards. + +ELIZA. It shall be exactly as you say, dear Fairy. + +FAIRY. The nettles will make blisters on your hands. + +ELIZA. I will not think of myself; I will think only of my brothers. + +FAIRY. Break the nettles into pieces with your hands and feet, and they +will become flax. From this flax you must spin and weave eleven coats with +long sleeves. If these eleven coats can be thrown over the eleven swans, +the spell will be broken. + +ELIZA. It shall be done. + +FAIRY. But remember, that from the moment you begin your task, until it is +finished, you must not speak. Even though it should occupy years of your +life, you must not speak. + +ELIZA. I shall remember. + +FAIRY. The first word you utter will pierce through the hearts of your +brothers like a dagger. Their lives hang upon your tongue. Go now and begin +your task. + +ELIZA (_going_). I go, dear Fairy. + +FAIRY. Remember all I have told you, dear child. Farewell! + +[_Eliza goes; the cave becomes dark; the Fairy disappears._] + + +SCENE III + +TIME: _two days later_. +PLACE: _a distant country; the King's palace_. + + * * * * * + +THE KING. +HIS WICKED UNCLE. +ELIZA. +GUARDSMEN. +SERVANTS. + + * * * * * + +[_The_ WICKED UNCLE _stands waiting to receive the King. Enter the_ KING +_with_ ELIZA. _She is pale and sad._] + +WICKED UNCLE. Welcome, your Majesty! Welcome home from your hunt! But who +is this maiden? + +KING. I know not, my Uncle. + +WICKED UNCLE. What? + +KING. My huntsmen found her in a cave in a far-off country. + +WICKED UNCLE. In a cave? Alone? + +KING (_nodding_). Alone; spinning coats out of flax. + +WICKED UNCLE. This is very strange. + +(_To Eliza._) + +Why were you all alone in a cave, and why were you spinning coats? + +(_Eliza shakes her head._) + +KING. She is dumb, Uncle. Not a word has she uttered since we found her. + +WICKED UNCLE. Why did you bring her with you? + +KING. I will make her my queen. + +WICKED UNCLE (_angrily_). Your queen? + +KING. See how beautiful she is. + +WICKED UNCLE (_whispering to King_). She is a witch! + +KING. Nonsense! She is as good as she is beautiful. + +WICKED UNCLE (_whispering as before_). She has bewitched your heart! + +KING. Nonsense, I say! She did not want to leave the cave. She wept +bitterly when I put her on my horse. + +(_He turns to the servants._) + +Let the music sound! Prepare the wedding feast! + +(_He turns to Eliza, who weeps._) + +Do not weep, my beautiful maid. + +WICKED UNCLE (_whispering to King_). She is not beautiful. She has +bewitched your eyes. + +KING. I will not listen to you! Go, bid them ring the church bells. + +WICKED UNCLE (_going; speaking aside_). I must poison his heart against her +in some way; else I'll never wear the crown. + +[_Wicked Uncle goes._] + +KING (_to Eliza_). Do not weep. You shall be dressed in silks and velvets +and I will place a golden crown upon your head. + +(_Eliza weeps and wrings her hands._) + +Well, then, I know how to make you smile. + +[_The King opens a door into an inner room. Eliza looks in, smiles, and +claps her hands for joy._] + +KING. I thought 't would make you happy! 'T is very like your cave--I had +it made so. + +(_Eliza tries to thank King with her eyes._) + +But no more spinning! Your fingers shall be covered with diamonds instead +of blisters. + +(_Eliza sighs very sadly._) + +Something troubles you, little queen. If you could only tell me of your +grief! + +(_Eliza shakes her head sadly._) + +Well, I can at least save you from a life of labor. You shall be most +tenderly cared for. + +(_Calling._) + +Ho, there, Guardsmen! + +(_Enter_ GUARDSMEN.) + +Guardsmen, behold your queen! + +(_Guards kneel before Eliza._) + +Guardsmen, arise and hear my commands. + +(_Guards rise._) + +Your queen is never to do any of the work about the castle. Do you hear me, +Guardsmen? + +GUARDSMEN (_bowing_). We hear, O King! + +KING. Not even the spinning or weaving. Do you hear me, Guardsmen? + +GUARDSMEN (_bowing_). We hear, O King! + +KING. Those are my commands. Now attend us to the banquet-hall. + +(_To Eliza, who is weeping._) + +Weep no more, little queen. I wish only your happiness. Come, give me your +hand. We go now to the wedding feast. + +[_They go out, the Guards attending._] + + +SCENE IV + +TIME: _two weeks later; sunrise_. +PLACE: _the open just without the town gate_. + + * * * * * + +THE GOODY. +THE WICKED UNCLE. +THE KING. +ELIZA. +HER ELEVEN BROTHERS. +THE EXECUTIONER. +FIRST CITIZEN. +SECOND CITIZEN. +THIRD CITIZEN. +FOURTH CITIZEN. +GUARDS. + + * * * * * + +[_Enter crowds of people from the town gate. Enter the_ GOODY _from the +forest. Enter the_ WICKED UNCLE _from the town gate._] + +GOODY (_to Wicked Uncle_). Why these crowds so early, sir? + +WICKED UNCLE. Do not call me 'sir.' + +GOODY. What shall I say, sir? + +WICKED UNCLE. Say, 'Your Highness.' + +GOODY. But you are not the King, sir. + +WICKED UNCLE. I'm very near it, old woman. + +GOODY. Not so near, sir, as you were, sir. There is the new queen, sir. + +WICKED UNCLE. The new queen is about to die. + +GOODY (_alarmed_). About to die? + +WICKED UNCLE (_nodding_). Aye, because she's a witch. They're bringing her +out here now. + +GOODY. The King permits it? + +WICKED UNCLE (_nodding_). He soon found out the truth about her. + +GOODY. And what was that? + +WICKED UNCLE. Just what I told him the first time I saw her. "She's a +witch," said I, but he would not believe me. + +GOODY. What has so changed him? + +WICKED UNCLE. 'T was I who saw her slip forth from the castle one midnight. +I followed her; straight to the graveyard she went. + +GOODY. To the graveyard? + +WICKED UNCLE (_nodding_). In she went--I following. I saw her gather the +stinging nettles that grow there. + +GOODY. But they would blister her hands. Did she not cry out? + +WICKED UNCLE. Not a sound did she utter! That would prove her a witch, were +there nothing more. + +GOODY. Ah, there is something more, then? + +WICKED UNCLE (_nodding; mysteriously_). I followed her back to the castle; +through the marble halls and up to the little cave room. I saw her break up +the nettles. Then I saw her spin and weave this flax into a magic coat. + +GOODY. Bless me! A magic coat? + +WICKED UNCLE (_nodding_). There were ten of them hanging from the ceiling. + +GOODY. Of course you told the King? + +WICKED UNCLE. Just as soon as I could waken him, but he would not believe +me. He said there was but one coat when they brought her here, and that +there could be but one now. + +GOODY. She worked at night, then, while the castle slept. + +WICKED UNCLE. True queens do not work--nay, can't be made to work. Every +one knows that. + +GOODY. But how did the King find out the truth? + +WICKED UNCLE. I persuaded him to watch with me the next night. Just at +midnight the queen came out. We followed her to the graveyard. "That is +enough," said his Majesty, "she is a witch and must die." + +[_The_ CITIZENS _rush to the gates._] + +CITIZENS (_calling_). See the witch! + +GOODY. Is she coming? + +WICKED UNCLE (_looking_). Yes, she is just within the gate. She rides in an +old cart drawn by an old horse--quite good enough for a witch. + +[_Enter the_ KING _with servants and_ GUARDS. _Behind them is the cart. In +the cart sits_ ELIZA. _She is spinning and weaving, never once looking +up._] + +GOODY. How pale she is! Bless me! She is spinning and weaving. + +WICKED UNCLE. It is the eleventh coat and it will be the last. + +GOODY. How she hurries to finish it! + +[_The cart stops._] + +KING (_to Eliza_). Once again I ask you,--Are you a witch? + +(_Eliza shakes her head._) + +Then give up the coats. They are of no use to any one. + +[_Eliza again shakes her head._] + +WICKED UNCLE. That proves her a witch! Else, she would give up the coats. + +KING (_to Eliza_). Once more,--Will you not give them up? + +[_Eliza shakes her head. The King turns away. He is very sad; his eyes are +filled with tears._] + +FIRST CITIZEN (_calling_). See the witch! + +SECOND CITIZEN (_calling_). See her magic coats! + +THIRD CITIZEN (_calling_). Let us tear them to pieces! + +FOURTH CITIZEN (_calling_). At them, Citizens! Tear them to shreds! + +GOODY (_looking up; speaking aside_). Here come the Wild Swans! Now we +shall see what we shall see! + +[ELEVEN WILD SWANS _descend from the sky and alight on the cart. Each wears +a golden crown._] + +FIRST CITIZEN. Back, Citizens, back! Wild Swans have alighted on the cart! + +FOURTH CITIZEN. What do we care for Wild Swans? Forward, Citizens! + +FIRST CITIZEN. Back, I say! The Swans are beating us with their strong +wings! + +SECOND CITIZEN. Back! back, Citizens! We dare not approach the cart! + +GOODY (_calling to the people_). The Swans have come to save the queen! 'T +is a sign from heaven that she is innocent! + +WICKED UNCLE (_angrily_). Be silent, old woman! + +(_He turns to the Executioner._) + +Executioner, do your duty! + +EXECUTIONER. Out of the cart, witch! + +(_Eliza shakes her head; takes up coats from floor of cart. The Executioner +turns to the Wicked Uncle._) + +She will not come! + +WICKED UNCLE. Seize her--I command you! + +FIRST CITIZEN. Seize her! Seize her! + +GOODY. Look, Citizens, look! She is spreading the coats over the Swans! + +[_Eliza throws the eleven coats over the eleven Swans, who turn to eleven +little princes, but the youngest has a swan's wing instead of an arm, for +the last sleeve was not finished._] + +FIRST CITIZEN. Do you see that, Citizens? They are princes! She has saved +them! + +SECOND CITIZEN. She is no witch! + +THIRD CITIZEN. She is an angel from heaven! + +THE ELEVEN BROTHERS. Dear sister, you have saved us! + +ELIZA. Now I may speak--I am innocent! + +ELDEST BROTHER (_to King_). Yes, she is innocent! + +NINTH BROTHER. How you have suffered for us, dear Eliza! + +CITIZENS (_to Eliza_). Forgive us! + +KING (_to Eliza_). Forgive me! I did not understand. + +WICKED UNCLE (_annoyed, but trying to conceal it_). And I did not +understand, I-- + +KING (_sternly_). Be silent! + +(_To Guards._) + +Seize him! + +(_The Guards seize the Wicked Uncle._) + +Take him to the mountains where the stinging nettles grow. + +WICKED UNCLE. Mercy! Mercy! + +KING. You had no mercy on brave little Eliza! Now you shall gather nettles +for the rest of your life. Away with him, Guardsmen! + +(_The Guards take the Wicked Uncle away. The King turns to his servants._) + +Let the music sound! Bring forth the queen's golden crown! + +(_To Eliza._) + +My whole kingdom shall do you honor! This land has never seen a more +beautiful thing than your love for your brothers. + +GOODY (_whispering aside_). Ring, church bells! Ring of yourselves! + +[_All the church bells are heard ringing._] + +CITIZENS. Hear the church bells! They ring of themselves! + +KING. They ring for this sweet queen whose heart is as good as her face is +beautiful. Come, Citizens! Away now to the castle! Away to the +banquet-hall! + + + + +THE TWO COUNTRYMEN + + +SCENE I + +TIME: _evening_. +PLACE: _a large city; a quiet corner with a high wall back_. + + * * * * * + +FIRST COUNTRYMAN. +SECOND COUNTRYMAN. +FIRST CITY WAG. +SECOND CITY WAG. +MERCHANT. + + * * * * * + +[_Great crowds of people are seen in the streets. The_ TWO COUNTRYMEN _have +just arrived. They find a quiet corner where they place their blankets and +baskets of gourds which they carry._] + +FIRST COUNTRYMAN. I fear something most dreadful must have happened in that +street. See what crowds of people pass that way! + +SECOND COUNTRYMAN. Perhaps there is a fire. And yet-- + +[_He stops, showing he is puzzled._] + +FIRST COUNTRYMAN (_anxiously_). What troubles thee? + +SECOND COUNTRYMAN. Look thou into that other street! It, too, is full of +people, and yet none are gone from here. + +FIRST COUNTRYMAN. Some awful accident hath called them from all parts of +the city. We must find out what it may be. + +[_A_ MERCHANT _passes._] + +SECOND COUNTRYMAN (_to Merchant_). I pray thee stop, citizen. + +(_The Merchant stops._) + +Canst thou tell us what dreadful thing hath befallen this city? + +MERCHANT. What do you mean? + +[TWO CITY WAGS _pass; they stop to listen._] + +SECOND COUNTRYMAN. Whither do they go, these vast multitudes? What dreadful +thing go they to see? + +FIRST COUNTRYMAN. Perhaps they flee from some monster just come out of the +sea? + +MERCHANT. It is ever thus--always the great crowds surging through the +streets. + +[_The Merchant goes._] + +SECOND WAG (_to Countrymen, winking aside at First Wag_). This is your +first visit to a city, I take it? + +BOTH COUNTRYMEN (_bowing_). It is, good sirs. + +FIRST WAG (_winking aside at Second Wag_). You know what happens to +strangers in our city, of course? + +FIRST COUNTRYMAN (_anxiously_). No, good sir. + +SECOND COUNTRYMAN (_anxiously_). Pray tell us what it may be. + +FIRST WAG. 'T is said they become so dazed by the noise of the city and the +rush of such countless numbers, they forget who they are. + +FIRST COUNTRYMAN. Eh? Forget who they are? + +FIRST WAG (_nodding_). Aye. + +(_He winks aside at Second Wag._) + +You have heard of this, dear friend? + +SECOND WAG (_winking aside_). To be sure; 't is quite common. + +SECOND COUNTRYMAN. Forget their own faces? + +SECOND WAG. Aye,--their faces. At least, they are not certain as to whose +faces theirs may be. + +FIRST COUNTRYMAN. Then we dare not leave this corner! + +FIRST WAG. I would not advise it. + +SECOND WAG. It would be most unsafe,--at least for to-night. + +FIRST WAG. Of course there is this danger,--when you awake in the morning +you may not know whether you are yourselves. + +SECOND COUNTRYMAN. Would that I had never left my farm! + +FIRST COUNTRYMAN. Would that I had never left my wife! + +SECOND WAG. Do not despair; there is a way out of your troubles. + +BOTH COUNTRYMEN. Tell us, we pray thee! + +SECOND WAG. Each of you must take a gourd from his basket there and tie it +around his ankle. Then, in the morning, when you awake, you will each know +that it is yourself and none other. + +FIRST COUNTRYMAN (_to Second Countryman, joyfully_). Dost thou hear? By our +gourds we shall know! + +SECOND COUNTRYMAN (_joyfully_). I hear! Thanks and yet again more thanks to +thee, good sir! + +[_The Wags turn to go._] + +FIRST WAG. May you know yourselves in the morning for what you truly are! + +[Illustration: THE TWO COUNTRYMEN] + +[_They go, laughing aside. Each Countryman ties a gourd around his ankle, +wraps his blanket round him, and lies down. They sleep. Pause. + +Enter the_ WAGS _softly, each carrying a small flag. They remove the gourds +from Countrymen's ankles and hide them under their blankets. They then tie +the flags around Countrymen's ankles and go, greatly pleased with their +joke._] + + +SCENE II + +TIME: _the next morning_. +PLACE: _same as Scene I_. + + * * * * * + +FIRST COUNTRYMAN. +SECOND COUNTRYMAN. +FIRST CITY WAG. +SECOND CITY WAG. + + * * * * * + +[_The_ WAGS _are seen peeping around the corner._] + +FIRST WAG (_softly_). They are sound asleep. + +SECOND WAG (_softly_). Then come. + +[_They enter and throw the two baskets of gourds over the wall. They then +retire around the corner, peeping as before._] + +FIRST COUNTRYMAN (_waking; shaking Second Countryman_). Wake up! Wake up! + +[_Each yawns; stretches; throws off his blanket; arises._] + +FIRST COUNTRYMAN (_remembering_). Ah, the gourds! + +[_Each looks at his ankle, then at the other's ankle._] + +SECOND COUNTRYMAN. How's this! + +FIRST COUNTRYMAN. Did we not tie gourds around our ankles? + +SECOND COUNTRYMAN (_nodding_). Why, surely we did. + +FIRST COUNTRYMAN (_looking about_). Did we not have two baskets of gourds +with us? + +SECOND COUNTRYMAN (_nodding_). Surely; there in the corner. + +FIRST COUNTRYMAN (_holding up foot to which flag is tied_). Is this a gourd +or is it not a gourd? + +SECOND COUNTRYMAN. Of a surety it is a flag. + +(_Holding up his foot with flag._) + +And if this be not a gourd, keep thy silence. + +[_The First Countryman stares at the flag, placing his finger on his closed +lips._] + +SECOND COUNTRYMAN. Then it hath indeed happened! + +FIRST COUNTRYMAN. What hath happened? + +SECOND COUNTRYMAN. The dreadful thing foretold by the citizens. I am not I! +Thou art not thou! + +FIRST COUNTRYMAN (_trembling with fear_). How can that be? + +SECOND COUNTRYMAN. I know not. I only know that it is. + +FIRST COUNTRYMAN (_weeping_). I cannot think I am not myself! + +SECOND COUNTRYMAN (_weeping_). Thou needst must think it, whether thou +wouldst or no. + +FIRST COUNTRYMAN. Dost thou indeed think thou art some other person? + +SECOND COUNTRYMAN. If I were myself, would not the gourd still be around my +ankle? + +FIRST COUNTRYMAN. Then who art thou? And who am I? + +SECOND COUNTRYMAN. Alas! I know not. + +[_Enter the_ WAGS.] + +FIRST COUNTRYMAN (_joyfully_). Here come those who will know whether we are +ourselves! + +[_The Wags pretend not to know the Countrymen who are bowing before them. +They pass on._] + +SECOND COUNTRYMAN. Stop, good sirs! + +FIRST COUNTRYMAN. A word with thee! + +[_The Wags stop._] + +SECOND COUNTRYMAN. Dost thou not know us? + +FIRST WAG. I have not that pleasure. + +FIRST COUNTRYMAN. Thou didst talk with us but yester-eve! + +SECOND WAG. Some mistake, I fear, my good man. + +[_The Wags start off._] + +SECOND COUNTRYMAN (_weeping_). Wait! I pray thee, wait! + +(_The Wags stop._) + +Canst thou not tell us who we are? + +FIRST WAG. Do you not know yourselves? + +SECOND COUNTRYMAN. Alas! we are not ourselves. + +FIRST COUNTRYMAN. Thou wouldst know us were we as we were once. + +SECOND WAG. Perhaps those flags will solve the riddle. + +FIRST WAG. True enough; let us look at them. + +[_The Countrymen remove flags and hand them to Wags, who look at them +intently._] + +SECOND WAG (_mysteriously_). Can it be? + +FIRST WAG. It is! It is! + +FIRST COUNTRYMAN. Eh? + +SECOND COUNTRYMAN. Eh? + +SECOND WAG (_to Countrymen_). Your pardon! I do crave your pardon! + +FIRST WAG (_taking a ring from his finger; turning to Second Countryman_). +Please to accept this ring. I shall then know I am forgiven for not +recognizing you at first. + +SECOND COUNTRYMAN (_accepting ring; putting it on the first finger of his +right hand_). Why, yes, I forgive thee. + +SECOND WAG (_to First Countryman, taking off his gold chain_). Please to +accept this chain. By that I shall know I too am forgiven. + +FIRST COUNTRYMAN (_accepting chain; putting it on_). Thou art forgiven. Now +tell me what great person I have become. + +SECOND WAG (_gravely_). Jest with us no more! + +FIRST WAG. We go now to announce your arrival to the Lord Mayor. + +SECOND WAG. Presently, we will return. Await us here. + +[_They go, laughing aside._] + +FIRST COUNTRYMAN. Dost thou know, I have always felt that I was really a +great person. Hast thou not always noticed something unusual about me? + +SECOND COUNTRYMAN. I cannot say that I have. There is, however, certainly +something wonderful about me. I have noticed it for a long time. Hast thou +not felt it when in my company? + +FIRST COUNTRYMAN. I have not. + +SECOND COUNTRYMAN (_indignantly_). Thou hast not? + +FIRST COUNTRYMAN. Never! thou silly goose! + +[_The Second Countryman snatches First Countryman's chain and throws it +over the wall._] + +SECOND COUNTRYMAN. Mind how thou callest me names, thou booby! + +FIRST COUNTRYMAN (_tearing off Second Countryman's ring and throwing it +over the wall_). Silly goose! + +SECOND COUNTRYMAN. I will now depart for my home. I do not desire thy +company. + +FIRST COUNTRYMAN. I likewise will return, and likewise I wish to journey +alone. + +[_They take up their blankets and discover the gourds._] + +FIRST COUNTRYMAN. Eh? + +SECOND COUNTRYMAN. Eh? + +FIRST COUNTRYMAN. Let us tie them around our ankles. We may then discover +whether we are ourselves. + +[_They tie the gourds around their ankles._] + +SECOND COUNTRYMAN (_joyfully_). I am myself! + +FIRST COUNTRYMAN (_joyfully_). And I am myself! + +SECOND COUNTRYMAN. Come, let us journey back together. + +[_They go out. Pause. Enter the_ WAGS. _They remain at entrance, not +knowing Countrymen have gone._] + +FIRST WAG (_whispering_). Do you think the musicians should follow them? + +SECOND WAG (_whispering_). No, they should follow the music. What a joke it +is! + +[_They look around and discover that the Countrymen have gone._] + +FIRST WAG (_sadly_). My ring! + +SECOND WAG (_sadly_). My chain! + + + + +THE MAN AND THE ALLIGATOR + + +SCENE I + +TIME: _the morning after the cyclone_. +PLACE: _The Man's garden_. + + * * * * * + +THE MAN. +THE ALLIGATOR. + + * * * * * + +[_The_ MAN _enters the garden carrying his big stick and small net. The +garden has been almost destroyed by the_ ALLIGATOR, _who still wallows +among the beds._] + +MAN. There should be enough apples on the ground to fill my net. 'T was a +fierce storm last night! + +(_He looks about; sees the Alligator; shows indignation._) + +Thou--within my garden! + +ALLIGATOR (_meekly_). Be not angry with me, O master! By accident I-- + +MAN (_indignantly_). Accident! Thou hast wallowed among my flowers by +accident, hast thou? + +ALLIGATOR. It is true; not of my own will came I hither. + +MAN (_more indignantly_). Thou hast broken my fruit trees by accident, I +suppose! + +ALLIGATOR (_nodding_). It was not of my own intentions, I assure you. I-- + +MAN (_interrupting_). Thou art this moment crushing my strawberry plants +beneath thy great body! I've a mind to beat thee with my big stick! + +ALLIGATOR. Do not beat me, O master! The cyclone is at fault. + +MAN (_surprised_). The cyclone? + +ALLIGATOR (_nodding_). Aye, it blew me here from the river last night. + +MAN. Ha, ha! A likely story! + +ALLIGATOR. I speak the truth. A great waterspout lifted me out of the +river. Then a fierce wind caught me and blew me about as if I were a +feather. Finally, I was dropped here within thy garden. + +MAN (_only half convinced_). Well, there's no cyclone to blow thee back. +Wilt thou be good enough to walk thyself out? + +ALLIGATOR. Alas! I can scarcely move me. I fear some of my ribs are broken. + +MAN. Nonsense! Out with thee! + +ALLIGATOR. But see how the wind has crippled me! It has even blown some of +my claws loose-- + +MAN (_interrupting_). I am sorry for thee, but thou canst not remain here. + +ALLIGATOR. I will go now, if thou wilt help me. + +MAN (_surprised_). _I_ help thee? + +ALLIGATOR (_nodding_). I will be so grateful to thee! + +MAN. Oh, I know how grateful thou canst be! The other animals have told me +that! + +ALLIGATOR. What say they? + +MAN. That thou art the most cruel of all the animals--that thou never dost +any one a favor-- + +ALLIGATOR (_interrupting_). Nonsense! No one could be more grateful for +favors than I! I'll prove it to thee! + +MAN. Prove it? How? + +ALLIGATOR. If thou wilt help me to the river, I'll show thee where to find +the biggest fish. + +MAN. Well--that's something-- + +ALLIGATOR. And when thou wouldst cross the river, I'll carry thee. + +MAN. Of a surety, that's good of thee! Perhaps, after all, thou art not so +black as thou art painted. I'll help thee this time. + +ALLIGATOR. Thanks to thee, master. I will never forget thy kindness; I will +always be thy friend. + +MAN. Why, I am glad to help thee. Now how am I to get thee to the river? + +ALLIGATOR. Carry me, please, O master! + +MAN. What! carry thee? + +ALLIGATOR (_nodding_). I'll get into thy net. + +MAN. Thou get into my small net! + +ALLIGATOR. Only hold thy net open! + +MAN (_holding his net open_). I tell thee, thou canst never get in! + +ALLIGATOR. See how I fold my arms! My legs go under--so! Now I roll myself +up and up and up! And now I am in--all in! + +MAN. Well, seeing is believing! + +ALLIGATOR. Please to tie up thy net, master, that I may not fall out. + +MAN (_tying net_). 'T is done! + +(_Throwing net over shoulder._) + +Thou art heavy! + +ALLIGATOR. I know, it will be hard work for thee, but some day thou wilt +see how grateful I am. + +[_The Man goes, carrying the Alligator over his shoulder and his big stick +in his hand._] + + +SCENE II + +TIME: _the afternoon of the same day_. +PLACE: _the river bank_. + + * * * * * + +THE MAN. +THE ALLIGATOR. +THE WOLF. +THE LEOPARD. +THE RABBIT. + + * * * * * + +[_Enter the_ MAN _carrying the_ ALLIGATOR _over his shoulder. He stops, +throws down his big stick and places the Alligator carefully on the bank._] + +MAN. Our journey is ended, brother. + +(_Untying net._) + +Now then, roll thyself out! + +(_The Alligator comes out of the net._) + +Well, how dost thou feel now? + +ALLIGATOR. Much better, thanks to thee; but I'm very hungry and I find I'm +still quite weak. I pray thee help me down the bank, O master! + +MAN (_helping the Alligator down the bank_). Now, then, thou art close to +the water. + +[_He turns to go._] + +ALLIGATOR. Just a little farther, please. I am still so weak! + +MAN. Then I'll help thee into the water. + +(_He helps the Alligator into the water._) + +Now thou art in; and now I will depart. + +[_He turns to go._] + +ALLIGATOR (_seizing the Man's leg_). Not yet! + +MAN. Let go of my leg! + +ALLIGATOR. Why? + +MAN (_indignantly_). Why! Why! + +ALLIGATOR (nodding_). Why and wherefore? + +MAN. Thou art hurting me! + +ALLIGATOR. It will soon be over. + +MAN. What dost thou mean? + +ALLIGATOR. What I have just spoken. + +MAN. Why dost thou look at me so? + +ALLIGATOR (_slowly_). Because--I--mean--to--eat--thee. + +MAN. Eat me! + +ALLIGATOR (_nodding_). Eat thee. + +MAN. Me? + +ALLIGATOR (_nodding_). Thee. + +MAN. Thou didst promise to be my friend. + +ALLIGATOR. I was only fooling thee. + +MAN. But I helped thee out of trouble. + +ALLIGATOR. No matter--I mean to eat thee. + +MAN. Is that the way to repay a favor--by doing a wrong? + +ALLIGATOR (_nodding_). That's the way of all the animals. + +MAN. Thou art surely mistaken--not all the animals-- + +ALLIGATOR (_interrupting_). There's not one of them remembers a favor or a +friend when hungry. + +MAN. I cannot think that! Suppose we ask the first animal that comes to +drink? + +ALLIGATOR. Ask any of them--I know what they will say. + +[_Enter the_ WOLF. _He comes down the bank to drink._] + +MAN. Wolf, I would question thee. + +WOLF (_gruffly_). Well? + +MAN. How dost thou repay the one who doth thee a favor? + +WOLF (_gruffly, as before_). By doing him a wrong. + +[_The Wolf drinks and goes._] + +ALLIGATOR. Ha, ha, ha! Just what I said! Now I shall eat thee forthwith! + +MAN. I can't believe that every animal would so answer. + +ALLIGATOR. I don't intend waiting for thee to find out. + +MAN. I pray thee wait till the next animal comes to drink! + +ALLIGATOR (_impatiently_). Have I not told thee of my hunger? + +MAN. Listen! Some animal comes through the forest now. + +[_Enter the_ LEOPARD. _He comes down to drink._] + +Leopard, I would question thee. + +LEOPARD (_curtly_). Well? + +MAN. How dost thou repay the one who doth thee a favor? + +LEOPARD (_curtly, as before_). By doing him a wrong. + +[_He drinks and goes._] + +ALLIGATOR. Ha, ha, ha! It is just as I said! I will now eat thee forthwith! + +MAN. I pray thee-- + +ALLIGATOR (_interrupting_). It is now all over with thee! + +MAN (_calling_). Help! help! + +[_Enter the_ RABBIT.] + +RABBIT. A word with thee, Ally dear! + +ALLIGATOR. I shall be busy for a few minutes, Brother Rabbit. + +RABBIT (_going down bank quickly_). Who is this thou art about to dine +upon? Why, 't is the Man! + +MAN. How dost thou repay a favor, Brother Rabbit? + +RABBIT. Why dost thou ask? + +MAN. I found the Alligator in my garden this morning. He had destroyed my +plants, my fruits, and-- + +ALLIGATOR (_interrupting_). I was blown in by the cyclone last night. + +MAN. He said he had been hurt and begged me to help him to the river. He +promised me his friendship if I would do so. + +ALLIGATOR. Ha, ha, ha! I told him I'd show him where to find the biggest +fish. + +RABBIT. And now thou wilt not? + +ALLIGATOR. But I will. He'll find it after he is _inside_ of me. Ha, ha! + +RABBIT. Ha, ha! A good joke! + +ALLIGATOR. I told him I'd carry him across the river. I didn't explain he'd +go _inside_. Ha, ha! + +RABBIT. What a joker thou art, Ally dear! + +(_He turns to the Man._) + +But how didst thou get him here? + +MAN. I carried him in this small net. + +RABBIT (_looking surprised_). Thou art trying to fool me! + +MAN. No, Brother Rabbit, it is quite true. + +ALLIGATOR (_nodding_). Yes, it is true. + +RABBIT. But, Ally, try as thou mightst, thou couldst not so much as get thy +head into that net. + +[Illustration: "HELP! HELP!"] + +ALLIGATOR. But I tell thee I did! + +RABBIT. Ha, ha, ha! That's too funny! + +ALLIGATOR (_angrily_). I do not like thy manners, young man. + +RABBIT. But it's such a joke! Ho, ho, ho! + +ALLIGATOR. Cease thy laughing or I shall eat thee some day! + +RABBIT. I laugh because I must laugh! Ha, ha, ho, ho! + +ALLIGATOR. Thou wilt not believe it, eh? + +RABBIT. Well, not unless I see it. + +MAN. We can prove it to thee, Brother Rabbit. + +RABBIT. Oh, that's good too! Ha, ha, ho! + +ALLIGATOR. Dost thou think we cannot? + +RABBIT. Of course thou canst not! If thou couldst, thou wouldst. + +ALLIGATOR. And we will! Get thy net ready, Man. + +MAN. But how? Thou art holding my leg. + +ALLIGATOR (_freeing the Man; turning to the Rabbit_). We'll show thee just +how it was done, young man. + +RABBIT. Seeing is believing. + +[_The Man brings his net; opens it._] + +ALLIGATOR. See! I put my legs under--so! Then I fold my arms--so! Now I +roll myself up and up and up. And now I am in--all in! + +RABBIT. As I live--thou art! Well, seeing is believing. But how couldst +thou remain within the net? It is quite open. + +ALLIGATOR. Tie it up, Man. Show him exactly how we did it. + +MAN (_tying net_). I tied it tight--like this, Brother Rabbit. + +RABBIT. Is it quite tight? + +ALLIGATOR. Let him try the knot, Man. + +RABBIT (_trying knot_). Most truly, it is tight. + +(_Turning to the Alligator._) + +Thou dost look as if thou couldst not move, Ally dear. + +ALLIGATOR. Of a surety--I cannot. + +RABBIT. Well, Brother Man, now that thou hast him, don't be foolish enough +to let him go. Get thy big stick and beat him to death. + +ALLIGATOR (_surprised_). Eh? + +MAN (_not heeding the Alligator_). That is just what I will do, that I +will! Thanks to thee for helping me, Brother Rabbit. + +ALLIGATOR. Have pity! + +RABBIT (_not heeding the Alligator_). No thanks are necessary, Brother Man. +I haven't forgotten the good turnips thou didst give me last winter when +the ground was covered with snow. Some of us know how to return favor for +favor. + + + + +THE SONG IN THE HEART + + +SCENE I + +TIME: _once upon a time_. +PLACE: _in the house of the poor Spinner_. + + * * * * * + +THE DAME. +ISABEL, _her daughter_. +FLAT-FOOT } +HANGING-LIP } _the Three Great-Aunts_. +BROAD-THUMB } +THE QUEEN. + + * * * * * + +[_The living-room in the Dame's cottage is seen. The_ DAME _and the_ THREE +GREAT-AUNTS _are spinning._ ISABEL _sits at her spinning-wheel, but has +stopped work and looks out of the open door._] + +DAME (_sharply_). Isabel! You gaze without! + +ISABEL (_nodding_). Upon those great trees, mother. How beautiful they are! +How like sentinels they stand at our door guarding us! + +FLAT-FOOT (_growling_). What nonsense! You'd better be spinning. + +ISABEL (_not heeding_). Mother, see you that old oak! See how proudly it +lifts its head up into the sky! 'T is the king of the forest! + +HANGING-LIP (_growling_). I never heard such foolish talk! + +ISABEL (_not heeding_). Mother, a song has come to me,--'t is a song to the +beautiful trees. Let me stop to write it down, while my heart is full of +it. + +BROAD-THUMB (_to the Dame_). Do not permit it, sister! She should be +working. She can scarcely spin at all. + +DAME (_showing much feeling_). Isabel! Isabel! Not a maid in the village +thinks of anything but spinning. + +ISABEL. Mother, let me stop! Soon the song will leave me. I may ne'er hear +it again. + +FLAT-FOOT (_to the Dame_). Sister, she will bring you to shame. + +HANGING-LIP. Already the village folk laugh at her! + +BROAD-THUMB (_nodding_). Aye! They call her "the Dreamer." I myself have +heard them. + +ISABEL. I care not what they call me! + +DAME (_raising her voice_). Nay, but I care. I'll not have you different +from other folk. + +HANGING-LIP. _We_ were never seen gazing upon trees! + +BROAD-THUMB (_nodding_). Aye! _We_ never heard songs within _us_! + +FLAT-FOOT (_nodding_). Aye! _We_ think only of our work! + +ISABEL. What's your work may not be mine! + +DAME (_decidedly_). There's no other work for a maid than spinning. + +ISABEL (_sighing_). I like it not! Though every other maid in all the world +did love to spin, I'd say the same--I like it not! + +DAME (_to Flat-foot; showing alarm_). Sister, close the door, that none +without may hear such words. + +[_Flat-foot rises, but is too late. The_ QUEEN _enters from the street._] + +QUEEN (_showing displeasure_). How now! What's all this noise? I heard it +from the street! + +[_All are frightened; Isabel weeps._] + +DAME (_bowing_). 'T will not happen again, your Majesty. + +QUEEN (_looking at Isabel_). Have they beaten you, my child? + +ISABEL (_still sobbing_). N--o--, your Majesty. + +QUEEN (_to the Dame_). Tell me why your daughter weeps. + +DAME (_more frightened_). She weeps because--because-- + +[_She stops in confusion._] + +QUEEN. Well--well? + +DAME. Because--because--I will not let her spin. + +QUEEN (_showing surprise_). Because you will not let her spin? + +DAME (_nodding_). Yes, your Majesty. + +QUEEN. Why, this is most strange. + +DAME (_nodding_). Would I but let her, she'd spin from morn till night, and +from then on till morn again. + +QUEEN. I see how it can be so. There's nothing I like better than spinning. + +DAME. She weeps whenever I make her leave off. + +QUEEN. 'T is because she loves it! I am never more pleased than when the +wheels are whirring. + +DAME. But stop she must, for to-day at least. There is no more flax. + +QUEEN. I have rooms full of flax. Let your daughter come to my castle. She +may spin there as much as she pleases. + +DAME (_now, most frightened_). I--I fear she would be a trouble to you. + +QUEEN. Why, no! In fact, I am so pleased with your daughter's industry I +will have my son marry her. + +DAME (_so frightened she can scarcely breathe_). O your Majesty-- + +QUEEN (_interrupting_). But first she must spin all my flax. There are +three rooms full of it--from top to bottom. + +ISABEL (_showing alarm_). Three rooms full! + +QUEEN (_nodding_). Aye, my dear, and when you have spun it all, you shall +become a princess! + +(_Turning to the Dame._) + +Bring your daughter to my castle to-morrow. + +DAME (_bowing_). Yes, your Majesty. + +QUEEN (_going_). To-morrow, mind you. + +DAME (_bowing_). Yes, your Majesty. + +[_All bow to the Queen, who goes._] + +ISABEL. Mother, how could you tell the Queen I love to spin? + +DAME. Think you I'd let the truth be known? I'd not shame myself so! + +ISABEL. I could not spin three rooms of flax in three hundred years. + +DAME. Alas! alas! What shall we do? + +FLAT-FOOT (_to Hanging-lip and Broad-thumb_). Sisters, let us speak +together. + +[_The three Great-Aunts whisper together for a moment._] + +HANGING-LIP. Isabel, we will help you-- + +FLAT-FOOT (_interrupting_). On one condition! + +BROAD-THUMB (_nodding_). Aye,--on a certain condition! + +ISABEL. What do you mean? + +HANGING-LIP. We'll spin the flax for you-- + +FLAT-FOOT (_interrupting_). On one condition. + +BROAD-THUMB (_nodding_). Aye,--on a certain condition! + +DAME. You speak in riddles, sisters. + +HANGING-LIP. 'T is this--if Isabel will invite us to her wedding, we'll +spin the flax. + +FLAT-FOOT. That's the condition. + +BROAD-THUMB (_nodding_). Aye,--that's the certain condition. + +ISABEL. 'T will be deceiving the Queen and the Prince, both. + +DAME. There's no other way to mend things. Go now! Since you are so soon to +be a princess, I'll give you leave to write down your song. + +ISABEL (_sadly_). The song is no longer in my heart. + +DAME. 'T is well. Now listen--you must never let the Prince know about your +songs. He'd send you from the castle. + +BROAD-THUMB (_nodding_). Besides, 't would bring great shame upon us, for +we are a family of spinners. + +FLAT-FOOT (_nodding_). Aye, aye! + +HANGING-LIP (_nodding_). Aye, aye! + + +SCENE II + +TIME: _one week later_. +PLACE: _the Queen's castle_. + + * * * * * + +THE QUEEN. +THE PRINCE. +ISABEL. +THE THREE GREAT-AUNTS. + + * * * * * + +[_The_ THREE GREAT-AUNTS _are working at the last heap of flax in the third +room._ ISABEL _watches them anxiously._] + +ISABEL. Think you to finish before the Queen comes? + +FLAT-FOOT (_nodding as she treads the wheel_). Aye, if treading the wheel +will do it! + +HANGING-LIP (_nodding, as she moistens the thread over her lip_). Aye, if +moistening the thread will do it! + +BROAD-THUMB (_nodding, as she presses the thread with her thumb_). Aye, if +pressing the thread will do it! + +ISABEL. 'T is to-day she brings the Prince. + +FLAT-FOOT. Another minute and we'll have finished. + +ISABEL. Should they come suddenly, you know where to hide--behind those +curtains there. + +THREE GREAT-AUNTS (_nodding_). Aye, we know! + +[_A noise is heard in the distance._] + +ISABEL. Some one comes! + +(_She runs to the door, opens it, and looks out._) + +The Prince comes down the stairs! Quick, aunts, quick! + +FLAT-FOOT (_rising_). Well, 't is finished! + +ISABEL (_looking into hall_). Now comes the Queen! To the curtains, quick! + +[_The three Great-Aunts hide behind the curtains, just as the_ QUEEN _and +the_ PRINCE _enter._] + +QUEEN. Well, have you finished? + +ISABEL (_pointing to a pile of thread_). There's the last of it, your +Majesty. + +QUEEN (_looking at thread_). Spun in the finest style, too! Prince, but a +week ago these rooms were filled with flax. Now look at them. + +PRINCE (_looking about_). Empty, as if flax had never been here. 'T is +wonderful how one maid could do so much! + +QUEEN. 'T is most wonderful! + +PRINCE. The wedding shall take place to-day. Isabel, come now with us. + +ISABEL (_thoughtfully_). No, no! I cannot! + +PRINCE. You cannot? + +QUEEN. You cannot! What do you mean? + +ISABEL (_to the Queen_). Let me go home, your Majesty! + +QUEEN. Go home! + +ISABEL. I am not worthy-- + +PRINCE (_interrupting_). Nonsense! That you are poor is nothing to me. + +QUEEN (_going_). Come, the wedding bells shall ring at once! + +ISABEL. Your Majesty--I--I--did not spin the flax. + +QUEEN. What! You did not spin the flax? + +PRINCE. What is this? + +ISABEL. I deceived you--I can scarcely spin at all. + +QUEEN. But this pile of thread here-- + +ISABEL. 'T was spun by another. + +PRINCE. Another? + +ISABEL. Yes, Prince. + +QUEEN. You shall marry that one then, my son! + +(_To Isabel._) + +As for you, return to your hovel! + +(_Isabel turns to go._) + +Stay! + +(_Isabel stops._) + +Who is the wonderful spinner? Tell us where to find her. + +ISABEL. Here, your Majesty. + +QUEEN. Hidden away, I suppose? + +ISABEL (_nodding_). Yes, your Highness, behind those curtains. + +QUEEN. Go, my son, and draw the curtains. You shall be the first to look +upon your bride. + +[_The Prince draws the curtains and sees the three Great-Aunts, who sit in +a row. They smile and smile upon the Prince, who stands looking at them in +astonishment._] + +FLAT-FOOT. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your foot so flat? + +FLAT-FOOT. From treading the wheel! From treading the wheel! + +HANGING-LIP. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your lip so long? + +HANGING-LIP. From moistening the thread! From moistening the thread! + +BROAD-THUMB. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your thumb so broad? + +BROAD-THUMB. From pressing the thread! From pressing the thread! + +[_The Prince turns to Isabel._] + +FLAT-FOOT (_quickly_). Isabel does naught but gaze and gaze, on flowers and +trees and running brooks. Ha, ha, ha! + +PRINCE. Is this true, Isabel? + +ISABEL (_timidly_). Yes, Prince. + +HANGING-LIP. She says these flowers and trees and running brooks do sing +her songs. Ha, ha, ha! + +PRINCE. Is this true, Isabel? + +ISABEL (_as before_). Yes, Prince. + +BROAD-THUMB. And she begs leave to write down these songs. Ha, ha, ha! + +[ILLUSTRATION: THE PRINCE SEES THE THREE GREAT-AUNTS] + +PRINCE. Is this true, Isabel? + +ISABEL (_hanging head_). Yes, Prince. + +PRINCE. Isabel, hang not your head. I'll give you time to write your songs. + +QUEEN. My son-- + +PRINCE (_interrupting_). Nay, nay, mother! The songs please me better than +the flat-foot and the hanging-lip and the broad-thumb of the spinners. +Come, Isabel, you shall be my princess! You shall sing me your songs! You +shall teach me how to gaze upon flowers and trees and running brooks, for +these things have ever been dear to my heart. Come, Isabel, come! + + + + +THE EMPEROR'S TEST + + +SCENE I + +TIME: _one spring; noon_. +PLACE: _an army camp on the banks of a large creek. A village is near by. +To the south is a great forest_. + + * * * * * + +THE EMPEROR. +THE GENERAL. +THE CAPTAIN. +FIRST AIDE. +SECOND AIDE. +THE MAYOR'S WIFE AND SON. +THE RICH MERCHANT'S WIFE AND SON. +THE POOR WOODCUTTER'S WIFE AND HER SON, PIERRE. + + * * * * * + +[_An ante-room in the Emperor's tent is seen. Great curtains separate this +room from the Emperor's room back. An_ AIDE _waits in the ante-room. Enter +the_ GENERAL _from the Emperor's room._] + +GENERAL (_to the Aide_). Have any yet come from the village? The Emperor +would know. + +AIDE. Yes, General. They wait without. + +GENERAL. Bid them enter. + +AIDE (_crossing; speaking to those without_). You will please enter. + +[_Enter the_ MAYOR'S WIFE _and_ SON; _the_ RICH MERCHANT'S WIFE _and_ SON.] + +GENERAL. You have come to see the Emperor? + +THE LADIES. General, we have. + +GENERAL. His Majesty wishes you to leave your sons here in camp until +evening. + +MAYOR'S WIFE. General, could you not tell us the Emperor's plans? + +GENERAL. Yes, madam. The Emperor must march southward where the enemy is in +camp. He wishes a guide who can lead him safely through this great forest. + +RICH MERCHANT'S WIFE. We were told the Emperor would greatly honor the lad +he chooses. + +GENERAL. 'T is true, madam. The lad chosen will be made an aide. + +MAYOR'S WIFE. I thought only princes were chosen for the Emperor's aides. + +GENERAL. They have always been princes. This is a great opportunity for the +lads of this village. + +MAYOR'S WIFE. But how will the Emperor make a choice? + +GENERAL. A test will be given every boy who comes. This test will prove his +fitness to be guide. + +[_Enter an_ AIDE _from Emperor's room._] + +AIDE. General, the Emperor would see you. + +[_The General bows to the ladies and leaves._] + +AIDE (_turning to the ladies_). The Emperor will receive you presently. + +[_Aide goes. Enter the_ POOR WOODCUTTER'S WIFE _and_ SON.] + +POOR WOODCUTTER'S WIFE (_timidly_). I heard the Emperor wanted a guide. + +MAYOR'S WIFE. The Emperor only wants the boys of the best families, madam. + +[_Enter the_ EMPEROR, GENERAL, _and_ CAPTAIN; _they remain back; are not +seen by the ladies._] + +POOR WOODCUTTER'S WIFE (_sighing_). I suppose that is true, but Pierre is a +smart boy. If the Emperor could only see him-- + +RICH MERCHANT'S WIFE (_interrupting_). The Emperor wants a boy with proud +manners such as our boys have. + +EMPEROR (_indignantly_). Fiddlesticks! + +THE LADIES (_bowing_). Your Highness! + +EMPEROR. Fiddlesticks and candles, I say! + +POOR WOODCUTTER'S WIFE. I am sorry, your Majesty. I didn't know how it was. +Come, Pierre. + +[_She turns to go._] + +EMPEROR. Remain. Pierre shall have the test with the others. Ladies, you +shall know whom I have chosen when the test is finished. I bid you +good-day. + +[_The ladies bow and go._] + +EMPEROR (_turning to the boys_). My lads, go through the forest southward, +till you come to the river. You may then return. Captain, see that guards +go with them. My lads, you must not speak the one to the other until I have +again seen you. I must have your word on that. Do you promise? + +BOYS. Sire, we promise. + +EMPEROR. 'T is well. Captain, they are now in your charge. General, a word +with you. + +[_The Emperor and General go into Emperor's room. The Captain leads the +boys from the tent._] + + +SCENE II + +TIME: _two hours later_. +PLACE: _the Emperor's tent; the Emperor's room_. + + * * * * * + +THE EMPEROR. +FIRST AIDE. +SECOND AIDE. +LUDWIG. + + * * * * * + +[_The_ EMPEROR _is seen sitting at a table looking at maps. Enter an_ AIDE. +_He salutes._] + +EMPEROR. Well? + +AIDE. The prisoner has returned, sire. + +EMPEROR. What prisoner? + +AIDE. The one sent out for the test, sire. + +EMPEROR. Who was sent? + +AIDE. Ludwig, the prisoner who has been ill for so long. + +EMPEROR. Ah, yes; bid him enter. + +(_Aide goes; he reënters with_ LUDWIG, _who wears an old, torn army cloak +over his uniform. He salutes._) + +I notice you are a bit lame, Ludwig. + +LUDWIG. Yes, sire; in my left leg. My dog was hit at the same time. + +EMPEROR. Does your dog go to battle with you? + +LUDWIG. If he can slip into the ranks, sire. He always goes where I go, +sire. + +EMPEROR. Then he went with you to-day, of course? + +LUDWIG. Yes, sire. + +EMPEROR. You are sure the boys didn't see you? + +LUDWIG. No one saw me. I kept a sharp lookout. When I came to a clear space +I went to one side, hiding behind trees, to look ahead. Then I ran across. + +EMPEROR. That must have tired you, Ludwig. You're not quite well yet. + +LUDWIG. I found I couldn't leap the streams; I had to climb down the banks +and wade them. + +EMPEROR. You rested by the way, didn't you? + +LUDWIG. Yes, sire, and once I stopped to pick berries. + +EMPEROR. You made the return trip by boat up the creek? + +LUDWIG. Yes, sire. + +EMPEROR. That is all. + +[_The Aide and Ludwig go. The Emperor claps his hands. Enter_ SECOND AIDE. +_He salutes._] + +EMPEROR (_to Aide_). Have the lads returned? + +AIDE. No, sire. + +EMPEROR. Do you know when the Captain expects them? + +AIDE. In about half an hour, sire. + +EMPEROR. Bid their mothers return at that time. I wish them to be present +at the test. + +AIDE. Yes, sire. + +[_He salutes and goes._] + +EMPEROR (_slowly_). Let me see--a lame man; a lame dog; running footprints +across open spaces; wading streams instead of leaping them; stopping to +pick berries--Why, the story reads itself! + +(_He sits at table; takes up maps._) + +Well, we shall see what we shall see! + + +SCENE III + +TIME: _a half hour later_. +PLACE: _the Emperor's tent; the ante-room_. + + * * * * * + +THE EMPEROR. +THE GENERAL. +THE CAPTAIN. +AN AIDE. +THE MAYOR'S WIFE AND SON. +THE RICH MERCHANT'S WIFE AND SON. +THE POOR WOODCUTTER'S WIFE AND SON, PIERRE. + + * * * * * + +[_The_ LADIES _wait in the lower end of ante-room. Back is a great +armchair._] + +MAYOR'S WIFE. I cannot think why the boys were sent into the forest! + +RICH MERCHANT'S WIFE. Nor I! It seems to me the Emperor should have asked +them what they could do. Now, my boy dances so prettily! + +MAYOR'S WIFE. I was certain he would ask them to ride. Now, my boy rides so +well--just like a prince! + +RICH MERCHANT'S WIFE. Well, he will no doubt ask them all these things upon +their return. + +(_She turns to Pierre's mother._) + +You see, madam, how little chance your boy has. I am sure he cannot dance? + +POOR WOODCUTTER'S WIFE (_sadly_). No, madam. + +MAYOR'S WIFE. I am certain he does not ride? + +POOR WOODCUTTER'S WIFE (_sighing_). No, madam. + +[_Enter an_ AIDE; _crosses to Emperor's room; announces at curtains._] + +AIDE. The boys have returned, sire! + +[_Enter the_ CAPTAIN _with the_ BOYS. _Enter the_ GENERAL _from Emperor's +room._] + +GENERAL (_announcing_). The Emperor! + +[_Enter the_ EMPEROR; _all bow._] + +EMPEROR (_sitting in armchair_). I will now give the test. Captain, bring +up the first boy. + +[_The Captain brings up the_ RICH MERCHANT'S SON.] + +EMPEROR. Well, my lad, what did you see in the forest? + +RICH MERCHANT'S SON. Many, many trees, sire. + +EMPEROR. You saw nothing but trees? + +RICH MERCHANT'S SON. That was all, sire--just trees. + +EMPEROR. I shall not want you; you may go. + +RICH MERCHANT'S WIFE. Oh, your Majesty, if you could only see him dance! + +EMPEROR. Candles and cheese! Do I want a dancing guide? Captain, bring up +the next one. + +[_The Captain brings up the_ MAYOR'S SON.] + +EMPEROR. Well, my lad, what did you see in the forest? + +MAYOR'S SON. I saw trees and bushes, sire. + +EMPEROR. Nothing more? + +MAYOR'S SON. No, sire. + +EMPEROR. I shall not want you; you may go. + +MAYOR'S WIFE. Oh, your Majesty, if you could only see him ride! Just like a +prince, sire! + +EMPEROR. Fiddlesticks! Captain, the last boy there. + +[_The Captain brings up_ PIERRE]. + +EMPEROR. Well, my lad, what did you see in the forest? + +PIERRE. I saw that a man had passed southward just before us, sire. + +EMPEROR. How did you know that? Did you see him? + +PIERRE. No, sire, I saw his footprints. He was lame in the left leg. + +EMPEROR. How did you learn that? + +PIERRE. The footprints were deeper on the right side. His dog was lame +also. + +EMPEROR. He had a dog? + +PIERRE. Yes, sire; a lame dog I'm sure, because one of his tracks was +always faint or missing. + +EMPEROR. Did you trace this man and dog by their footprints? + +PIERRE. Yes, sire, to the river. There were traces of them in the grass, in +the mud, in the dust, on rocks, and in still water. I am certain they had +passed but a short time before--not more than a half hour. + +EMPEROR. How could you tell that? + +PIERRE. The grass had not yet straightened up. The tracks in the mud had +not yet filled with water. The prints in the dust were still clear although +a wind was blowing. + +EMPEROR. Good! But how did you know they had but just passed through still +water and over rocks? + +PIERRE. The water had not yet settled, and the rocks were still damp. + +EMPEROR. Good! Very good! + +PIERRE. Sire, I fear this man is one of the enemy! + +EMPEROR. Indeed! What proof have you of that? + +PIERRE. This, sire. + +(_Handing a small piece of cloth to Emperor._) + +'T is the color of the enemy's uniform. + +EMPEROR. It is, my lad. How came you by it? + +PIERRE. I found it on a thorn-bush. It was torn from his cloak, sire. + +EMPEROR. And why from his cloak? + +PIERRE. The thorn-bush was at least three feet from the man's line of +travel. The wind blew the cloak about. + +EMPEROR (_handing the cloth to an aide; whispering to him_). Take this to +Ludwig. + +(_The Aide goes._) + +Well, Pierre, do you think we should be in fear of this enemy? + +PIERRE. I do not know, sire. I only know that he has a good disposition. + +EMPEROR (_surprised_). A good disposition? How do you know that? + +PIERRE. The dog was always near him. When the man stopped to rest, the dog +lay down at his feet. + +EMPEROR. But he may have held the dog there, my lad. + +PIERRE. Not while he was picking berries, sire. + +EMPEROR. So our enemy picked berries, did he? + +PIERRE. Yes, sire, the dog lying by the bushes all the while. + +EMPEROR. Do you think we could capture this man? + +PIERRE. Yes, sire, for he was very tired. + +EMPEROR. How do you know that? + +PIERRE. He climbed down the banks of every small stream. I should have +leaped them. + +EMPEROR. You think it would be an easy matter, then, to follow and capture +him? + +PIERRE. Not easy, sire, for he was always on the lookout. + +EMPEROR. How do you know that? + +PIERRE. Whenever he reached a clear space, he went to one side, hiding +behind trees to look ahead. Then he ran across the open. + +EMPEROR. Your proof of this, my lad? + +PIERRE. His footprints in every clear space showed only the balls of the +feet. + +EMPEROR. Good! You followed him only to the river. + +PIERRE. Those were the orders, sire. Had I gone on, I could have overtaken +him by evening. + +EMPEROR. That you could not, my lad, for the man is now here, in camp. He +returned by boat. Ladies, the test is over. + +(_He turns to Pierre's mother._) + +Madam, your son shall be my guide. I am proud to have a boy of such keen +sight and quick thought in my kingdom. And 't is much to be the mother of +such a lad. I salute you, madam! With greatest respect I salute you! + +[_He bows to the happy woman with great courtesy._] + +EMPEROR (_turning to the ladies_). Ladies, I bid you farewell. + + + + +CHRISTOPHER COLUMBUS + + +SCENE I + +TIME: _one morning; 1484_. +PLACE: _a street in front of King John's palace, Lisbon, Portugal. Gates to +courtyard of palace in background_. + + * * * * * + +CHRISTOPHER COLUMBUS. +SCHOOLMASTER. +CARLOS. +ROQUE.[Footnote: Pronounced _R[=o]'k[=a]_.] +PANCHO.[Footnote: Pronounced _Pän'ch[=o]_ (_ch_ as in _ch_urch.)] +KING JOHN. +COURTIERS. +JESTER. +RIVERRA,[Footnote: Pronounced _R[=e]-ver'rä_.] A SEA-CAPTAIN. +PORTER. +BOYS, HOSTLERS, SERVANTS. + + * * * * * + +[_Enter_ CARLOS, ROQUE _and_ PANCHO. _They carry their school-books. A +noise is heard in courtyard._] + +ROQUE (_stopping; listening_). There's stirring in the King's courtyard! + +[_He runs to closed gates; peeps through a crack._] + +CARLOS. Come, Roque, we shall be late to school. + +ROQUE (_throwing down books_). Come, look! They are laying the red carpets +in the court! + +PANCHO (_throwing down books; peeping_). 'T is for the King they lay them! + +CARLOS. Come, the master will be angry. + +ROQUE. But the King will soon be coming! + +PANCHO. Let's wait and see him, Carlos! + +CARLOS. Not I! I know how the master flogs! Yesterday I came late to +school. + +PANCHO. Why were you late? + +CARLOS. I stopped to watch the crazy Italian, Columbus. + +[_He starts off; the others follow._] + +ROQUE. I saw him once! + +PANCHO. I wish I might see him! + +CARLOS. There he comes now! (_Calling_.) _Loco!_[Footnote: Pronounced +_l[=o]'k[=o]_; Spanish for _crazy_.] _Loco!_ + +ROQUE. Aye, there he is! (_Calling._) _Loco! Loco!_ + +PANCHO (_calling_). _Loco! Loco!_ + +[_Enter_ COLUMBUS, _dignified and gentle. A crowd of_ BOYS _follow._] + +ALL BOYS. _Loco! Loco! Loco! Loco!_ + +[_Enter_ SCHOOLMASTER, _carrying a switch._] + +MASTER (_flourishing switch_). To school with you! To school now! + +[_Boys run off in alarm._] + +MASTER (_turning angrily upon Columbus_). You were teaching them your +foolish notions, sir! + +COLUMBUS (_smiling_). I'd like the chance to do so, master. + +MASTER. Ah, then you _have_ been at it! I saw them all about you! + +COLUMBUS. I taught them nothing, master,--this time. + +MASTER. 'T is well for you, sir, that you did not. The world is flat, sir, +flat! Do you not know that, sir? + +COLUMBUS. I was so taught-- + +MASTER. How do you dare, then, to say the world is round? + +COLUMBUS. Much study and common sense, dear master, have made me dare. + +MASTER. The lessons taught your fathers are good enough for you, sir. + +COLUMBUS. That cannot be, dear master. How, then, could the world move on? + +MASTER. Move on? Hear him talk! Do you think, sir, that an elephant carries +this flat world on his back and walks about with it? Ha, ha! + +[_Gates are opened;_ PORTER _is seen._] + +MASTER (_going_). Go tell the King this world is round! Ha, ha! Go tell the +King! + +[_Schoolmaster goes._] + +PORTER (_seeing Columbus; aside_). Ah, 't is the crazy Italian! + +COLUMBUS. Porter, I seek the King! + +PORTER. Do you think he'll listen to your silly talk? O, I've heard of you! +Away! + +COLUMBUS. Come, let me in! + +PORTER. Away! Away with you, _loco_! + +[_Enter from gates, the_ JESTER _in cap and bells,_ HOSTLERS _and_ +SERVANTS.] + +JESTER. Who's away? Who's crazy? + +PORTER. The Italian there! He who says this world is round! + +JESTER. Round? How now? Round, say you? + +PORTER (_nodding; laughing_). With people on the other side! + +JESTER. A-standing on their heads--so! + +[_Jester stands on his head; all laugh. Enter a_ COURTIER.] + +COURTIER. The King comes! + +[_Enter_ KING JOHN _and many_ COURTIERS.] + +JESTER (_capering about Columbus_). Ha, ha, ha, ha! + +KING. What's this, Jester? + +JESTER. Here's he, sire, who says this world is round! + +[_He capers about Columbus; all laugh._] + +KING. I've heard of your notions, Columbus. So you think there's land to be +discovered, do you? + +COLUMBUS. Yes, your Majesty, I'm sure of it. + +JESTER. With people a-standing on their heads--so! + +[_He stands on his head; all laugh._] + +KING. Silence! Columbus, I've a mind to listen, and give you ships and +money. Have you maps and charts to prove your plans? + +COLUMBUS (_taking maps from cloak_). Yes, sire. + +KING. Wait, then, till I have spoken with my Courtiers. + +[_Columbus bows, retires, and unrolls maps._ CAPTAIN RIVERRA _crosses to +Columbus; talks with him aside._] + +KING (_speaking softly to Courtiers_). You know, my Courtiers, that should +there be new lands, great glory will be given the discoverer of them. + +FIRST COURTIER. Aye, sire, 't will bring him great honor. + +SECOND COURTIER. And riches. + +KING. 'T is I, and I alone, who should have the honor and the riches! + +FIRST COURTIER. Aye, sire! + +SECOND COURTIER. Aye, sire! + +THIRD COURTIER. But nothing can be done without the Italian's maps and +charts. No one but he knows the route over the unknown seas. + +KING. Well, we must have his maps and charts. + +FIRST COURTIER. He'll not sell them, sire. You may depend on that. + +KING. And we'll not buy them. Go, bid my fool take them. + +(_Courtiers showing surprise._) + +Go, I say, and see to it! + +[_Courtiers talk aside with Jester._] + +RIVERRA (_to Columbus_). I wish you well, sir, for I believe that what you +say is true. + +COLUMBUS. I'm glad to hear you say that, Captain. + +RIVERRA. My ship is in the harbor now, and I must go. But I wish you well, +Columbus, I wish you well. + +[_Columbus, throwing his maps on the stone bench near gates, takes +Riverra's hands in his. The Jester creeps up, takes maps, runs into the +court with them, and disappears._] + +COLUMBUS (_with feeling_). I thank you, Captain--so few believe in me-- + +KING. Come now within, Columbus; I'll look at your maps and charts. + +[_Riverra goes._] + +COLUMBUS (_turning to take up maps_). Why, how is this! My maps were here +but just a moment ago! + +KING. Who saw his maps? + +(_Pause._) + +The Courtiers are silent, sir. + +COLUMBUS. I laid them there, sire! + +KING. Then there they should be. + +COLUMBUS. Some one has taken them--'t is a joke-- + +KING (_interrupting_). My Courtiers do not play jokes in my presence. + +COLUMBUS. Those maps and charts are precious to me, sire! + +KING. Come, now, I'm not so sure you ever had maps or charts. + +COLUMBUS. Your Majesty! + +KING. Well, produce them. + +COLUMBUS. But, sire,-- + +KING (_interrupting_). I'll not hear excuses! Your maps, sir,--at once, +sir! + +COLUMBUS. I'll make other maps and charts-- + +KING. Away with you! + +COLUMBUS. Your Majesty-- + +KING. Away, I say! And come to us no more with tales of unknown lands. + +[_Enter_ JESTER _from gates._] + +JESTER. With people a-walking on their heads--so! + +[_Jester stands on his head; all laugh. Columbus goes, showing bitter +disappointment._] + + +SCENE II + +TIME: _1492_. +PLACE: _Spain. Court of King Ferdinand and Queen Isabella_. + + * * * * * + +KING FERDINAND. +QUEEN ISABELLA. +CHRISTOPHER COLUMBUS. +CAPTAIN RIVERRA. +WISE MEN. +COURTIERS AND LADIES. +A MONK, FATHER-CONFESSOR TO THE QUEEN. +MESSENGER. + + * * * * * + +[_Many_ COURTIERS _and_ LADIES _are seen in audience-room of palace; a +throne is in the background. Enter the_ FIRST COURTIER.] + +FIRST COURTIER. The King and Queen! + +[_Enter_ KING FERDINAND _and_ QUEEN ISABELLA, _followed by_ COURTIERS, +LADIES _and the_ WISE MEN. _All bow as the King and Queen cross to throne +and sit. Enter the_ MONK; _he advances to throne and bows._] + +KING. Speak, good Father. + +MONK. I pray your Majesties to see one Christopher Columbus. + +KING (_inquiringly_). Columbus? + +MONK. The Italian who thinks he can find a short route to the Indies, sire. + +KING (_nodding_). Ah, I remember. You brought his plans to us some time +ago, good Father. + +QUEEN (_nodding_). Let us see him to-day, sire. + +KING (_to First Courtier_). Admit this Christopher Columbus. + +(_Courtier admits_ COLUMBUS. _He kneels before the King._) + +Rise, Columbus, and tell us what you seek. + +COLUMBUS (_rising_). Ships, sire, to prove the plans which I did send your +Majesties; plans for sailing in the unknown seas. + +QUEEN. They seemed to me most wise and sensible. + +COLUMBUS (_with joy_). Ah, your Majesty believes with me? + +KING (_hastily_). I'd have our Wise Men speak. Unfold your maps before +them, sir. + +[_Columbus crosses to Wise Men and unfolds a map before them. They look at +it, shake their heads and laugh._] + +COLUMBUS (_with dignity_). I propose to sail by this route to find that +eastern land. + +FIRST WISE MAN. Ha, ha! I never heard anything so absurd! He'd sail west to +find the east! Ha, ha! + +SECOND WISE MAN (_pointing to map_). The edge of the world is out there in +those strange waters! And you are willing to fall off with your ships into +space, sir? + +COLUMBUS. I'm sure the water continues-- + +THIRD WISE MAN (_interrupting_). How could there be land beyond? 'T would +be under us, and the trees would have to grow their roots in the air. + +[_Wise Men nod wisely._] + +SECOND WISE MAN. And the rain must needs fall upward there! + +ALL WISE MEN (_nodding wisely_). Aye! Aye! + +QUEEN. I've heard you did lay your plans before King John of Portugal? + +COLUMBUS. I did, your Majesty. + +KING. That was bad for you, Columbus. King John sent ships, but they soon +returned. + +(_Turning to_ CAPTAIN RIVERRA.) + +Was not that the way of it, Captain? You sailed with them, I believe? + +RIVERRA. Yes, sire. But the failure came because the sailors were afraid +and refused to go on. + +(_To Columbus._) + +You were thus avenged for the theft of your maps, sir. + +QUEEN. Would you sail again with this man as your leader, Captain? + +RIVERRA. I would, your Majesty! I believe not in the monsters and the edge. + +QUEEN. Nor I! Let's provide the ships, sire. + +KING. Our people would not like it--they'd grumble. And so 't would be bad +for us. + +[_Enter_ MESSENGER _in great haste; kneels before King and Queen._] + +KING. What news do you bring? Speak! + +MESSENGER. The Turks have captured the Spanish merchant ships! + +KING. Our ships bound for the Indies? + +MESSENGER. Yes, your Majesty. + +KING. Alas! Alas! + +QUEEN. The merchants and the sailors--did the Turks spare them? + +MESSENGER. Not one, your Majesty! + +QUEEN. Alas, such loss of life! And 't is not the first time! Not a month +that does not bring us the same sad news! + +FIRST WISE MAN (_to Monk_). You must give our people consolation, Father. + +MONK. 'T is not so much consolation they need, as another passage to the +Indies; one far away from Turkey and the cruel Turks. + +QUEEN. You are right, Father. Speak on. + +MONK. To find such a passage is the chief purpose of Christopher Columbus. +That is the hope that has given him courage when half the world called him +_fool_. + +QUEEN. Sire, we must find ships and money! + +KING. We dare not tax the people more-- + +QUEEN. Then I'll help you, Columbus! I'll pledge my own jewels to raise the +funds. + +COLUMBUS (_joyfully_). Your Majesty! + +QUEEN. 'T is for the safety of our merchants! 'T is for the glory of Spain! + +COLUMBUS (_kneeling before Queen; kissing her robe_). My Queen! + + +SCENE III + +TIME: _five months later; evening_. +PLACE: _on board the Santa Maria_. + + * * * * * + +ADMIRAL CHRISTOPHER COLUMBUS. +CAPTAIN PINZON.[Footnote: Pronounced _Pin'th[=o]n_.] +SAILORS. + + * * * * * + +[_The_ SAILORS _are seen sitting on deck in a group. They are gloomy and +dejected._] + +FIRST SAILOR. 'T is a sea of darkness! + +SECOND SAILOR. Last night I heard the angry sea-gods! + +THIRD SAILOR (_nodding_). Aye, I heard them! + +FOURTH SAILOR. What were they crying? + +SECOND SAILOR. Angry words to us for coming into their own waters. + +FIRST SAILOR. 'T is the Italian Columbus the sea-gods should destroy! + +ALL SAILORS. Aye! Aye! + +SECOND SAILOR. We'll never see Spain again! + +THIRD SAILOR. We should compel him to return! + +ALL SAILORS. Aye! Aye! + +[_Enter_ COLUMBUS _with_ CAPTAIN PINZON. _They cross to bow of ship. The +Captain glances uneasily at the sailors._] + +CAPTAIN. Admiral, I must tell you frankly, the sailors are dissatisfied. + +COLUMBUS. I am sorry to hear that, Captain. + +CAPTAIN. What shall we do, sir? + +COLUMBUS. Do? Why, sail on! + +CAPTAIN. I'll see to it, sir! + +[_Captain goes._] + +FIRST SAILOR (_crossing_). Admiral, the men have chosen me to speak for +them. + +COLUMBUS. What do they wish? + +FIRST SAILOR. To return to Spain, sir! + +COLUMBUS. Tell them we may see land any day now. + +FIRST SAILOR (_shaking head_). They'll no longer listen to that! + +COLUMBUS. Then tell them that I mean to sail on. + +FIRST SAILOR (_starting_). Sail on? + +COLUMBUS. Yes; to sail on and on. Go tell them that. + +[_Sailor goes. Enter_ CAPTAIN.] + +CAPTAIN. Admiral, the sailors below show signs of mutiny! + +COLUMBUS (_alarmed_). Mutiny? + +CAPTAIN (_nodding_). The same as these on deck. Only look at them! + +[_The Sailors talk together excitedly and gesticulate wildly._] + +COLUMBUS. Ah, if I could only give them my courage! + +CAPTAIN. I fear for your life, Admiral, if the order is not given to +return. + +COLUMBUS. I cannot give it, Captain. + +[_The Sailors on deck are joined by others from below. They rush down upon +Columbus._] + +FIRST SAILOR (_angrily_). You must take us back to Spain, sir! + +SECOND SAILOR. We'll not go farther, sir! + +ALL SAILORS. Aye! Aye! + +COLUMBUS. I'm sure we will soon find land-- + +SAILORS (_interrupting; angrily_). Hear him! Hear him! + +COLUMBUS. To the one who first sees land, the Queen has promised money-- + +FIRST SAILOR (_interrupting_). Money! to feed to the sea-monster! + +SECOND SAILOR (_threateningly_). Will you turn back? + +COLUMBUS (_with determination_). No! + +CAPTAIN. Now, men, back to your duties. + +THIRD SAILOR. Alas! we'll never see our homes again! + +FOURTH SAILOR. Nor our friends! + +FIRST SAILOR. We are lost, men! + +SECOND SAILOR. What shall we do? + +ALL SAILORS. What shall we do? What shall we do? + +[_As their anger turns to despair, Columbus is touched._] + +COLUMBUS. Listen, men,--I make you this promise: if we do not see land +within three days, we will return to Spain. + +CAPTAIN. There, now,--that's a fair promise! Go now to your duties! + +COLUMBUS. And let every man watch for land as he has never watched before! + +SAILORS (_pleased_). Aye, aye, sir! + +[_Sailors cross to a distant part of deck._] + +COLUMBUS (_sadly_). Alas for my plans and my hopes, if these three days +bring not land! + +[_He talks aside with the Captain._] + +FIRST SAILOR. We were too easily won over, men. + +SECOND SAILOR (_nodding_). Fearful things may happen to us in these three +days! + +THIRD SAILOR. Suppose we reach the edge to-morrow! + +FOURTH SAILOR. Suppose the sea-monster should come for us to-night! + +ALL SAILORS. Aye! Aye! + +FIRST SAILOR (_cautiously_). Come closer, men! There's something I would +say to you! + +[_Sailors close about him; Captain goes._] + +FIRST SAILOR (_pointing to Columbus, who stands in bow looking at the +stars_). Why should he not fall into the seas to-night? + +SECOND SAILOR. What! You mean-- + +FIRST SAILOR. I mean he _must_ fall into the seas to-night. Are you with +me, men? + +ALL SAILORS. Aye! Aye! + +FIRST SAILOR (_cautiously_). 'T is my plan to push him over as he stands +there looking at the stars. + +FOURTH SAILOR. Why not creep upon him now? + +FIRST SAILOR. Are you willing, men, to have the deed done now? + +ALL SAILORS. Yes! Yes! + +FIRST SAILOR (_to Second and Third Sailors_). Come with me, you two! We'll +creep up on his left. + +[_They creep upon Columbus, who is seen to suddenly bend forward, looking +eagerly into the distance._] + +COLUMBUS. Land! Land! + +[_Sailors stop; enter the_ CAPTAIN.] + +CAPTAIN. Did you say land, sir? + +COLUMBUS. Land, Captain, land! Come, Sailors, come! Land! Land! + +SAILORS (_looking; joyfully_). Land! Land! + +COLUMBUS (_lifting his arms_). Now Heaven be praised! + + + + + NOTE TO TEACHER.--This play conforms to the spirit of the + traditional story of Columbus, but the dramatization has + made it necessary to condense into one scene the somewhat + prolonged negotiations with Ferdinand and Isabella. + +*** END OF THE PROJECT GUTENBERG EBOOK 10541 *** diff --git a/10541-h/10541-h.htm b/10541-h/10541-h.htm new file mode 100644 index 0000000..cce80c2 --- /dev/null +++ b/10541-h/10541-h.htm @@ -0,0 +1,4287 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> +<title>The Project Gutenberg eBook of Children's Classics In Dramatic Form, by Augusta Stevenson</title> +<style type="text/css"> + <!-- + * { font-family: Times; + } + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center;} + + HR { width: 50%; } + hr.full { width: 100%; } + .note, .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .toc { font-size: 1em; margin-bottom: 0em;} + CENTER { padding: 10px;} + .figure, .figcenter, .figright, .figleft, + {padding: 1em; margin: 0; text-align: center; font-size: 0.8em;} + .figure img, .figcenter img, .figright img, .figleft img, + {border: none;} + .figure p, .figcenter p, .figright p, figleft p, + {margin: 0; text-indent: 1em;} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} + // --> +</style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 10541 ***</div> +<h1>The Project Gutenberg eBook,<br> + Children's Classics In Dramatic Form,<br> + by Augusta Stevenson</h1> +<br> + + +<hr class="full"> +<p> </p> +<h1>CHILDREN'S CLASSICS IN DRAMATIC FORM</h1> +<br> +<h3>A READER FOR THE FOURTH GRADE</h3> +<br> +<br> +<h3>BY AUGUSTA STEVENSON</h3> +<h5>Formerly a Teacher in the Indianapolis Public Schools</h5> +<h5>1908</h5> +<p> </p> +<h4>TO MISS N. CROPSEY</h4> +<h5>Assistant Superintendent<br> +Indianapolis Public Schools</h5> +<p> </p> +<p> </p> +<h2>FOREWORD</h2> +<p>This book is intended to accomplish three distinct purposes: +first, to arouse a greater interest in oral reading; second, to +develop an expressive voice—sadly lacking in the case of most +Americans; and third, to give freedom and grace in the bodily +attitudes and movements which are involved in reading and speaking. +The stories given are for the most part adaptations of favorite +tales from folklore,—Andersen, Grimm, Aesop, and the Arabian +Nights having been freely drawn upon.</p> +<p>Children are dramatic by nature. They <i>are</i> for the time +the kings, the fairies, and the heroes that they picture in their +imaginations. They <i>are</i> these characters with such abandon +and with such intense pleasure that the on-looker must believe that +nature intended that they should give play to this dramatic +instinct, not so much formally, with all the trappings of the +man-made stage, but spontaneously and naturally, as they talk and +read. If this expressive instinct can be utilized in the teaching +of reading, we shall be able both to add greatly to the child's +enjoyment and to improve the quality of his oral reading. In these +days when so many books are hastily read in school, there is a +tendency to sacrifice expression to the mechanics and +interpretation of reading. Those acquainted with school work know +too well the resulting monotonous, indistinct speech and the +self-conscious, listless attitude which characterize so much of the +reading of pupils in grades above the third. It is believed that +this little book will aid in overcoming these serious faults in +reading, which all teachers and parents deplore. The dramatic +appeal of the stories will cause the child to lose himself in the +character he is impersonating and read with a naturalness and +expressiveness unknown to him before, and this improvement will be +evident in all his oral reading, and even in his speech.</p> +<p>The use of the book permits the whole range of expression, from +merely reading the stories effectively, to "acting them out" with +as little, or as much, stage-setting or costuming as a parent or +teacher may desire. The stories are especially designed to be read +as a part of the regular reading work. Many different plans for +using the book will suggest themselves to the teacher. After a +preliminary reading of a story during the study period, the teacher +may assign different parts to various children, she herself reading +the stage directions and the other brief descriptions inclosed in +brackets. The italicized explanations in parentheses are not +intended to be read aloud; they will aid in giving the child the +cue as to the way the part should be rendered. After the story has +been read in this way, if thought advisable it can be played +informally and simply, with no attempt at costuming or theatric +effects. It will often add to the interest of the play to have some +of the children represent certain of the inanimate objects of the +scene, as the forest, the town gate, a door, etc. Occasionally, for +the "open day," or as a special exercise, a favorite play may be +given by the children with the simplest kind of costuming and +stage-setting. These can well be made in the school as a part of +the manual training and sewing work. In giving the play, it will +generally be better not to have pupils memorize the exact words of +the book, but to depend upon the impromptu rendering of their +parts. This method will contribute more largely to the training in +English.</p> +<p>The best results will usually be obtained by using these stories +in the fourth grade. In some schools, however, the stories in the +first part of the book may profitably be used in the third +grade.</p> +<p>The author has been led to believe from her own experience and +from her conversation with many other teachers that there is a +pronounced call for this kind of book. She therefore hopes that in +the preparation of this book she may have been of service to the +teachers and children who may be led to use it.</p> +<p>A. S.</p> +<hr> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p><b>CONTENTS</b></p> +<p class="toc"><a href="#2h1">THE TRAVELLERS AND THE +HATCHET</a></p> +<i>Adapted from Aesop's Fable, The Travellers and the Hatchet.</i> +<p class="toc"><a href="#2h2">THE OLD MAN AND HIS GRANDSON</a></p> +<i>Adapted from Grimm's The Old Man and his Grandson.</i> +<p class="toc"><a href="#2h3">THE CROW AND THE FOX</a></p> +<i>Suggested by Aesop's Fable, The Crow and the Fox.</i> +<p class="toc"><a href="#2h4">THE MILLER, HIS SON, AND THEIR +DONKEY</a></p> +<i>Suggested by Aesop's Fable, The Miller, his Son, and their +Ass.</i> +<p class="toc"><a href="#2h5">EACH IN HIS OWN PLACE</a></p> +<i>Suggested by Grimm's The Mouse, the Bird, and the Sausage.</i> +<p class="toc"><a href="#2h6">WHAT THE GOODMAN DOES IS ALWAYS +RIGHT</a></p> +<i>Adapted from Hans Andersen's What the Goodman does is always +Right.</i> +<p class="toc"><a href="#2h7">THE CAT AND THE MOUSE</a></p> +<i>Suggested by Grimm's The Cat and the Mouse.</i> +<p class="toc"><a href="#2h8">THE GIRL WHO TROD ON THE LOAF</a></p> +<i>Suggested by Hans Andersen's The Girl who trod on the Loaf.</i> +<p class="toc"><a href="#2h9">THE UGLY DUCKLING</a></p> +<i>Suggested by Hans Andersen's The Ugly Duckling.</i> +<p class="toc"><a href="#2h10">THE RED SHOES</a></p> +<i>Suggested by Hans Andersen's The Red Shoes.</i> +<p class="toc"><a href="#2h11">THE STORY OF ALI COGIA</a></p> +<i>Adapted from The Story of Ali Cogia from The Arabian Nights' +Entertainments.</i> +<p class="toc"><a href="#2h12">THE WILD SWANS</a></p> +<i>Suggested by Hans Andersen's The Wild Swans.</i> +<p class="toc"><a href="#2h13">THE TWO COUNTRYMEN</a></p> +<i>Suggested by an oriental legend; source unknown.</i> +<p class="toc"><a href="#2h14">THE MAN AND THE ALLIGATOR</a></p> +<i>From a folk-tale of Spanish Honduras.</i> +<p class="toc"><a href="#2h15">THE SONG IN THE HEART</a></p> +<i>Suggested by Grimm's The Three Spinners.</i> +<p class="toc"><a href="#2h16">THE EMPEROR'S TEST</a></p> +<p class="toc"><a href="#2h17">CHRISTOPHER COLUMBUS</a></p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<hr> +<p><b>ILLUSTRATIONS</b></p> +<p class="toc"><a href="#image-001">"The Moon Changes Into the Red +Beard of The Old Soldier"</a></p> +<p class="toc"><a href="#image-012">The Travellers and the +Hatchet</a></p> +<p class="toc"><a href="#image-023">"We Have Lost Our +Donkey"</a></p> +<p class="toc"><a href="#image-034">What the Goodman Does Is Always +Right</a></p> +<p class="toc"><a href="#image-041">The Cat and the Mouse</a></p> +<p class="toc"><a href="#image-051">"'Tis Sinking! What Shall I +Do?"</a></p> +<p class="toc"><a href="#image-062">The Ugly Duckling</a></p> +<p class="toc"><a href="#image-091">"A Thousand Pieces at +Least!"</a></p> +<p class="toc"><a href="#image-123">The Two Countrymen</a></p> +<p class="toc"><a href="#image-141">"Help! Help!"</a></p> +<p class="toc"><a href="#image-157">"The Prince Sees the Three +Great-Aunts"</a></p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>CHILDREN'S CLASSICS IN DRAMATIC FORM</h2> +<a name="2h1"><!-- h2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE TRAVELLERS AND THE HATCHET</h2> +<p>TIME: <i>last week</i>.<br> +PLACE: <i>a high road</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>FIRST TRAVELLER.</td> +</tr> +<tr> +<td>SECOND TRAVELLER.</td> +</tr> +<tr> +<td>THE CARPENTER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> TWO TRAVELLERS <i>journey along the road. A hatchet +lies in the dust at one side.]</i><a id="footnotetag1" name= +"footnotetag1"></a><a href="#footnote1"><sup>1</sup></a></p> +<p>FIRST TRAVELLER (<i>seeing the hatchet, taking it up</i>).<a id= +"footnotetag2" name="footnotetag2"></a><a href= +"#footnote2"><sup>2</sup></a> Ah, see what I have found!</p> +<p>SECOND TRAVELLER. Do not say <i>I</i>, but rather, what +<i>we</i> have found.</p> +<p>FIRST TRAVELLER. Nonsense! Did I not see the hatchet first? And +did I not take it up?</p> +<p>SECOND TRAVELLER. Well, then, claim the hatchet, since that is +plainly your wish.</p> +<p>[<i>Enter the</i> CARPENTER.]</p> +<p>CARPENTER (<i>to First Traveller</i>). Aha, thief! Now I have +caught you!</p> +<p>[<i>He seizes the First Traveller.</i>]</p> +<p>FIRST TRAVELLER. No thief am I, sir!</p> +<p>CARPENTER. But my own hatchet is in your hand, sir. Come along +to the judge, sir!</p> +<p>FIRST TRAVELLER (<i>to Second Traveller</i>). Alas, we are +undone!</p> +<p>SECOND TRAVELLER. Do not say <i>we</i>. You are undone, not I. +You would not allow me to share the prize; you cannot expect me to +share the danger. I bid you good day, sir.</p> +<a name="image-012"><!--IMG--></a> +<div class="figcenter"><a href="images/012.png"><img src= +"images/012.png" alt="THE TRAVELLERS AND THE HATCHET" width="100%"></a></div> +<!--IMAGE END--> +<a name="2h2"><!-- h2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE OLD MAN AND HIS GRANDSON</h2> +<p>TIME: <i>now</i>.<br> +PLACE: <i>a certain</i> MAN'S <i>house</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MAN.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +</tr> +<tr> +<td>THEIR SON—LITTLE HANS.</td> +</tr> +<tr> +<td>THE GRANDFATHER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MAN, <i>his</i> WIFE, <i>little</i> HANS, <i>and +the</i> GRANDFATHER <i>sit at the table eating the noon +meal.</i>]</p> +<p>MAN. Be careful, father! You are spilling the soup on your +coat.</p> +<p>GRANDFATHER (<i>trying to steady his trembling hand</i>). Yes, +yes, I'll be careful.</p> +<p>[<i>Short pause.</i>]</p> +<p>WIFE (<i>sharply</i>). Grandfather! You have spilled the soup on +my clean tablecloth!</p> +<p>GRANDFATHER (<i>embarrassed</i>). Dear me! Dear me!</p> +<p>[<i>Short pause.</i>]</p> +<p>MAN. Here, father, is your plate of meat.</p> +<p>[<i>The old man takes the plate, but lets it fall.</i>]</p> +<p>WIFE (<i>angrily</i>). There now! Just see what you have +done!</p> +<p>GRANDFATHER. My hand shook so—I'm sorry—so +sorry!</p> +<p>WIFE. That won't mend the plate!</p> +<p>MAN. Nor buy a new one!</p> +<p>WIFE (<i>to her husband</i>). He should eat from wooden +dishes.</p> +<p>MAN (<i>nodding, pointing to a wooden dish</i>). Let him have +that one for his meat.</p> +<p>[<i>The Grandfather sighs sadly. The Wife gets a wooden dish and +fills it with meat. Little Hans leaves the table and plays with his +blocks on the floor.</i>]</p> +<p>WIFE (<i>handing the wooden dish to the Grandfather</i>). Here's +one you can't break. Go now and sit in the corner behind the oven. +You shall eat there hereafter. I cannot have my tablecloths +soiled—that I cannot!</p> +<p>[<i>The Grandfather takes his wooden plate and goes to the seat +in the corner behind the oven. His eyes are filled with +tears.</i>]</p> +<p>MAN. Come, little Hans, and finish your dinner.</p> +<p>WIFE (<i>turning to Hans</i>). Bless me! What are you making, +child?</p> +<p>HANS. A wooden trough for you and father to eat out of when I +grow big.</p> +<p>[<i>The Man and his Wife look at each other; there is a +pause.</i>]</p> +<p>MAN (<i>showing shame</i>). He will treat us as we have treated +father!</p> +<p>WIFE (<i>weeping</i>). 'T will serve us right!</p> +<p>MAN (<i>kindly</i>). Father, throw that wooden dish out of the +window. I am ashamed of what I have done; forgive me!</p> +<p>WIFE (<i>kindly</i>). Father, come back to the table. I too am +ashamed. Forgive me, dear father.</p> +<a name="2h3"><!-- h2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE CROW AND THE FOX</h2> +<p>TIME: <i>yesterday noon</i>.<br> +PLACE: <i>a high tree in a grove</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>MADAM CROW.</td> +</tr> +<tr> +<td>MISS CROW, <i>her Daughter</i>.</td> +</tr> +<tr> +<td>MASTER FOX.</td> +</tr> +</table> +<hr> +<p>[MADAM CROW <i>sits in the tree. Enter</i> MISS CROW. <i>She +carries a large piece of cheese in her mouth.</i>]</p> +<p>MADAM. O joy! O joy! Come, dear daughter, come! We'll dine as if +we were queen and princess!</p> +<p>[<i>Miss Crow flies to Madam Crow. Enter</i> MASTER FOX.]</p> +<p>FOX. I bid you good morning, dear madam.</p> +<p>MADAM. Good morning to you, dear sir.</p> +<p>FOX (<i>sitting under tree</i>). With your permission, I'll +speak with your daughter.</p> +<p>MADAM. She'll be pleased to listen, that she will—you are +so clever.</p> +<p>FOX (<i>modestly</i>). Nay, madam, not so clever, only +thoughtful.</p> +<p>[<i>He sighs deeply twice.</i>]</p> +<p>MADAM. You have something on your mind.</p> +<p>FOX (<i>sighing</i>). Yes, dear madam,—I am thinking of +your daughter.</p> +<p>MADAM. Then speak! Speak now, sir!—at once, sir!</p> +<p>FOX. I speak. O sweet Miss Crow, how beautiful your wings +are!</p> +<p>MADAM (<i>pleased</i>). Do you hear that, daughter?</p> +<p>[<i>Miss Crow nods, spreading her wings proudly.</i>]</p> +<p>FOX. I speak again. How bright your eye, dear maid! How graceful +your neck!</p> +<p>MADAM. Bend your neck, child! Now bend it well that he may +better see your grace.</p> +<p>[<i>Miss Crow bends neck twice.</i>]</p> +<p>FOX. But oh, that such a sweet bird should be dumb!—should +be so utterly dumb!</p> +<p>[<i>He weeps gently in his little pocket handkerchief.</i>]</p> +<p>MADAM (<i>indignantly</i>). Do you think, sir, she cannot +<i>caw</i> as well as the rest of us?</p> +<p>FOX. I must think so, dear madam. Alas!</p> +<p>[<i>Weeping again in his little pocket handkerchief.</i>]</p> +<p>MADAM. You shall think so, then, no longer! Caw, child, caw, as +you have never cawed before!</p> +<p>MISS CROW (<i>opening mouth; dropping cheese</i>). Caw! Caw!</p> +<p>[<i>Fox quickly snaps up the cheese.</i>]</p> +<p>FOX (<i>going</i>). Thank you, Miss Crow. Remember, dear madam, +that whatever I said of her beauty, I said nothing of her +brains.</p> +<p>[<i>He goes, waving the crows a farewell with his little pocket +handkerchief.</i>]</p> +<a name="2h4"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE MILLER, HIS SON, AND THEIR DONKEY</h2> +<p>TIME: <i>this morning</i>.<br> +PLACE: <i>a bridge, near a town and not far from a Fair</i>.</p> +<hr> +<table width="60%" align="center"> +<tr> +<td align="right">THE MILLER AND HIS SON.</td> +<td></td> +</tr> +<tr> +<td>FIRST MAID.</td> +<td>FIRST GOODY.</td> +</tr> +<tr> +<td>SECOND MAID.</td> +<td>SECOND GOODY.</td> +</tr> +<tr> +<td>THIRD MAID.</td> +<td>THIRD GOODY.</td> +</tr> +<tr> +<td>FIRST OLD MAN.</td> +<td>THE MAYOR.</td> +</tr> +<tr> +<td>SECOND OLD MAN.</td> +<td>HIS FIRST CLERK.</td> +</tr> +<tr> +<td>THIRD OLD MAN.</td> +<td>HIS SECOND CLERK.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MILLER <i>and his</i> SON <i>are driving their +donkey across the bridge. They go to the Fair.</i>]</p> +<p>SON. Do you expect to get a good price for our donkey, +father?</p> +<p>MILLER (<i>nodding</i>). Aye, lad; the Fair is the place to take +your wares.</p> +<p>SON. Our donkey is not so young, though.</p> +<p>MILLER. Neither is he so old, though.</p> +<p>SON. But he is not so fat, though.</p> +<p>MILLER. Neither is he so lean, though.</p> +<p>SON. Truly he might be worse.</p> +<p>MILLER. Better or worse, he must be sold.</p> +<p>[THREE MAIDS <i>enter the bridge. They go to the Fair.</i>]</p> +<p>FIRST MAID (<i>pointing to the Miller and his Son</i>). Look +there! Did you ever see such geese?</p> +<p>SECOND MAID. As I live!—walking when they might ride!</p> +<p>THIRD MAID (<i>to the Miller</i>). You'll get a laugh at the +Fair, old man!</p> +<p>[<i>The Maids pass on.</i>]</p> +<p>MILLER. This may be true. Get you upon the beast, lad.</p> +<p>[<i>The boy mounts the donkey. Enter</i> THREE OLD MEN. <i>They +talk together earnestly. They go to the Fair.</i>]</p> +<p>FIRST OLD MAN (<i>pointing to the Miller and his Son</i>). Look +you there! That proves what I was saying.</p> +<p>SECOND OLD MAN (<i>nodding</i>). Aye! There's no respect shown +old age in these days.</p> +<p>THIRD OLD MAN (<i>nodding</i>). Aye! There's that young rogue +riding while his old father has to walk!</p> +<p>[<i>The Old Men pass on.</i>]</p> +<p>MILLER. Get down, lad. 'T would indeed look better should I +ride.</p> +<p>[<i>The lad dismounts; the Miller mounts. Enter</i> THREE +GOODIES; <i>they go to the Fair.</i>]</p> +<p>FIRST GOODY (<i>indignantly, pointing to the Miller and his +Son</i>). Look, Goodies, look! Did you ever see anything so +cruel?</p> +<p>SECOND GOODY (<i>to the Miller</i>). You lazy old fellow! How +can you ride while your own child walks in the dust?</p> +<p>THIRD GOODY (<i>to the lad</i>). You poor, poor child!</p> +<p>[<i>The Goodies pass on, shaking their heads and their canes +indignantly.</i>]</p> +<p>MILLER. Come, lad, get up behind me.</p> +<p>SON. Why, father, I'm not tired!</p> +<p>MILLER. I know, but we must try to please them. Come.</p> +<p>[<i>The lad mounts, sitting behind his father. Enter the</i> +MAYOR <i>and his</i> CLERKS. <i>They go to the Fair.</i>]</p> +<p>MAYOR (<i>turning to his Clerks; pointing to the Miller and his +Son</i>). Look, will you!</p> +<p>(<i>He turns to the Miller.</i>)</p> +<p>Pray, honest friend, is that beast your own?</p> +<p>MILLER. Yes, my lord Mayor.</p> +<p>MAYOR. One would not think so from the way you load him. Say you +not so, my Clerks?</p> +<p>FIRST CLERK (<i>bowing</i>). Just so, my lord Mayor.</p> +<p>SECOND CLERK (<i>bowing</i>). Even so, my lord Mayor.</p> +<p>THE MAYOR (<i>to the Miller and his Son</i>). Why, you two +fellows are better able to carry the poor donkey than he you! Say +you not so, my Clerks?</p> +<p>FIRST CLERK (<i>bowing</i>). Just so, my lord Mayor.</p> +<p>SECOND CLERK (<i>bowing</i>). Even so, my lord Mayor.</p> +<p>MILLER. Come, my son, to please them, we'll carry the +donkey.</p> +<p>[<i>They dismount and try to lift the donkey. This frightens the +poor beast. He tries to get away, and falls over the bridge into +the deep river.</i>]</p> +<p>MILLER (<i>weeping</i>). I have tried to please every one! I +have pleased no one!</p> +<p>SON (<i>weeping</i>). And we have lost our donkey in the +bargain!</p> +<a name="image-023"><!--IMG--></a> +<div class="figcenter"><a href="images/023.png"><img src= +"images/023.png" alt="'WE HAVE LOST OUR DONKEY'" width="80%"></a> +<h3>"WE HAVE LOST OUR DONKEY"</h3> +</div> +<!--IMAGE END--> +<a name="2h5"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>EACH IN HIS OWN PLACE</h2> +<p>TIME: <i>yesterday</i>.<br> +PLACE: <i>in a tiny house</i>.</p> +<hr> +<table width="40%" align="center"> +<tr> +<td>THE STRAW <i>who brings in the wood</i>.</td> +</tr> +<tr> +<td>THE COAL <i>who makes the fire</i>.</td> +</tr> +<tr> +<td>THE SNOWFLAKE <i>who draws the water</i>.</td> +</tr> +<tr> +<td>THE SUGAR LOAF <i>who lays the table</i>.</td> +</tr> +<tr> +<td>THE SAUSAGE <i>who cooks the meals</i>.</td> +</tr> +</table> +<hr> +<p>[<i>The tiny kitchen is seen. The</i> SAUSAGE <i>is stirring the +pot. The</i> COAL <i>is tending the fire. The</i> SUGAR LOAF <i>is +laying the table. Enter</i> STRAW <i>with a load of wood.</i>]</p> +<p>STRAW (<i>throwing down wood</i>). Think you'll need more wood +for the dinner, Sausage?</p> +<p>[<i>Sausage does not answer. She gets into the pot to flavor the +vegetables.</i>]</p> +<p>COAL (<i>whispers to Straw</i>). Sausage is quite put out.</p> +<p>STRAW. What's the trouble?</p> +<p>COAL. No one knows.</p> +<p>[<i>Enter</i> SNOWFLAKE <i>with a pail of water.</i>]</p> +<p>SNOWFLAKE (<i>looking about</i>). Where's Sausage?</p> +<p>STRAW. She is flavoring the vegetables.</p> +<p>[<i>Sausage comes out of the pot.</i>]</p> +<p>SNOWFLAKE. Here is the water, Sausage.</p> +<p>[<i>Sausage does not answer.</i>]</p> +<p>SNOWFLAKE (<i>speaking louder</i>). Will you come for the water, +Sausage?</p> +<p>SAUSAGE (<i>sharply</i>). No, madam, I will not!</p> +<p>THE OTHERS (<i>with surprise</i>). Sausage!</p> +<p>SAUSAGE. I've been slave here long enough!</p> +<p>THE OTHERS (<i>as before</i>). Sister Sausage!</p> +<p>SAUSAGE. I mean just what I say!</p> +<p>SNOWFLAKE. Have I not done my share of the work?</p> +<p>COAL. Have I not done my share?</p> +<p>STRAW. Have I not done my share?</p> +<p>SUGAR LOAF. And have I not done my share?</p> +<p>SAUSAGE. Please to tell me what you do.</p> +<p>STRAW. I bring in wood that Coal may make the fire.</p> +<p>COAL. I make the fire that the pot may boil.</p> +<p>SNOWFLAKE. I draw the water and bring it from the brook.</p> +<p>SUGAR LOAF. I lay the table nicely.</p> +<p>SAUSAGE. What do I? Eh? What do I? I must stand over the fire. I +must not only stir the dinner, I must flavor it with myself. For +each of you there is one duty. For me there are plainly three.</p> +<p>STRAW. But, sister—</p> +<p>SAUSAGE (<i>interrupting</i>). Don't "sister" me!</p> +<p>SNOWFLAKE. Sausage, dear, would you break up our pretty +home?</p> +<p>SUGAR LOAF. And we all so happy here!</p> +<p>SAUSAGE. There must be a change! Some one else can stand over +the fire—can stir the pot—can flavor the +vegetables.</p> +<p>COAL. If I flavored them, they could not be eaten.</p> +<p>SAUSAGE. That's what you're always saying, but I'm not so sure +of it.</p> +<p>SNOWFLAKE. If I stirred the pot, 't would be the end of me.</p> +<p>SAUSAGE. Yes, you say that often enough, but I'm not so sure +that it is true.</p> +<p>STRAW. Should I stand over the fire, I'd be no more.</p> +<p>SAUSAGE (<i>scornfully</i>). Excuses! Excuses!</p> +<p>SUGAR LOAF. 'T is plain that I should not get into the pot.</p> +<p>SAUSAGE. And why not, Miss? why not?</p> +<p>SUGAR LOAF. 'T would be good-by for me, if I should!</p> +<p>SAUSAGE. Excuses! Excuses! I say there must be a change! 'T is I +who will bring the wood or draw the water.</p> +<p>COAL. But, Sausage, you should stay within.</p> +<p>SAUSAGE. Not I, sir! I'll out of the pot and out of the house, I +will! I'll see a bit of the world, I will!</p> +<p>SUGAR LOAF (<i>sighing</i>). Well, if she will, she will!</p> +<p>SAUSAGE (<i>getting slips</i>). Come, now, and draw for it.</p> +<p>[<i>She holds the slips for the others to draw.</i>]</p> +<p>STRAW (<i>drawing; reading from slip</i>). "Who gets this must +make the fire."</p> +<p>SUGAR LOAF (<i>drawing; reading from slip</i>). "Who gets this +must draw the water."</p> +<p>SNOWFLAKE (<i>drawing; reading from slip</i>). "Who gets this +must stir the pot and flavor it with herself."</p> +<p>COAL (<i>drawing; reading from slip</i>). "Who gets this must +lay the table nicely."</p> +<p>SAUSAGE (<i>reading from last slip</i>). "Who gets this must +bring the wood." Well, that pleases me! Straw, see if the fire +needs wood.</p> +<p>(<i>Straw hesitates.</i>)</p> +<p>Come, come, do your duty!</p> +<p>[<i>Straw crosses the hearth and looks into the fire. He is very +careful, but the fire reaches him and he is gone in a +puff!</i>]</p> +<p>SNOWFLAKE. Poor Straw! Well, 't is my duty to stir the pot and +to flavor it with myself.</p> +<p>[<i>She crosses to the hearth, but just as she reaches it, she +disappears without so much as a cry.</i>]</p> +<p>SUGAR LOAF. Poor Snowflake! Well, 't is my duty to draw the +water.</p> +<p>[<i>She forgets that the pail is full, falls into it, and is +seen no more.</i>]</p> +<p>COAL. Poor Sugar Loaf! Well, 't is my duty to lay the table +nicely.</p> +<p>[<i>He forgets that he is still burning from having lately +tended the fire. As he places the plates, the tablecloth catches +fire and wraps itself around him.</i>]</p> +<p>COAL (<i>from inside the burning cloth</i>). This is the end of +me!</p> +<p>SAUSAGE (<i>weeping</i>). Dear me! Dear me! Who would have +thought 't would turn out so badly! Well, 't is my duty to bring in +wood.</p> +<p>[<i>She opens the door and is face to face with a hungry dog who +is sniffing about.</i>]</p> +<p>DOG. Ah, I thought you'd be coming out soon!</p> +<p>SAUSAGE (<i>pleased</i>). Do you want to see me, sir?</p> +<p>DOG. Why, yes, I've been waiting for you.</p> +<p>SAUSAGE. How good to be out in the world! They always said my +place was within.</p> +<p>DOG. They did, eh? Well, just to please them, I'll put you +there.</p> +<p>[<i>He swallows her quickly, which ends both Sister Sausage and +our story.</i>]</p> +<a name="2h6"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>WHAT THE GOODMAN DOES IS ALWAYS RIGHT</h2> +<h4>SCENE I</h4> +<p>TIME: <i>early one morning</i>.<br> +PLACE: <i>a very old farmhouse</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODMAN.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GOODMAN <i>and his</i> WIFE <i>are seated in their +spare room because it is Fair-day.</i>]</p> +<p>WIFE. Yes, I think it would be as well to sell our horse. Or, as +you say, we might exchange him for something more useful.</p> +<p>GOODMAN. What shall we exchange him for?</p> +<p>WIFE. You know best, Goodman. Whatever you do will be right.</p> +<p>GOODMAN (<i>starting out</i>). It is Fair-day. I will ride into +town and see what can be done.</p> +<p>WIFE. Wait till I fasten your neckerchief! You shall have a +pretty double bow this time, for you are going to the Fair.</p> +<p>(<i>She ties the neckerchief. The Goodman starts out.</i>)</p> +<p>Wait till I have smoothed your hat!</p> +<p>(<i>She smooths his old hat.</i>)</p> +<p>Now you are ready.</p> +<p>GOODMAN (<i>going</i>). Be at the window, Wife.</p> +<p>WIFE (<i>nodding</i>). Yes, surely, and I will wave at you as +you ride by.</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>two hours later</i>.<br> +PLACE: <i>near the toll-gate on the road to the Fair</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODMAN.</td> +</tr> +<tr> +<td>FIRST PEASANT.</td> +</tr> +<tr> +<td>SECOND PEASANT.</td> +</tr> +<tr> +<td>THIRD PEASANT.</td> +</tr> +<tr> +<td>TOLL-KEEPER.</td> +</tr> +<tr> +<td>HOSTLER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GOODMAN <i>is seen riding his horse. Enter, from a +country lane, a</i> PEASANT, <i>driving a cow.</i>]</p> +<p>GOODMAN (<i>stopping; calling</i>). Halloo, there—you with +the cow!</p> +<p>PEASANT (<i>stopping</i>). Yes, Goodman.</p> +<p>GOODMAN. Your cow gives good milk, I am certain.</p> +<p>PEASANT (<i>nodding</i>). None richer in this country!</p> +<p>GOODMAN. A horse is of more value than a cow, but I don't care +for that. A cow will be more useful to me; so if you like, we'll +exchange.</p> +<p>PEASANT. To be sure I will. Here is your cow.</p> +<p>GOODMAN. Here is your horse.</p> +<p>[<i>The Peasant goes off riding the horse. A</i> SECOND PEASANT, +<i>driving a sheep, enters from a field near by.</i>]</p> +<p>GOODMAN (<i>sees him and calls</i>). Halloo, there—you +with the sheep!</p> +<p>SECOND PEASANT (<i>stopping</i>). Yes, Goodman.</p> +<p>GOODMAN. I should like to have that sheep.</p> +<p>SECOND PEASANT. She is a good, fat sheep.</p> +<p>GOODMAN. There is plenty of grass for her by our fence at home, +and in the winter we could keep her in the room with us.</p> +<p>SECOND PEASANT. Do you wish to buy her?</p> +<p>GOODMAN. Will you take my cow in exchange?</p> +<p>SECOND PEASANT. I am willing. Here is your sheep.</p> +<p>GOODMAN. Here is your cow.</p> +<p>[<i>The second Peasant goes off driving the cow. Enter, from a +farmyard near by, a</i> THIRD PEASANT <i>carrying a goose.</i>]</p> +<p>GOODMAN. What a heavy creature you have there!</p> +<p>THIRD PEASANT (<i>stopping</i>). She has plenty of feathers and +plenty of fat.</p> +<p>GOODMAN. She would look well paddling in the water at our +place.</p> +<p>THIRD PEASANT (<i>stopping</i>). She would look well in any +place!</p> +<p>GOODMAN. She would be very useful to my wife. She could make all +sorts of profit out of her.</p> +<p>THIRD PEASANT. Indeed she could, Goodman!</p> +<p>GOODMAN. How often she has said,—"If now we only had a +goose!"</p> +<p>THIRD PEASANT. Well, this goose is for sale.</p> +<p>GOODMAN. I will give my sheep for your goose and thanks into the +bargain.</p> +<p>THIRD PEASANT. I am willing; here is your goose.</p> +<p>GOODMAN. Here is your sheep.</p> +<p>[<i>The Peasant goes off with the sheep. The Goodman discovers a +hen in the</i> TOLL-KEEPER'S <i>potato field.</i>]</p> +<p>GOODMAN (<i>calling</i>). That's the finest fowl I ever saw, +Toll-keeper!</p> +<p>TOLL-KEEPER. You're right about that, Goodman.</p> +<p>GOODMAN. She's finer than our pastor's brood-hen! Upon my word +she is! I should like to have that fowl!</p> +<p>TOLL-KEEPER. She is for sale.</p> +<p>GOODMAN. I think it would be a good exchange if I could get her +for my goose.</p> +<p>TOLL-KEEPER. Well, it wouldn't be a bad thing.</p> +<p>GOODMAN. Then here is your goose.</p> +<p>TOLL-KEEPER. Here is your fowl.</p> +<a name="image-034"><!--IMG--></a> +<div class="figcenter"><a href="images/034.png"><img width="100%" +src="images/034.png" alt= +"WHAT THE GOODMAN DOES IS ALWAYS RIGHT"></a></div> +<!--IMAGE END--> +<p>[<i>Enter a</i> HOSTLER <i>carrying a sack.</i>]</p> +<p>GOODMAN (<i>to Hostler</i>). What have you in that sack, +friend?</p> +<p>HOSTLER. Rotten apples—to feed the pigs with.</p> +<p>GOODMAN. Why, that will be a terrible waste. I should like to +take them home to my wife.</p> +<p>HOSTLER (<i>astonished</i>). To your wife?</p> +<p>GOODMAN (<i>nodding</i>). You see, last year our old apple tree +bore only one apple, which we kept in the cupboard till it was +quite rotten. It was always property, my wife said.</p> +<p>HOSTLER. What will you give me for the sackful? Your wife would +then have a great deal of property.</p> +<p>GOODMAN. Well, I will give you my fowl in exchange.</p> +<p>HOSTLER. Here is your sack of rotten apples.</p> +<p>GOODMAN. Here is your fowl.</p> +<p>[<i>The Hostler goes with the fowl.</i>]</p> +<p>TOLL-KEEPER. Toll, Goodman!</p> +<p>GOODMAN. I will not go to the Fair to-day. I have done a great +deal of business, and I am tired. I will go back home.</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>two hours later</i>.<br> +PLACE: <i>the old farmhouse</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODMAN.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +</tr> +</table> +<hr> +<p>[<i>Enter the</i> GOODMAN, <i>carrying the sack. The</i> WIFE +<i>waits for him in the spare room, because he has been +away.</i>]</p> +<p>GOODMAN. Well, Wife, I've made the exchange.</p> +<p>WIFE. Ah, well, you always understand what you're about.</p> +<p>GOODMAN. I got a cow in exchange for the horse.</p> +<p>WIFE. Good! Now we shall have plenty of milk and butter and +cheese on the table. That was a fine exchange!</p> +<p>GOODMAN. Yes, but I changed the cow for a sheep.</p> +<p>WIFE. Ah, better still! We have just enough grass for a +sheep.—Ewe's milk and cheese! Woolen jackets and stockings! +The cow could not give all those. How you think of everything!</p> +<p>GOODMAN. But I changed the sheep for a goose.</p> +<p>WIFE. Then we shall have roast goose to eat this year. You dear +Goodman, you are always thinking of something to please me!</p> +<p>GOODMAN. But I gave away the goose for a fowl.</p> +<p>WIFE. A fowl? Well, that was a good exchange. The fowl will lay +eggs and hatch them. We shall soon have a poultry-yard. Ah, this is +just what I was wishing for!</p> +<p>GOODMAN. Yes, but I exchanged the fowl for a sack of rotten +apples.</p> +<p>WIFE. My dear, good husband! Now, I'll tell you something. Do +you know, almost as soon as you left me this morning, I began +thinking of what I could give you nice for supper. I thought of +bacon with eggs and sweet herbs.</p> +<p>GOODMAN. But we have no sweet herbs.</p> +<p>WIFE (<i>nodding</i>). For that reason, I went over to our +neighbor's and begged her to lend me a handful.</p> +<p>GOODMAN. That was right; they have plenty.</p> +<p>WIFE (<i>nodding</i>). So I thought, but she said, "Lend? I have +nothing to lend, not even a rotten apple." Now I can lend +<i>her</i> ten or the whole sackful. It makes me laugh to think of +it. I am so glad.</p> +<p>GOODMAN. So you think what I did was right?</p> +<p>WIFE. What the Goodman does is always right.</p> +<a name="2h7"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE CAT AND THE MOUSE</h2> +<p>TIME: <i>perhaps this minute</i>.<br> +PLACE: <i>perhaps your own garret</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>MOTHER MOUSE.</td> +</tr> +<tr> +<td>HER DAUGHTER, MISS MOUSE.</td> +</tr> +<tr> +<td>THE CAT.</td> +</tr> +</table> +<hr> +<p>[MOTHER MOUSE <i>and</i> MISS MOUSE <i>are in their spare room +because Mother Mouse is getting ready for a journey. Miss Mouse +helps her. The</i> CAT <i>is outside, peeping now and then through +the window, but so slyly that the mice do not see her.</i>]</p> +<p>MOTHER MOUSE (<i>going</i>). Now mind you keep one eye on our +grease-pot, child.</p> +<p>MISS MOUSE. That I will, dear mother!</p> +<p>MOTHER MOUSE. Let no one in,—no one! no one!</p> +<p>MISS MOUSE. No one, dear mother!</p> +<p>MOTHER MOUSE. I'll not be long away. Good-by, my child.</p> +<p>(<i>Starting out; stopping.</i>)</p> +<p>Mind you show no one the grease-pot, child,—no one! no +one!</p> +<p>Miss MOUSE. No one, dear mother!</p> +<p>[<i>Mother Mouse goes out of the front door.</i>]</p> +<p>CAT (<i>calling through window</i>). Oh, Miss Mouse! Oh, Miss +Mouse!</p> +<p>MISS MOUSE (<i>showing alarm</i>). Who calls?</p> +<p>CAT (<i>very sweetly</i>). Only I! Will you please let me +in?</p> +<p>MISS MOUSE (<i>shaking head</i>). Mother said—</p> +<p>CAT (<i>interrupting quickly</i>). 'T is a matter of +business!</p> +<p>MISS MOUSE (<i>shaking head</i>). But mother said—</p> +<p>CAT (<i>interrupting</i>). 'T is most important!</p> +<p>MISS MOUSE (<i>as before</i>). But mother said—</p> +<p>CAT (<i>interrupting</i>). I wish your advice—you are so +clever!</p> +<p>MISS MOUSE (<i>showing she is pleased; starting to window</i>). +Oh, do you truly think so?</p> +<p>CAT (<i>nodding</i>). Every one thinks so!</p> +<p>MISS MOUSE (<i>showing she is more pleased; going to the +window</i>). Oh, do they, truly?</p> +<p>CAT. Oh, truly they do!</p> +<p>MISS MOUSE (<i>showing she is most pleased; opening window</i>). +What else nice say they?</p> +<p>CAT (<i>jumping in</i>). That I'll tell you by and by.</p> +<p>(<i>Sniffing about.</i>)</p> +<p>There must be a grease-pot about! Am I not right?</p> +<p>MISS MOUSE. Mother said—</p> +<a name="image-041"><!--IMG--></a> +<center> +<div class="figcenter"><a href="images/041.png"><img src= +"images/041.png" alt="THE CAT AND THE MOUSE" width="100%"></a></div> +<!--IMAGE END--> +<p>CAT (<i>interrupting</i>). Only tell me if I be right! 'T will +do no harm!</p> +<p>MISS MOUSE (<i>hesitating</i>). Well—then—yes. But +'t is put away for our winter stores.</p> +<p>CAT (<i>nodding</i>). Just so! Now, I can't decide where to keep +my grease-pot when I have bought one. Won't you give me your +advice? You are so wise.</p> +<p>MISS MOUSE. Do you truly think I'm wise?</p> +<p>CAT (<i>nodding</i>). Aye, and if you will tell me where to keep +my grease-pot when I have bought it, I'll tell you something +more.</p> +<p>MISS MOUSE (<i>greatly pleased</i>). About me?</p> +<p>CAT (<i>nodding</i>). Yes,—what every one says about your +being so beautiful. But first I must know where to keep my +grease-pot.</p> +<p>MISS MOUSE. Then listen—you must keep it, when you have +bought it, in the northwest corner.</p> +<p>[<i>The Cat runs quickly to the northwest corner.</i>]</p> +<p>MISS MOUSE (<i>in alarm</i>). Come away! Come away!</p> +<p>CAT. Why, here is your grease-pot!</p> +<p>MISS MOUSE (<i>as before</i>). Come away, I say!</p> +<p>CAT (<i>looking into the pot</i>). Truly, the fat is kept hard +and cool here.</p> +<p>MISS MOUSE. I pray you come away! Mother does not so much as let +me look into it. 'T is not yet time, she says.</p> +<p>CAT (<i>looking again into pot</i>). Exactly!</p> +<p>(<i>She leaves the pot and joins Miss Mouse.</i>)</p> +<p>'T is just what I'll tell my kittens about my grease-pot when I +have bought it.</p> +<p>MISS MOUSE. Ah, then you have kittens at home?</p> +<p>CAT (<i>nodding</i>). Such beautiful kittens! The eldest is +white, with brown marks.</p> +<p>MISS MOUSE. He must be charming!</p> +<p>CAT. I've a mind to tell you his name. First, though, run out to +see if your dear mother is not coming.</p> +<p>[<i>Miss Mouse nods and runs out. The Cat quickly creeps to the +grease-pot and licks the top off. She crosses to the window just +as</i> MISS MOUSE <i>returns.</i>]</p> +<p>MISS MOUSE. Mother is nowhere to be seen. Now what did you name +your eldest child?</p> +<p>CAT. Top-off.</p> +<p>MISS MOUSE. Top-off? Why, that is a curious name! Is it common +in your family?</p> +<p>CAT. Oh, no! My second child has a white ring around his +neck.</p> +<p>MISS MOUSE. Remarkable!</p> +<p>CAT. Very!</p> +<p>MISS MOUSE. What did you name him?</p> +<p>CAT. I gave him an unusual name. I will tell you what it is. +First, though, run out to see if your dear mother is coming.</p> +<p>[<i>Miss Mouse nods and runs out. The Cat creeps to the +grease-pot and eats half the fat; then crosses to window.</i> MISS +MOUSE <i>returns.</i>]</p> +<p>MISS MOUSE. Mother is nowhere to be seen. Now what did you name +your second child?</p> +<p>CAT. Half-out.</p> +<p>Miss MOUSE. Half-out? I never heard such a name! 'T is not in +the calendar, I'm sure.</p> +<p>CAT. What does that matter, if it pleases me? Now the last child +is really a wonder. He is quite black and has little white claws, +but not a single white hair on his body.</p> +<p>MISS MOUSE. What have you named him?</p> +<p>CAT. I'm afraid that will please you no better than the others, +but still I will tell you. First, though, run to see if your dear +mother is not coming.</p> +<p>[<i>Miss Mouse nods and runs out. The Cat creeps to the pot and +eats all the fat. She then crosses to the window.</i>]</p> +<p>CAT. What one begins one must needs finish.</p> +<p>[MISS MOUSE <i>returns.</i>]</p> +<p>MISS MOUSE. Mother is nowhere to be seen. Now tell me what you +named your youngest child.</p> +<p>CAT. All-out.</p> +<p>MISS MOUSE. All-out? Why, that is more curious than the others. +I have never seen it in print.</p> +<p>CAT (<i>glaring at Miss Mouse</i>). You never will!</p> +<p>MISS MOUSE (<i>frightened</i>). What do you mean?</p> +<p>CAT (<i>preparing to spring</i>). I mean to put you down with +the fat!</p> +<p>MISS MOUSE. Help! help!</p> +<p>[<i>Enter</i> MOTHER MOUSE <i>just as the Cat clutches her +daughter and jumps out of the window with her. Mother Mouse crosses +and looks into the empty grease-pot.</i>]</p> +<p>MOTHER MOUSE (<i>sighing sadly</i>). 'T was ever thus! Show your +grease-pot, and you'll go with it!</p> +<a name="2h8"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE GIRL WHO TROD ON THE LOAF</h2> +<h4>SCENE I</h4> +<p>TIME: <i>the day before Christmas</i>.<br> +PLACE: <i>Ingé's Mother's home</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>INGÉ</td> +</tr> +<tr> +<td>HER MOTHER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MOTHER <i>stands at the kitchen window, watching for +Ingé</i>]</p> +<p>MOTHER. Ah, here she comes at last!</p> +<p>(<i>Short pause. Enter</i> INGÉ)</p> +<p>I have waited long for you, my child. Where have you been?</p> +<p>(<i>Ingé is silent.</i>)</p> +<p>Have you been to the Elf Hill? Tell me.</p> +<p>INGÉ (<i>hesitating</i>). Just for a little while, +mother.</p> +<p>MOTHER. Ingé! Ingé! What have I ever told you?</p> +<p>INGÉ I thought I'd go just this once.</p> +<p>MOTHER (<i>showing sorrow</i>). Ah, Ingé, that's what you +always say.</p> +<p>INGÉ There's no harm talking with the elves.</p> +<p>MOTHER. And I, your mother, say there is harm.</p> +<p>INGÉ But, mother,—they talk so prettily.</p> +<p>MOTHER (<i>nodding</i>). Aye! and that's the harm. They've put +such silly ideas into your head.</p> +<p>INGÉ They say 't is friendship makes them talk as they +do.</p> +<p>MOTHER (<i>indignantly</i>). Friendship! 'T is friendship, is +it, to tell you not to fetch the wood?</p> +<p>INGÉ They say 't will spoil my hands.</p> +<p>MOTHER. Out upon them and their pretty talk! You shall go there +no more. Do you hear me, Ingé?</p> +<p>INGÉ (<i>pouting</i>). I hear.</p> +<p>MOTHER. Now take this loaf of bread to your sick aunt. Say to +her 't is her Christmas gift.</p> +<p>INGÉ But, mother, I must cross the muddy road to go +there.</p> +<p>MOTHER. Well, you are neither sugar nor salt.</p> +<p>INGÉ I'll spoil my shoes!</p> +<p>MOTHER. You think of your shoes, and your aunt lies ill?</p> +<p>INGÉ Wait till spring and the mud will be gone.</p> +<p>MOTHER. Wait till spring and your aunt will be gone! Here is the +loaf—now off with you!</p> +<p>[<i>Ingé takes the loaf and goes, but not +willingly.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>a few minutes later</i>.<br> +PLACE: <i>the muddy road</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>INGÉ</td> +<td></td> +</tr> +<tr> +<td>THE WICKED ELF.</td> +<td></td> +</tr> +</table> +<hr> +<p>[INGÉ <i>is seen stopping at the muddy road.</i>]</p> +<p>INGÉ 'T is too wide to leap!</p> +<p>[<i>The</i> WICKED ELF <i>suddenly appears on the opposite side +of the road.</i>]</p> +<p>WICKED ELF. Good day to you, pretty maid!</p> +<p>INGÉ Good day to you, dear Elf!</p> +<p>WICKED ELF. Wilt cross this muddy road?</p> +<p>INGÉ I must.</p> +<p>WICKED ELF. Then I'll tell you how to do it and not so much as +wet your shoe.</p> +<p>INGÉ Oh, thank you, dear Elf!</p> +<p>WICKED ELF. Throw down your loaf and—</p> +<p>INGÉ (<i>showing surprise; interrupting</i>). Throw down +the loaf?</p> +<p>WICKED ELF. Why, yes,—to use it for a stepping-stone.</p> +<p>INGÉ But 't will spoil the bread!</p> +<p>WICKED ELF. But 't will save your shoes!</p> +<p>INGÉ Well, that's true—</p> +<p>WICKED ELF. A pretty maid ne'er wears a muddy shoe.</p> +<p>INGÉ That's true, too—</p> +<p>WICKED ELF. Come, then, throw down the loaf!</p> +<p>INGÉ Well, I'll do it!</p> +<p>(<i>She throws the loaf and steps upon it.</i>)</p> +<p>'T is sinking! What shall I do?</p> +<p>WICKED ELF. Why, then, jump off!</p> +<p>INGÉ (<i>trying to jump</i>). I can't! Don't you see I +can't?</p> +<p>WICKED ELF. Ha, ha! You're fastened to it!</p> +<p>INGÉ 'T is drawing me down! Help me! Help me!</p> +<p>WICKED ELF. There's no help for you.</p> +<p>INGÉ No help? What do you mean?</p> +<p>WICKED ELF. You must go down with the loaf.</p> +<p>INGÉ I pray you help me! See how I'm sinking! The mud +will soon be over my shoes!</p> +<p>WICKED ELF. The mud will soon be over your head!</p> +<p>INGÉ (<i>weeping</i>). Save me! Save me!</p> +<p>WICKED ELF. Will you be saved by magic?</p> +<p>INGÉ Yes, yes!</p> +<p>WICKED ELF. Listen, then—I'll change you into a bird. Are +you willing?</p> +<p>INGÉ Yes, yes! Quick now, before I sink deeper!</p> +<p>WICKED ELF (<i>nodding head three times</i>). A sparrow shall +you be! Change, now change!</p> +<p>[<i>Ingé changes into a</i> SPARROW, <i>with a tuft of +white feathers, just the shape of a loaf of bread, upon its head. +The Sparrow flies from the mud.</i>]</p> +<p>SPARROW. Now change me back into Ingé</p> +<p>WICKED ELF. You shall remain as you are.</p> +<p>SPARROW (<i>showing surprise</i>). Remain as I am?</p> +<p>WICKED ELF (<i>nodding</i>). Until you can change yourself +back.</p> +<p>SPARROW. And when will that be?</p> +<p>WICKED ELF. When the loaf has gone from your head.</p> +<p>SPARROW. The loaf from my head? What do you mean?</p> +<p>WICKED ELF (<i>going</i>). Fly away to the brook and see! Ha, +ha, ha!</p> +<p>(<i>She runs away, calling back.</i>)</p> +<p>Fly away to the brook and see! Ha, ha, ha!</p> +<a name="image-051"><!--IMG--></a> +<div class="figcenter"><a href="images/051.png"><img src= +"images/051.png" alt="'TIS SINKING! WHAT SHALL I DO?" width="80%"></a> +<h3>"'TIS SINKING! WHAT SHALL I DO?"</h3> +</div> +<!--IMAGE END--> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>the day following Christmas Day</i>.<br> +PLACE: <i>an old stone wall by a brook</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE SPARROW.</td> +<td>FIRST STONE.</td> +</tr> +<tr> +<td>THE PEASANT.</td> +<td>SECOND STONE.</td> +</tr> +<tr> +<td>GRETEL.</td> +<td>THIRD STONE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> SPARROW <i>sits in a hole in the wall.</i>]</p> +<p>FIRST STONE. Come, come, be not so sad, little Sparrow!</p> +<p>SECOND STONE. Come, lift up your head and sing!</p> +<p>THIRD STONE. Come, sing us your Christmas song!</p> +<p>SPARROW. Sing! I have nothing to sing about.</p> +<p>FIRST STONE. Sing of your friends.</p> +<p>SECOND STONE. Sing of their love for you.</p> +<p>THIRD STONE. Sing of their kindness to you.</p> +<p>SPARROW. Talk not to me of friends, or love, or kindness! +There's none in the world.</p> +<p>[<i>Enter a</i> PEASANT <i>with his little</i> GRETEL. <i>The +Peasant carries two ears of corn.</i>]</p> +<p>PEASANT. Now, my Gretel, we'll place the corn here on the old +wall.</p> +<p>GRETEL. Mother thought you brought too much.</p> +<p>PEASANT. Well, 't is true there are only three ears left at +home, but the birds must have their Christmas dinner.</p> +<p>[<i>He places the corn on the wall.</i>]</p> +<p>GRETEL. There's none about to see it!</p> +<p>PEASANT. Oh, some bird will soon find it!</p> +<p>GRETEL. But will it call the others?</p> +<p>PEASANT. We'll wait to see. Come, we'll sit there on the +log.</p> +<p>[<i>They go to a log near by.</i>]</p> +<p>FIRST STONE. There, little Sparrow, say you now there is no +kindness?</p> +<p>SECOND STONE. Or love?</p> +<p>THIRD STONE. Or friendship?</p> +<p>SPARROW. No, no! I can never say that again. The peasant's heart +is full of kindness and love and friendship. I will sing of it! 'T +will be my Christmas song!</p> +<p>[<i>The Sparrow leaves the hole and flies to the corn.</i>]</p> +<p>GRETEL. Look, father, there is a sparrow! And hear it sing! Just +hear it!</p> +<p>PEASANT. It is calling the other birds.</p> +<p>GRETEL. Why, it doesn't even touch the corn!</p> +<p>PEASANT. It's waiting to share it with the others. Is it not a +pretty sight? Come, we must go to tell mother.</p> +<p> </p> +<p> </p> +<h4>SCENE IV</h4> +<p>TIME: <i>one month later</i>.<br> +PLACE: <i>same as</i> SCENE III.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>OUR SPARROW.</td> +</tr> +<tr> +<td>THE VERY OLD SPARROW.</td> +</tr> +<tr> +<td>THE OLD SPARROW.</td> +</tr> +<tr> +<td>THE YOUNG SPARROW.</td> +</tr> +<tr> +<td>THE VERY YOUNG SPARROW.</td> +</tr> +<tr> +<td>THE WICKED ELF.</td> +</tr> +</table> +<hr> +<p>[<i>All the</i> SPARROWS <i>except Our Sparrow sit on the stone +wall.</i>]</p> +<p>YOUNG SPARROW. I say the stranger should be driven away!</p> +<p>VERY YOUNG SPARROW. So say I!</p> +<p>OLD SPARROW. The stranger is a sparrow, but still not a +sparrow.</p> +<p>VERY OLD SPARROW. And yet she is only different by a tuft of +white feathers.</p> +<p>YOUNG SPARROW. And such a tuft! For all the world like a loaf of +bread!</p> +<p>VERY YOUNG SPARROW. I'd think it shame to carry such on +<i>my</i> head!</p> +<p>OLD SPARROW. I fear 't will shame us all to have this stranger +about.</p> +<p>VERY OLD SPARROW. And yet we are not ashamed to eat the crumbs +this stranger brings.</p> +<p>OLD SPARROW. Well, 't is true she has been most kind.</p> +<p>VERY OLD SPARROW. 'T is a hard winter! Shall we drive away the +one who finds food where we find none?</p> +<p>YOUNG SPARROW. And calls us every time!</p> +<p>VERY YOUNG SPARROW. And never eats till we have come!</p> +<p>VERY OLD SPARROW. I've kept in mind the crumbs she has found us. +Now, how many do you think?</p> +<p>OLD SPARROW. I cannot say, for I did not think to notice.</p> +<p>VERY OLD SPARROW. There only lacks two or three now of being a +loaf.</p> +<p>OTHER SPARROWS (<i>greatly surprised</i>). A loaf?</p> +<p>VERY OLD SPARROW (<i>nodding</i>). A loaf.</p> +<p>VERY YOUNG SPARROW. Here comes the stranger now!</p> +<p>OLD SPARROW. She brings a crust!</p> +<p>[OUR SPARROW <i>flies up with a crust in its bill.</i>]</p> +<p>OUR SPARROW. Come, friends, 't is for all of you!</p> +<p>VERY OLD SPARROW. Do you know, stranger bird, that, with these +crumbs, you have brought us in all one loaf?</p> +<p>[<i>Our Sparrow drops the crust for the others. At once it +changes into</i> INGÉ <i>The birds fly away +frightened.</i>]</p> +<p>INGÉ Ah! Now I understand. The loaf had to be made up, +crumb by crumb.</p> +<p>[<i>The</i> WICKED ELF <i>suddenly appears.</i>]</p> +<p>WICKED ELF. Come, pretty maid, come to the Elf Hill!</p> +<p>INGÉ No, no! I will not!</p> +<p>WICKED ELF. But we have such pretty things to tell you!</p> +<p>INGÉ I care not for your pretty things! I go to fetch +wood for my mother. I go to walk in the mud if need be. Away with +you! I'll have none of you! Away, away, I say!</p> +<a name="2h9"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE UGLY DUCKLING</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one summer morning</i>.<br> +PLACE: <i>the farmyard of the Moor Farm</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>MADAM DUCK.</td> +<td>TURKEY.</td> +</tr> +<tr> +<td>FIRST DUCKLING.</td> +<td>GRAY GANDER.</td> +</tr> +<tr> +<td>SECOND DUCKLING.</td> +<td>WHITE GOOSE.</td> +</tr> +<tr> +<td>THE UGLY DUCKLING.</td> +<td>PLYMOUTH ROCK HEN.</td> +</tr> +<tr> +<td>THIRD DUCKLING.</td> +<td>RED ROOSTER.</td> +</tr> +</table> +<hr> +<p>[MADAM DUCK <i>enters the farmyard with her new brood of</i> +DUCKLINGS. <i>The other fowls approach.</i>]</p> +<p>TURKEY (<i>showing displeasure</i>). A new brood of ducks! Look +you all—a new brood of ducks!</p> +<p>GRAY GANDER (<i>also displeased</i>). As if there were not +enough of us here already!</p> +<p>WHITE GOOSE (<i>likewise displeased</i>). True enough,—I +can scarce find a corner for my afternoon nap!</p> +<p>RED ROOSTER. It seems to me, Madam Duck, that you should not +have brought us a new brood this summer.</p> +<p>MADAM DUCK. What is that you are saying?</p> +<p>TURKEY. It seems to all of us, madam, that there is no room here +for a new brood.</p> +<p>PLYMOUTH ROCK HEN. Friends, be just. Madam Duck has a perfect +right to bring her ducklings here. Besides, the children are quite +pretty.</p> +<p>MADAM DUCK. They are beautiful! You shall all see that for +yourselves. Come, children, into a row with you!</p> +<p>[<i>The Ducklings form themselves into a row. The Ugly Duckling +is last.</i>]</p> +<p>MADAM DUCK. Legs wide apart! Toes out! Now speak prettily to my +old friends.</p> +<p>DUCKLINGS (<i>all but the last</i>). Quack! Quack!</p> +<p>MADAM DUCK. There now—are they not charming?</p> +<p>GRAY GANDER (<i>looking down row</i>). Why, yes, they all seem +graceful enough—here—wait a moment! Does that last one +there belong to you?</p> +<p>[<i>All the fowls look at the last Duckling.</i>]</p> +<p>MADAM DUCK. Oh yes! He is larger than the others and perhaps not +so pretty, but—</p> +<p>TURKEY (<i>interrupting</i>). Make no excuses for him, madam. We +can see for ourselves what he is.</p> +<p>GRAY GANDER. In all my life I never saw anything so ugly!</p> +<p>WHITE GOOSE. He is neither duck nor goose!</p> +<p>PLYMOUTH ROCK HEN. Nor duck nor chick!</p> +<p>TURKEY. I'd be 'shamed to have a turkey look like that!</p> +<p>RED ROOSTER. I'd allow no hen of mine to claim him!</p> +<p>MADAM DUCK. Come now, come now, friends. The poor child is not +pretty, but he is good, and he can swim even better than the +others.</p> +<p>TURKEY. That he can swim well is nothing to me!</p> +<p>RED ROOSTER. Nor to me! He should be driven out, I say!</p> +<p>MADAM DUCK. Let him alone; he is not doing any harm.</p> +<p>FIRST DUCKLING. But, mother, no one will look at us if he stays +with us!</p> +<p>MADAM Duck (<i>thoughtfully.</i>) Now perhaps it may turn out +that way.</p> +<p>SECOND DUCKLING. I'll not walk about with him!</p> +<p>THIRD DUCKLING. Nor I!</p> +<p>MADAM DUCK. Well, well! He must be uglier than I thought!</p> +<p>FIRST DUCKLING. Besides, dear mother, he will not quack.</p> +<p>MADAM DUCK. What is this? Did he not quack but just a moment +ago?</p> +<p>SECOND DUCKLING. He turned his toes out, but quack he would +not.</p> +<p>THIRD DUCKLING. 'T is true, dear mother.</p> +<p>MADAM DUCK (<i>to the Ugly Duckling</i>). Quack! Quack +now—at once!</p> +<p>[<i>The Ugly Duckling tries to quack, but chokes. The fowls +laugh and jeer at him.</i>]</p> +<p>GRAY GANDER. Ha, ha! There's a "quack" for you!</p> +<p>WHITE GOOSE. Ha, ha!</p> +<p>PLYMOUTH ROCK HEN. Ha, ha!</p> +<p>RED ROOSTER. Ha, ha!</p> +<p>TURKEY. Ha, ha!</p> +<p>MADAM DUCK (<i>angrily</i>). Once more I tell +you—quack!</p> +<p>[<i>The Ugly Duckling tries again; chokes.</i>]</p> +<p>ALL FOWLS. Ha, ha, ha, ha!</p> +<p>UGLY DUCKLING (<i>weeping</i>). I'm sorry—I'd quack if I +could.</p> +<p>MADAME DUCK. Ah, if you were only far away!</p> +<a name="image-062"><!--IMG--></a> +<div class="figcenter"><a href="images/062.png"><img src= +"images/062.png" alt="THE UGLY DUCKLING" width="100%"></a></div> +<!--IMAGE END--> +<p>FIRST DUCKLING. I wish the cat would eat you!</p> +<p>SECOND DUCKLING. I wish the swans would kill you!</p> +<p>WHITE GOOSE. And they will when they see him—you may be +sure of that.</p> +<p>GRAY GANDER (<i>nodding</i>). Aye, they'll not suffer such an +ugly creature to swim in the brook!</p> +<p>RED ROOSTER. We must drive him off—that's clear!</p> +<p>(<i>Running at the Ugly Duckling.</i>)</p> +<p>Come now, out with you!</p> +<p>PLYMOUTH ROCK HEN (<i>pecking Duckling</i>). Out with you!</p> +<p>UGLY DUCKLING. Mother, save me!</p> +<p>MADAM DUCK. Call not on me!</p> +<p>GRAY GANDER (<i>striking Duckling with his wings</i>). Out with +you!</p> +<p>UGLY DUCKLING (<i>running to Ducklings</i>). Brothers, sisters, +save me!</p> +<p>FIRST DUCKLING. Come not to us!</p> +<p>SECOND DUCKLING. We'll not save you!</p> +<p>THIRD DUCKLING. Away with you!</p> +<p>TURKEY. At him, hens to peck him! At him, geese to beat him! At +him, all of you!</p> +<p>[<i>They all rush upon the Ugly Duckling, who escapes them, +running out of the farmyard into the moor.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the next winter</i>.<br> +PLACE: <i>the Peasant's cottage</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE PEASANT.</td> +<td>THE CAT.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +<td>THE HEN.</td> +</tr> +<tr> +<td>ELIZABETH.</td> +<td>THE UGLY DUCKLING.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> PEASANT <i>enters the cottage, carrying the</i> UGLY +DUCKLING.]</p> +<p>PEASANT. See what I'm bringing you!</p> +<p>WIFE. Why, 't is a duckling—half frozen, too!</p> +<p>PEASANT. I found him frozen in the pond. I had to break the ice +to get him out.</p> +<p>ELIZABETH. Give him to me, father. I will put him behind the +stove.</p> +<p>PEASANT (<i>giving Duckling to Elizabeth</i>). That's a good +child.</p> +<p>WIFE. Handle him tenderly, daughter.</p> +<p>ELIZABETH (<i>taking off her shawl</i>). He shall lie upon my +shawl. You poor, dear, ugly little duckling!</p> +<p>[<i>She places the Duckling upon the shawl behind the stove, +near the</i> CAT <i>and</i> HEN.]</p> +<p>PEASANT. 'T is the duckling I told you of!</p> +<p>WIFE. The one you saw on the pond yesterday?</p> +<p>PEASANT. Aye, and the day before, and all winter long, for that +matter. Yesterday I saw him try to join the wild ducks on the +river, but they drove him back to the pond.</p> +<p>ELIZABETH. Poor duckling! The pond was freezing then!</p> +<p>PEASANT (<i>nodding</i>). Then he tried to find a place among +the rushes on the moor, but the birds drove him from there.</p> +<p>ELIZABETH. Why did they all treat him so, father?</p> +<p>PEASANT. I do not know, unless it is because he is so ugly.</p> +<p>WIFE. Come now to dinner, father—Elizabeth. By the time we +have finished, our duckling will be warmed and awake.</p> +<p>[<i>They go into the kitchen. The Duckling stirs and looks +about.</i>]</p> +<p>HEN. Can you lay eggs?</p> +<p>DUCKLING (<i>politely</i>). No, madam.</p> +<p>CAT. Can you set up your back?</p> +<p>DUCKLING. No, dear sir.</p> +<p>CAT. Can you purr?</p> +<p>DUCKLING (<i>frightened</i>). No.</p> +<p>HEN. Then you can't stay here.</p> +<p>DUCKLING. Do not drive me out, I pray you!</p> +<p>CAT. Will you learn to purr?</p> +<p>HEN. And to lay eggs?</p> +<p>DUCKLING (<i>sadly</i>). Alas, I can do nothing but swim.</p> +<p>CAT. Swim! Well, I must say that is very queer.</p> +<p>DUCKLING. Oh, no, dear sir! It is most pleasant when the waters +close over your head and you plunge to the bottom.</p> +<p>CAT. Plunge to the bottom, indeed! I'd never think of doing such +a silly thing!</p> +<p>HEN. Nor I!</p> +<p>CAT. 'T is clear you can't remain here.</p> +<p>DUCKLING. Where am I to go?</p> +<p>CAT. Go lie in the rushes. The birds flew south this +morning.</p> +<p>DUCKLING. I shall starve there.</p> +<p>CAT. It would really be a good thing for you if I should eat +you.</p> +<p>DUCKLING. I'd thank you to do so, dear sir.</p> +<p>HEN. Eat him, since he is so willing. He is too ugly to +live.</p> +<p>CAT (<i>turning away</i>). I can't, he is too ugly to eat.</p> +<p>(<i>To the Duckling.</i>)</p> +<p>Come, out with you!</p> +<p>HEN (<i>running at him</i>). Yes, yes! Out with you! Out with +you!</p> +<p>[<i>They push the Duckling out of the door into the +snow.</i>]</p> +<p>DUCKLING. Alas! What shall I do? Where shall I go? Why was I +made so ugly that every one despises me!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>the next spring</i>.<br> +PLACE: <i>the brook on the Moor Farm</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE UGLY DUCKLING.</td> +<td>THE MOTHER.</td> +</tr> +<tr> +<td>THE MOLE.</td> +<td>THE CHILDREN.</td> +</tr> +<tr> +<td>THE FATHER.</td> +<td>THE SWANS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> UGLY DUCKLING <i>sits on the hill of a</i> MOLE +<i>near the brook which winds through the Moor Farm.</i>]</p> +<p>MOLE (<i>from the mole hill</i>). Will you please move? I wish +to come out.</p> +<p>DUCKLING (<i>rising quickly</i>). Why, 't is a mole hill I've +been sitting on!</p> +<p>(<i>The Mole comes out from the hill.</i>)</p> +<p>I'm sorry, friend Mole, I didn't notice your hill.</p> +<p>MOLE. Who are you?</p> +<p>DUCKLING. Madam Duck of this farm is my mother.</p> +<p>MOLE. That can't be! You are no duck.</p> +<p>DUCKLING. Yes, but I am. Only, I am uglier than any duck in the +world.</p> +<p>MOLE. You have not the voice of a duck. You do not speak with +the quack of which they are so proud. And then, if you are truly a +duck, why are you not with your family?</p> +<p>DUCKLING. They drove me out last summer because I was ugly and +could not quack.</p> +<p>MOLE. Then why have you come back?</p> +<p>DUCKLING. To let the swans kill me.</p> +<p>MOLE. What! To let them kill you?</p> +<p>DUCKLING. I would rather be killed by those beautiful birds than +pecked by the hens, beaten by the geese, or starved with hunger in +the winter.</p> +<p>MOLE. Perhaps you are not so ugly now as you were then.</p> +<p>DUCKLING. I have not looked at myself in the water since spring +came and took the ice away. But I know well enough how dark and +badly formed I am. The swans will kill me if I dare to approach +them.</p> +<p>[<i>A noise is heard in the distance.</i>]</p> +<p>MOLE. They are coming! Go, while there is yet time.</p> +<p>DUCKLING. There is no place to go to. All winter long I was +driven from moor to moor. I could not make a friend—I no +longer wish to live.</p> +<p>[<i>The</i> SWANS <i>are seen swimming down the brook.</i>]</p> +<p>MOLE. They are here! Do not go to them, I pray you!</p> +<p>DUCKLING (<i>shaking head</i>). Farewell!</p> +<p>[<i>He flies to the water and swims toward the Swans. They see +him and rush to meet him with outstretched wings.</i>]</p> +<p>DUCKLING. Kill me! Kill me!</p> +<p>FIRST SWAN. Kill you! Why, we have come to welcome you, +beautiful stranger.</p> +<p>SECOND SWAN. We saw you from afar, and came to meet you.</p> +<p>THIRD SWAN. We are so happy to have you with us!</p> +<p>[<i>Enter several</i> CHILDREN.]</p> +<p>FIRST CHILD. See, there is a new swan!</p> +<p>SECOND CHILD (<i>calling</i>). Father, mother, come! There is +another swan!</p> +<p>[<i>Enter the</i> FATHER <i>and</i> MOTHER.]</p> +<p>FATHER. What were you calling?</p> +<p>THIRD CHILD. A new swan has come! Look!</p> +<p>MOTHER. I see him! He is beautiful!</p> +<p>FATHER. He is very young, but he is the most beautiful of +all!</p> +<p>FOURTH CHILD. See how the others stroke him with their +beaks!</p> +<p>MOTHER. They are showing him how glad they are to have him with +them. See how they swim around him and how gently they touch +him!</p> +<p>FATHER. I have never seen anything so pretty. How happy the new +swan is! See how he rustles his feathers! See how proudly he curves +his slender neck!</p> +<p>FIRST CHILD. And see how he looks at himself in the water!</p> +<p>SECOND CHILD. Let's get bread and cake for him!</p> +<p>THIRD CHILD. Yes, yes!</p> +<p>FOURTH CHILD. Yes, yes!</p> +<p>[<i>The Children run off, followed by the Father and +Mother.</i>]</p> +<p>MOLE (<i>going into his hill</i>). 'T was not so bad after +all—not to have the family quack!</p> +<a name="2h10"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE RED SHOES</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one morning</i>.<br> +PLACE: <i>the Shoemaker's shop</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>GRANDMOTHER.</td> +</tr> +<tr> +<td>KAREN.</td> +</tr> +<tr> +<td>SHOEMAKER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GRANDMOTHER <i>and</i> KAREN <i>enter the shop of +the</i> SHOEMAKER.]</p> +<p>GRANDMOTHER. This is my little granddaughter Karen, Shoemaker. +Please to take her measure for a pair of shoes.</p> +<p>SHOEMAKER. What kind do you wish, madam?</p> +<p>GRANDMOTHER. Morocco, the finest you have, Karen is to wear +these shoes to church.</p> +<p>SHOEMAKER. What color do you wish, madam?</p> +<p>GRANDMOTHER. Black.</p> +<p>KAREN (<i>whispering to Shoemaker</i>). Red.</p> +<p>SHOEMAKER (<i>puzzled</i>). Eh?</p> +<p>GRANDMOTHER (<i>louder</i>). Black.</p> +<p>KAREN (<i>whispering to Shoemaker</i>). Red.</p> +<p>SHOEMAKER. Of course, madam, if you say black, black they shall +be.</p> +<p>KAREN. The little princess wore red shoes, Grandmother.</p> +<p>SHOEMAKER (<i>nodding</i>). That is true; I saw them myself.</p> +<p>GRANDMOTHER. Red shoes?</p> +<p>KAREN (<i>nodding</i>). Of beautiful red morocco. The queen let +the princess stand at a window so every one could see her new +shoes.</p> +<p>SHOEMAKER. It is all true, madam.</p> +<p>GRANDMOTHER. No matter; Karen is to have black shoes.</p> +<p>(<i>Taking up a pair of shoes.</i>)</p> +<p>Here, this pair suits me exactly.</p> +<p>SHOEMAKER (<i>surprised</i>). But, madam, those shoes +are—</p> +<p>KAREN (<i>interrupting; whispering</i>). Hush, Shoemaker! Do not +tell her. She can't see very well.</p> +<p>GRANDMOTHER (<i>giving shoes to Karen</i>). Are they of polished +leather? They shine as if they were.</p> +<p>KAREN. Yes; they do shine.</p> +<p>(<i>Trying on the shoes.</i>)</p> +<p>And they just fit me, Grandmother.</p> +<p>GRANDMOTHER. I will take them, Shoemaker.</p> +<p>SHOEMAKER. But, madam—</p> +<p>KAREN (<i>interrupting; whispering</i>). Hush, Shoemaker! She +will never know the difference.</p> +<p>GRANDMOTHER. Here is the money, Shoemaker. Come, Karen.</p> +<p>SHOEMAKER. But, madam—</p> +<p>KAREN (<i>interrupting</i>). I am ready, Grandmother.</p> +<p>GRANDMOTHER. Good day, Shoemaker.</p> +<p>SHOEMAKER. But, madam—</p> +<p>KAREN (<i>interrupting</i>). Good day, Shoemaker.</p> +<p>[<i>The Grandmother and Karen go.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the next Sunday, after church</i>.<br> +PLACE: <i>the Grandmother's home</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GRANDMOTHER.</td> +<td> </td> +</tr> +<tr> +<td>KAREN.</td> +<td> </td> +</tr> +<tr> +<td> </td> +<td><i>First</i>.</td> +</tr> +<tr> +<td> </td> +<td><i>Second</i>.</td> +</tr> +<tr> +<td>THE NEIGHBORS</td> +<td><i>Third</i>.</td> +</tr> +<tr> +<td> </td> +<td><i>Fourth</i>.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> NEIGHBORS <i>sit with the</i> GRANDMOTHER <i>in the +spare room because it is Sunday.</i>]</p> +<p>FIRST NEIGHBOR. I did not see you at church to-day, +Grandmother.</p> +<p>GRANDMOTHER. I could not go, but I sent little Karen.</p> +<p>SECOND NEIGHBOR (<i>mysteriously</i>). Oh, yes; we saw her! +Everybody saw her!</p> +<p>GRANDMOTHER (<i>proudly</i>). People do look at her; she is so +pretty.</p> +<p>THIRD NEIGHBOR. People didn't look at her face to-day.</p> +<p>GRANDMOTHER (<i>alarmed</i>). What do you mean?</p> +<p>THIRD NEIGHBOR. Ask Karen when she returns. We're not the ones +to carry tales.</p> +<p>GRANDMOTHER (<i>looking out window</i>). Here she comes now!</p> +<p>FOURTH NEIGHBOR. Just ask her about the sermon and the +hymns!</p> +<p>GRANDMOTHER (<i>proudly</i>). She will tell me almost every word +the pastor said. She is a smart girl—that Karen.</p> +<p>[<i>Enter</i> KAREN.]</p> +<p>KAREN. Well, Grandmother, here I am! Good morning, +Neighbors.</p> +<p>NEIGHBORS (<i>coldly</i>). Good morning, Karen.</p> +<p>GRANDMOTHER. Now tell me about the sermon, Karen. What was the +text?</p> +<p>KAREN (<i>with confusion; stammering</i>). The text? It +was—it was—Oh, I will tell you all about it by and by, +Grandmother. Our Neighbors want to talk with you now.</p> +<p>FIRST NEIGHBOR. Oh, no! We would rather hear you tell your +Grandmother about the sermon and the music.</p> +<p>GRANDMOTHER. What hymns did they sing, Karen?</p> +<p>KAREN (<i>as before</i>). Hymns? They sang—let me +see—they sang—</p> +<p>[<i>She stops in confusion.</i>]</p> +<p>GRANDMOTHER. Why, Karen! Are you ill?</p> +<p>SECOND NEIGHBOR. No, Grandmother, Karen is not ill. She is +ashamed. She was not thinking of the beautiful music nor of the +sermon this morning. Is that not true, Karen?</p> +<p>KAREN (<i>ashamed</i>). Y-e-s—</p> +<p>GRANDMOTHER. What is this?</p> +<p>THIRD NEIGHBOR. Tell your Grandmother what you were thinking +about in church, Karen.</p> +<p>KAREN. I was thinking about—about—my new shoes.</p> +<p>GRANDMOTHER. A great thing to think about in church—a pair +of plain black shoes!</p> +<p>FOURTH NEIGHBOR. She did not wear her black shoes; she wore +<i>red shoes!</i></p> +<p>GRANDMOTHER (<i>gasping</i>). Red shoes—to church?</p> +<p>FIRST NEIGHBOR (<i>nodding</i>). Every one was terribly +shocked!</p> +<p>GRANDMOTHER (<i>still gasping</i>). Red shoes to church!</p> +<p>SECOND NEIGHBOR. Even the pastor looked at her shoes!</p> +<p>GRANDMOTHER (<i>indignantly</i>). Red shoes to church!</p> +<p>THIRD NEIGHBOR. The choir looked! All fixed their eyes on +Karen's red shoes.</p> +<p>GRANDMOTHER. It is the most shocking thing I ever heard! Do you +hear me, Karen?</p> +<p>KAREN (<i>hanging her head in shame</i>). Yes, Grandmother.</p> +<p>GRANDMOTHER. You must never, never, so long as you live, wear +red shoes to church again. It is not at all proper. Do you hear me, +Karen?</p> +<p>KAREN (<i>as before</i>). Yes, Grandmother.</p> +<p>FOURTH NEIGHBOR. Do you think she should have her Sunday +dinner?</p> +<p>GRANDMOTHER. Not one bite! She shall stay in her room all day. +Do you hear me, Karen?</p> +<p>KAREN. Yes, Grandmother.</p> +<p>GRANDMOTHER. Thank you for telling me, Neighbors. To think of +it! Red shoes to church!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>the following Sunday, after church</i>.<br> +PLACE: <i>the churchyard</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GRANDMOTHER.</td> +</tr> +<tr> +<td>KAREN.</td> +</tr> +<tr> +<td>THE OLD SOLDIER.</td> +</tr> +<tr> +<td>THE COACHMAN.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GRANDMOTHER <i>and</i> KAREN <i>come from the +church. The</i> OLD SOLDIER <i>stands near the church door. He +tries to speak to the Grandmother, but she does not hear +him.</i>]</p> +<p>KAREN. Wait a moment, Grandmother! The Old Soldier wants to +speak with you.</p> +<p>GRANDMOTHER (<i>turning</i>). What do you want, Old Soldier?</p> +<p>OLD SOLDIER. I want to dust your shoes, madam.</p> +<p>GRANDMOTHER. That is very good of you.</p> +<p>(<i>Old Soldier dusts her shoes</i>).</p> +<p>Thank you; now I will go to my carriage while you dust Karen's +shoes.</p> +<p>[<i>She goes.</i>]</p> +<p>OLD SOLDIER. Stretch out your foot, little Karen.</p> +<p>(<i>Karen thrusts out her foot.</i>)</p> +<p>What is this? Red shoes for church?</p> +<p>KAREN. I looked at my old black shoes—</p> +<p>OLD SOLDIER (<i>interrupting</i>). And then at your new red +ones?</p> +<p>KAREN (<i>nodding</i>). Yes, and then at my black ones +again—</p> +<p>OLD SOLDIER (<i>interrupting</i>). And then put on your red +ones!</p> +<p>KAREN. Sh-h! Grandmother must not know.</p> +<p>OLD SOLDIER. She can't hear, for I am talking through my long +red beard.</p> +<p>KAREN. Why is your beard so red, Old Soldier?</p> +<p>OLD SOLDIER. To make more light for my eyes—that I may see +without looking.</p> +<p>KAREN. See without looking?</p> +<p>OLD SOLDIER (<i>nodding</i>). I was not in the church, yet I saw +you clearly when you knelt at the altar and raised the golden cup +to your lips.</p> +<p>KAREN (<i>surprised</i>). You saw that?</p> +<p>OLD SOLDIER (<i>nodding</i>). And more—I saw your +thoughts.</p> +<p>KAREN. You saw my thoughts?</p> +<p>OLD SOLDIER (<i>nodding</i>). It was to you as if your red shoes +passed before your eyes in the cup. Am I not right?</p> +<p>KAREN (<i>showing fear</i>). Y-e-s—</p> +<p>OLD SOLDIER. And I saw by the light of my beard that you forgot +to sing the hymns; eh, Karen?</p> +<p>KAREN. Y-e-s—</p> +<p>OLD SOLDIER. And that you forgot to say your prayers; eh, +Karen?</p> +<p>KAREN. Y-e-s—</p> +<p>OLD SOLDIER. You were thinking of your red shoes all the +time.</p> +<p>KAREN. Y-e-s, Old Soldier.</p> +<p>OLD SOLDIER (<i>holding Karen and stooping until his beard +covers her shoes</i>). Cover and touch and change, my beard! Cover +and touch and change!</p> +<p>KAREN. What are you doing? Let me go!</p> +<p>OLD SOLDIER (<i>holding her firmly</i>). I am turning your red +shoes into dancing shoes!</p> +<p>KAREN. I am afraid of you! Let me go!</p> +<p>OLD SOLDIER (<i>slapping soles of her shoes with hand</i>). Now +I have made them stick fast to your feet!</p> +<p>KAREN (<i>calling</i>). Grandmother! Grandmother!</p> +<p>OLD SOLDIER. Now you may go! Ha, ha!</p> +<p>KAREN. Why! I am dancing! I can't stop! Grandmother! +Grandmother!</p> +<p>GRANDMOTHER. What is this? Mercy on me! She is dancing down the +street! Run after her, Coachman! Quick! Stop her!</p> +<p>COACHMAN (<i>running after Karen</i>). Stop, Mistress Karen! I'm +after you!</p> +<p>OLD SOLDIER. Ha, ha, ha! You will never catch her!</p> +<p>GRANDMOTHER (<i>calling after Coachman</i>). There she goes +around the corner!</p> +<p>COACHMAN (<i>calling off</i>). I'll get you, Mistress Karen! +Just stop a bit!</p> +<p>OLD SOLDIER. Ha, ha, ha! You will never catch her!</p> +<p>GRANDMOTHER. My poor Karen! My poor Karen!</p> +<p>COACHMAN (<i>returning</i>). I couldn't catch her, madam! She +danced right out of the town gate!</p> +<p>GRANDMOTHER. Out of the town gate?</p> +<p>COACHMAN. Yes, madam, and straight for the dark wood.</p> +<p>GRANDMOTHER. We will drive after her!</p> +<p>[<i>Coachman jumps to his seat.</i>]</p> +<p>OLD SOLDIER. Ha, ha, ha! You will never catch her!</p> +<p>GRANDMOTHER. Quick, Coachman, quick! We must catch her before +she gets to the dark wood. My poor Karen! My poor Karen!</p> +<p>[<i>The carriage dashes off.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE IV</h4> +<p>TIME: <i>three days later; evening</i>.<br> +PLACE: <i>the dark wood. A hut is seen among the vines</i>.</p> +<hr> +<table width="40%" align="center"> +<tr> +<td>THE FORESTER.</td> +<td>THE EXECUTIONER.</td> +</tr> +<tr> +<td>HIS SON.</td> +<td>THE OLD SOLDIER.</td> +</tr> +<tr> +<td>KAREN.</td> +<td>THE FAIRY QUEEN.</td> +</tr> +<tr> +<td colspan="2" align="center">MOON.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> FORESTER <i>and his</i> SON <i>are felling a +tree.</i>]</p> +<p>KAREN (<i>heard calling off</i>). Stop me! Stop me!</p> +<p>SON. Heard you that cry?</p> +<p>FORESTER (<i>looking off</i>). Mercy on us! 'T is the dancing +girl I told you of!</p> +<p>[<i>Enter</i> KAREN, <i>dancing.</i>]</p> +<p>KAREN. Stop me, Forester!</p> +<p>FORESTER. No, no! I dare not!</p> +<p>KAREN (<i>to Son</i>). Stop me, I pray you! Three days have I +danced! I can endure it no longer!</p> +<p>SON (<i>to Forester</i>). Come, let us help her!</p> +<p>FORESTER. Do not touch her! She is bewitched!</p> +<p>KAREN. 'T is my shoes are bewitched—not I!</p> +<p>SON. I say, little maid, pull off your shoes!</p> +<p>KAREN. They will not come off. See!</p> +<p>[<i>She pulls at her shoes.</i>]</p> +<p>SON (<i>starting towards Karen</i>). I'll get them off, +bewitched or not bewitched!</p> +<p>FORESTER (<i>seizing Son</i>). Would you get yourself into +trouble? Come home with me!</p> +<p>[<i>Forester runs from wood with Son. The</i> MOON <i>arises +suddenly in a fir tree.</i>]</p> +<p>KAREN. O Moon, see how I dance below you! Pray tell me how to +break this spell!</p> +<p>MOON. Ha, ha, ha!</p> +<a name="image-001"><!--IMG--></a> +<div class="figcenter"><a href="images/001.png"><img src= +"images/001.png" alt= +"THE MOON CHANGES INTO THE RED BEARD OF THE OLD SOLDIER." width="80%"></a> +<h3>"THE MOON CHANGES INTO THE RED BEARD OF THE OLD SOLDIER"</h3> +</div> +<!--IMAGE END--> +<p>[<i>The Moon changes into the red beard of the</i> OLD +SOLDIER.]</p> +<p>OLD SOLDIER. My beard makes moonlight for me that I may watch +you dance.</p> +<p>KAREN. Mercy, Old Soldier! I pray you break your spell!</p> +<p>OLD SOLDIER. You forgot to say the prayers! You thought only of +your red shoes!</p> +<p>KAREN. I will go barefoot to church!</p> +<p>OLD SOLDIER. You whispered "red" to the Shoemaker!</p> +<p>KAREN. I will never deceive my dear Grandmother again! Have +pity!</p> +<p>OLD SOLDIER. You shall dance in your red shoes till you are pale +and cold! By night and by day you shall dance; in sunshine and in +rain; in snow and in sleet. Over highways and byways shall you +dance; in dark swamps and on mountain tops. You shall go on +dancing, dancing, dancing, forever and ever!</p> +<p>[<i>He disappears.</i>]</p> +<p>KAREN. I cannot dance on forever! I cannot! I cannot!</p> +<p>(<i>Weeping; pause.</i>)</p> +<p>Well, I know a way to break the spell, and I'll do it!</p> +<p>(<i>Crossing to hut of the</i> EXECUTIONER; +<i>knocking.</i>)</p> +<p>Come out! Come out!</p> +<p>EXECUTIONER (<i>from within the hut</i>). Come in!</p> +<p>KAREN. I cannot come in; I must dance.</p> +<p>EXECUTIONER. Then I will come out.</p> +<p>(<i>The Executioner comes out from hut.</i>)</p> +<p>Well, do you know me?</p> +<p>KAREN. You are the Executioner.</p> +<p>EXECUTIONER. I am the Executioner. I cut off the heads of wicked +people with this great ax.</p> +<p>KAREN. Do not strike off my head!</p> +<p>EXECUTIONER. And why not strike off your head, pray?</p> +<p>KAREN. I must have that to repent of my sin. So please to cut +off my feet.</p> +<p>EXECUTIONER. It shall be as you say. Thrust out your foot, +maid.</p> +<p>[<i>Enter</i> FAIRY QUEEN.]</p> +<p>FAIRY QUEEN. Stay, Executioner, stay! I've come to save you, +Karen!</p> +<p>KAREN. To save me?</p> +<p>FAIRY QUEEN. Whenever a child repents of a sin, lo, I am there +to save.</p> +<p>KAREN. Will you remove this spell from me?</p> +<p>FAIRY QUEEN. Will you give up your red shoes?</p> +<p>KAREN. Gladly! Gladly! I wish I might never see them again!</p> +<p>FAIRY QUEEN. Then dance to me that I may touch you with my +wand.</p> +<p>[<i>Fairy Queen touches Karen's shoes with her wand. The shoes +fall off.</i>]</p> +<p>KAREN. Dear Fairy Queen! Dear Fairy Queen! I thank you! I thank +you!</p> +<p>FAIRY QUEEN. Look, Karen, your shoes are dancing away! Soon they +will be lost to you forever. Shall I not bring them back?</p> +<p>KAREN. No, no! Let them go! Now I am free! Now I can rest!</p> +<p>FAIRY QUEEN. Then come, dear child, I will guide you to your +home.</p> +<a name="2h11"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE STORY OF ALI COGIA</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one evening</i>.<br> +PLACE: <i>the house of a merchant in Bagdad</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MERCHANT.</td> +</tr> +<tr> +<td>THE MERCHANT'S WIFE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MERCHANT <i>and his</i> WIFE <i>are at +supper.</i>]</p> +<p>WIFE. Our neighbors bought some fine olives to-day. It has been +a long time since we have had olives. I am quite hungry for +them.</p> +<p>MERCHANT. Now you speak of olives, you put me in mind of the jar +which Ali Cogia left with me.</p> +<p>WIFE (<i>pointing to a jar in another part of the room</i>). +There is the very jar waiting for him against his return.</p> +<p>MERCHANT. Certainly he must be dead, since he has not returned +in all this time. Give me a plate; I will open the jar, and if the +olives be good, we will eat them.</p> +<p>WIFE. Pray, husband, do not commit so base an action. You know +nothing is more sacred than what is left to one's care and +trust.</p> +<p>MERCHANT. But I am certain All Cogia will never return.</p> +<p>WIFE. And I have a strong feeling that he will. What will he +think of your honor if he finds the jar has been opened?</p> +<p>MERCHANT. Surely a jar of olives is not to be guarded so +carefully, year after year.</p> +<p>WIFE. That is Ali Cogia's affair, not ours. Besides, the olives +can't be good after all this time.</p> +<p>MERCHANT (<i>taking a plate</i>). I mean to have a taste of +them, at least.</p> +<p>WIFE (<i>indignantly</i>). You are betraying the trust your +friend placed in you! I will not remain to witness it.</p> +<p>[<i>She leaves the room. The Merchant crosses and takes cover +from jar.</i>]</p> +<p>MERCHANT (<i>looking in jar</i>). My wife was right—the +olives are covered with mould, but those at the bottom may still be +good.</p> +<p>[<i>He turns the jar up and shakes out the olives. Several gold +pieces fall out.</i>]</p> +<p>MERCHANT. What is this? Gold pieces! As I live! Gold! gold!</p> +<p>[<i>He shakes the jar again; a shower of gold pieces +fall.</i>]</p> +<p>MERCHANT (<i>dropping the jar in astonishment</i>). A thousand +pieces at least! The top of the jar only was laid with olives!</p> +<p>(<i>He puts the gold into his pockets.</i>)</p> +<p>To-night, when my wife is asleep, I will fill the jar entirely +with fresh olives, for these show they have been disturbed. And I +will make up the jar so that no one, except Ali Cogia himself, will +know they have been touched.</p> +<a name="image-091"><!--IMG--></a> +<div class="figcenter"><a href="images/091.png"><img src= +"images/091.png" alt="'A THOUSAND PIECES AT LEAST!'" width="80%"></a> +<h3>"A THOUSAND PIECES AT LEAST"</h3> +</div> +<!--IMAGE END--> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>one month later; a moonlight night</i>.<br> +PLACE: <i>a small court opening upon a narrow street of +Bagdad</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE CALIPH.</td> +</tr> +<tr> +<td>THE GRAND VIZIER.</td> +</tr> +<tr> +<td>FIRST CHILD, <i>who plays he is the Cauzee</i><a id= +"footnotetag3" name="footnotetag3"></a><a href= +"#footnote3"><sup>3</sup></a></td> +</tr> +<tr> +<td>SECOND CHILD, <i>who plays he is the officer</i>.</td> +</tr> +<tr> +<td>THIRD CHILD, <i>who plays he is Ali Cogia</i>.</td> +</tr> +<tr> +<td>ZEYN, <i>who plays he is the Merchant</i>.</td> +</tr> +<tr> +<td>TWO BOYS, <i>who play they are Olive Merchants</i>.</td> +</tr> +<tr> +<td>MANY OTHER CHILDREN, <i>who look on</i>.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> CALIPH, <i>accompanied by his</i> GRAND VIZIER, +<i>enters the narrow street upon which the court opens. They are in +disguise, appearing as merchants.</i>]</p> +<p>CALIPH. Perhaps we may hear some talk of this affair of Ali +Cogia and the merchant, as we go through the city to-night.</p> +<p>VIZIER. It is possible, O Commander of the true Believers! The +affair has made a great noise in Bagdad.</p> +<p>CALIPH. Ali Cogia carried the merchant before the Cauzee, I +believe.</p> +<p>VIZIER. Yes; he claimed that the merchant had taken from him one +thousand pieces of gold.</p> +<p>CALIPH. Proceed; I would know all.</p> +<p>VIZIER. Ali Cogia left with this merchant, so he says, a jar in +which he had placed this money. Upon his return, which was but +yesterday, he went to the merchant, and, having received the jar, +opened it. To his surprise he found that the gold, which he had +hidden below a layer of olives, was no longer there.</p> +<p>CALIPH. Ah, that is what Ali Cogia says. What says the +merchant?</p> +<p>VIZIER. The merchant made oath before the Cauzee that he did not +know there was money in the jar, and so of course could not have +taken it.</p> +<p>CALIPH. And the Cauzee dismissed the merchant, I believe.</p> +<p>VIZIER. Yes, Commander of the Faithful, the merchant was +acquitted.</p> +<p>CALIPH. This Ali Cogia presented a petition to me to-day, and I +promised to hear him to-morrow. Would that I could know the truth +of the matter that I may give a just sentence!</p> +<p>[<i>They arrive at the court where several</i> CHILDREN <i>are +playing in the moonlight. The Caliph stops to watch them.</i>]</p> +<p>FIRST CHILD. Let us play that the Cauzee is trying the +Merchant.</p> +<p>SECOND CHILD (<i>joyfully</i>). Yes, yes!</p> +<p>THIRD CHILD (<i>joyfully</i>). Yes, yes!</p> +<p>ALL CHILDREN (<i>clapping their hands</i>). Yes, yes!</p> +<p>CALIPH (<i>softly to Vizier</i>). Let us sit on this bench. I +would know what these children are playing.</p> +<p>[<i>They sit, but are not seen by children.</i>]</p> +<p>FIRST CHILD (<i>taking his seat with great dignity</i>). I +choose to be the Cauzee!</p> +<p>SECOND CHILD (<i>taking his place behind the Cauzee</i>). I +choose to be the Officer!</p> +<p>THIRD CHILD. I choose to be Ali Cogia!</p> +<p>CAUZEE. Who chooses to be the Merchant?</p> +<p>[<i>Long pause; all the Children hang back.</i>]</p> +<p>CAUZEE. Come, Zeyn, you be the Merchant.</p> +<p>ZEYN. Not I! The part does not please me.</p> +<p>OFFICER. Would you spoil everything, Zeyn?</p> +<p>ZEYN. Oh, well, then, I'll be the Merchant this time.</p> +<p>CAUZEE. Officer, bring in the accused and his accuser.</p> +<p>[<i>The Officer presents the Merchant and Ali Cogia before the +Cauzee.</i>]</p> +<p>CAUZEE. Ali Cogia, what charge have you to make against this +Merchant?</p> +<p>ALI COGIA (<i>bowing</i>). Sir, when I journeyed from Bagdad +seven years ago, I left with this Merchant a jar. Now, into this +jar I had put, with some olives, a thousand pieces of gold. When I +opened the jar, I found that it had been entirely filled with +olives; the gold had disappeared. I beseech your honor that I may +not lose so great a sum of money!</p> +<p>CAUZEE. Merchant, what have you to say to this charge?</p> +<p>MERCHANT. I confess that I had the jar in my house, but Ali +Cogia found it exactly as he had left it. Did he ever tell me there +was gold in the jar? No. He now demands that I pay him one thousand +pieces of gold. I wonder that he does not ask me for diamonds and +pearls instead of gold. I will take my oath that what I say is the +truth.</p> +<p>CAUZEE. Not so fast! Before you come to your oath, I should be +glad to see the jar of olives.</p> +<p>(<i>Turning to Ali Cogia.</i>)</p> +<p>Ali Cogia, have you brought the jar?</p> +<p>ALI COGIA. No; I did not think of that.</p> +<p>CAUZEE. Then go and fetch it.</p> +<p>[<i>Ali Cogia goes.</i>]</p> +<p>CAUZEE (<i>to the Merchant</i>). You thought the jar contained +olives all this time?</p> +<p>MERCHANT. Ali Cogia told me it contained olives at the first. I +will take oath that what I say is the truth.</p> +<p>CAUZEE. We are not yet ready for your oath.</p> +<p>[ALI COGIA <i>enters. He pretends to set a jar before the +Cauzee.</i>]</p> +<p>CAUZEE. Ali Cogia, is this jar the same you left with the +Merchant?</p> +<p>ALI COGIA. Sir, it is the same.</p> +<p>CAUZEE. Merchant, do you confess this jar to be the same?</p> +<p>MERCHANT. Sir, it is the same.</p> +<p>CAUZEE. Officer, remove the cover.</p> +<p>(<i>The Officer pretends to remove the cover.</i>)</p> +<p>These are fine olives! Let me taste them.</p> +<p>(<i>Pretending to eat an olive.</i>)</p> +<p>They are excellent! But I cannot think that olives will keep +seven years and be so good. Therefore, Officer, bring in Olive +Merchants, and let me hear what is their opinion.</p> +<p>OFFICER (<i>announcing</i>). Forward, two Olive Merchants!</p> +<p>[<i>Two</i> BOYS <i>present themselves</i>].</p> +<p>CAUZEE. Are you Olive Merchants?</p> +<p>BOYS (<i>bowing</i>). Sir, we are.</p> +<p>CAUZEE. Tell me how long olives will keep.</p> +<p>FIRST OLIVE MERCHANT. Let us take what care we can, they will +hardly be worth anything the third year.</p> +<p>SECOND OLIVE MERCHANT. It is true, for then they will have +neither taste nor color.</p> +<p>CAUZEE. If it be so, look into that jar and tell me how long it +is since those olives were put into it.</p> +<p>[<i>Both Merchants pretend to examine and taste the +olives.</i>]</p> +<p>FIRST OLIVE MERCHANT. These olives are new and good.</p> +<p>CAUZEE. You are mistaken. Ali Cogia says he put them into the +jar seven years ago.</p> +<p>SECOND OLIVE MERCHANT. Sir, they are of this year's growth. +There is not a merchant in Bagdad that will not say the same.</p> +<p>CAUZEE. Merchant, you stand accused. You must return the +thousand pieces of gold to Ali Cogia.</p> +<p>MERCHANT. Sir, I protest—</p> +<p>CAUZEE (<i>interrupting</i>). Be silent! You are a rogue. Take +him to prison, Officer.</p> +<p>[<i>All the children seize the Merchant and run from the court, +laughing and shouting.</i>]</p> +<p>CALIPH (<i>rising</i>). I know now what will be a just trial. I +have learned it from the child Cauzee. Do you think I could give a +better sentence?</p> +<p>VIZIER. I think not, if the case be as these children played +it.</p> +<p>CALIPH. Take care to bid Ali Cogia bring his jar of olives +to-morrow. And let two olive merchants attend.</p> +<p>VIZIER. It shall be done, O Commander of true Believers!</p> +<p>CALIPH. If the olives be indeed fresh, then the merchant will +receive his punishment and Ali Cogia his thousand pieces of +gold.</p> +<p>(<i>Starting off; stopping.</i>)</p> +<p>Take notice of this street, and to-morrow present the boy Cauzee +with a purse of gold. Tell him it is a token of my admiration of +his wisdom and justice.</p> +<a name="2h12"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE WILD SWANS</h2> +<h4>SCENE I</h4> +<p>TIME: <i>a long time ago</i>.<br> +PLACE: <i>on the seashore</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>THE GOODY.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GOODY <i>is seen walking along the shore.</i> ELIZA +<i>enters from the forest.</i>]</p> +<p>GOODY. Bless me! What is the little girl doing in this lonely +place? And alone, too!</p> +<p>ELIZA. I seek my eleven brothers.</p> +<p>GOODY. Ah! Then you must be the Princess Eliza!</p> +<p>ELIZA (<i>sadly</i>). Yes, Goody.</p> +<p>GOODY. And the eleven brothers you seek are the eleven little +princes!</p> +<p>ELIZA. Yes; do you know them?</p> +<p>GOODY. I saw them in school one day. Each prince wore a golden +crown on his head, a star on his breast, and a sword by his +side.</p> +<p>ELIZA (<i>nodding</i>). They studied very hard, just as princes +should.</p> +<p>GOODY. They wrote on gold slates with diamond pencils. I myself +saw them!</p> +<p>ELIZA. I sat on a little stool of plate-glass. Did you know +that?</p> +<p>GOODY. Oh, yes! And I know about your picture-book worth half a +kingdom.</p> +<p>ELIZA. We were all so happy then! Our dear mother was alive and +sometimes went to school with us. Now all is changed.</p> +<p>GOODY. What has happened?</p> +<p>ELIZA. They have driven us from the palace.</p> +<p>GOODY (<i>indignantly</i>). I said so! On the day of that +wedding I said so.</p> +<p>ELIZA. Then you know that my father married again?</p> +<p>GOODY. Yes, I know. I wept when I heard our good king had +married that wicked queen.</p> +<p>ELIZA. She drove my brothers away, the very day of the wedding +feast.</p> +<p>GOODY. And now she has driven you away!</p> +<p>ELIZA (<i>nodding</i>). If only I could find my dear +brothers!</p> +<p>GOODY. You may hear something about them very soon.</p> +<p>ELIZA (<i>quickly</i>). Do you know where they are? Tell me! I +pray you tell me!</p> +<p>GOODY (<i>shaking her head mysteriously</i>). I cannot say where +they are. I only know what they are.</p> +<p>ELIZA. I do not understand—</p> +<p>GOODY. The wicked queen has turned your brothers into wild +swans.</p> +<p>ELIZA. Wild swans?</p> +<p>GOODY (<i>nodding</i>). I saw them yesterday, at sunrise, flying +out over the sea. Each swan wore a gold crown on his head.</p> +<p>ELIZA. The queen could not take their crowns from them!</p> +<p>GOODY. As the swans flew upward, their eleven crowns glittered +like eleven suns. My eyes were dazzled. I was obliged to look away. +At that moment the swans disappeared.</p> +<p>ELIZA (<i>sadly to herself</i>). My poor brothers! I shall never +see them again.</p> +<p>GOODY (<i>suddenly</i>). Do you see those great blue bluffs to +the south?</p> +<p>ELIZA. Yes; the sea is dashing against them.</p> +<p>GOODY. In those bluffs, back from the shore, is a cave. Go at +once to that cave and enter.</p> +<p>ELIZA. And what shall I do there, good woman?</p> +<p>GOODY. Perhaps you may learn how to break the spell over your +brothers.</p> +<p>ELIZA (<i>surprised</i>). How to break the spell?</p> +<p>GOODY. Ask no questions, but go at once to the cave.</p> +<p>ELIZA (<i>going</i>). Thank you, good woman. You are very kind +to me.</p> +<p>GOODY. Go now, child, and fear nothing.</p> +<p>[<i>Eliza goes; the Goody disappears.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>a half-hour later</i>.<br> +PLACE: <i>the cave</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>THE FAIRY.</td> +</tr> +</table> +<hr> +<p>[ELIZA <i>is seen at entrance of cave. She stops; is afraid to +enter.</i>]</p> +<p>ELIZA. I am afraid to enter! It is so dark—I know not what +is within! It may be the den of some wild animal.</p> +<p>(<i>Listening.</i>)</p> +<p>Not a sound do I hear! But wild animals are cunning. They know +how to lie as still as death and then to leap quickly.</p> +<p>(<i>Pause.</i>)</p> +<p>Well, be it so. I will enter, for I must save my brothers.</p> +<p>[<i>She enters the cave.</i> FAIRY <i>is within the cave, but +invisible.</i>]</p> +<p>FAIRY. You have courage, little Eliza.</p> +<p>ELIZA (<i>showing relief</i>). Oh! Are you here, good woman?</p> +<p>FAIRY. Behold!</p> +<p>[<i>The cave is filled with light; a beautiful Fairy is +seen.</i>]</p> +<p>ELIZA. Ah! I thought it was the Goody.</p> +<p>FAIRY. No matter, dear child. I knew you were to come here.</p> +<p>ELIZA. I was afraid to enter.</p> +<p>FAIRY. But you did enter. Your love for your brothers was +greater than your fear.</p> +<p>ELIZA. It was that which gave me courage.</p> +<p>FAIRY. It was a test of your courage. And now I can tell you how +to break the spell over your brothers.</p> +<p>ELIZA. I will do whatever you say.</p> +<p>FAIRY. You will suffer greatly.</p> +<p>ELIZA. What matter, if I save my brothers!</p> +<p>FAIRY (<i>nodding</i>). Then listen. Do you see the stinging +nettles which I hold in my hand?</p> +<p>ELIZA. Yes, dear Fairy.</p> +<p>FAIRY. You must gather great quantities of these.</p> +<p>ELIZA. I noticed many of the same sort growing near this +cave.</p> +<p>FAIRY (<i>shaking head</i>). You must gather only those that +grow in graveyards.</p> +<p>ELIZA. It shall be exactly as you say, dear Fairy.</p> +<p>FAIRY. The nettles will make blisters on your hands.</p> +<p>ELIZA. I will not think of myself; I will think only of my +brothers.</p> +<p>FAIRY. Break the nettles into pieces with your hands and feet, +and they will become flax. From this flax you must spin and weave +eleven coats with long sleeves. If these eleven coats can be thrown +over the eleven swans, the spell will be broken.</p> +<p>ELIZA. It shall be done.</p> +<p>FAIRY. But remember, that from the moment you begin your task, +until it is finished, you must not speak. Even though it should +occupy years of your life, you must not speak.</p> +<p>ELIZA. I shall remember.</p> +<p>FAIRY. The first word you utter will pierce through the hearts +of your brothers like a dagger. Their lives hang upon your tongue. +Go now and begin your task.</p> +<p>ELIZA (<i>going</i>). I go, dear Fairy.</p> +<p>FAIRY. Remember all I have told you, dear child. Farewell!</p> +<p>[<i>Eliza goes; the cave becomes dark; the Fairy +disappears.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>two days later</i>.<br> +PLACE: <i>a distant country; the King's palace</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE KING.</td> +</tr> +<tr> +<td>HIS WICKED UNCLE.</td> +</tr> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>GUARDSMEN.</td> +</tr> +<tr> +<td>SERVANTS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> WICKED UNCLE <i>stands waiting to receive the King. +Enter the</i> KING <i>with</i> ELIZA. <i>She is pale and +sad.</i>]</p> +<p>WICKED UNCLE. Welcome, your Majesty! Welcome home from your +hunt! But who is this maiden?</p> +<p>KING. I know not, my Uncle.</p> +<p>WICKED UNCLE. What?</p> +<p>KING. My huntsmen found her in a cave in a far-off country.</p> +<p>WICKED UNCLE. In a cave? Alone?</p> +<p>KING (<i>nodding</i>). Alone; spinning coats out of flax.</p> +<p>WICKED UNCLE. This is very strange.</p> +<p>(<i>To Eliza.</i>)</p> +<p>Why were you all alone in a cave, and why were you spinning +coats?</p> +<p>(<i>Eliza shakes her head.</i>)</p> +<p>KING. She is dumb, Uncle. Not a word has she uttered since we +found her.</p> +<p>WICKED UNCLE. Why did you bring her with you?</p> +<p>KING. I will make her my queen.</p> +<p>WICKED UNCLE (<i>angrily</i>). Your queen?</p> +<p>KING. See how beautiful she is.</p> +<p>WICKED UNCLE (<i>whispering to King</i>). She is a witch!</p> +<p>KING. Nonsense! She is as good as she is beautiful.</p> +<p>WICKED UNCLE (<i>whispering as before</i>). She has bewitched +your heart!</p> +<p>KING. Nonsense, I say! She did not want to leave the cave. She +wept bitterly when I put her on my horse.</p> +<p>(<i>He turns to the servants.</i>)</p> +<p>Let the music sound! Prepare the wedding feast!</p> +<p>(<i>He turns to Eliza, who weeps.</i>)</p> +<p>Do not weep, my beautiful maid.</p> +<p>WICKED UNCLE (<i>whispering to King</i>). She is not beautiful. +She has bewitched your eyes.</p> +<p>KING. I will not listen to you! Go, bid them ring the church +bells.</p> +<p>WICKED UNCLE (<i>going; speaking aside</i>). I must poison his +heart against her in some way; else I'll never wear the crown.</p> +<p>[<i>Wicked Uncle goes.</i>]</p> +<p>KING (<i>to Eliza</i>). Do not weep. You shall be dressed in +silks and velvets and I will place a golden crown upon your +head.</p> +<p>(<i>Eliza weeps and wrings her hands.</i>)</p> +<p>Well, then, I know how to make you smile.</p> +<p>[<i>The King opens a door into an inner room. Eliza looks in, +smiles, and claps her hands for joy.</i>]</p> +<p>KING. I thought 't would make you happy! 'T is very like your +cave—I had it made so.</p> +<p>(<i>Eliza tries to thank King with her eyes.</i>)</p> +<p>But no more spinning! Your fingers shall be covered with +diamonds instead of blisters.</p> +<p>(<i>Eliza sighs very sadly.</i>)</p> +<p>Something troubles you, little queen. If you could only tell me +of your grief!</p> +<p>(<i>Eliza shakes her head sadly.</i>)</p> +<p>Well, I can at least save you from a life of labor. You shall be +most tenderly cared for.</p> +<p>(<i>Calling.</i>)</p> +<p>Ho, there, Guardsmen!</p> +<p>(<i>Enter</i> GUARDSMEN.)</p> +<p>Guardsmen, behold your queen!</p> +<p>(<i>Guards kneel before Eliza.</i>)</p> +<p>Guardsmen, arise and hear my commands.</p> +<p>(<i>Guards rise.</i>)</p> +<p>Your queen is never to do any of the work about the castle. Do +you hear me, Guardsmen?</p> +<p>GUARDSMEN (<i>bowing</i>). We hear, O King!</p> +<p>KING. Not even the spinning or weaving. Do you hear me, +Guardsmen?</p> +<p>GUARDSMEN (<i>bowing</i>). We hear, O King!</p> +<p>KING. Those are my commands. Now attend us to the +banquet-hall.</p> +<p>(<i>To Eliza, who is weeping.</i>)</p> +<p>Weep no more, little queen. I wish only your happiness. Come, +give me your hand. We go now to the wedding feast.</p> +<p>[<i>They go out, the Guards attending.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE IV</h4> +<p>TIME: <i>two weeks later; sunrise</i>.<br> +PLACE: <i>the open just without the town gate</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODY.</td> +</tr> +<tr> +<td>THE WICKED UNCLE.</td> +</tr> +<tr> +<td>THE KING.</td> +</tr> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>HER ELEVEN BROTHERS.</td> +</tr> +<tr> +<td>THE EXECUTIONER.</td> +</tr> +<tr> +<td>FIRST CITIZEN.</td> +</tr> +<tr> +<td>SECOND CITIZEN.</td> +</tr> +<tr> +<td>THIRD CITIZEN.</td> +</tr> +<tr> +<td>FOURTH CITIZEN.</td> +</tr> +<tr> +<td>GUARDS.</td> +</tr> +</table> +<hr> +<p>[<i>Enter crowds of people from the town gate. Enter the</i> +GOODY <i>from the forest. Enter the</i> WICKED UNCLE <i>from the +town gate.</i>]</p> +<p>GOODY (<i>to Wicked Uncle</i>). Why these crowds so early, +sir?</p> +<p>WICKED UNCLE. Do not call me 'sir.'</p> +<p>GOODY. What shall I say, sir?</p> +<p>WICKED UNCLE. Say, 'Your Highness.'</p> +<p>GOODY. But you are not the King, sir.</p> +<p>WICKED UNCLE. I'm very near it, old woman.</p> +<p>GOODY. Not so near, sir, as you were, sir. There is the new +queen, sir.</p> +<p>WICKED UNCLE. The new queen is about to die.</p> +<p>GOODY (<i>alarmed</i>). About to die?</p> +<p>WICKED UNCLE (<i>nodding</i>). Aye, because she's a witch. +They're bringing her out here now.</p> +<p>GOODY. The King permits it?</p> +<p>WICKED UNCLE (<i>nodding</i>). He soon found out the truth about +her.</p> +<p>GOODY. And what was that?</p> +<p>WICKED UNCLE. Just what I told him the first time I saw her. +"She's a witch," said I, but he would not believe me.</p> +<p>GOODY. What has so changed him?</p> +<p>WICKED UNCLE. 'T was I who saw her slip forth from the castle +one midnight. I followed her; straight to the graveyard she +went.</p> +<p>GOODY. To the graveyard?</p> +<p>WICKED UNCLE (<i>nodding</i>). In she went—I following. I +saw her gather the stinging nettles that grow there.</p> +<p>GOODY. But they would blister her hands. Did she not cry +out?</p> +<p>WICKED UNCLE. Not a sound did she utter! That would prove her a +witch, were there nothing more.</p> +<p>GOODY. Ah, there is something more, then?</p> +<p>WICKED UNCLE (<i>nodding; mysteriously</i>). I followed her back +to the castle; through the marble halls and up to the little cave +room. I saw her break up the nettles. Then I saw her spin and weave +this flax into a magic coat.</p> +<p>GOODY. Bless me! A magic coat?</p> +<p>WICKED UNCLE (<i>nodding</i>). There were ten of them hanging +from the ceiling.</p> +<p>GOODY. Of course you told the King?</p> +<p>WICKED UNCLE. Just as soon as I could waken him, but he would +not believe me. He said there was but one coat when they brought +her here, and that there could be but one now.</p> +<p>GOODY. She worked at night, then, while the castle slept.</p> +<p>WICKED UNCLE. True queens do not work—nay, can't be made +to work. Every one knows that.</p> +<p>GOODY. But how did the King find out the truth?</p> +<p>WICKED UNCLE. I persuaded him to watch with me the next night. +Just at midnight the queen came out. We followed her to the +graveyard. "That is enough," said his Majesty, "she is a witch and +must die."</p> +<p>[<i>The</i> CITIZENS <i>rush to the gates.</i>]</p> +<p>CITIZENS (<i>calling</i>). See the witch!</p> +<p>GOODY. Is she coming?</p> +<p>WICKED UNCLE (<i>looking</i>). Yes, she is just within the gate. +She rides in an old cart drawn by an old horse—quite good +enough for a witch.</p> +<p>[<i>Enter the</i> KING <i>with servants and</i> GUARDS. +<i>Behind them is the cart. In the cart sits</i> ELIZA. <i>She is +spinning and weaving, never once looking up.</i>]</p> +<p>GOODY. How pale she is! Bless me! She is spinning and +weaving.</p> +<p>WICKED UNCLE. It is the eleventh coat and it will be the +last.</p> +<p>GOODY. How she hurries to finish it!</p> +<p>[<i>The cart stops.</i>]</p> +<p>KING (<i>to Eliza</i>). Once again I ask you,—Are you a +witch?</p> +<p>(<i>Eliza shakes her head.</i>)</p> +<p>Then give up the coats. They are of no use to any one.</p> +<p>[<i>Eliza again shakes her head.</i>]</p> +<p>WICKED UNCLE. That proves her a witch! Else, she would give up +the coats.</p> +<p>KING (<i>to Eliza</i>). Once more,—Will you not give them +up?</p> +<p>[<i>Eliza shakes her head. The King turns away. He is very sad; +his eyes are filled with tears.</i>]</p> +<p>FIRST CITIZEN (<i>calling</i>). See the witch!</p> +<p>SECOND CITIZEN (<i>calling</i>). See her magic coats!</p> +<p>THIRD CITIZEN (<i>calling</i>). Let us tear them to pieces!</p> +<p>FOURTH CITIZEN (<i>calling</i>). At them, Citizens! Tear them to +shreds!</p> +<p>GOODY (<i>looking up; speaking aside</i>). Here come the Wild +Swans! Now we shall see what we shall see!</p> +<p>[ELEVEN WILD SWANS <i>descend from the sky and alight on the +cart. Each wears a golden crown.</i>]</p> +<p>FIRST CITIZEN. Back, Citizens, back! Wild Swans have alighted on +the cart!</p> +<p>FOURTH CITIZEN. What do we care for Wild Swans? Forward, +Citizens!</p> +<p>FIRST CITIZEN. Back, I say! The Swans are beating us with their +strong wings!</p> +<p>SECOND CITIZEN. Back! back, Citizens! We dare not approach the +cart!</p> +<p>GOODY (<i>calling to the people</i>). The Swans have come to +save the queen! 'T is a sign from heaven that she is innocent!</p> +<p>WICKED UNCLE (<i>angrily</i>). Be silent, old woman!</p> +<p>(<i>He turns to the Executioner.</i>)</p> +<p>Executioner, do your duty!</p> +<p>EXECUTIONER. Out of the cart, witch!</p> +<p>(<i>Eliza shakes her head; takes up coats from floor of cart. +The Executioner turns to the Wicked Uncle.</i>)</p> +<p>She will not come!</p> +<p>WICKED UNCLE. Seize her—I command you!</p> +<p>FIRST CITIZEN. Seize her! Seize her!</p> +<p>GOODY. Look, Citizens, look! She is spreading the coats over the +Swans!</p> +<p>[<i>Eliza throws the eleven coats over the eleven Swans, who +turn to eleven little princes, but the youngest has a swan's wing +instead of an arm, for the last sleeve was not finished.</i>]</p> +<p>FIRST CITIZEN. Do you see that, Citizens? They are princes! She +has saved them!</p> +<p>SECOND CITIZEN. She is no witch!</p> +<p>THIRD CITIZEN. She is an angel from heaven!</p> +<p>THE ELEVEN BROTHERS. Dear sister, you have saved us!</p> +<p>ELIZA. Now I may speak—I am innocent!</p> +<p>ELDEST BROTHER (<i>to King</i>). Yes, she is innocent!</p> +<p>NINTH BROTHER. How you have suffered for us, dear Eliza!</p> +<p>CITIZENS (<i>to Eliza</i>). Forgive us!</p> +<p>KING (<i>to Eliza</i>). Forgive me! I did not understand.</p> +<p>WICKED UNCLE (<i>annoyed, but trying to conceal it</i>). And I +did not understand, I—</p> +<p>KING (<i>sternly</i>). Be silent!</p> +<p>(<i>To Guards.</i>)</p> +<p>Seize him!</p> +<p>(<i>The Guards seize the Wicked Uncle.</i>)</p> +<p>Take him to the mountains where the stinging nettles grow.</p> +<p>WICKED UNCLE. Mercy! Mercy!</p> +<p>KING. You had no mercy on brave little Eliza! Now you shall +gather nettles for the rest of your life. Away with him, +Guardsmen!</p> +<p>(<i>The Guards take the Wicked Uncle away. The King turns to his +servants.</i>)</p> +<p>Let the music sound! Bring forth the queen's golden crown!</p> +<p>(<i>To Eliza.</i>)</p> +<p>My whole kingdom shall do you honor! This land has never seen a +more beautiful thing than your love for your brothers.</p> +<p>GOODY (<i>whispering aside</i>). Ring, church bells! Ring of +yourselves!</p> +<p>[<i>All the church bells are heard ringing.</i>]</p> +<p>CITIZENS. Hear the church bells! They ring of themselves!</p> +<p>KING. They ring for this sweet queen whose heart is as good as +her face is beautiful. Come, Citizens! Away now to the castle! Away +to the banquet-hall!</p> +<a name="2h13"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE TWO COUNTRYMEN</h2> +<h4>SCENE I</h4> +<p>TIME: <i>evening</i>.<br> +PLACE: <i>a large city; a quiet corner with a high wall +back</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>FIRST COUNTRYMAN.</td> +</tr> +<tr> +<td>SECOND COUNTRYMAN.</td> +</tr> +<tr> +<td>FIRST CITY WAG.</td> +</tr> +<tr> +<td>SECOND CITY WAG.</td> +</tr> +<tr> +<td>MERCHANT.</td> +</tr> +</table> +<hr> +<p>[<i>Great crowds of people are seen in the streets. The</i> TWO +COUNTRYMEN <i>have just arrived. They find a quiet corner where +they place their blankets and baskets of gourds which they +carry.</i>]</p> +<p>FIRST COUNTRYMAN. I fear something most dreadful must have +happened in that street. See what crowds of people pass that +way!</p> +<p>SECOND COUNTRYMAN. Perhaps there is a fire. And yet—</p> +<p>[<i>He stops, showing he is puzzled.</i>]</p> +<p>FIRST COUNTRYMAN (<i>anxiously</i>). What troubles thee?</p> +<p>SECOND COUNTRYMAN. Look thou into that other street! It, too, is +full of people, and yet none are gone from here.</p> +<p>FIRST COUNTRYMAN. Some awful accident hath called them from all +parts of the city. We must find out what it may be.</p> +<p>[<i>A</i> MERCHANT <i>passes.</i>]</p> +<p>SECOND COUNTRYMAN (<i>to Merchant</i>). I pray thee stop, +citizen.</p> +<p>(<i>The Merchant stops.</i>)</p> +<p>Canst thou tell us what dreadful thing hath befallen this +city?</p> +<p>MERCHANT. What do you mean?</p> +<p>[TWO CITY WAGS <i>pass; they stop to listen.</i>]</p> +<p>SECOND COUNTRYMAN. Whither do they go, these vast multitudes? +What dreadful thing go they to see?</p> +<p>FIRST COUNTRYMAN. Perhaps they flee from some monster just come +out of the sea?</p> +<p>MERCHANT. It is ever thus—always the great crowds surging +through the streets.</p> +<p>[<i>The Merchant goes.</i>]</p> +<p>SECOND WAG (<i>to Countrymen, winking aside at First Wag</i>). +This is your first visit to a city, I take it?</p> +<p>BOTH COUNTRYMEN (<i>bowing</i>). It is, good sirs.</p> +<p>FIRST WAG (<i>winking aside at Second Wag</i>). You know what +happens to strangers in our city, of course?</p> +<p>FIRST COUNTRYMAN (<i>anxiously</i>). No, good sir.</p> +<p>SECOND COUNTRYMAN (<i>anxiously</i>). Pray tell us what it may +be.</p> +<p>FIRST WAG. 'T is said they become so dazed by the noise of the +city and the rush of such countless numbers, they forget who they +are.</p> +<p>FIRST COUNTRYMAN. Eh? Forget who they are?</p> +<p>FIRST WAG (<i>nodding</i>). Aye.</p> +<p>(<i>He winks aside at Second Wag.</i>)</p> +<p>You have heard of this, dear friend?</p> +<p>SECOND WAG (<i>winking aside</i>). To be sure; 't is quite +common.</p> +<p>SECOND COUNTRYMAN. Forget their own faces?</p> +<p>SECOND WAG. Aye,—their faces. At least, they are not +certain as to whose faces theirs may be.</p> +<p>FIRST COUNTRYMAN. Then we dare not leave this corner!</p> +<p>FIRST WAG. I would not advise it.</p> +<p>SECOND WAG. It would be most unsafe,—at least for +to-night.</p> +<p>FIRST WAG. Of course there is this danger,—when you awake +in the morning you may not know whether you are yourselves.</p> +<p>SECOND COUNTRYMAN. Would that I had never left my farm!</p> +<p>FIRST COUNTRYMAN. Would that I had never left my wife!</p> +<p>SECOND WAG. Do not despair; there is a way out of your +troubles.</p> +<p>BOTH COUNTRYMEN. Tell us, we pray thee!</p> +<p>SECOND WAG. Each of you must take a gourd from his basket there +and tie it around his ankle. Then, in the morning, when you awake, +you will each know that it is yourself and none other.</p> +<p>FIRST COUNTRYMAN (<i>to Second Countryman, joyfully</i>). Dost +thou hear? By our gourds we shall know!</p> +<p>SECOND COUNTRYMAN (<i>joyfully</i>). I hear! Thanks and yet +again more thanks to thee, good sir!</p> +<p>[<i>The Wags turn to go.</i>]</p> +<p>FIRST WAG. May you know yourselves in the morning for what you +truly are!</p> +<a name="image-123"><!--IMG--></a> +<div class="figcenter"><a href="images/123.png"><img src= +"images/123.png" alt="THE TWO COUNTRYMEN" width="100%"></a></div> +<!--IMAGE END--> +<p>[<i>They go, laughing aside. Each Countryman ties a gourd around +his ankle, wraps his blanket round him, and lies down. They sleep. +Pause.</i></p> +<p>Enter the WAGS <i>softly, each carrying a small flag. They +remove the gourds from Countrymen's ankles and hide them under +their blankets. They then tie the flags around Countrymen's ankles +and go, greatly pleased with their joke.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the next morning</i>.<br> +PLACE: <i>same as Scene I</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>FIRST COUNTRYMAN.</td> +</tr> +<tr> +<td>SECOND COUNTRYMAN.</td> +</tr> +<tr> +<td>FIRST CITY WAG.</td> +</tr> +<tr> +<td>SECOND CITY WAG.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> WAGS <i>are seen peeping around the corner.</i>]</p> +<p>FIRST WAG (<i>softly</i>). They are sound asleep.</p> +<p>SECOND WAG (<i>softly</i>). Then come.</p> +<p>[<i>They enter and throw the two baskets of gourds over the +wall. They then retire around the corner, peeping as +before.</i>]</p> +<p>FIRST COUNTRYMAN (<i>waking; shaking Second Countryman</i>). +Wake up! Wake up!</p> +<p>[<i>Each yawns; stretches; throws off his blanket; +arises.</i>]</p> +<p>FIRST COUNTRYMAN (<i>remembering</i>). Ah, the gourds!</p> +<p>[<i>Each looks at his ankle, then at the other's ankle.</i>]</p> +<p>SECOND COUNTRYMAN. How's this!</p> +<p>FIRST COUNTRYMAN. Did we not tie gourds around our ankles?</p> +<p>SECOND COUNTRYMAN (<i>nodding</i>). Why, surely we did.</p> +<p>FIRST COUNTRYMAN (<i>looking about</i>). Did we not have two +baskets of gourds with us?</p> +<p>SECOND COUNTRYMAN (<i>nodding</i>). Surely; there in the +corner.</p> +<p>FIRST COUNTRYMAN (<i>holding up foot to which flag is tied</i>). +Is this a gourd or is it not a gourd?</p> +<p>SECOND COUNTRYMAN. Of a surety it is a flag.</p> +<p>(<i>Holding up his foot with flag.</i>)</p> +<p>And if this be not a gourd, keep thy silence.</p> +<p>[<i>The First Countryman stares at the flag, placing his finger +on his closed lips.</i>]</p> +<p>SECOND COUNTRYMAN. Then it hath indeed happened!</p> +<p>FIRST COUNTRYMAN. What hath happened?</p> +<p>SECOND COUNTRYMAN. The dreadful thing foretold by the citizens. +I am not I! Thou art not thou!</p> +<p>FIRST COUNTRYMAN (<i>trembling with fear</i>). How can that +be?</p> +<p>SECOND COUNTRYMAN. I know not. I only know that it is.</p> +<p>FIRST COUNTRYMAN (<i>weeping</i>). I cannot think I am not +myself!</p> +<p>SECOND COUNTRYMAN (<i>weeping</i>). Thou needst must think it, +whether thou wouldst or no.</p> +<p>FIRST COUNTRYMAN. Dost thou indeed think thou art some other +person?</p> +<p>SECOND COUNTRYMAN. If I were myself, would not the gourd still +be around my ankle?</p> +<p>FIRST COUNTRYMAN. Then who art thou? And who am I?</p> +<p>SECOND COUNTRYMAN. Alas! I know not.</p> +<p>[<i>Enter the</i> WAGS.]</p> +<p>FIRST COUNTRYMAN (<i>joyfully</i>). Here come those who will +know whether we are ourselves!</p> +<p>[<i>The Wags pretend not to know the Countrymen who are bowing +before them. They pass on.</i>]</p> +<p>SECOND COUNTRYMAN. Stop, good sirs!</p> +<p>FIRST COUNTRYMAN. A word with thee!</p> +<p>[<i>The Wags stop.</i>]</p> +<p>SECOND COUNTRYMAN. Dost thou not know us?</p> +<p>FIRST WAG. I have not that pleasure.</p> +<p>FIRST COUNTRYMAN. Thou didst talk with us but yester-eve!</p> +<p>SECOND WAG. Some mistake, I fear, my good man.</p> +<p>[<i>The Wags start off.</i>]</p> +<p>SECOND COUNTRYMAN (<i>weeping</i>). Wait! I pray thee, wait!</p> +<p>(<i>The Wags stop.</i>)</p> +<p>Canst thou not tell us who we are?</p> +<p>FIRST WAG. Do you not know yourselves?</p> +<p>SECOND COUNTRYMAN. Alas! we are not ourselves.</p> +<p>FIRST COUNTRYMAN. Thou wouldst know us were we as we were +once.</p> +<p>SECOND WAG. Perhaps those flags will solve the riddle.</p> +<p>FIRST WAG. True enough; let us look at them.</p> +<p>[<i>The Countrymen remove flags and hand them to Wags, who look +at them intently.</i>]</p> +<p>SECOND WAG (<i>mysteriously</i>). Can it be?</p> +<p>FIRST WAG. It is! It is!</p> +<p>FIRST COUNTRYMAN. Eh?</p> +<p>SECOND COUNTRYMAN. Eh?</p> +<p>SECOND WAG (<i>to Countrymen</i>). Your pardon! I do crave your +pardon!</p> +<p>FIRST WAG (<i>taking a ring from his finger; turning to Second +Countryman</i>). Please to accept this ring. I shall then know I am +forgiven for not recognizing you at first.</p> +<p>SECOND COUNTRYMAN (<i>accepting ring; putting it on the first +finger of his right hand</i>). Why, yes, I forgive thee.</p> +<p>SECOND WAG (<i>to First Countryman, taking off his gold +chain</i>). Please to accept this chain. By that I shall know I too +am forgiven.</p> +<p>FIRST COUNTRYMAN (<i>accepting chain; putting it on</i>). Thou +art forgiven. Now tell me what great person I have become.</p> +<p>SECOND WAG (<i>gravely</i>). Jest with us no more!</p> +<p>FIRST WAG. We go now to announce your arrival to the Lord +Mayor.</p> +<p>SECOND WAG. Presently, we will return. Await us here.</p> +<p>[<i>They go, laughing aside.</i>]</p> +<p>FIRST COUNTRYMAN. Dost thou know, I have always felt that I was +really a great person. Hast thou not always noticed something +unusual about me?</p> +<p>SECOND COUNTRYMAN. I cannot say that I have. There is, however, +certainly something wonderful about me. I have noticed it for a +long time. Hast thou not felt it when in my company?</p> +<p>FIRST COUNTRYMAN. I have not.</p> +<p>SECOND COUNTRYMAN (<i>indignantly</i>). Thou hast not?</p> +<p>FIRST COUNTRYMAN. Never! thou silly goose!</p> +<p>[<i>The Second Countryman snatches First Countryman's chain and +throws it over the wall.</i>]</p> +<p>SECOND COUNTRYMAN. Mind how thou callest me names, thou +booby!</p> +<p>FIRST COUNTRYMAN (<i>tearing off Second Countryman's ring and +throwing it over the wall</i>). Silly goose!</p> +<p>SECOND COUNTRYMAN. I will now depart for my home. I do not +desire thy company.</p> +<p>FIRST COUNTRYMAN. I likewise will return, and likewise I wish to +journey alone.</p> +<p>[<i>They take up their blankets and discover the +gourds.</i>]</p> +<p>FIRST COUNTRYMAN. Eh?</p> +<p>SECOND COUNTRYMAN. Eh?</p> +<p>FIRST COUNTRYMAN. Let us tie them around our ankles. We may then +discover whether we are ourselves.</p> +<p>[<i>They tie the gourds around their ankles.</i>]</p> +<p>SECOND COUNTRYMAN (<i>joyfully</i>). I am myself!</p> +<p>FIRST COUNTRYMAN (<i>joyfully</i>). And I am myself!</p> +<p>SECOND COUNTRYMAN. Come, let us journey back together.</p> +<p>[<i>They go out. Pause. Enter the</i> WAGS. <i>They remain at +entrance, not knowing Countrymen have gone.</i>]</p> +<p>FIRST WAG (<i>whispering</i>). Do you think the musicians should +follow them?</p> +<p>SECOND WAG (<i>whispering</i>). No, they should follow the +music. What a joke it is!</p> +<p>[<i>They look around and discover that the Countrymen have +gone.</i>]</p> +<p>FIRST WAG (<i>sadly</i>). My ring!</p> +<p>SECOND WAG (<i>sadly</i>). My chain!</p> +<a name="2h14"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE MAN AND THE ALLIGATOR</h2> +<h4>SCENE I</h4> +<p>TIME: <i>the morning after the cyclone</i>.<br> +PLACE: <i>The Man's garden</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MAN.</td> +</tr> +<tr> +<td>THE ALLIGATOR.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MAN <i>enters the garden carrying his big stick and +small net. The garden has been almost destroyed by the</i> +ALLIGATOR, <i>who still wallows among the beds.</i>]</p> +<p>MAN. There should be enough apples on the ground to fill my net. +'T was a fierce storm last night!</p> +<p>(<i>He looks about; sees the Alligator; shows +indignation.</i>)</p> +<p>Thou—within my garden!</p> +<p>ALLIGATOR (<i>meekly</i>). Be not angry with me, O master! By +accident I—</p> +<p>MAN (<i>indignantly</i>). Accident! Thou hast wallowed among my +flowers by accident, hast thou?</p> +<p>ALLIGATOR. It is true; not of my own will came I hither.</p> +<p>MAN (<i>more indignantly</i>). Thou hast broken my fruit trees +by accident, I suppose!</p> +<p>ALLIGATOR (<i>nodding</i>). It was not of my own intentions, I +assure you. I—</p> +<p>MAN (<i>interrupting</i>). Thou art this moment crushing my +strawberry plants beneath thy great body! I've a mind to beat thee +with my big stick!</p> +<p>ALLIGATOR. Do not beat me, O master! The cyclone is at +fault.</p> +<p>MAN (<i>surprised</i>). The cyclone?</p> +<p>ALLIGATOR (<i>nodding</i>). Aye, it blew me here from the river +last night.</p> +<p>MAN. Ha, ha! A likely story!</p> +<p>ALLIGATOR. I speak the truth. A great waterspout lifted me out +of the river. Then a fierce wind caught me and blew me about as if +I were a feather. Finally, I was dropped here within thy +garden.</p> +<p>MAN (<i>only half convinced</i>). Well, there's no cyclone to +blow thee back. Wilt thou be good enough to walk thyself out?</p> +<p>ALLIGATOR. Alas! I can scarcely move me. I fear some of my ribs +are broken.</p> +<p>MAN. Nonsense! Out with thee!</p> +<p>ALLIGATOR. But see how the wind has crippled me! It has even +blown some of my claws loose—</p> +<p>MAN (<i>interrupting</i>). I am sorry for thee, but thou canst +not remain here.</p> +<p>ALLIGATOR. I will go now, if thou wilt help me.</p> +<p>MAN (<i>surprised</i>). <i>I</i> help thee?</p> +<p>ALLIGATOR (<i>nodding</i>). I will be so grateful to thee!</p> +<p>MAN. Oh, I know how grateful thou canst be! The other animals +have told me that!</p> +<p>ALLIGATOR. What say they?</p> +<p>MAN. That thou art the most cruel of all the animals—that +thou never dost any one a favor—</p> +<p>ALLIGATOR (<i>interrupting</i>). Nonsense! No one could be more +grateful for favors than I! I'll prove it to thee!</p> +<p>MAN. Prove it? How?</p> +<p>ALLIGATOR. If thou wilt help me to the river, I'll show thee +where to find the biggest fish.</p> +<p>MAN. Well—that's something—</p> +<p>ALLIGATOR. And when thou wouldst cross the river, I'll carry +thee.</p> +<p>MAN. Of a surety, that's good of thee! Perhaps, after all, thou +art not so black as thou art painted. I'll help thee this time.</p> +<p>ALLIGATOR. Thanks to thee, master. I will never forget thy +kindness; I will always be thy friend.</p> +<p>MAN. Why, I am glad to help thee. Now how am I to get thee to +the river?</p> +<p>ALLIGATOR. Carry me, please, O master!</p> +<p>MAN. What! carry thee?</p> +<p>ALLIGATOR (<i>nodding</i>). I'll get into thy net.</p> +<p>MAN. Thou get into my small net!</p> +<p>ALLIGATOR. Only hold thy net open!</p> +<p>MAN (<i>holding his net open</i>). I tell thee, thou canst never +get in!</p> +<p>ALLIGATOR. See how I fold my arms! My legs go under—so! +Now I roll myself up and up and up! And now I am in—all +in!</p> +<p>MAN. Well, seeing is believing!</p> +<p>ALLIGATOR. Please to tie up thy net, master, that I may not fall +out.</p> +<p>MAN (<i>tying net</i>). 'T is done!</p> +<p>(<i>Throwing net over shoulder.</i>)</p> +<p>Thou art heavy!</p> +<p>ALLIGATOR. I know, it will be hard work for thee, but some day +thou wilt see how grateful I am.</p> +<p>[<i>The Man goes, carrying the Alligator over his shoulder and +his big stick in his hand.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the afternoon of the same day</i>.<br> +PLACE: <i>the river bank</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MAN.</td> +</tr> +<tr> +<td>THE ALLIGATOR.</td> +</tr> +<tr> +<td>THE WOLF.</td> +</tr> +<tr> +<td>THE LEOPARD.</td> +</tr> +<tr> +<td>THE RABBIT.</td> +</tr> +</table> +<hr> +<p>[<i>Enter the</i> MAN <i>carrying the</i> ALLIGATOR <i>over his +shoulder. He stops, throws down his big stick and places the +Alligator carefully on the bank.</i>]</p> +<p>MAN. Our journey is ended, brother.</p> +<p>(<i>Untying net.</i>)</p> +<p>Now then, roll thyself out!</p> +<p>(<i>The Alligator comes out of the net.</i>)</p> +<p>Well, how dost thou feel now?</p> +<p>ALLIGATOR. Much better, thanks to thee; but I'm very hungry and +I find I'm still quite weak. I pray thee help me down the bank, O +master!</p> +<p>MAN (<i>helping the Alligator down the bank</i>). Now, then, +thou art close to the water.</p> +<p>[<i>He turns to go.</i>]</p> +<p>ALLIGATOR. Just a little farther, please. I am still so +weak!</p> +<p>MAN. Then I'll help thee into the water.</p> +<p>(<i>He helps the Alligator into the water.</i>)</p> +<p>Now thou art in; and now I will depart.</p> +<p>[<i>He turns to go.</i>]</p> +<p>ALLIGATOR (<i>seizing the Man's leg</i>). Not yet!</p> +<p>MAN. Let go of my leg!</p> +<p>ALLIGATOR. Why?</p> +<p>MAN (<i>indignantly</i>). Why! Why!</p> +<p>ALLIGATOR (<i>nodding</i>). Why and wherefore?</p> +<p>MAN. Thou art hurting me!</p> +<p>ALLIGATOR. It will soon be over.</p> +<p>MAN. What dost thou mean?</p> +<p>ALLIGATOR. What I have just spoken.</p> +<p>MAN. Why dost thou look at me so?</p> +<p>ALLIGATOR (<i>slowly</i>). +Because—I—mean—to—eat—thee.</p> +<p>MAN. Eat me!</p> +<p>ALLIGATOR (<i>nodding</i>). Eat thee.</p> +<p>MAN. Me?</p> +<p>ALLIGATOR (<i>nodding</i>). Thee.</p> +<p>MAN. Thou didst promise to be my friend.</p> +<p>ALLIGATOR. I was only fooling thee.</p> +<p>MAN. But I helped thee out of trouble.</p> +<p>ALLIGATOR. No matter—I mean to eat thee.</p> +<p>MAN. Is that the way to repay a favor—by doing a +wrong?</p> +<p>ALLIGATOR (<i>nodding</i>). That's the way of all the +animals.</p> +<p>MAN. Thou art surely mistaken—not all the +animals—</p> +<p>ALLIGATOR (<i>interrupting</i>). There's not one of them +remembers a favor or a friend when hungry.</p> +<p>MAN. I cannot think that! Suppose we ask the first animal that +comes to drink?</p> +<p>ALLIGATOR. Ask any of them—I know what they will say.</p> +<p>[<i>Enter the</i> WOLF. <i>He comes down the bank to +drink.</i>]</p> +<p>MAN. Wolf, I would question thee.</p> +<p>WOLF (<i>gruffly</i>). Well?</p> +<p>MAN. How dost thou repay the one who doth thee a favor?</p> +<p>WOLF (<i>gruffly, as before</i>). By doing him a wrong.</p> +<p>[<i>The Wolf drinks and goes.</i>]</p> +<p>ALLIGATOR. Ha, ha, ha! Just what I said! Now I shall eat thee +forthwith!</p> +<p>MAN. I can't believe that every animal would so answer.</p> +<p>ALLIGATOR. I don't intend waiting for thee to find out.</p> +<p>MAN. I pray thee wait till the next animal comes to drink!</p> +<p>ALLIGATOR (<i>impatiently</i>). Have I not told thee of my +hunger?</p> +<p>MAN. Listen! Some animal comes through the forest now.</p> +<p>[<i>Enter the</i> LEOPARD. <i>He comes down to drink.</i>]</p> +<p>Leopard, I would question thee.</p> +<p>LEOPARD (<i>curtly</i>). Well?</p> +<p>MAN. How dost thou repay the one who doth thee a favor?</p> +<p>LEOPARD (<i>curtly, as before</i>). By doing him a wrong.</p> +<p>[<i>He drinks and goes.</i>]</p> +<p>ALLIGATOR. Ha, ha, ha! It is just as I said! I will now eat thee +forthwith!</p> +<p>MAN. I pray thee—</p> +<p>ALLIGATOR (<i>interrupting</i>). It is now all over with +thee!</p> +<p>MAN (<i>calling</i>). Help! help!</p> +<p>[<i>Enter the</i> RABBIT.]</p> +<p>RABBIT. A word with thee, Ally dear!</p> +<p>ALLIGATOR. I shall be busy for a few minutes, Brother +Rabbit.</p> +<p>RABBIT (<i>going down bank quickly</i>). Who is this thou art +about to dine upon? Why, 't is the Man!</p> +<p>MAN. How dost thou repay a favor, Brother Rabbit?</p> +<p>RABBIT. Why dost thou ask?</p> +<p>MAN. I found the Alligator in my garden this morning. He had +destroyed my plants, my fruits, and—</p> +<p>ALLIGATOR (<i>interrupting</i>). I was blown in by the cyclone +last night.</p> +<p>MAN. He said he had been hurt and begged me to help him to the +river. He promised me his friendship if I would do so.</p> +<p>ALLIGATOR. Ha, ha, ha! I told him I'd show him where to find the +biggest fish.</p> +<p>RABBIT. And now thou wilt not?</p> +<p>ALLIGATOR. But I will. He'll find it after he is <i>inside</i> +of me. Ha, ha!</p> +<p>RABBIT. Ha, ha! A good joke!</p> +<p>ALLIGATOR. I told him I'd carry him across the river. I didn't +explain he'd go <i>inside</i>. Ha, ha!</p> +<p>RABBIT. What a joker thou art, Ally dear!</p> +<p>(<i>He turns to the Man.</i>)</p> +<p>But how didst thou get him here?</p> +<p>MAN. I carried him in this small net.</p> +<p>RABBIT (<i>looking surprised</i>). Thou art trying to fool +me!</p> +<p>MAN. No, Brother Rabbit, it is quite true.</p> +<p>ALLIGATOR (<i>nodding</i>). Yes, it is true.</p> +<p>RABBIT. But, Ally, try as thou mightst, thou couldst not so much +as get thy head into that net.</p> +<a name="image-141"><!--IMG--></a> +<div class="figcenter"><a href="images/141.png"><img src= +"images/141.png" alt="'HELP! HELP!'" width="70%"></a> +<h3>"HELP! HELP!"</h3> +</div> +<!--IMAGE END--> +<p>ALLIGATOR. But I tell thee I did!</p> +<p>RABBIT. Ha, ha, ha! That's too funny!</p> +<p>ALLIGATOR (<i>angrily</i>). I do not like thy manners, young +man.</p> +<p>RABBIT. But it's such a joke! Ho, ho, ho!</p> +<p>ALLIGATOR. Cease thy laughing or I shall eat thee some day!</p> +<p>RABBIT. I laugh because I must laugh! Ha, ha, ho, ho!</p> +<p>ALLIGATOR. Thou wilt not believe it, eh?</p> +<p>RABBIT. Well, not unless I see it.</p> +<p>MAN. We can prove it to thee, Brother Rabbit.</p> +<p>RABBIT. Oh, that's good too! Ha, ha, ho!</p> +<p>ALLIGATOR. Dost thou think we cannot?</p> +<p>RABBIT. Of course thou canst not! If thou couldst, thou +wouldst.</p> +<p>ALLIGATOR. And we will! Get thy net ready, Man.</p> +<p>MAN. But how? Thou art holding my leg.</p> +<p>ALLIGATOR (<i>freeing the Man; turning to the Rabbit</i>). We'll +show thee just how it was done, young man.</p> +<p>RABBIT. Seeing is believing.</p> +<p>[<i>The Man brings his net; opens it.</i>]</p> +<p>ALLIGATOR. See! I put my legs under—so! Then I fold my +arms—so! Now I roll myself up and up and up. And now I am +in—all in!</p> +<p>RABBIT. As I live—thou art! Well, seeing is believing. But +how couldst thou remain within the net? It is quite open.</p> +<p>ALLIGATOR. Tie it up, Man. Show him exactly how we did it.</p> +<p>MAN (<i>tying net</i>). I tied it tight—like this, Brother +Rabbit.</p> +<p>RABBIT. Is it quite tight?</p> +<p>ALLIGATOR. Let him try the knot, Man.</p> +<p>RABBIT (<i>trying knot</i>). Most truly, it is tight.</p> +<p>(<i>Turning to the Alligator.</i>)</p> +<p>Thou dost look as if thou couldst not move, Ally dear.</p> +<p>ALLIGATOR. Of a surety—I cannot.</p> +<p>RABBIT. Well, Brother Man, now that thou hast him, don't be +foolish enough to let him go. Get thy big stick and beat him to +death.</p> +<p>ALLIGATOR (<i>surprised</i>). Eh?</p> +<p>MAN (<i>not heeding the Alligator</i>). That is just what I will +do, that I will! Thanks to thee for helping me, Brother Rabbit.</p> +<p>ALLIGATOR. Have pity!</p> +<p>RABBIT (<i>not heeding the Alligator</i>). No thanks are +necessary, Brother Man. I haven't forgotten the good turnips thou +didst give me last winter when the ground was covered with snow. +Some of us know how to return favor for favor.</p> +<a name="2h15"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE SONG IN THE HEART</h2> +<h4>SCENE I</h4> +<p>TIME: <i>once upon a time</i>.<br> +PLACE: <i>in the house of the poor Spinner</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE DAME.</td> +<td></td> +</tr> +<tr> +<td colspan="2">ISABEL, <i>her daughter</i>.</td> +<td></td> +</tr> +<tr> +<td>FLAT-FOOT }</td> +<td> </td> +</tr> +<tr> +<td>HANGING-LIP }</td> +<td><i>the Three Great-Aunts</i>.</td> +</tr> +<tr> +<td>BROAD-THUMB }</td> +<td> </td> +</tr> +<tr> +<td>THE QUEEN.</td> +<td> </td> +</tr> +</table> +<hr> +<p>[<i>The living-room in the Dame's cottage is seen. The</i> DAME +<i>and the</i> THREE GREAT-AUNTS <i>are spinning.</i> ISABEL +<i>sits at her spinning-wheel, but has stopped work and looks out +of the open door.</i>]</p> +<p>DAME (<i>sharply</i>). Isabel! You gaze without!</p> +<p>ISABEL (<i>nodding</i>). Upon those great trees, mother. How +beautiful they are! How like sentinels they stand at our door +guarding us!</p> +<p>FLAT-FOOT (<i>growling</i>). What nonsense! You'd better be +spinning.</p> +<p>ISABEL (<i>not heeding</i>). Mother, see you that old oak! See +how proudly it lifts its head up into the sky! 'T is the king of +the forest!</p> +<p>HANGING-LIP (<i>growling</i>). I never heard such foolish +talk!</p> +<p>ISABEL (<i>not heeding</i>). Mother, a song has come to +me,—'t is a song to the beautiful trees. Let me stop to write +it down, while my heart is full of it.</p> +<p>BROAD-THUMB (<i>to the Dame</i>). Do not permit it, sister! She +should be working. She can scarcely spin at all.</p> +<p>DAME (<i>showing much feeling</i>). Isabel! Isabel! Not a maid +in the village thinks of anything but spinning.</p> +<p>ISABEL. Mother, let me stop! Soon the song will leave me. I may +ne'er hear it again.</p> +<p>FLAT-FOOT (<i>to the Dame</i>). Sister, she will bring you to +shame.</p> +<p>HANGING-LIP. Already the village folk laugh at her!</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye! They call her "the Dreamer." +I myself have heard them.</p> +<p>ISABEL. I care not what they call me!</p> +<p>DAME (<i>raising her voice</i>). Nay, but I care. I'll not have +you different from other folk.</p> +<p>HANGING-LIP. <i>We</i> were never seen gazing upon trees!</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye! <i>We</i> never heard songs +within <i>us</i>!</p> +<p>FLAT-FOOT (<i>nodding</i>). Aye! <i>We</i> think only of our +work!</p> +<p>ISABEL. What's your work may not be mine!</p> +<p>DAME (<i>decidedly</i>). There's no other work for a maid than +spinning.</p> +<p>ISABEL (<i>sighing</i>). I like it not! Though every other maid +in all the world did love to spin, I'd say the same—I like it +not!</p> +<p>DAME (<i>to Flat-foot; showing alarm</i>). Sister, close the +door, that none without may hear such words.</p> +<p>[<i>Flat-foot rises, but is too late. The</i> QUEEN <i>enters +from the street.</i>]</p> +<p>QUEEN (<i>showing displeasure</i>). How now! What's all this +noise? I heard it from the street!</p> +<p>[<i>All are frightened; Isabel weeps.</i>]</p> +<p>DAME (<i>bowing</i>). 'T will not happen again, your +Majesty.</p> +<p>QUEEN (<i>looking at Isabel</i>). Have they beaten you, my +child?</p> +<p>ISABEL (<i>still sobbing</i>). N—o—, your +Majesty.</p> +<p>QUEEN (<i>to the Dame</i>). Tell me why your daughter weeps.</p> +<p>DAME (<i>more frightened</i>). She weeps +because—because—</p> +<p>[<i>She stops in confusion.</i>]</p> +<p>QUEEN. Well—well?</p> +<p>DAME. Because—because—I will not let her spin.</p> +<p>QUEEN (<i>showing surprise</i>). Because you will not let her +spin?</p> +<p>DAME (<i>nodding</i>). Yes, your Majesty.</p> +<p>QUEEN. Why, this is most strange.</p> +<p>DAME (<i>nodding</i>). Would I but let her, she'd spin from morn +till night, and from then on till morn again.</p> +<p>QUEEN. I see how it can be so. There's nothing I like better +than spinning.</p> +<p>DAME. She weeps whenever I make her leave off.</p> +<p>QUEEN. 'T is because she loves it! I am never more pleased than +when the wheels are whirring.</p> +<p>DAME. But stop she must, for to-day at least. There is no more +flax.</p> +<p>QUEEN. I have rooms full of flax. Let your daughter come to my +castle. She may spin there as much as she pleases.</p> +<p>DAME (<i>now, most frightened</i>). I—I fear she would be +a trouble to you.</p> +<p>QUEEN. Why, no! In fact, I am so pleased with your daughter's +industry I will have my son marry her.</p> +<p>DAME (<i>so frightened she can scarcely breathe</i>). O your +Majesty—</p> +<p>QUEEN (<i>interrupting</i>). But first she must spin all my +flax. There are three rooms full of it—from top to +bottom.</p> +<p>ISABEL (<i>showing alarm</i>). Three rooms full!</p> +<p>QUEEN (<i>nodding</i>). Aye, my dear, and when you have spun it +all, you shall become a princess!</p> +<p>(<i>Turning to the Dame.</i>)</p> +<p>Bring your daughter to my castle to-morrow.</p> +<p>DAME (<i>bowing</i>). Yes, your Majesty.</p> +<p>QUEEN (<i>going</i>). To-morrow, mind you.</p> +<p>DAME (<i>bowing</i>). Yes, your Majesty.</p> +<p>[<i>All bow to the Queen, who goes.</i>]</p> +<p>ISABEL. Mother, how could you tell the Queen I love to spin?</p> +<p>DAME. Think you I'd let the truth be known? I'd not shame myself +so!</p> +<p>ISABEL. I could not spin three rooms of flax in three hundred +years.</p> +<p>DAME. Alas! alas! What shall we do?</p> +<p>FLAT-FOOT (<i>to Hanging-lip and Broad-thumb</i>). Sisters, let +us speak together.</p> +<p>[<i>The three Great-Aunts whisper together for a +moment.</i>]</p> +<p>HANGING-LIP. Isabel, we will help you—</p> +<p>FLAT-FOOT (<i>interrupting</i>). On one condition!</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye,—on a certain +condition!</p> +<p>ISABEL. What do you mean?</p> +<p>HANGING-LIP. We'll spin the flax for you—</p> +<p>FLAT-FOOT (<i>interrupting</i>). On one condition.</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye,—on a certain +condition!</p> +<p>DAME. You speak in riddles, sisters.</p> +<p>HANGING-LIP. 'T is this—if Isabel will invite us to her +wedding, we'll spin the flax.</p> +<p>FLAT-FOOT. That's the condition.</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye,—that's the certain +condition.</p> +<p>ISABEL. 'T will be deceiving the Queen and the Prince, both.</p> +<p>DAME. There's no other way to mend things. Go now! Since you are +so soon to be a princess, I'll give you leave to write down your +song.</p> +<p>ISABEL (<i>sadly</i>). The song is no longer in my heart.</p> +<p>DAME. 'T is well. Now listen—you must never let the Prince +know about your songs. He'd send you from the castle.</p> +<p>BROAD-THUMB (<i>nodding</i>). Besides, 't would bring great +shame upon us, for we are a family of spinners.</p> +<p>FLAT-FOOT (<i>nodding</i>). Aye, aye!</p> +<p>HANGING-LIP (<i>nodding</i>). Aye, aye!</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>one week later</i>.<br> +PLACE: <i>the Queen's castle</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE QUEEN.</td> +</tr> +<tr> +<td>THE PRINCE.</td> +</tr> +<tr> +<td>ISABEL.</td> +</tr> +<tr> +<td>THE THREE GREAT-AUNTS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> THREE GREAT-AUNTS <i>are working at the last heap of +flax in the third room.</i> ISABEL <i>watches them +anxiously.</i>]</p> +<p>ISABEL. Think you to finish before the Queen comes?</p> +<p>FLAT-FOOT (<i>nodding as she treads the wheel</i>). Aye, if +treading the wheel will do it!</p> +<p>HANGING-LIP (<i>nodding, as she moistens the thread over her +lip</i>). Aye, if moistening the thread will do it!</p> +<p>BROAD-THUMB (<i>nodding, as she presses the thread with her +thumb</i>). Aye, if pressing the thread will do it!</p> +<p>ISABEL. 'T is to-day she brings the Prince.</p> +<p>FLAT-FOOT. Another minute and we'll have finished.</p> +<p>ISABEL. Should they come suddenly, you know where to +hide—behind those curtains there.</p> +<p>THREE GREAT-AUNTS (<i>nodding</i>). Aye, we know!</p> +<p>[<i>A noise is heard in the distance.</i>]</p> +<p>ISABEL. Some one comes!</p> +<p>(<i>She runs to the door, opens it, and looks out.</i>)</p> +<p>The Prince comes down the stairs! Quick, aunts, quick!</p> +<p>FLAT-FOOT (<i>rising</i>). Well, 't is finished!</p> +<p>ISABEL (<i>looking into hall</i>). Now comes the Queen! To the +curtains, quick!</p> +<p>[<i>The three Great-Aunts hide behind the curtains, just as +the</i> QUEEN <i>and the</i> PRINCE <i>enter.</i>]</p> +<p>QUEEN. Well, have you finished?</p> +<p>ISABEL (<i>pointing to a pile of thread</i>). There's the last +of it, your Majesty.</p> +<p>QUEEN (<i>looking at thread</i>). Spun in the finest style, too! +Prince, but a week ago these rooms were filled with flax. Now look +at them.</p> +<p>PRINCE (<i>looking about</i>). Empty, as if flax had never been +here. 'T is wonderful how one maid could do so much!</p> +<p>QUEEN. 'T is most wonderful!</p> +<p>PRINCE. The wedding shall take place to-day. Isabel, come now +with us.</p> +<p>ISABEL (<i>thoughtfully</i>). No, no! I cannot!</p> +<p>PRINCE. You cannot?</p> +<p>QUEEN. You cannot! What do you mean?</p> +<p>ISABEL (<i>to the Queen</i>). Let me go home, your Majesty!</p> +<p>QUEEN. Go home!</p> +<p>ISABEL. I am not worthy—</p> +<p>PRINCE (<i>interrupting</i>). Nonsense! That you are poor is +nothing to me.</p> +<p>QUEEN (<i>going</i>). Come, the wedding bells shall ring at +once!</p> +<p>ISABEL. Your Majesty—I—I—did not spin the +flax.</p> +<p>QUEEN. What! You did not spin the flax?</p> +<p>PRINCE. What is this?</p> +<p>ISABEL. I deceived you—I can scarcely spin at all.</p> +<p>QUEEN. But this pile of thread here—</p> +<p>ISABEL. 'T was spun by another.</p> +<p>PRINCE. Another?</p> +<p>ISABEL. Yes, Prince.</p> +<p>QUEEN. You shall marry that one then, my son!</p> +<p>(<i>To Isabel.</i>)</p> +<p>As for you, return to your hovel!</p> +<p>(<i>Isabel turns to go.</i>)</p> +<p>Stay!</p> +<p>(<i>Isabel stops.</i>)</p> +<p>Who is the wonderful spinner? Tell us where to find her.</p> +<p>ISABEL. Here, your Majesty.</p> +<p>QUEEN. Hidden away, I suppose?</p> +<p>ISABEL (<i>nodding</i>). Yes, your Highness, behind those +curtains.</p> +<p>QUEEN. Go, my son, and draw the curtains. You shall be the first +to look upon your bride.</p> +<p>[<i>The Prince draws the curtains and sees the three +Great-Aunts, who sit in a row. They smile and smile upon the +Prince, who stands looking at them in astonishment.</i>]</p> +<p>FLAT-FOOT. You'd never be sorry to take me for your bride, my +lord.</p> +<p>PRINCE (<i>not heeding</i>). Why is your foot so flat?</p> +<p>FLAT-FOOT. From treading the wheel! From treading the wheel!</p> +<p>HANGING-LIP. You'd never be sorry to take me for your bride, my +lord.</p> +<p>PRINCE (<i>not heeding</i>). Why is your lip so long?</p> +<p>HANGING-LIP. From moistening the thread! From moistening the +thread!</p> +<p>BROAD-THUMB. You'd never be sorry to take me for your bride, my +lord.</p> +<p>PRINCE (<i>not heeding</i>). Why is your thumb so broad?</p> +<p>BROAD-THUMB. From pressing the thread! From pressing the +thread!</p> +<p>[<i>The Prince turns to Isabel.</i>]</p> +<p>FLAT-FOOT (<i>quickly</i>). Isabel does naught but gaze and +gaze, on flowers and trees and running brooks. Ha, ha, ha!</p> +<p>PRINCE. Is this true, Isabel?</p> +<p>ISABEL (<i>timidly</i>). Yes, Prince.</p> +<p>HANGING-LIP. She says these flowers and trees and running brooks +do sing her songs. Ha, ha, ha!</p> +<p>PRINCE. Is this true, Isabel?</p> +<p>ISABEL (<i>as before</i>). Yes, Prince.</p> +<p>BROAD-THUMB. And she begs leave to write down these songs. Ha, +ha, ha!</p> +<p>PRINCE. Is this true, Isabel?</p> +<p>ISABEL (<i>hanging head</i>). Yes, Prince.</p> +<p>PRINCE. Isabel, hang not your head. I'll give you time to write +your songs.</p> +<p>QUEEN. My son—</p> +<p>PRINCE (<i>interrupting</i>). Nay, nay, mother! The songs please +me better than the flat-foot and the hanging-lip and the +broad-thumb of the spinners. Come, Isabel, you shall be my +princess! You shall sing me your songs! You shall teach me how to +gaze upon flowers and trees and running brooks, for these things +have ever been dear to my heart. Come, Isabel, come!</p> +<a name="image-157"><!--IMG--></a> +<div class="figcenter"><a href="images/157.png"><img src= +"images/157.png" alt="'THE PRINCE SEES THE THREE GREAT-AUNTS'" width="70%"></a> +<h3>"THE PRINCE SEES THE THREE GREAT-AUNTS"</h3> +</div> +<!--IMAGE END--> +<a name="2h16"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE EMPEROR'S TEST</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one spring; noon</i>.<br> +PLACE: <i>an army camp on the banks of a large creek. A village is +near by. To the south is a great forest</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE EMPEROR.</td> +</tr> +<tr> +<td>THE GENERAL.</td> +</tr> +<tr> +<td>THE CAPTAIN.</td> +</tr> +<tr> +<td>FIRST AIDE.</td> +</tr> +<tr> +<td>SECOND AIDE.</td> +</tr> +<tr> +<td>THE MAYOR'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE RICH MERCHANT'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE POOR WOODCUTTER'S WIFE AND HER SON, PIERRE.</td> +</tr> +</table> +<hr> +<p>[<i>An ante-room in the Emperor's tent is seen. Great curtains +separate this room from the Emperor's room back. An</i> AIDE +<i>waits in the ante-room. Enter the</i> GENERAL <i>from the +Emperor's room.</i>]</p> +<p>GENERAL (<i>to the Aide</i>). Have any yet come from the +village? The Emperor would know.</p> +<p>AIDE. Yes, General. They wait without.</p> +<p>GENERAL. Bid them enter.</p> +<p>AIDE (<i>crossing; speaking to those without</i>). You will +please enter.</p> +<p>[<i>Enter the</i> MAYOR'S WIFE <i>and</i> SON; <i>the</i> RICH +MERCHANT'S WIFE <i>and</i> SON.]</p> +<p>GENERAL. You have come to see the Emperor?</p> +<p>THE LADIES. General, we have.</p> +<p>GENERAL. His Majesty wishes you to leave your sons here in camp +until evening.</p> +<p>MAYOR'S WIFE. General, could you not tell us the Emperor's +plans?</p> +<p>GENERAL. Yes, madam. The Emperor must march southward where the +enemy is in camp. He wishes a guide who can lead him safely through +this great forest.</p> +<p>RICH MERCHANT'S WIFE. We were told the Emperor would greatly +honor the lad he chooses.</p> +<p>GENERAL. 'T is true, madam. The lad chosen will be made an +aide.</p> +<p>MAYOR'S WIFE. I thought only princes were chosen for the +Emperor's aides.</p> +<p>GENERAL. They have always been princes. This is a great +opportunity for the lads of this village.</p> +<p>MAYOR'S WIFE. But how will the Emperor make a choice?</p> +<p>GENERAL. A test will be given every boy who comes. This test +will prove his fitness to be guide.</p> +<p>[<i>Enter an</i> AIDE <i>from Emperor's room.</i>]</p> +<p>AIDE. General, the Emperor would see you.</p> +<p>[<i>The General bows to the ladies and leaves.</i>]</p> +<p>AIDE (<i>turning to the ladies</i>). The Emperor will receive +you presently.</p> +<p>[<i>Aide goes. Enter the</i> POOR WOODCUTTER'S WIFE <i>and</i> +SON.]</p> +<p>POOR WOODCUTTER'S WIFE (<i>timidly</i>). I heard the Emperor +wanted a guide.</p> +<p>MAYOR'S WIFE. The Emperor only wants the boys of the best +families, madam.</p> +<p>[<i>Enter the</i> EMPEROR, GENERAL, <i>and</i> CAPTAIN; <i>they +remain back; are not seen by the ladies.</i>]</p> +<p>POOR WOODCUTTER'S WIFE (<i>sighing</i>). I suppose that is true, +but Pierre is a smart boy. If the Emperor could only see +him—</p> +<p>RICH MERCHANT'S WIFE (<i>interrupting</i>). The Emperor wants a +boy with proud manners such as our boys have.</p> +<p>EMPEROR (<i>indignantly</i>). Fiddlesticks!</p> +<p>THE LADIES (<i>bowing</i>). Your Highness!</p> +<p>EMPEROR. Fiddlesticks and candles, I say!</p> +<p>POOR WOODCUTTER'S WIFE. I am sorry, your Majesty. I didn't know +how it was. Come, Pierre.</p> +<p>[<i>She turns to go.</i>]</p> +<p>EMPEROR. Remain. Pierre shall have the test with the others. +Ladies, you shall know whom I have chosen when the test is +finished. I bid you good-day.</p> +<p>[<i>The ladies bow and go.</i>]</p> +<p>EMPEROR (<i>turning to the boys</i>). My lads, go through the +forest southward, till you come to the river. You may then return. +Captain, see that guards go with them. My lads, you must not speak +the one to the other until I have again seen you. I must have your +word on that. Do you promise?</p> +<p>BOYS. Sire, we promise.</p> +<p>EMPEROR. 'T is well. Captain, they are now in your charge. +General, a word with you.</p> +<p>[<i>The Emperor and General go into Emperor's room. The Captain +leads the boys from the tent.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>two hours later</i>.<br> +PLACE: <i>the Emperor's tent; the Emperor's room</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE EMPEROR.</td> +</tr> +<tr> +<td>FIRST AIDE.</td> +</tr> +<tr> +<td>SECOND AIDE.</td> +</tr> +<tr> +<td>LUDWIG.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> EMPEROR <i>is seen sitting at a table looking at +maps. Enter an</i> AIDE. <i>He salutes.</i>]</p> +<p>EMPEROR. Well?</p> +<p>AIDE. The prisoner has returned, sire.</p> +<p>EMPEROR. What prisoner?</p> +<p>AIDE. The one sent out for the test, sire.</p> +<p>EMPEROR. Who was sent?</p> +<p>AIDE. Ludwig, the prisoner who has been ill for so long.</p> +<p>EMPEROR. Ah, yes; bid him enter.</p> +<p>(<i>Aide goes; he reënters with</i> LUDWIG, <i>who wears an +old, torn army cloak over his uniform. He salutes.</i>)</p> +<p>I notice you are a bit lame, Ludwig.</p> +<p>LUDWIG. Yes, sire; in my left leg. My dog was hit at the same +time.</p> +<p>EMPEROR. Does your dog go to battle with you?</p> +<p>LUDWIG. If he can slip into the ranks, sire. He always goes +where I go, sire.</p> +<p>EMPEROR. Then he went with you to-day, of course?</p> +<p>LUDWIG. Yes, sire.</p> +<p>EMPEROR. You are sure the boys didn't see you?</p> +<p>LUDWIG. No one saw me. I kept a sharp lookout. When I came to a +clear space I went to one side, hiding behind trees, to look ahead. +Then I ran across.</p> +<p>EMPEROR. That must have tired you, Ludwig. You're not quite well +yet.</p> +<p>LUDWIG. I found I couldn't leap the streams; I had to climb down +the banks and wade them.</p> +<p>EMPEROR. You rested by the way, didn't you?</p> +<p>LUDWIG. Yes, sire, and once I stopped to pick berries.</p> +<p>EMPEROR. You made the return trip by boat up the creek?</p> +<p>LUDWIG. Yes, sire.</p> +<p>EMPEROR. That is all.</p> +<p>[<i>The Aide and Ludwig go. The Emperor claps his hands. +Enter</i> SECOND AIDE. <i>He salutes.</i>]</p> +<p>EMPEROR (<i>to Aide</i>). Have the lads returned?</p> +<p>AIDE. No, sire.</p> +<p>EMPEROR. Do you know when the Captain expects them?</p> +<p>AIDE. In about half an hour, sire.</p> +<p>EMPEROR. Bid their mothers return at that time. I wish them to +be present at the test.</p> +<p>AIDE. Yes, sire.</p> +<p>[<i>He salutes and goes.</i>]</p> +<p>EMPEROR (<i>slowly</i>). Let me see—a lame man; a lame +dog; running footprints across open spaces; wading streams instead +of leaping them; stopping to pick berries—Why, the story +reads itself!</p> +<p>(<i>He sits at table; takes up maps.</i>)</p> +<p>Well, we shall see what we shall see!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>a half hour later</i>.<br> +PLACE: <i>the Emperor's tent; the ante-room</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE EMPEROR.</td> +</tr> +<tr> +<td>THE GENERAL.</td> +</tr> +<tr> +<td>THE CAPTAIN.</td> +</tr> +<tr> +<td>AN AIDE.</td> +</tr> +<tr> +<td>THE MAYOR'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE RICH MERCHANT'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE POOR WOODCUTTER'S WIFE AND SON, PIERRE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> LADIES <i>wait in the lower end of ante-room. Back +is a great armchair.</i>]</p> +<p>MAYOR'S WIFE. I cannot think why the boys were sent into the +forest!</p> +<p>RICH MERCHANT'S WIFE. Nor I! It seems to me the Emperor should +have asked them what they could do. Now, my boy dances so +prettily!</p> +<p>MAYOR'S WIFE. I was certain he would ask them to ride. Now, my +boy rides so well—just like a prince!</p> +<p>RICH MERCHANT'S WIFE. Well, he will no doubt ask them all these +things upon their return.</p> +<p>(<i>She turns to Pierre's mother.</i>)</p> +<p>You see, madam, how little chance your boy has. I am sure he +cannot dance?</p> +<p>POOR WOODCUTTER'S WIFE (<i>sadly</i>). No, madam.</p> +<p>MAYOR'S WIFE. I am certain he does not ride?</p> +<p>POOR WOODCUTTER'S WIFE (<i>sighing</i>). No, madam.</p> +<p>[<i>Enter an</i> AIDE; <i>crosses to Emperor's room; announces +at curtains.</i>]</p> +<p>AIDE. The boys have returned, sire!</p> +<p>[<i>Enter the</i> CAPTAIN <i>with the</i> BOYS. <i>Enter the</i> +GENERAL <i>from Emperor's room.</i>]</p> +<p>GENERAL (<i>announcing</i>). The Emperor!</p> +<p>[<i>Enter the</i> EMPEROR; <i>all bow.</i>]</p> +<p>EMPEROR (<i>sitting in armchair</i>). I will now give the test. +Captain, bring up the first boy.</p> +<p>[<i>The Captain brings up the</i> RICH MERCHANT'S SON.]</p> +<p>EMPEROR. Well, my lad, what did you see in the forest?</p> +<p>RICH MERCHANT'S SON. Many, many trees, sire.</p> +<p>EMPEROR. You saw nothing but trees?</p> +<p>RICH MERCHANT'S SON. That was all, sire—just trees.</p> +<p>EMPEROR. I shall not want you; you may go.</p> +<p>RICH MERCHANT'S WIFE. Oh, your Majesty, if you could only see +him dance!</p> +<p>EMPEROR. Candles and cheese! Do I want a dancing guide? Captain, +bring up the next one.</p> +<p>[<i>The Captain brings up the</i> MAYOR'S SON.]</p> +<p>EMPEROR. Well, my lad, what did you see in the forest?</p> +<p>MAYOR'S SON. I saw trees and bushes, sire.</p> +<p>EMPEROR. Nothing more?</p> +<p>MAYOR'S SON. No, sire.</p> +<p>EMPEROR. I shall not want you; you may go.</p> +<p>MAYOR'S WIFE. Oh, your Majesty, if you could only see him ride! +Just like a prince, sire!</p> +<p>EMPEROR. Fiddlesticks! Captain, the last boy there.</p> +<p>[<i>The Captain brings up</i> PIERRE].</p> +<p>EMPEROR. Well, my lad, what did you see in the forest?</p> +<p>PIERRE. I saw that a man had passed southward just before us, +sire.</p> +<p>EMPEROR. How did you know that? Did you see him?</p> +<p>PIERRE. No, sire, I saw his footprints. He was lame in the left +leg.</p> +<p>EMPEROR. How did you learn that?</p> +<p>PIERRE. The footprints were deeper on the right side. His dog +was lame also.</p> +<p>EMPEROR. He had a dog?</p> +<p>PIERRE. Yes, sire; a lame dog I'm sure, because one of his +tracks was always faint or missing.</p> +<p>EMPEROR. Did you trace this man and dog by their footprints?</p> +<p>PIERRE. Yes, sire, to the river. There were traces of them in +the grass, in the mud, in the dust, on rocks, and in still water. I +am certain they had passed but a short time before—not more +than a half hour.</p> +<p>EMPEROR. How could you tell that?</p> +<p>PIERRE. The grass had not yet straightened up. The tracks in the +mud had not yet filled with water. The prints in the dust were +still clear although a wind was blowing.</p> +<p>EMPEROR. Good! But how did you know they had but just passed +through still water and over rocks?</p> +<p>PIERRE. The water had not yet settled, and the rocks were still +damp.</p> +<p>EMPEROR. Good! Very good!</p> +<p>PIERRE. Sire, I fear this man is one of the enemy!</p> +<p>EMPEROR. Indeed! What proof have you of that?</p> +<p>PIERRE. This, sire.</p> +<p>(<i>Handing a small piece of cloth to Emperor.</i>)</p> +<p>'T is the color of the enemy's uniform.</p> +<p>EMPEROR. It is, my lad. How came you by it?</p> +<p>PIERRE. I found it on a thorn-bush. It was torn from his cloak, +sire.</p> +<p>EMPEROR. And why from his cloak?</p> +<p>PIERRE. The thorn-bush was at least three feet from the man's +line of travel. The wind blew the cloak about.</p> +<p>EMPEROR (<i>handing the cloth to an aide; whispering to +him</i>). Take this to Ludwig.</p> +<p>(<i>The Aide goes.</i>)</p> +<p>Well, Pierre, do you think we should be in fear of this +enemy?</p> +<p>PIERRE. I do not know, sire. I only know that he has a good +disposition.</p> +<p>EMPEROR (<i>surprised</i>). A good disposition? How do you know +that?</p> +<p>PIERRE. The dog was always near him. When the man stopped to +rest, the dog lay down at his feet.</p> +<p>EMPEROR. But he may have held the dog there, my lad.</p> +<p>PIERRE. Not while he was picking berries, sire.</p> +<p>EMPEROR. So our enemy picked berries, did he?</p> +<p>PIERRE. Yes, sire, the dog lying by the bushes all the +while.</p> +<p>EMPEROR. Do you think we could capture this man?</p> +<p>PIERRE. Yes, sire, for he was very tired.</p> +<p>EMPEROR. How do you know that?</p> +<p>PIERRE. He climbed down the banks of every small stream. I +should have leaped them.</p> +<p>EMPEROR. You think it would be an easy matter, then, to follow +and capture him?</p> +<p>PIERRE. Not easy, sire, for he was always on the lookout.</p> +<p>EMPEROR. How do you know that?</p> +<p>PIERRE. Whenever he reached a clear space, he went to one side, +hiding behind trees to look ahead. Then he ran across the open.</p> +<p>EMPEROR. Your proof of this, my lad?</p> +<p>PIERRE. His footprints in every clear space showed only the +balls of the feet.</p> +<p>EMPEROR. Good! You followed him only to the river.</p> +<p>PIERRE. Those were the orders, sire. Had I gone on, I could have +overtaken him by evening.</p> +<p>EMPEROR. That you could not, my lad, for the man is now here, in +camp. He returned by boat. Ladies, the test is over.</p> +<p>(<i>He turns to Pierre's mother.</i>)</p> +<p>Madam, your son shall be my guide. I am proud to have a boy of +such keen sight and quick thought in my kingdom. And 't is much to +be the mother of such a lad. I salute you, madam! With greatest +respect I salute you!</p> +<p>[<i>He bows to the happy woman with great courtesy.</i>]</p> +<p>EMPEROR (<i>turning to the ladies</i>). Ladies, I bid you +farewell.</p> +<a name="2h17"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>CHRISTOPHER COLUMBUS</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one morning; 1484</i>.<br> +PLACE: <i>a street in front of King John's palace, Lisbon, +Portugal. Gates to courtyard of palace in background</i>.</p> +<hr> +<table width="60%" align="center"> +<tr> +<td>CHRISTOPHER COLUMBUS.</td> +<td>KING JOHN.</td> +</tr> +<tr> +<td>SCHOOLMASTER.</td> +<td>COURTIERS.</td> +</tr> +<tr> +<td>CARLOS.</td> +<td>JESTER.</td> +</tr> +<tr> +<td>ROQUE.<a id="footnotetag4" name="footnotetag4"></a><a href= +"#footnote4"><sup>4</sup></a></td> +<td>RIVERRA,<a id="footnotetag6" name="footnotetag6"></a><a href= +"#footnote6"><sup>6</sup></a> A SEA-CAPTAIN.</td> +</tr> +<tr> +<td>PANCHO.<a id="footnotetag5" name="footnotetag5"></a><a href= +"#footnote5"><sup>5</sup></a></td> +<td>PORTER.</td> +</tr> +<tr> +<td colspan="2">BOYS, HOSTLERS, SERVANTS.</td> +</tr> +</table> +<hr> +<p>[<i>Enter</i> CARLOS, ROQUE <i>and</i> PANCHO. <i>They carry +their school-books. A noise is heard in courtyard.</i>]</p> +<p>ROQUE (<i>stopping; listening</i>). There's stirring in the +King's courtyard!</p> +<p>[<i>He runs to closed gates; peeps through a crack.</i>]</p> +<p>CARLOS. Come, Roque, we shall be late to school.</p> +<p>ROQUE (<i>throwing down books</i>). Come, look! They are laying +the red carpets in the court!</p> +<p>PANCHO (<i>throwing down books; peeping</i>). 'T is for the King +they lay them!</p> +<p>CARLOS. Come, the master will be angry.</p> +<p>ROQUE. But the King will soon be coming!</p> +<p>PANCHO. Let's wait and see him, Carlos!</p> +<p>CARLOS. Not I! I know how the master flogs! Yesterday I came +late to school.</p> +<p>PANCHO. Why were you late?</p> +<p>CARLOS. I stopped to watch the crazy Italian, Columbus.</p> +<p>[<i>He starts off; the others follow.</i>]</p> +<p>ROQUE. I saw him once!</p> +<p>PANCHO. I wish I might see him!</p> +<p>CARLOS. There he comes now! (<i>Calling.) Loco!</i>[Footnote: +Pronounced <i>l[=o]'k[=o]</i>; Spanish for <i>crazy.] Loco!</i></p> +<p>ROQUE. Aye, there he is! (<i>Calling.) Loco! Loco!</i></p> +<p>PANCHO (<i>calling). Loco! Loco!</i></p> +<p>[<i>Enter</i> COLUMBUS, <i>dignified and gentle. A crowd of</i> +BOYS <i>follow.</i>]</p> +<p>ALL BOYS. <i>Loco! Loco! Loco! Loco!</i></p> +<p>[<i>Enter</i> SCHOOLMASTER, <i>carrying a switch.</i>]</p> +<p>MASTER (<i>flourishing switch</i>). To school with you! To +school now!</p> +<p>[<i>Boys run off in alarm.</i>]</p> +<p>MASTER (<i>turning angrily upon Columbus</i>). You were teaching +them your foolish notions, sir!</p> +<p>COLUMBUS (<i>smiling</i>). I'd like the chance to do so, +master.</p> +<p>MASTER. Ah, then you <i>have</i> been at it! I saw them all +about you!</p> +<p>COLUMBUS. I taught them nothing, master,—this time.</p> +<p>MASTER. 'T is well for you, sir, that you did not. The world is +flat, sir, flat! Do you not know that, sir?</p> +<p>COLUMBUS. I was so taught—</p> +<p>MASTER. How do you dare, then, to say the world is round?</p> +<p>COLUMBUS. Much study and common sense, dear master, have made me +dare.</p> +<p>MASTER. The lessons taught your fathers are good enough for you, +sir.</p> +<p>COLUMBUS. That cannot be, dear master. How, then, could the +world move on?</p> +<p>MASTER. Move on? Hear him talk! Do you think, sir, that an +elephant carries this flat world on his back and walks about with +it? Ha, ha!</p> +<p>[<i>Gates are opened;</i> PORTER <i>is seen.</i>]</p> +<p>MASTER (<i>going</i>). Go tell the King this world is round! Ha, +ha! Go tell the King!</p> +<p>[<i>Schoolmaster goes.</i>]</p> +<p>PORTER (<i>seeing Columbus; aside</i>). Ah, 't is the crazy +Italian!</p> +<p>COLUMBUS. Porter, I seek the King!</p> +<p>PORTER. Do you think he'll listen to your silly talk? O, I've +heard of you! Away!</p> +<p>COLUMBUS. Come, let me in!</p> +<p>PORTER. Away! Away with you, <i>loco</i>!</p> +<p>[<i>Enter from gates, the</i> JESTER <i>in cap and bells,</i> +HOSTLERS <i>and</i> SERVANTS.]</p> +<p>JESTER. Who's away? Who's crazy?</p> +<p>PORTER. The Italian there! He who says this world is round!</p> +<p>JESTER. Round? How now? Round, say you?</p> +<p>PORTER (<i>nodding; laughing</i>). With people on the other +side!</p> +<p>JESTER. A-standing on their heads—so!</p> +<p>[<i>Jester stands on his head; all laugh. Enter a</i> +COURTIER.]</p> +<p>COURTIER. The King comes!</p> +<p>[<i>Enter</i> KING JOHN <i>and many</i> COURTIERS.]</p> +<p>JESTER (<i>capering about Columbus</i>). Ha, ha, ha, ha!</p> +<p>KING. What's this, Jester?</p> +<p>JESTER. Here's he, sire, who says this world is round!</p> +<p>[<i>He capers about Columbus; all laugh.</i>]</p> +<p>KING. I've heard of your notions, Columbus. So you think there's +land to be discovered, do you?</p> +<p>COLUMBUS. Yes, your Majesty, I'm sure of it.</p> +<p>JESTER. With people a-standing on their heads—so!</p> +<p>[<i>He stands on his head; all laugh.</i>]</p> +<p>KING. Silence! Columbus, I've a mind to listen, and give you +ships and money. Have you maps and charts to prove your plans?</p> +<p>COLUMBUS (<i>taking maps from cloak</i>). Yes, sire.</p> +<p>KING. Wait, then, till I have spoken with my Courtiers.</p> +<p>[<i>Columbus bows, retires, and unrolls maps.</i> CAPTAIN +RIVERRA <i>crosses to Columbus; talks with him aside.</i>]</p> +<p>KING (<i>speaking softly to Courtiers</i>). You know, my +Courtiers, that should there be new lands, great glory will be +given the discoverer of them.</p> +<p>FIRST COURTIER. Aye, sire, 't will bring him great honor.</p> +<p>SECOND COURTIER. And riches.</p> +<p>KING. 'T is I, and I alone, who should have the honor and the +riches!</p> +<p>FIRST COURTIER. Aye, sire!</p> +<p>SECOND COURTIER. Aye, sire!</p> +<p>THIRD COURTIER. But nothing can be done without the Italian's +maps and charts. No one but he knows the route over the unknown +seas.</p> +<p>KING. Well, we must have his maps and charts.</p> +<p>FIRST COURTIER. He'll not sell them, sire. You may depend on +that.</p> +<p>KING. And we'll not buy them. Go, bid my fool take them.</p> +<p>(<i>Courtiers showing surprise.</i>)</p> +<p>Go, I say, and see to it!</p> +<p>[<i>Courtiers talk aside with Jester.</i>]</p> +<p>RIVERRA (<i>to Columbus</i>). I wish you well, sir, for I +believe that what you say is true.</p> +<p>COLUMBUS. I'm glad to hear you say that, Captain.</p> +<p>RIVERRA. My ship is in the harbor now, and I must go. But I wish +you well, Columbus, I wish you well.</p> +<p>[<i>Columbus, throwing his maps on the stone bench near gates, +takes Riverra's hands in his. The Jester creeps up, takes maps, +runs into the court with them, and disappears.</i>]</p> +<p>COLUMBUS (<i>with feeling</i>). I thank you, Captain—so +few believe in me—</p> +<p>KING. Come now within, Columbus; I'll look at your maps and +charts.</p> +<p>[<i>Riverra goes.</i>]</p> +<p>COLUMBUS (<i>turning to take up maps</i>). Why, how is this! My +maps were here but just a moment ago!</p> +<p>KING. Who saw his maps?</p> +<p>(<i>Pause.</i>)</p> +<p>The Courtiers are silent, sir.</p> +<p>COLUMBUS. I laid them there, sire!</p> +<p>KING. Then there they should be.</p> +<p>COLUMBUS. Some one has taken them—'t is a joke—</p> +<p>KING (<i>interrupting</i>). My Courtiers do not play jokes in my +presence.</p> +<p>COLUMBUS. Those maps and charts are precious to me, sire!</p> +<p>KING. Come, now, I'm not so sure you ever had maps or +charts.</p> +<p>COLUMBUS. Your Majesty!</p> +<p>KING. Well, produce them.</p> +<p>COLUMBUS. But, sire,—</p> +<p>KING (<i>interrupting</i>). I'll not hear excuses! Your maps, +sir,—at once, sir!</p> +<p>COLUMBUS. I'll make other maps and charts—</p> +<p>KING. Away with you!</p> +<p>COLUMBUS. Your Majesty—</p> +<p>KING. Away, I say! And come to us no more with tales of unknown +lands.</p> +<p>[<i>Enter</i> JESTER <i>from gates.</i>]</p> +<p>JESTER. With people a-walking on their heads—so!</p> +<p>[<i>Jester stands on his head; all laugh. Columbus goes, showing +bitter disappointment.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>1492</i>.<br> +PLACE: <i>Spain. Court of King Ferdinand and Queen +Isabella</i>.</p> +<hr> +<table width="60%" align="center"> +<tr> +<td>KING FERDINAND.</td> +<td>CAPTAIN RIVERRA.</td> +</tr> +<tr> +<td>QUEEN ISABELLA.</td> +<td>WISE MEN.</td> +</tr> +<tr> +<td>CHRISTOPHER COLUMBUS.</td> +<td>COURTIERS AND LADIES.</td> +</tr> +<tr> +<td colspan="2">A MONK, FATHER-CONFESSOR TO THE QUEEN.</td> +</tr> +<tr> +<td colspan="2" align="center">MESSENGER.</td> +</tr> +</table> +<hr> +<p>[<i>Many</i> COURTIERS <i>and</i> LADIES <i>are seen in +audience-room of palace; a throne is in the background. Enter +the</i> FIRST COURTIER.]</p> +<p>FIRST COURTIER. The King and Queen!</p> +<p>[<i>Enter</i> KING FERDINAND <i>and</i> QUEEN ISABELLA, +<i>followed by</i> COURTIERS, LADIES <i>and the</i> WISE MEN. +<i>All bow as the King and Queen cross to throne and sit. Enter +the</i> MONK; <i>he advances to throne and bows.</i>]</p> +<p>KING. Speak, good Father.</p> +<p>MONK. I pray your Majesties to see one Christopher Columbus.</p> +<p>KING (<i>inquiringly</i>). Columbus?</p> +<p>MONK. The Italian who thinks he can find a short route to the +Indies, sire.</p> +<p>KING (<i>nodding</i>). Ah, I remember. You brought his plans to +us some time ago, good Father.</p> +<p>QUEEN (<i>nodding</i>). Let us see him to-day, sire.</p> +<p>KING (<i>to First Courtier</i>). Admit this Christopher +Columbus.</p> +<p>(<i>Courtier admits</i> COLUMBUS. <i>He kneels before the +King.</i>)</p> +<p>Rise, Columbus, and tell us what you seek.</p> +<p>COLUMBUS (<i>rising</i>). Ships, sire, to prove the plans which +I did send your Majesties; plans for sailing in the unknown +seas.</p> +<p>QUEEN. They seemed to me most wise and sensible.</p> +<p>COLUMBUS (<i>with joy</i>). Ah, your Majesty believes with +me?</p> +<p>KING (<i>hastily</i>). I'd have our Wise Men speak. Unfold your +maps before them, sir.</p> +<p>[<i>Columbus crosses to Wise Men and unfolds a map before them. +They look at it, shake their heads and laugh.</i>]</p> +<p>COLUMBUS (<i>with dignity</i>). I propose to sail by this route +to find that eastern land.</p> +<p>FIRST WISE MAN. Ha, ha! I never heard anything so absurd! He'd +sail west to find the east! Ha, ha!</p> +<p>SECOND WISE MAN (<i>pointing to map</i>). The edge of the world +is out there in those strange waters! And you are willing to fall +off with your ships into space, sir?</p> +<p>COLUMBUS. I'm sure the water continues—</p> +<p>THIRD WISE MAN (<i>interrupting</i>). How could there be land +beyond? 'T would be under us, and the trees would have to grow +their roots in the air.</p> +<p>[<i>Wise Men nod wisely.</i>]</p> +<p>SECOND WISE MAN. And the rain must needs fall upward there!</p> +<p>ALL WISE MEN (<i>nodding wisely</i>). Aye! Aye!</p> +<p>QUEEN. I've heard you did lay your plans before King John of +Portugal?</p> +<p>COLUMBUS. I did, your Majesty.</p> +<p>KING. That was bad for you, Columbus. King John sent ships, but +they soon returned.</p> +<p>(<i>Turning to</i> CAPTAIN RIVERRA.)</p> +<p>Was not that the way of it, Captain? You sailed with them, I +believe?</p> +<p>RIVERRA. Yes, sire. But the failure came because the sailors +were afraid and refused to go on.</p> +<p>(<i>To Columbus.</i>)</p> +<p>You were thus avenged for the theft of your maps, sir.</p> +<p>QUEEN. Would you sail again with this man as your leader, +Captain?</p> +<p>RIVERRA. I would, your Majesty! I believe not in the monsters +and the edge.</p> +<p>QUEEN. Nor I! Let's provide the ships, sire.</p> +<p>KING. Our people would not like it—they'd grumble. And so +'t would be bad for us.</p> +<p>[<i>Enter</i> MESSENGER <i>in great haste; kneels before King +and Queen.</i>]</p> +<p>KING. What news do you bring? Speak!</p> +<p>MESSENGER. The Turks have captured the Spanish merchant +ships!</p> +<p>KING. Our ships bound for the Indies?</p> +<p>MESSENGER. Yes, your Majesty.</p> +<p>KING. Alas! Alas!</p> +<p>QUEEN. The merchants and the sailors—did the Turks spare +them?</p> +<p>MESSENGER. Not one, your Majesty!</p> +<p>QUEEN. Alas, such loss of life! And 't is not the first time! +Not a month that does not bring us the same sad news!</p> +<p>FIRST WISE MAN (<i>to Monk</i>). You must give our people +consolation, Father.</p> +<p>MONK. 'T is not so much consolation they need, as another +passage to the Indies; one far away from Turkey and the cruel +Turks.</p> +<p>QUEEN. You are right, Father. Speak on.</p> +<p>MONK. To find such a passage is the chief purpose of Christopher +Columbus. That is the hope that has given him courage when half the +world called him <i>fool</i>.</p> +<p>QUEEN. Sire, we must find ships and money!</p> +<p>KING. We dare not tax the people more—</p> +<p>QUEEN. Then I'll help you, Columbus! I'll pledge my own jewels +to raise the funds.</p> +<p>COLUMBUS (<i>joyfully</i>). Your Majesty!</p> +<p>QUEEN. 'T is for the safety of our merchants! 'T is for the +glory of Spain!</p> +<p>COLUMBUS (<i>kneeling before Queen; kissing her robe</i>). My +Queen!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>five months later; evening</i>.<br> +PLACE: <i>on board the Santa Maria</i>.</p> +<hr> +<table width="40%" align="center"> +<tr> +<td>ADMIRAL CHRISTOPHER COLUMBUS.</td> +</tr> +<tr> +<td>CAPTAIN PINZON.<a id="footnotetag7" name= +"footnotetag7"></a><a href="#footnote7"><sup>7</sup></a></td> +</tr> +<tr> +<td>SAILORS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> SAILORS <i>are seen sitting on deck in a group. They +are gloomy and dejected.</i>]</p> +<p>FIRST SAILOR. 'T is a sea of darkness!</p> +<p>SECOND SAILOR. Last night I heard the angry sea-gods!</p> +<p>THIRD SAILOR (<i>nodding</i>). Aye, I heard them!</p> +<p>FOURTH SAILOR. What were they crying?</p> +<p>SECOND SAILOR. Angry words to us for coming into their own +waters.</p> +<p>FIRST SAILOR. 'T is the Italian Columbus the sea-gods should +destroy!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>SECOND SAILOR. We'll never see Spain again!</p> +<p>THIRD SAILOR. We should compel him to return!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>[<i>Enter</i> COLUMBUS <i>with</i> CAPTAIN PINZON. <i>They cross +to bow of ship. The Captain glances uneasily at the +sailors.</i>]</p> +<p>CAPTAIN. Admiral, I must tell you frankly, the sailors are +dissatisfied.</p> +<p>COLUMBUS. I am sorry to hear that, Captain.</p> +<p>CAPTAIN. What shall we do, sir?</p> +<p>COLUMBUS. Do? Why, sail on!</p> +<p>CAPTAIN. I'll see to it, sir!</p> +<p>[<i>Captain goes.</i>]</p> +<p>FIRST SAILOR (<i>crossing</i>). Admiral, the men have chosen me +to speak for them.</p> +<p>COLUMBUS. What do they wish?</p> +<p>FIRST SAILOR. To return to Spain, sir!</p> +<p>COLUMBUS. Tell them we may see land any day now.</p> +<p>FIRST SAILOR (<i>shaking head</i>). They'll no longer listen to +that!</p> +<p>COLUMBUS. Then tell them that I mean to sail on.</p> +<p>FIRST SAILOR (<i>starting</i>). Sail on?</p> +<p>COLUMBUS. Yes; to sail on and on. Go tell them that.</p> +<p>[<i>Sailor goes. Enter</i> CAPTAIN.]</p> +<p>CAPTAIN. Admiral, the sailors below show signs of mutiny!</p> +<p>COLUMBUS (<i>alarmed</i>). Mutiny?</p> +<p>CAPTAIN (<i>nodding</i>). The same as these on deck. Only look +at them!</p> +<p>[<i>The Sailors talk together excitedly and gesticulate +wildly.</i>]</p> +<p>COLUMBUS. Ah, if I could only give them my courage!</p> +<p>CAPTAIN. I fear for your life, Admiral, if the order is not +given to return.</p> +<p>COLUMBUS. I cannot give it, Captain.</p> +<p>[<i>The Sailors on deck are joined by others from below. They +rush down upon Columbus.</i>]</p> +<p>FIRST SAILOR (<i>angrily</i>). You must take us back to Spain, +sir!</p> +<p>SECOND SAILOR. We'll not go farther, sir!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>COLUMBUS. I'm sure we will soon find land—</p> +<p>SAILORS (<i>interrupting; angrily</i>). Hear him! Hear him!</p> +<p>COLUMBUS. To the one who first sees land, the Queen has promised +money—</p> +<p>FIRST SAILOR (<i>interrupting</i>). Money! to feed to the +sea-monster!</p> +<p>SECOND SAILOR (<i>threateningly</i>). Will you turn back?</p> +<p>COLUMBUS (<i>with determination</i>). No!</p> +<p>CAPTAIN. Now, men, back to your duties.</p> +<p>THIRD SAILOR. Alas! we'll never see our homes again!</p> +<p>FOURTH SAILOR. Nor our friends!</p> +<p>FIRST SAILOR. We are lost, men!</p> +<p>SECOND SAILOR. What shall we do?</p> +<p>ALL SAILORS. What shall we do? What shall we do?</p> +<p>[<i>As their anger turns to despair, Columbus is +touched.</i>]</p> +<p>COLUMBUS. Listen, men,—I make you this promise: if we do +not see land within three days, we will return to Spain.</p> +<p>CAPTAIN. There, now,—that's a fair promise! Go now to your +duties!</p> +<p>COLUMBUS. And let every man watch for land as he has never +watched before!</p> +<p>SAILORS (<i>pleased</i>). Aye, aye, sir!</p> +<p>[<i>Sailors cross to a distant part of deck.</i>]</p> +<p>COLUMBUS (<i>sadly</i>). Alas for my plans and my hopes, if +these three days bring not land!</p> +<p>[<i>He talks aside with the Captain.</i>]</p> +<p>FIRST SAILOR. We were too easily won over, men.</p> +<p>SECOND SAILOR (<i>nodding</i>). Fearful things may happen to us +in these three days!</p> +<p>THIRD SAILOR. Suppose we reach the edge to-morrow!</p> +<p>FOURTH SAILOR. Suppose the sea-monster should come for us +to-night!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>FIRST SAILOR (<i>cautiously</i>). Come closer, men! There's +something I would say to you!</p> +<p>[<i>Sailors close about him; Captain goes.</i>]</p> +<p>FIRST SAILOR (<i>pointing to Columbus, who stands in bow looking +at the stars</i>). Why should he not fall into the seas +to-night?</p> +<p>SECOND SAILOR. What! You mean—</p> +<p>FIRST SAILOR. I mean he <i>must</i> fall into the seas to-night. +Are you with me, men?</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>FIRST SAILOR (<i>cautiously</i>). 'T is my plan to push him over +as he stands there looking at the stars.</p> +<p>FOURTH SAILOR. Why not creep upon him now?</p> +<p>FIRST SAILOR. Are you willing, men, to have the deed done +now?</p> +<p>ALL SAILORS. Yes! Yes!</p> +<p>FIRST SAILOR (<i>to Second and Third Sailors</i>). Come with me, +you two! We'll creep up on his left.</p> +<p>[<i>They creep upon Columbus, who is seen to suddenly bend +forward, looking eagerly into the distance.</i>]</p> +<p>COLUMBUS. Land! Land!</p> +<p>[<i>Sailors stop; enter the</i> CAPTAIN.]</p> +<p>CAPTAIN. Did you say land, sir?</p> +<p>COLUMBUS. Land, Captain, land! Come, Sailors, come! Land! +Land!</p> +<p>SAILORS (<i>looking; joyfully</i>). Land! Land!</p> +<p>COLUMBUS (<i>lifting his arms</i>). Now Heaven be praised!</p> +<hr> +<blockquote class="note">NOTE TO TEACHER.—This play conforms +to the spirit of the traditional story of Columbus, but the +dramatization has made it necessary to condense into one scene the +somewhat prolonged negotiations with Ferdinand and +Isabella.</blockquote> +<hr> +<blockquote class="footnote"><a id="footnote1" name= +"footnote1"></a> <b>Footnote 1</b>: <a href= +"#footnotetag1">(return)</a> +<p>The explanations in <i>brackets</i> may be read by the +teacher.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote2" name= +"footnote2"></a> <b>Footnote 2</b>: <a href= +"#footnotetag2">(return)</a> +<p>The words in <i>parentheses</i> are not intended to be read +aloud; they will give the child the cue as to how the part should +be rendered.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote3" name= +"footnote3"></a> <b>Footnote 3</b>: <a href= +"#footnotetag3">(return)</a> +<p>A Mohammedan judge.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote4" name= +"footnote4"></a> <b>Footnote 4</b>: <a href= +"#footnotetag4">(return)</a> +<p>Pronounced <i>R[=o]'k[=a]</i>.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote5" name= +"footnote5"></a> <b>Footnote 5</b>: <a href= +"#footnotetag5">(return)</a> +<p>Pronounced <i>Pän'ch[=o]</i> (<i>ch</i> as in +<i>ch</i>urch.)</p> +</blockquote> +<blockquote class="footnote"><a id="footnote6" name= +"footnote6"></a> <b>Footnote 6</b>: <a href= +"#footnotetag6">(return)</a> +<p>Pronounced <i>R[=e]-ver'rä</i>.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote7" name= +"footnote7"></a> <b>Footnote 7</b>: <a href= +"#footnotetag7">(return)</a> +<p>Pronounced <i>Pin'th[=o]n</i>.</p> +</blockquote> +</center> +<div>*** END OF THE PROJECT GUTENBERG EBOOK 10541 ***</div> +</body> +</html> diff --git a/10541-h/images/001.png b/10541-h/images/001.png Binary files differnew file mode 100644 index 0000000..65a6cf2 --- /dev/null +++ b/10541-h/images/001.png diff --git a/10541-h/images/012.png b/10541-h/images/012.png Binary files differnew file mode 100644 index 0000000..8f013ac --- /dev/null +++ b/10541-h/images/012.png diff --git a/10541-h/images/023.png b/10541-h/images/023.png Binary files differnew file mode 100644 index 0000000..5bf74a3 --- /dev/null +++ b/10541-h/images/023.png diff --git a/10541-h/images/034.png b/10541-h/images/034.png Binary files differnew file mode 100644 index 0000000..c3b7b6c --- /dev/null +++ b/10541-h/images/034.png diff --git a/10541-h/images/041.png b/10541-h/images/041.png Binary files differnew file mode 100644 index 0000000..ee4dbf8 --- /dev/null +++ b/10541-h/images/041.png diff --git a/10541-h/images/051.png b/10541-h/images/051.png Binary files differnew file mode 100644 index 0000000..a925957 --- /dev/null +++ b/10541-h/images/051.png diff --git a/10541-h/images/062.png b/10541-h/images/062.png Binary files differnew file mode 100644 index 0000000..255086c --- /dev/null +++ b/10541-h/images/062.png diff --git a/10541-h/images/091.png b/10541-h/images/091.png Binary files differnew file mode 100644 index 0000000..0ac66e6 --- /dev/null +++ b/10541-h/images/091.png diff --git a/10541-h/images/123.png b/10541-h/images/123.png Binary files differnew file mode 100644 index 0000000..c03797f --- /dev/null +++ b/10541-h/images/123.png diff --git a/10541-h/images/141.png b/10541-h/images/141.png Binary files differnew file mode 100644 index 0000000..c149ca5 --- /dev/null +++ b/10541-h/images/141.png diff --git a/10541-h/images/157.png b/10541-h/images/157.png Binary files differnew file mode 100644 index 0000000..5f9680e --- /dev/null +++ b/10541-h/images/157.png diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..d8c84b0 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #10541 (https://www.gutenberg.org/ebooks/10541) diff --git a/old/10541-8.txt b/old/10541-8.txt new file mode 100644 index 0000000..5fd5c98 --- /dev/null +++ b/old/10541-8.txt @@ -0,0 +1,5891 @@ +The Project Gutenberg eBook, Children's Classics In Dramatic Form, by +Augusta Stevenson + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + + + + +Title: Children's Classics In Dramatic Form + +Author: Augusta Stevenson + +Release Date: December 29, 2003 [eBook #10541] + +Language: English + +Character set encoding: iso-8859-1 + + +***START OF THE PROJECT GUTENBERG EBOOK CHILDREN'S CLASSICS IN DRAMATIC +FORM*** + + +E-text prepared by Juliet Sutherland, Lee Chew-Hung, and the Project +Gutenberg Online Distributed Proofreading Team + + + +CHILDREN'S CLASSICS IN DRAMATIC FORM + +A READER FOR THE FOURTH GRADE + +BY AUGUSTA STEVENSON + +Formerly a Teacher in the Indianapolis Public Schools + +1908 + + + + + + +TO +MISS N. CROPSEY + +Assistant Superintendent +Indianapolis Public Schools + + + + +[Illustration: "The moon changes into the red beard of the old +soldier"] + + + + +FOREWORD + + +This book is intended to accomplish three distinct purposes: first, to +arouse a greater interest in oral reading; second, to develop an expressive +voice--sadly lacking in the case of most Americans; and third, to give +freedom and grace in the bodily attitudes and movements which are involved +in reading and speaking. The stories given are for the most part +adaptations of favorite tales from folklore,--Andersen, Grimm, Aesop, and +the Arabian Nights having been freely drawn upon. + +Children are dramatic by nature. They _are_ for the time the kings, the +fairies, and the heroes that they picture in their imaginations. They _are_ +these characters with such abandon and with such intense pleasure that the +on-looker must believe that nature intended that they should give play to +this dramatic instinct, not so much formally, with all the trappings of the +man-made stage, but spontaneously and naturally, as they talk and read. If +this expressive instinct can be utilized in the teaching of reading, we +shall be able both to add greatly to the child's enjoyment and to improve +the quality of his oral reading. In these days when so many books are +hastily read in school, there is a tendency to sacrifice expression to the +mechanics and interpretation of reading. Those acquainted with school work +know too well the resulting monotonous, indistinct speech and the +self-conscious, listless attitude which characterize so much of the +reading of pupils in grades above the third. It is believed that this +little book will aid in overcoming these serious faults in reading, which +all teachers and parents deplore. The dramatic appeal of the stories will +cause the child to lose himself in the character he is impersonating and +read with a naturalness and expressiveness unknown to him before, and this +improvement will be evident in all his oral reading, and even in his +speech. + +The use of the book permits the whole range of expression, from merely +reading the stories effectively, to "acting them out" with as little, or as +much, stage-setting or costuming as a parent or teacher may desire. The +stories are especially designed to be read as a part of the regular reading +work. Many different plans for using the book will suggest themselves to +the teacher. After a preliminary reading of a story during the study +period, the teacher may assign different parts to various children, she +herself reading the stage directions and the other brief descriptions +inclosed in brackets. The italicized explanations in parentheses are not +intended to be read aloud; they will aid in giving the child the cue as to +the way the part should be rendered. After the story has been read in this +way, if thought advisable it can be played informally and simply, with no +attempt at costuming or theatric effects. It will often add to the interest +of the play to have some of the children represent certain of the inanimate +objects of the scene, as the forest, the town gate, a door, etc. +Occasionally, for the "open day," or as a special exercise, a favorite play +may be given by the children with the simplest kind of costuming and +stage-setting. These can well be made in the school as a part of the manual +training and sewing work. In giving the play, it will generally be better +not to have pupils memorize the exact words of the book, but to depend upon +the impromptu rendering of their parts. This method will contribute more +largely to the training in English. + +The best results will usually be obtained by using these stories in the +fourth grade. In some schools, however, the stories in the first part of +the book may profitably be used in the third grade. + +The author has been led to believe from her own experience and from her +conversation with many other teachers that there is a pronounced call for +this kind of book. She therefore hopes that in the preparation of this book +she may have been of service to the teachers and children who may be led to +use it. + +A. S. + + + + +CONTENTS + + +THE TRAVELLERS AND THE HATCHET +_Adapted from Aesop's Fable, The Travellers and the Hatchet._ + +THE OLD MAN AND HIS GRANDSON +_Adapted from Grimm's The Old Man and his Grandson._ + +THE CROW AND THE FOX +_Suggested by Aesop's Fable, The Crow and the Fox._ + +THE MILLER, HIS SON, AND THEIR DONKEY +_Suggested by Aesop's Fable, The Miller, his Son, and their Ass._ + +EACH IN HIS OWN PLACE +_Suggested by Grimm's The Mouse, the Bird, and the Sausage._ + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT +_Adapted from Hans Andersen's What the Goodman does is always Right._ + +THE CAT AND THE MOUSE +_Suggested by Grimm's The Cat and the Mouse._ + +THE GIRL WHO TROD ON THE LOAF +_Suggested by Hans Andersen's The Girl who trod on the Loaf._ + +THE UGLY DUCKLING +_Suggested by Hans Andersen's The Ugly Duckling._ + +THE RED SHOES +_Suggested by Hans Andersen's The Red Shoes._ + +THE STORY OF ALI COGIA +_Adapted from The Story of Ali Cogia from The Arabian Nights' +Entertainments._ + +THE WILD SWANS +_Suggested by Hans Andersen's The Wild Swans._ + +THE TWO COUNTRYMEN +_Suggested by an oriental legend; source unknown._ + +THE MAN AND THE ALLIGATOR +_From a folk-tale of Spanish Honduras._ + +THE SONG IN THE HEART +_Suggested by Grimm's The Three Spinners._ + +THE EMPEROR'S TEST + +CHRISTOPHER COLUMBUS + + + + +ILLUSTRATIONS + + +THE MOON CHANGES INTO THE RED BEARD OF THE OLD SOLDIER. + +THE TRAVELLERS AND THE HATCHET + +"WE HAVE LOST OUR DONKEY" + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT + +THE CAT AND THE MOUSE + +"'T IS SINKING! WHAT SHALL I DO?" + +THE UGLY DUCKLING + +"A THOUSAND PIECES AT LEAST" + +THE TWO COUNTRYMEN + +"HELP! HELP!" + +THE PRINCE SEES THE THREE GREAT-AUNTS + + + + + + + +THE TRAVELLERS AND THE HATCHET + + +TIME: _last week_. +PLACE: _a high road_. + + * * * * * + +FIRST TRAVELLER. +SECOND TRAVELLER. +THE CARPENTER. + + * * * * * + +[_The_ TWO TRAVELLERS _journey along the road. A hatchet lies in the dust +at one side._][Footnote: The explanations in _brackets_ may be read by the +teacher.] + +FIRST TRAVELLER (_seeing the hatchet, taking it up_).[Footnote: The words +in _parentheses_ are not intended to be read aloud; they will give the +child the cue as to how the part should be rendered.] Ah, see what I have +found! + +SECOND TRAVELLER. Do not say _I_, but rather, what _we_ have found. + +FIRST TRAVELLER. Nonsense! Did I not see the hatchet first? And did I not +take it up? + +SECOND TRAVELLER. Well, then, claim the hatchet, since that is plainly your +wish. + +[_Enter the_ CARPENTER.] + +CARPENTER (_to First Traveller_). Aha, thief! Now I have caught you! + +[_He seizes the First Traveller._] + +FIRST TRAVELLER. No thief am I, sir! + +[Illustration: THE TRAVELLERS AND THE HATCHET] + +CARPENTER. But my own hatchet is in your hand, sir. Come along to the +judge, sir! + +FIRST TRAVELLER (_to Second Traveller_). Alas, we are undone! + +SECOND TRAVELLER. Do not say _we_. You are undone, not I. You would not +allow me to share the prize; you cannot expect me to share the danger. I +bid you good day, sir. + + + + +THE OLD MAN AND HIS GRANDSON + + +TIME: _now_. +PLACE: _a certain_ MAN'S _house_. + + * * * * * + +THE MAN. +HIS WIFE. +THEIR SON--LITTLE HANS. +THE GRANDFATHER. + + * * * * * + +[_The_ MAN, _his_ WIFE, _little_ HANS, _and the_ GRANDFATHER _sit at the +table eating the noon meal._] + +MAN. Be careful, father! You are spilling the soup on your coat. + +GRANDFATHER (_trying to steady his trembling hand_). Yes, yes, I'll be +careful. + +[_Short pause._] + +WIFE (_sharply_). Grandfather! You have spilled the soup on my clean +tablecloth! + +GRANDFATHER (_embarrassed_). Dear me! Dear me! + +[_Short pause._] + +MAN. Here, father, is your plate of meat. + +[_The old man takes the plate, but lets it fall._] + +WIFE (_angrily_). There now! Just see what +you have done! + +GRANDFATHER. My hand shook so--I'm sorry--so sorry! + +WIFE. That won't mend the plate! + +MAN. Nor buy a new one! + +WIFE (_to her husband_). He should eat from wooden dishes. + +MAN (_nodding, pointing to a wooden dish_). Let him have that one for his +meat. + +[_The Grandfather sighs sadly. The Wife gets a wooden dish and fills it +with meat. Little Hans leaves the table and plays with his blocks on the +floor._] + +WIFE (_handing the wooden dish to the Grandfather_). Here's one you can't +break. Go now and sit in the corner behind the oven. You shall eat there +hereafter. I cannot have my tablecloths soiled--that I cannot! + +[_The Grandfather takes his wooden plate and goes to the seat in the corner +behind the oven. His eyes are filled with tears._] + +MAN. Come, little Hans, and finish your dinner. + +WIFE (_turning to Hans_). Bless me! What are you making, child? + +HANS. A wooden trough for you and father to eat out of when I grow big. + +[_The Man and his Wife look at each other; there is a pause._] + +MAN (_showing shame_). He will treat us as we have treated father! + +WIFE (_weeping_). 'T will serve us right! + +MAN (_kindly_). Father, throw that wooden dish out of the window. I am +ashamed of what I have done; forgive me! + +WIFE (_kindly_). Father, come back to the table. I too am ashamed. Forgive +me, dear father. + + + + +THE CROW AND THE FOX + + +TIME: _yesterday noon_. +PLACE: _a high tree in a grove_. + + * * * * * + +MADAM CROW. +MISS CROW, _her Daughter_. +MASTER FOX. + + * * * * * + +[MADAM CROW _sits in the tree. Enter_ MISS CROW. _She carries a large piece +of cheese in her mouth._] + +MADAM. O joy! O joy! Come, dear daughter, come! We'll dine as if we were +queen and princess! + +[_Miss Crow flies to Madam Crow. Enter_ MASTER FOX.] + +FOX. I bid you good morning, dear madam. + +MADAM. Good morning to you, dear sir. + +FOX (_sitting under tree_). With your permission, I'll speak with your +daughter. + +MADAM. She'll be pleased to listen, that she will--you are so clever. + +FOX (_modestly_). Nay, madam, not so clever, only thoughtful. + +[_He sighs deeply twice._] + +MADAM. You have something on your mind. + +FOX (_sighing_). Yes, dear madam,--I am thinking of your daughter. + +MADAM. Then speak! Speak now, sir!--at once, sir! + +FOX. I speak. O sweet Miss Crow, how beautiful your wings are! + +MADAM (_pleased_). Do you hear that, daughter? + +[_Miss Crow nods, spreading her wings proudly._] + +FOX. I speak again. How bright your eye, dear maid! How graceful your neck! + +MADAM. Bend your neck, child! Now bend it well that he may better see your +grace. + +[_Miss Crow bends neck twice._] + +FOX. But oh, that such a sweet bird should be dumb!--should be so utterly +dumb! + +[_He weeps gently in his little pocket handkerchief._] + +MADAM (_indignantly_). Do you think, sir, she cannot _caw_ as well as the +rest of us? + +FOX. I must think so, dear madam. Alas! + +[_Weeping again in his little pocket handkerchief._] + +MADAM. You shall think so, then, no longer! Caw, child, caw, as you have +never cawed before! + +MISS CROW (_opening mouth; dropping cheese_). Caw! Caw! + +[_Fox quickly snaps up the cheese._] + +FOX (_going_). Thank you, Miss Crow. Remember, dear madam, that whatever +I said of her beauty, I said nothing of her brains. + +[_He goes, waving the crows a farewell with his little pocket +handkerchief._] + + + + +THE MILLER, HIS SON, AND THEIR DONKEY + + +TIME: _this morning_. +PLACE: _a bridge, near a town and not far from a Fair_. + + * * * * * + +THE MILLER AND HIS SON. +FIRST MAID. +SECOND MAID. +THIRD MAID. +FIRST OLD MAN. +SECOND OLD MAN. +THIRD OLD MAN. +FIRST GOODY. +SECOND GOODY. +THIRD GOODY. +THE MAYOR. +HIS FIRST CLERK. +HIS SECOND CLERK. + + * * * * * + +[_The_ MILLER _and his_ SON _are driving their donkey across the bridge. +They go to the Fair._] + +SON. Do you expect to get a good price for our donkey, father? + +MILLER (_nodding_). Aye, lad; the Fair is the place to take your wares. + +SON. Our donkey is not so young, though. + +MILLER. Neither is he so old, though. + +SON. But he is not so fat, though. + +MILLER. Neither is he so lean, though. + +SON. Truly he might be worse. + +MILLER. Better or worse, he must be sold. + +[THREE MAIDS _enter the bridge. They go to the Fair._] + +FIRST MAID (_pointing to the Miller and his Son_). Look there! Did you ever +see such geese? + +SECOND MAID. As I live!--walking when they might ride! + +THIRD MAID (_to the Miller_). You'll get a laugh at the Fair, old man! + +[_The Maids pass on._] + +MILLER. This may be true. Get you upon the beast, lad. + +[_The boy mounts the donkey. Enter_ THREE OLD MEN. _They talk together +earnestly. They go to the Fair._] + +FIRST OLD MAN (_pointing to the Miller and his Son_). Look you there! That +proves what I was saying. + +SECOND OLD MAN (_nodding_). Aye! There's no respect shown old age in these +days. + +THIRD OLD MAN (_nodding_). Aye! There's that young rogue riding while his +old father has to walk! + +[_The Old Men pass on._] + +MILLER. Get down, lad. 'T would indeed look better should I ride. + +[_The lad dismounts; the Miller mounts. Enter_ THREE GOODIES; _they go to +the Fair._] + +FIRST GOODY (_indignantly, pointing to the Miller and his Son_). Look, +Goodies, look! Did you ever see anything so cruel? + +SECOND GOODY (_to the Miller_). You lazy old fellow! How can you ride while +your own child walks in the dust? + +THIRD GOODY (_to the lad_). You poor, poor child! + +[_The Goodies pass on, shaking their heads and their canes indignantly._] + +MILLER. Come, lad, get up behind me. + +SON. Why, father, I'm not tired! + +MILLER. I know, but we must try to please them. Come. + +[_The lad mounts, sitting behind his father. Enter the_ MAYOR _and his_ +CLERKS. _They go to the Fair._] + +MAYOR (_turning to his Clerks; pointing to the Miller and his Son_). Look, +will you! + +(_He turns to the Miller._) + +Pray, honest friend, is that beast your own? + +MILLER. Yes, my lord Mayor. + +MAYOR. One would not think so from the way you load him. Say you not so, my +Clerks? + +FIRST CLERK (_bowing_). Just so, my lord Mayor. + +SECOND CLERK (_bowing_). Even so, my lord Mayor. + +THE MAYOR (_to the Miller and his Son_). Why, you two fellows are better +able to carry the poor donkey than he you! Say you not so, my Clerks? + +FIRST CLERK (_bowing_). Just so, my lord Mayor. + +SECOND CLERK (_bowing_). Even so, my lord Mayor. + +MILLER. Come, my son, to please them, we'll carry the donkey. + +[_They dismount and try to lift the donkey. This frightens the poor beast. +He tries to get away, and falls over the bridge into the deep river._] + +MILLER (_weeping_). I have tried to please every one! I have pleased no +one! + +SON (_weeping_). And we have lost our donkey in the bargain! + +[Illustration: "WE HAVE LOST OUR DONKEY"] + + + + +EACH IN HIS OWN PLACE + + +TIME: _yesterday_. +PLACE: _in a tiny house_. + + * * * * * + +THE STRAW _who brings in the wood_. +THE COAL _who makes the fire_. +THE SNOWFLAKE _who draws the water_. +THE SUGAR LOAF _who lays the table_. +THE SAUSAGE _who cooks the meals_. + + * * * * * + +[_The tiny kitchen is seen. The_ SAUSAGE _is stirring the pot. The_ COAL +_is tending the fire. The_ SUGAR LOAF _is laying the table. Enter_ STRAW +_with a load of wood._] + +STRAW (_throwing down wood_). Think you'll need more wood for the dinner, +Sausage? + +[_Sausage does not answer. She gets into the pot to flavor the +vegetables._] + +COAL (_whispers to Straw_). Sausage is quite put out. + +STRAW. What's the trouble? + +COAL. No one knows. + +[_Enter_ SNOWFLAKE _with a pail of water._] + +SNOWFLAKE (_looking about_). Where's Sausage? + +STRAW. She is flavoring the vegetables. + +[_Sausage comes out of the pot._] + +SNOWFLAKE. Here is the water, Sausage. + +[_Sausage does not answer._] + +SNOWFLAKE (_speaking louder_). Will you come for the water, Sausage? + +SAUSAGE (_sharply_). No, madam, I will not! + +THE OTHERS (_with surprise_). Sausage! + +SAUSAGE. I've been slave here long enough! + +THE OTHERS (_as before_). Sister Sausage! + +SAUSAGE. I mean just what I say! + +SNOWFLAKE. Have I not done my share of the work? + +COAL. Have I not done my share? + +STRAW. Have I not done my share? + +SUGAR LOAF. And have I not done my share? + +SAUSAGE. Please to tell me what you do. + +STRAW. I bring in wood that Coal may make the fire. + +COAL. I make the fire that the pot may boil. + +SNOWFLAKE. I draw the water and bring it from the brook. + +SUGAR LOAF. I lay the table nicely. + +SAUSAGE. What do I? Eh? What do I? I must stand over the fire. I must not +only stir the dinner, I must flavor it with myself. For each of you there +is one duty. For me there are plainly three. + +STRAW. But, sister-- + +SAUSAGE (_interrupting_). Don't "sister" me! + +SNOWFLAKE. Sausage, dear, would you break up our pretty home? + +SUGAR LOAF. And we all so happy here! + +SAUSAGE. There must be a change! Some one else can stand over the fire--can +stir the pot--can flavor the vegetables. + +COAL. If I flavored them, they could not be eaten. + +SAUSAGE. That's what you're always saying, but I'm not so sure of it. + +SNOWFLAKE. If I stirred the pot, 't would be the end of me. + +SAUSAGE. Yes, you say that often enough, but I'm not so sure that it is +true. + +STRAW. Should I stand over the fire, I'd be no more. + +SAUSAGE (_scornfully_). Excuses! Excuses! + +SUGAR LOAF. 'T is plain that I should not get into the pot. + +SAUSAGE. And why not, Miss? why not? + +SUGAR LOAF. 'T would be good-by for me, if I should! + +SAUSAGE. Excuses! Excuses! I say there must be a change! 'T is I who will +bring the wood or draw the water. + +COAL. But, Sausage, you should stay within. + +SAUSAGE. Not I, sir! I'll out of the pot and out of the house, I will! I'll +see a bit of the world, I will! + +SUGAR LOAF (_sighing_). Well, if she will, she will! + +SAUSAGE (_getting slips_). Come, now, and draw for it. + +[_She holds the slips for the others to draw._] + +STRAW (_drawing; reading from slip_). "Who gets this must make the fire." + +SUGAR LOAF (_drawing; reading from slip_). "Who gets this must draw the +water." + +SNOWFLAKE (_drawing; reading from slip_). "Who gets this must stir the pot +and flavor it with herself." + +COAL (_drawing; reading from slip_). "Who gets this must lay the table +nicely." + +SAUSAGE (_reading from last slip_). "Who gets this must bring the wood." +Well, that pleases me! Straw, see if the fire needs wood. + +(_Straw hesitates._) + +Come, come, do your duty! + +[_Straw crosses the hearth and looks into the fire. He is very careful, but +the fire reaches him and he is gone in a puff!_] + +SNOWFLAKE. Poor Straw! Well, 't is my duty to stir the pot and to flavor it +with myself. + +[_She crosses to the hearth, but just as she reaches it, she disappears +without so much as a cry._] + +SUGAR LOAF. Poor Snowflake! Well, 't is my duty to draw the water. + +[_She forgets that the pail is full, falls into it, and is seen no more._] + +COAL. Poor Sugar Loaf! Well, 't is my duty to lay the table nicely. + +[_He forgets that he is still burning from having lately tended the fire. +As he places the plates, the tablecloth catches fire and wraps itself +around him._] + +COAL (_from inside the burning cloth_). This is the end of me! + +SAUSAGE (_weeping_). Dear me! Dear me! Who would have thought 't would turn +out so badly! Well, 't is my duty to bring in wood. + +[_She opens the door and is face to face with a hungry dog who is sniffing +about._] + +DOG. Ah, I thought you'd be coming out soon! + +SAUSAGE (_pleased_). Do you want to see me, sir? + +DOG. Why, yes, I've been waiting for you. + +SAUSAGE. How good to be out in the world! They always said my place was +within. + +DOG. They did, eh? Well, just to please them, I'll put you there. + +[_He swallows her quickly, which ends both Sister Sausage and our story._] + + + + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT + + +SCENE I + +TIME: _early one morning_. +PLACE: _a very old farmhouse_. + + * * * * * + +THE GOODMAN. +HIS WIFE. + + * * * * * + +[_The_ GOODMAN _and his_ WIFE _are seated in their spare room because it is +Fair-day._] + +WIFE. Yes, I think it would be as well to sell our horse. Or, as you say, +we might exchange him for something more useful. + +GOODMAN. What shall we exchange him for? + +WIFE. You know best, Goodman. Whatever you do will be right. + +GOODMAN (_starting out_). It is Fair-day. I will ride into town and see +what can be done. + +WIFE. Wait till I fasten your neckerchief! You shall have a pretty double +bow this time, for you are going to the Fair. + +(_She ties the neckerchief. The Goodman starts out._) + +Wait till I have smoothed your hat! + +(_She smooths his old hat._) + +Now you are ready. + +GOODMAN (_going_). Be at the window, Wife. + +WIFE (_nodding_). Yes, surely, and I will wave at you as you ride by. + + +SCENE II + +TIME: _two hours later_. +PLACE: _near the toll-gate on the road to the Fair_. + + * * * * * + +THE GOODMAN. +FIRST PEASANT. +SECOND PEASANT. +THIRD PEASANT. +TOLL-KEEPER. +HOSTLER. + + * * * * * + +[_The_ GOODMAN _is seen riding his horse. Enter, from a country lane, a_ +PEASANT, _driving a cow._] + +GOODMAN (_stopping; calling_). Halloo, there--you with the cow! + +PEASANT (_stopping_). Yes, Goodman. + +GOODMAN. Your cow gives good milk, I am certain. + +PEASANT (_nodding_). None richer in this country! + +GOODMAN. A horse is of more value than a cow, but I don't care for that. A +cow will be more useful to me; so if you like, we'll exchange. + +PEASANT. To be sure I will. Here is your cow. + +GOODMAN. Here is your horse. + +[_The Peasant goes off riding the horse. A_ SECOND PEASANT, _driving a +sheep, enters from a field near by._] + +GOODMAN (_sees him and calls_). Halloo, there--you with the sheep! + +SECOND PEASANT (_stopping_). Yes, Goodman. + +GOODMAN. I should like to have that sheep. + +SECOND PEASANT. She is a good, fat sheep. + +GOODMAN. There is plenty of grass for her by our fence at home, and in the +winter we could keep her in the room with us. + +SECOND PEASANT. Do you wish to buy her? + +GOODMAN. Will you take my cow in exchange? + +SECOND PEASANT. I am willing. Here is your sheep. + +GOODMAN. Here is your cow. + +[_The second Peasant goes off driving the cow. Enter, from a farmyard near +by, a_ THIRD PEASANT _carrying a goose._] + +GOODMAN. What a heavy creature you have there! + +THIRD PEASANT (_stopping_). She has plenty of feathers and plenty of fat. + +GOODMAN. She would look well paddling in the water at our place. + +THIRD PEASANT (_stopping_). She would look well in any place! + +GOODMAN. She would be very useful to my wife. She could make all sorts of +profit out of her. + +THIRD PEASANT. Indeed she could, Goodman! + +GOODMAN. How often she has said,--"If now we only had a goose!" + +THIRD PEASANT. Well, this goose is for sale. + +GOODMAN. I will give my sheep for your goose and thanks into the bargain. + +THIRD PEASANT. I am willing; here is your goose. + +GOODMAN. Here is your sheep. + +[_The Peasant goes off with the sheep. The Goodman discovers a hen in the_ +TOLL-KEEPER'S _potato field._] + +GOODMAN (_calling_). That's the finest fowl I ever saw, Toll-keeper! + +TOLL-KEEPER. You're right about that, Goodman. + +GOODMAN. She's finer than our pastor's brood-hen! Upon my word she is! I +should like to have that fowl! + +TOLL-KEEPER. She is for sale. + +GOODMAN. I think it would be a good exchange if I could get her for my +goose. + +TOLL-KEEPER. Well, it wouldn't be a bad thing. + +GOODMAN. Then here is your goose. + +TOLL-KEEPER. Here is your fowl. + +[_Enter a_ HOSTLER _carrying a sack._] + +GOODMAN (_to Hostler_). What have you in that sack, friend? + +HOSTLER. Rotten apples--to feed the pigs with. + +GOODMAN. Why, that will be a terrible waste. I should like to take them +home to my wife. + +HOSTLER (_astonished_). To your wife? + +GOODMAN (_nodding_). You see, last year our old apple tree bore only one +apple, which we kept in the cupboard till it was quite rotten. It was +always property, my wife said. + +HOSTLER. What will you give me for the sackful? Your wife would then have a +great deal of property. + +GOODMAN. Well, I will give you my fowl in exchange. + +HOSTLER. Here is your sack of rotten apples. + +GOODMAN. Here is your fowl. + +[_The Hostler goes with the fowl._] + +TOLL-KEEPER. Toll, Goodman! + +GOODMAN. I will not go to the Fair to-day. I have done a great deal of +business, and I am tired. I will go back home. + + +SCENE III + +TIME: _two hours later_. +PLACE: _the old farmhouse_. + + * * * * * + +THE GOODMAN. +HIS WIFE. + + * * * * * + +[_Enter the_ GOODMAN, _carrying the sack. The_ WIFE _waits for him in the +spare room, because he has been away._] + +GOODMAN. Well, Wife, I've made the exchange. + +WIFE. Ah, well, you always understand what you're about. + +GOODMAN. I got a cow in exchange for the horse. + +WIFE. Good! Now we shall have plenty of milk and butter and cheese on the +table. That was a fine exchange! + +GOODMAN. Yes, but I changed the cow for a sheep. + +WIFE. Ah, better still! We have just enough grass for a sheep.--Ewe's milk +and cheese! Woolen jackets and stockings! The cow could not give all those. +How you think of everything! + +GOODMAN. But I changed the sheep for a goose. + +WIFE. Then we shall have roast goose to eat this year. You dear Goodman, +you are always thinking of something to please me! + +GOODMAN. But I gave away the goose for a fowl. + +WIFE. A fowl? Well, that was a good exchange. The fowl will lay eggs and +hatch them. We shall soon have a poultry-yard. Ah, this is just what I was +wishing for! + +GOODMAN. Yes, but I exchanged the fowl for a sack of rotten apples. + +WIFE. My dear, good husband! Now, I'll tell you something. Do you know, +almost as soon as you left me this morning, I began thinking of what I +could give you nice for supper. I thought of bacon with eggs and sweet +herbs. + +GOODMAN. But we have no sweet herbs. + +WIFE (_nodding_). For that reason, I went over to our neighbor's and begged +her to lend me a handful. + +GOODMAN. That was right; they have plenty. + +WIFE (_nodding_). So I thought, but she said, "Lend? I have nothing to +lend, not even a rotten apple." Now I can lend _her_ ten or the whole +sackful. It makes me laugh to think of it. I am so glad. + +GOODMAN. So you think what I did was right? + +WIFE. What the Goodman does is always right. + + + + +THE CAT AND THE MOUSE + + +TIME: _perhaps this minute_. +PLACE: _perhaps your own garret_. + + * * * * * + +MOTHER MOUSE. +HER DAUGHTER, MISS MOUSE. +THE CAT. + + * * * * * + +[MOTHER MOUSE _and_ MISS MOUSE _are in their spare room because Mother +Mouse is getting ready for a journey. Miss Mouse helps her. The_ CAT _is +outside, peeping now and then through the window, but so slyly that the +mice do not see her._] + +MOTHER MOUSE (_going_). Now mind you keep one eye on our grease-pot, child. + +MISS MOUSE. That I will, dear mother! + +MOTHER MOUSE. Let no one in,--no one! no one! + +MISS MOUSE. No one, dear mother! + +MOTHER MOUSE. I'll not be long away. Good-by, my child. + +(_Starting out; stopping._) + +Mind you show no one the grease-pot, child,--no one! no one! + +Miss MOUSE. No one, dear mother! + +[_Mother Mouse goes out of the front door._] + +CAT (_calling through window_). Oh, Miss Mouse! Oh, Miss Mouse! + +MISS MOUSE (_showing alarm_). Who calls? + +CAT (_very sweetly_). Only I! Will you please let me in? + +MISS MOUSE (_shaking head_). Mother said-- + +CAT (_interrupting quickly_). 'T is a matter of business! + +MISS MOUSE (_shaking head_). But mother said-- + +CAT (_interrupting_). 'T is most important! + +MISS MOUSE (_as before_). But mother said-- + +CAT (_interrupting_). I wish your advice--you are so clever! + +MISS MOUSE (_showing she is pleased; starting to window_). Oh, do you truly +think so? + +CAT (_nodding_). Every one thinks so! + +MISS MOUSE (_showing she is more pleased; going to the window_). Oh, do +they, truly? + +CAT. Oh, truly they do! + +MISS MOUSE (_showing she is most pleased; opening window_). What else nice +say they? + +CAT (_jumping in_). That I'll tell you by and by. + +(_Sniffing about._) + +There must be a grease-pot about! Am I not right? + +MISS MOUSE. Mother said-- + +[Illustration: THE CAT AND THE MOUSE] + +CAT (_interrupting_). Only tell me if I be right! 'T will do no harm! + +MISS MOUSE (_hesitating_). Well--then--yes. But 't is put away for our +winter stores. + +CAT (_nodding_). Just so! Now, I can't decide where to keep my grease-pot +when I have bought one. Won't you give me your advice? You are so wise. + +MISS MOUSE. Do you truly think I'm wise? + +CAT (_nodding_). Aye, and if you will tell me where to keep my grease-pot +when I have bought it, I'll tell you something more. + +MISS MOUSE (_greatly pleased_). About me? + +CAT (_nodding_). Yes,--what every one says about your being so beautiful. +But first I must know where to keep my grease-pot. + +MISS MOUSE. Then listen--you must keep it, when you have bought it, in the +northwest corner. + +[_The Cat runs quickly to the northwest corner._] + +MISS MOUSE (_in alarm_). Come away! Come away! + +CAT. Why, here is your grease-pot! + +MISS MOUSE (_as before_). Come away, I say! + +CAT (_looking into the pot_). Truly, the fat is kept hard and cool here. + +MISS MOUSE. I pray you come away! Mother does not so much as let me look +into it. 'T is not yet time, she says. + +CAT (_looking again into pot_). Exactly! + +(_She leaves the pot and joins Miss Mouse._) + +'T is just what I'll tell my kittens about my grease-pot when I have bought +it. + +MISS MOUSE. Ah, then you have kittens at home? + +CAT (_nodding_). Such beautiful kittens! The eldest is white, with brown +marks. + +MISS MOUSE. He must be charming! + +CAT. I've a mind to tell you his name. First, though, run out to see if +your dear mother is not coming. + +[_Miss Mouse nods and runs out. The Cat quickly creeps to the grease-pot +and licks the top off. She crosses to the window just as_ MISS MOUSE +_returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now what did you name your eldest +child? + +CAT. Top-off. + +MISS MOUSE. Top-off? Why, that is a curious name! Is it common in your +family? + +CAT. Oh, no! My second child has a white ring around his neck. + +MISS MOUSE. Remarkable! + +CAT. Very! + +MISS MOUSE. What did you name him? + +CAT. I gave him an unusual name. I will tell you what it is. First, though, +run out to see if your dear mother is coming. + +[_Miss Mouse nods and runs out. The Cat creeps to the grease-pot and eats +half the fat; then crosses to window._ MISS MOUSE _returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now what did you name your second +child? + +CAT. Half-out. + +Miss MOUSE. Half-out? I never heard such a name! 'T is not in the calendar, +I'm sure. + +CAT. What does that matter, if it pleases me? Now the last child is really +a wonder. He is quite black and has little white claws, but not a single +white hair on his body. + +MISS MOUSE. What have you named him? + +CAT. I'm afraid that will please you no better than the others, but still I +will tell you. First, though, run to see if your dear mother is not coming. + +[_Miss Mouse nods and runs out. The Cat creeps to the pot and eats all the +fat. She then crosses to the window._] + +CAT. What one begins one must needs finish. + +[MISS MOUSE _returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now tell me what you named your +youngest child. + +CAT. All-out. + +MISS MOUSE. All-out? Why, that is more curious than the others. I have +never seen it in print. + +CAT (_glaring at Miss Mouse_). You never will! + +MISS MOUSE (_frightened_). What do you mean? + +CAT (_preparing to spring_). I mean to put you down with the fat! + +MISS MOUSE. Help! help! + +[_Enter_ MOTHER MOUSE _just as the Cat clutches her daughter and jumps out +of the window with her. Mother Mouse crosses and looks into the empty +grease-pot._] + +MOTHER MOUSE (_sighing sadly_). 'T was ever thus! Show your grease-pot, and +you'll go with it! + + + + +THE GIRL WHO TROD ON THE LOAF + + +SCENE I + +TIME: _the day before Christmas_. + +PLACE: _Ingé's Mother's home_. + + * * * * * + +INGÉ. +HER MOTHER. + + * * * * * + +[_The_ MOTHER _stands at the kitchen window, watching for Ingé._] + +MOTHER. Ah, here she comes at last! + +(_Short pause. Enter_ INGÉ.) + +I have waited long for you, my child. Where have you been? + +(_Ingé is silent._) + +Have you been to the Elf Hill? Tell me. + +INGÉ (_hesitating_). Just for a little while, mother. + +MOTHER. Ingé! Ingé! What have I ever told you? + +INGÉ. I thought I'd go just this once. + +MOTHER (_showing sorrow_). Ah, Ingé, that's what you always say. + +INGÉ. There's no harm talking with the elves. + +MOTHER. And I, your mother, say there is harm. + +INGÉ. But, mother,--they talk so prettily. + +MOTHER (_nodding_). Aye! and that's the harm. They've put such silly ideas +into your head. + +INGÉ. They say 't is friendship makes them talk as they do. + +MOTHER (_indignantly_). Friendship! 'T is friendship, is it, to tell you +not to fetch the wood? + +INGÉ. They say 't will spoil my hands. + +MOTHER. Out upon them and their pretty talk! You shall go there no more. Do +you hear me, Ingé? + +INGÉ (_pouting_). I hear. + +MOTHER. Now take this loaf of bread to your sick aunt. Say to her 't is her +Christmas gift. + +INGÉ. But, mother, I must cross the muddy road to go there. + +MOTHER. Well, you are neither sugar nor salt. + +INGÉ. I'll spoil my shoes! + +MOTHER. You think of your shoes, and your aunt lies ill? + +INGÉ. Wait till spring and the mud will be gone. + +MOTHER. Wait till spring and your aunt will be gone! Here is the loaf--now +off with you! + +[_Ingé takes the loaf and goes, but not willingly._] + + +SCENE II + +TIME: _a few minutes later_. +PLACE: _the muddy road_. + + * * * * * + +INGÉ. +THE WICKED ELF. + + * * * * * + +[INGÉ _is seen stopping at the muddy road._] + +INGÉ. 'T is too wide to leap! + +[_The_ WICKED ELF _suddenly appears on the opposite side of the road._] + +WICKED ELF. Good day to you, pretty maid! + +INGÉ. Good day to you, dear Elf! + +WICKED ELF. Wilt cross this muddy road? + +INGÉ. I must. + +WICKED ELF. Then I'll tell you how to do it and not so much as wet your +shoe. + +INGÉ. Oh, thank you, dear Elf! + +WICKED ELF. Throw down your loaf and-- + +INGÉ. (_showing surprise; interrupting_). Throw down the loaf? + +WICKED ELF. Why, yes,--to use it for a stepping-stone. + +INGÉ. But 't will spoil the bread! + +WICKED ELF. But 't will save your shoes! + +INGÉ. Well, that's true-- + +WICKED ELF. A pretty maid ne'er wears a muddy shoe. + +INGÉ. That's true, too-- + +WICKED ELF. Come, then, throw down the loaf! + +INGÉ. Well, I'll do it! + +(_She throws the loaf and steps upon it._) + +'T is sinking! What shall I do? + +WICKED ELF. Why, then, jump off! + +INGÉ (_trying to jump_). I can't! Don't you see I can't? + +WICKED ELF. Ha, ha! You're fastened to it! + +INGÉ. 'T is drawing me down! Help me! Help me! + +WICKED ELF. There's no help for you. + +INGÉ. No help? What do you mean? + +WICKED ELF. You must go down with the loaf. + +INGÉ. I pray you help me! See how I'm sinking! The mud will soon be over my +shoes! + +WICKED ELF. The mud will soon be over your head! + +INGÉ (_weeping_). Save me! Save me! + +WICKED ELF. Will you be saved by magic? + +INGÉ. Yes, yes! + +WICKED ELF. Listen, then--I'll change you into a bird. Are you willing? + +INGÉ. Yes, yes! Quick now, before I sink deeper! + +WICKED ELF (_nodding head three times_). A sparrow shall you be! Change, +now change! + +[_Ingé changes into a_ SPARROW, _with a tuft of white feathers, just the +shape of a loaf of bread, upon its head. The Sparrow flies from the mud._] + +SPARROW. Now change me back into Ingé. + +WICKED ELF. You shall remain as you are. + +SPARROW (_showing surprise_). Remain as I am? + +WICKED ELF (_nodding_). Until you can change yourself back. + +SPARROW. And when will that be? + +WICKED ELF. When the loaf has gone from your head. + +SPARROW. The loaf from my head? What do you mean? + +WICKED ELF (_going_). Fly away to the brook and see! Ha, ha, ha! + +(_She runs away, calling back._) + +Fly away to the brook and see! Ha, ha, ha! + +[Illustration: "'T IS SINKING! WHAT SHALL I DO?"] + + +SCENE III + +TIME: _the day following Christmas Day_. +PLACE: _an old stone wall by a brook_. + + * * * * * + +THE SPARROW. +THE PEASANT. +GRETEL. +FIRST STONE. +SECOND STONE. +THIRD STONE. + + * * * * * + +[_The_ SPARROW _sits in a hole in the wall._] + +FIRST STONE. Come, come, be not so sad, little Sparrow! + +SECOND STONE. Come, lift up your head and sing! + +THIRD STONE. Come, sing us your Christmas song! + +SPARROW. Sing! I have nothing to sing about. + +FIRST STONE. Sing of your friends. + +SECOND STONE. Sing of their love for you. + +THIRD STONE. Sing of their kindness to you. + +SPARROW. Talk not to me of friends, or love, or kindness! There's none in +the world. + +[_Enter a_ PEASANT _with his little_ GRETEL. _The Peasant carries two ears +of corn._] + +PEASANT. Now, my Gretel, we'll place the corn here on the old wall. + +GRETEL. Mother thought you brought too much. + +PEASANT. Well, 't is true there are only three ears left at home, but the +birds must have their Christmas dinner. + +[_He places the corn on the wall._] + +GRETEL. There's none about to see it! + +PEASANT. Oh, some bird will soon find it! + +GRETEL. But will it call the others? + +PEASANT. We'll wait to see. Come, we'll sit there on the log. + +[_They go to a log near by._] + +FIRST STONE. There, little Sparrow, say you now there is no kindness? + +SECOND STONE. Or love? + +THIRD STONE. Or friendship? + +SPARROW. No, no! I can never say that again. The peasant's heart is full +of kindness and love and friendship. I will sing of it! 'T will be my +Christmas song! + +[_The Sparrow leaves the hole and flies to the corn._] + +GRETEL. Look, father, there is a sparrow! And hear it sing! Just hear it! + +PEASANT. It is calling the other birds. + +GRETEL. Why, it doesn't even touch the corn! + +PEASANT. It's waiting to share it with the others. Is it not a pretty +sight? Come, we must go to tell mother. + + +SCENE IV + +TIME: _one month later_. +PLACE: _same as_ SCENE III. + + * * * * * + +OUR SPARROW. +THE VERY OLD SPARROW. +THE OLD SPARROW. +THE YOUNG SPARROW. +THE VERY YOUNG SPARROW. +THE WICKED ELF. + + * * * * * + +[_All the_ SPARROWS _except Our Sparrow sit on the stone wall._] + +YOUNG SPARROW. I say the stranger should be driven away! + +VERY YOUNG SPARROW. So say I! + +OLD SPARROW. The stranger is a sparrow, but still not a sparrow. + +VERY OLD SPARROW. And yet she is only different by a tuft of white +feathers. + +YOUNG SPARROW. And such a tuft! For all the world like a loaf of bread! + +VERY YOUNG SPARROW. I'd think it shame to carry such on _my_ head! + +OLD SPARROW. I fear 't will shame us all to have this stranger about. + +VERY OLD SPARROW. And yet we are not ashamed to eat the crumbs this +stranger brings. + +OLD SPARROW. Well, 't is true she has been most kind. + +VERY OLD SPARROW. 'T is a hard winter! Shall we drive away the one who +finds food where we find none? + +YOUNG SPARROW. And calls us every time! + +VERY YOUNG SPARROW. And never eats till we have come! + +VERY OLD SPARROW. I've kept in mind the crumbs she has found us. Now, how +many do you think? + +OLD SPARROW. I cannot say, for I did not think to notice. + +VERY OLD SPARROW. There only lacks two or three now of being a loaf. + +OTHER SPARROWS (_greatly surprised_). A loaf? + +VERY OLD SPARROW (_nodding_). A loaf. + +VERY YOUNG SPARROW. Here comes the stranger now! + +OLD SPARROW. She brings a crust! + +[OUR SPARROW _flies up with a crust in its bill._] + +OUR SPARROW. Come, friends, 't is for all of you! + +VERY OLD SPARROW. Do you know, stranger bird, that, with these crumbs, you +have brought us in all one loaf? + +[_Our Sparrow drops the crust for the others. At once it changes into_ +INGÉ. _The birds fly away frightened._] + +INGÉ. Ah! Now I understand. The loaf had to be made up, crumb by crumb. + +[_The_ WICKED ELF _suddenly appears._] + +WICKED ELF. Come, pretty maid, come to the Elf Hill! + +INGÉ. No, no! I will not! + +WICKED ELF. But we have such pretty things to tell you! + +INGÉ. I care not for your pretty things! I go to fetch wood for my mother. +I go to walk in the mud if need be. Away with you! I'll have none of you! +Away, away, I say! + + + + +THE UGLY DUCKLING + + +SCENE I + +TIME: _one summer morning_. +PLACE: _the farmyard of the Moor Farm_. + + * * * * * + +MADAM DUCK. +FIRST DUCKLING. +SECOND DUCKLING. +THE UGLY DUCKLING. +THIRD DUCKLING. +TURKEY. +GRAY GANDER. +WHITE GOOSE. +PLYMOUTH ROCK HEN. +RED ROOSTER. + + * * * * * + +[MADAM DUCK _enters the farmyard with her new brood of_ DUCKLINGS. _The +other fowls approach._] + +TURKEY (_showing displeasure_). A new brood of ducks! Look you all--a new +brood of ducks! + +GRAY GANDER (_also displeased_). As if there were not enough of us here +already! + +WHITE GOOSE (_likewise displeased_). True enough,--I can scarce find a +corner for my afternoon nap! + +RED ROOSTER. It seems to me, Madam Duck, that you should not have brought +us a new brood this summer. + +MADAM DUCK. What is that you are saying? + +TURKEY. It seems to all of us, madam, that there is no room here for a new +brood. + +PLYMOUTH ROCK HEN. Friends, be just. Madam Duck has a perfect right to +bring her ducklings here. Besides, the children are quite pretty. + +MADAM DUCK. They are beautiful! You shall all see that for yourselves. +Come, children, into a row with you! + +[_The Ducklings form themselves into a row. The Ugly Duckling is last._] + +MADAM DUCK. Legs wide apart! Toes out! Now speak prettily to my old +friends. + +DUCKLINGS (_all but the last_). Quack! Quack! + +MADAM DUCK. There now--are they not charming? + +GRAY GANDER (_looking down row_). Why, yes, they all seem graceful +enough--here--wait a moment! Does that last one there belong to you? + +[_All the fowls look at the last Duckling._] + +MADAM DUCK. Oh yes! He is larger than the others and perhaps not so pretty, +but-- + +TURKEY (_interrupting_). Make no excuses for him, madam. We can see for +ourselves what he is. + +GRAY GANDER. In all my life I never saw anything so ugly! + +WHITE GOOSE. He is neither duck nor goose! + +PLYMOUTH ROCK HEN. Nor duck nor chick! + +TURKEY. I'd be 'shamed to have a turkey look like that! + +RED ROOSTER. I'd allow no hen of mine to claim him! + +MADAM DUCK. Come now, come now, friends. The poor child is not pretty, but +he is good, and he can swim even better than the others. + +TURKEY. That he can swim well is nothing to me! + +RED ROOSTER. Nor to me! He should be driven out, I say! + +MADAM DUCK. Let him alone; he is not doing any harm. + +FIRST DUCKLING. But, mother, no one will look at us if he stays with us! + +MADAM Duck (_thoughtfully._) Now perhaps it may turn out that way. + +SECOND DUCKLING. I'll not walk about with him! + +THIRD DUCKLING. Nor I! + +MADAM DUCK. Well, well! He must be uglier than I thought! + +FIRST DUCKLING. Besides, dear mother, he will not quack. + +MADAM DUCK. What is this? Did he not quack but just a moment ago? + +SECOND DUCKLING. He turned his toes out, but quack he would not. + +THIRD DUCKLING. 'T is true, dear mother. + +MADAM DUCK (_to the Ugly Duckling_). Quack! Quack now--at once! + +[_The Ugly Duckling tries to quack, but chokes. The fowls laugh and jeer at +him._] + +GRAY GANDER. Ha, ha! There's a "quack" for you! + +WHITE GOOSE. Ha, ha! + +PLYMOUTH ROCK HEN. Ha, ha! + +RED ROOSTER. Ha, ha! + +TURKEY. Ha, ha! + +MADAM DUCK (_angrily_). Once more I tell you--quack! + +[_The Ugly Duckling tries again; chokes._] + +ALL FOWLS. Ha, ha, ha, ha! + +UGLY DUCKLING (_weeping_). I'm sorry--I'd quack if I could. + +MADAME DUCK. Ah, if you were only far away! + +[Illustration: THE UGLY DUCKLING] + +FIRST DUCKLING. I wish the cat would eat you! + +SECOND DUCKLING. I wish the swans would kill you! + +WHITE GOOSE. And they will when they see him--you may be sure of that. + +GRAY GANDER (_nodding_). Aye, they'll not suffer such an ugly creature to +swim in the brook! + +RED ROOSTER. We must drive him off--that's clear! + +(_Running at the Ugly Duckling._) + +Come now, out with you! + +PLYMOUTH ROCK HEN (_pecking Duckling_). Out with you! + +UGLY DUCKLING. Mother, save me! + +MADAM DUCK. Call not on me! + +GRAY GANDER (_striking Duckling with his wings_). Out with you! + +UGLY DUCKLING (_running to Ducklings_). Brothers, sisters, save me! + +FIRST DUCKLING. Come not to us! + +SECOND DUCKLING. We'll not save you! + +THIRD DUCKLING. Away with you! + +TURKEY. At him, hens to peck him! At him, geese to beat him! At him, all of +you! + +[_They all rush upon the Ugly Duckling, who escapes them, running out of +the farmyard into the moor._] + + +SCENE II + +TIME: _the next winter_. +PLACE: _the Peasant's cottage_. + + * * * * * + +THE PEASANT. +HIS WIFE. +ELIZABETH. +THE CAT. +THE HEN. +THE UGLY DUCKLING. + + * * * * * + +[_The_ PEASANT _enters the cottage, carrying the_ UGLY DUCKLING.] + +PEASANT. See what I'm bringing you! + +WIFE. Why, 't is a duckling--half frozen, too! + +PEASANT. I found him frozen in the pond. I had to break the ice to get him +out. + +ELIZABETH. Give him to me, father. I will put him behind the stove. + +PEASANT (_giving Duckling to Elizabeth_). That's a good child. + +WIFE. Handle him tenderly, daughter. + +ELIZABETH (_taking off her shawl_). He shall lie upon my shawl. You poor, +dear, ugly little duckling! + +[_She places the Duckling upon the shawl behind the stove, near the_ CAT +_and_ HEN.] + +PEASANT. 'T is the duckling I told you of! + +WIFE. The one you saw on the pond yesterday? + +PEASANT. Aye, and the day before, and all winter long, for that matter. +Yesterday I saw him try to join the wild ducks on the river, but they drove +him back to the pond. + +ELIZABETH. Poor duckling! The pond was freezing then! + +PEASANT (_nodding_). Then he tried to find a place among the rushes on the +moor, but the birds drove him from there. + +ELIZABETH. Why did they all treat him so, father? + +PEASANT. I do not know, unless it is because he is so ugly. + +WIFE. Come now to dinner, father--Elizabeth. By the time we have finished, +our duckling will be warmed and awake. + +[_They go into the kitchen. The Duckling stirs and looks about._] + +HEN. Can you lay eggs? + +DUCKLING (_politely_). No, madam. + +CAT. Can you set up your back? + +DUCKLING. No, dear sir. + +CAT. Can you purr? + +DUCKLING (_frightened_). No. + +HEN. Then you can't stay here. + +DUCKLING. Do not drive me out, I pray you! + +CAT. Will you learn to purr? + +HEN. And to lay eggs? + +DUCKLING (_sadly_). Alas, I can do nothing but swim. + +CAT. Swim! Well, I must say that is very queer. + +DUCKLING. Oh, no, dear sir! It is most pleasant when the waters close over +your head and you plunge to the bottom. + +CAT. Plunge to the bottom, indeed! I'd never think of doing such a silly +thing! + +HEN. Nor I! + +CAT. 'T is clear you can't remain here. + +DUCKLING. Where am I to go? + +CAT. Go lie in the rushes. The birds flew south this morning. + +DUCKLING. I shall starve there. + +CAT. It would really be a good thing for you if I should eat you. + +DUCKLING. I'd thank you to do so, dear sir. + +HEN. Eat him, since he is so willing. He is too ugly to live. + +CAT (_turning away_). I can't, he is too ugly to eat. + +(_To the Duckling._) + +Come, out with you! + +HEN (_running at him_). Yes, yes! Out with you! Out with you! + +[_They push the Duckling out of the door into the snow._] + +DUCKLING. Alas! What shall I do? Where shall I go? Why was I made so ugly +that every one despises me! + + +SCENE III + +TIME: _the next spring_. +PLACE: _the brook on the Moor Farm_. + + * * * * * + +THE UGLY DUCKLING. +THE MOLE. +THE FATHER. +THE MOTHER. +THE CHILDREN. +THE SWANS. + + * * * * * + +[_The_ UGLY DUCKLING _sits on the hill of a_ MOLE _near the brook which +winds through the Moor Farm._] + +MOLE (_from the mole hill_). Will you please move? I wish to come out. + +DUCKLING (_rising quickly_). Why, 't is a mole hill I've been sitting on! + +(_The Mole comes out from the hill._) + +I'm sorry, friend Mole, I didn't notice your hill. + +MOLE. Who are you? + +DUCKLING. Madam Duck of this farm is my mother. + +MOLE. That can't be! You are no duck. + +DUCKLING. Yes, but I am. Only, I am uglier than any duck in the world. + +MOLE. You have not the voice of a duck. You do not speak with the quack of +which they are so proud. And then, if you are truly a duck, why are you not +with your family? + +DUCKLING. They drove me out last summer because I was ugly and could not +quack. + +MOLE. Then why have you come back? + +DUCKLING. To let the swans kill me. + +MOLE. What! To let them kill you? + +DUCKLING. I would rather be killed by those beautiful birds than pecked by +the hens, beaten by the geese, or starved with hunger in the winter. + +MOLE. Perhaps you are not so ugly now as you were then. + +DUCKLING. I have not looked at myself in the water since spring came and +took the ice away. But I know well enough how dark and badly formed I am. +The swans will kill me if I dare to approach them. + +[_A noise is heard in the distance._] + +MOLE. They are coming! Go, while there is yet time. + +DUCKLING. There is no place to go to. All winter long I was driven from +moor to moor. I could not make a friend--I no longer wish to live. + +[_The_ SWANS _are seen swimming down the brook._] + +MOLE. They are here! Do not go to them, I pray you! + +DUCKLING (_shaking head_). Farewell! + +[_He flies to the water and swims toward the Swans. They see him and rush +to meet him with outstretched wings._] + +DUCKLING. Kill me! Kill me! + +FIRST SWAN. Kill you! Why, we have come to welcome you, beautiful stranger. + +SECOND SWAN. We saw you from afar, and came to meet you. + +THIRD SWAN. We are so happy to have you with us! + +[_Enter several_ CHILDREN.] + +FIRST CHILD. See, there is a new swan! + +SECOND CHILD (_calling_). Father, mother, come! There is another swan! + +[_Enter the_ FATHER _and_ MOTHER.] + +FATHER. What were you calling? + +THIRD CHILD. A new swan has come! Look! + +MOTHER. I see him! He is beautiful! + +FATHER. He is very young, but he is the most beautiful of all! + +FOURTH CHILD. See how the others stroke him with their beaks! + +MOTHER. They are showing him how glad they are to have him with them. See +how they swim around him and how gently they touch him! + +FATHER. I have never seen anything so pretty. How happy the new swan is! +See how he rustles his feathers! See how proudly he curves his slender +neck! + +FIRST CHILD. And see how he looks at himself in the water! + +SECOND CHILD. Let's get bread and cake for him! + +THIRD CHILD. Yes, yes! + +FOURTH CHILD. Yes, yes! + +[_The Children run off, followed by the Father and Mother._] + +MOLE (_going into his hill_). 'T was not so bad after all--not to have the +family quack! + + + + +THE RED SHOES + + +SCENE I + +TIME: _one morning_. + +PLACE: _the Shoemaker's shop_. + + * * * * * + +GRANDMOTHER. +KAREN. +SHOEMAKER. + + * * * * * + +[_The_ GRANDMOTHER _and_ KAREN _enter the shop of the_ SHOEMAKER.] + +GRANDMOTHER. This is my little granddaughter Karen, Shoemaker. Please to +take her measure for a pair of shoes. + +SHOEMAKER. What kind do you wish, madam? + +GRANDMOTHER. Morocco, the finest you have, Karen is to wear these shoes to +church. + +SHOEMAKER. What color do you wish, madam? + +GRANDMOTHER. Black. + +KAREN (_whispering to Shoemaker_). Red. + +SHOEMAKER (_puzzled_). Eh? + +GRANDMOTHER (_louder_). Black. + +KAREN (_whispering to Shoemaker_). Red. + +SHOEMAKER. Of course, madam, if you say black, black they shall be. + +KAREN. The little princess wore red shoes, Grandmother. + +SHOEMAKER (_nodding_). That is true; I saw them myself. + +GRANDMOTHER. Red shoes? + +KAREN (_nodding_). Of beautiful red morocco. The queen let the princess +stand at a window so every one could see her new shoes. + +SHOEMAKER. It is all true, madam. + +GRANDMOTHER. No matter; Karen is to have black shoes. + +(_Taking up a pair of shoes._) + +Here, this pair suits me exactly. + +SHOEMAKER (_surprised_). But, madam, those shoes are-- + +KAREN (_interrupting; whispering_). Hush, Shoemaker! Do not tell her. She +can't see very well. + +GRANDMOTHER (_giving shoes to Karen_). Are they of polished leather? They +shine as if they were. + +KAREN. Yes; they do shine. + +(_Trying on the shoes._) + +And they just fit me, Grandmother. + +GRANDMOTHER. I will take them, Shoemaker. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting; whispering_). Hush, Shoemaker! She will never know +the difference. + +GRANDMOTHER. Here is the money, Shoemaker. Come, Karen. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting_). I am ready, Grandmother. + +GRANDMOTHER. Good day, Shoemaker. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting_). Good day, Shoemaker. + +[_The Grandmother and Karen go._] + + +SCENE II + +TIME: _the next Sunday, after church_. +PLACE: _the Grandmother's home_. + + * * * * * + +THE GRANDMOTHER. +KAREN. +THE NEIGHBORS { _First_. + { _Second_. + { _Third_. + { _Fourth_. + + * * * * * + +[_The_ NEIGHBORS _sit with the_ GRANDMOTHER _in the spare room because it +is Sunday._] + +FIRST NEIGHBOR. I did not see you at church to-day, Grandmother. + +GRANDMOTHER. I could not go, but I sent little Karen. + +SECOND NEIGHBOR (_mysteriously_). Oh, yes; we saw her! Everybody saw her! + +GRANDMOTHER (_proudly_). People do look at her; she is so pretty. + +THIRD NEIGHBOR. People didn't look at her face to-day. + +GRANDMOTHER (_alarmed_). What do you mean? + +THIRD NEIGHBOR. Ask Karen when she returns. We're not the ones to carry +tales. + +GRANDMOTHER (_looking out window_). Here she comes now! + +FOURTH NEIGHBOR. Just ask her about the sermon and the hymns! + +GRANDMOTHER (_proudly_). She will tell me almost every word the pastor +said. She is a smart girl--that Karen. + +[_Enter_ KAREN.] + +KAREN. Well, Grandmother, here I am! Good morning, Neighbors. + +NEIGHBORS (_coldly_). Good morning, Karen. + +GRANDMOTHER. Now tell me about the sermon, Karen. What was the text? + +KAREN (_with confusion; stammering_). The text? It was--it was--Oh, I will +tell you all about it by and by, Grandmother. Our Neighbors want to talk +with you now. + +FIRST NEIGHBOR. Oh, no! We would rather hear you tell your Grandmother +about the sermon and the music. + +GRANDMOTHER. What hymns did they sing, Karen? + +KAREN (_as before_). Hymns? They sang--let me see--they sang-- + +[_She stops in confusion._] + +GRANDMOTHER. Why, Karen! Are you ill? + +SECOND NEIGHBOR. No, Grandmother, Karen is not ill. She is ashamed. She was +not thinking of the beautiful music nor of the sermon this morning. Is that +not true, Karen? + +KAREN (_ashamed_). Y-e-s-- + +GRANDMOTHER. What is this? + +THIRD NEIGHBOR. Tell your Grandmother what you were thinking about in +church, Karen. + +KAREN. I was thinking about--about--my new shoes. + +GRANDMOTHER. A great thing to think about in church--a pair of plain black +shoes! + +FOURTH NEIGHBOR. She did not wear her black shoes; she wore _red shoes!_ + +GRANDMOTHER (_gasping_). Red shoes--to church? + +FIRST NEIGHBOR (_nodding_). Every one was terribly shocked! + +GRANDMOTHER (_still gasping_). Red shoes to church! + +SECOND NEIGHBOR. Even the pastor looked at her shoes! + +GRANDMOTHER (_indignantly_). Red shoes to church! + +THIRD NEIGHBOR. The choir looked! All fixed their eyes on Karen's red +shoes. + +GRANDMOTHER. It is the most shocking thing I ever heard! Do you hear me, +Karen? + +KAREN (_hanging her head in shame_). Yes, Grandmother. + +GRANDMOTHER. You must never, never, so long as you live, wear red shoes to +church again. It is not at all proper. Do you hear me, Karen? + +KAREN (_as before_). Yes, Grandmother. + +FOURTH NEIGHBOR. Do you think she should have her Sunday dinner? + +GRANDMOTHER. Not one bite! She shall stay in her room all day. Do you hear +me, Karen? + +KAREN. Yes, Grandmother. + +GRANDMOTHER. Thank you for telling me, Neighbors. To think of it! Red shoes +to church! + + +SCENE III + +TIME: _the following Sunday, after church_. +PLACE: _the churchyard_. + + * * * * * + +THE GRANDMOTHER. +KAREN. +THE OLD SOLDIER. +THE COACHMAN. + + * * * * * + +[_The_ GRANDMOTHER _and_ KAREN _come from the church. The_ OLD SOLDIER +_stands near the church door. He tries to speak to the Grandmother, but she +does not hear him._] + +KAREN. Wait a moment, Grandmother! The Old Soldier wants to speak with you. + +GRANDMOTHER (_turning_). What do you want, Old Soldier? + +OLD SOLDIER. I want to dust your shoes, madam. + +GRANDMOTHER. That is very good of you. + +(_Old Soldier dusts her shoes_). + +Thank you; now I will go to my carriage while you dust Karen's shoes. + +[_She goes._] + +OLD SOLDIER. Stretch out your foot, little Karen. + +(_Karen thrusts out her foot._) + +What is this? Red shoes for church? + +KAREN. I looked at my old black shoes-- + +OLD SOLDIER (_interrupting_). And then at your new red ones? + +KAREN (_nodding_). Yes, and then at my black ones again-- + +OLD SOLDIER (_interrupting_). And then put on your red ones! + +KAREN. Sh-h! Grandmother must not know. + +OLD SOLDIER. She can't hear, for I am talking through my long red beard. + +KAREN. Why is your beard so red, Old Soldier? + +OLD SOLDIER. To make more light for my eyes--that I may see without +looking. + +KAREN. See without looking? + +OLD SOLDIER (_nodding_). I was not in the church, yet I saw you clearly +when you knelt at the altar and raised the golden cup to your lips. + +KAREN (_surprised_). You saw that? + +OLD SOLDIER (_nodding_). And more--I saw your thoughts. + +KAREN. You saw my thoughts? + +OLD SOLDIER (_nodding_). It was to you as if your red shoes passed before +your eyes in the cup. Am I not right? + +KAREN (_showing fear_). Y-e-s-- + +OLD SOLDIER. And I saw by the light of my beard that you forgot to sing the +hymns; eh, Karen? + +KAREN. Y-e-s-- + +OLD SOLDIER. And that you forgot to say your prayers; eh, Karen? + +KAREN. Y-e-s-- + +OLD SOLDIER. You were thinking of your red shoes all the time. + +KAREN. Y-e-s, Old Soldier. + +OLD SOLDIER (_holding Karen and stooping until his beard covers her +shoes_). Cover and touch and change, my beard! Cover and touch and change! + +KAREN. What are you doing? Let me go! + +OLD SOLDIER (_holding her firmly_). I am turning your red shoes into +dancing shoes! + +KAREN. I am afraid of you! Let me go! + +OLD SOLDIER (_slapping soles of her shoes with hand_). Now I have made them +stick fast to your feet! + +KAREN (_calling_). Grandmother! Grandmother! + +OLD SOLDIER. Now you may go! Ha, ha! + +KAREN. Why! I am dancing! I can't stop! Grandmother! Grandmother! + +GRANDMOTHER. What is this? Mercy on me! She is dancing down the street! Run +after her, Coachman! Quick! Stop her! + +COACHMAN (_running after Karen_). Stop, Mistress Karen! I'm after you! + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER (_calling after Coachman_). There she goes around the corner! + +COACHMAN (_calling off_). I'll get you, Mistress Karen! Just stop a bit! + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER. My poor Karen! My poor Karen! + +COACHMAN (_returning_). I couldn't catch her, madam! She danced right out +of the town gate! + +GRANDMOTHER. Out of the town gate? + +COACHMAN. Yes, madam, and straight for the dark wood. + +GRANDMOTHER. We will drive after her! + +[_Coachman jumps to his seat._] + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER. Quick, Coachman, quick! We must catch her before she gets to +the dark wood. My poor Karen! My poor Karen! + +[_The carriage dashes off._] + + +SCENE IV + +TIME: _three days later; evening_. +PLACE: _the dark wood. A hut is seen among the vines_. + + * * * * * + +THE FORESTER. +HIS SON. +KAREN. +THE EXECUTIONER. +THE OLD SOLDIER. +THE FAIRY QUEEN. +MOON. + + * * * * * + +[_The_ FORESTER _and his_ SON _are felling a tree._] + +KAREN (_heard calling off_). Stop me! Stop me! + +SON. Heard you that cry? + +FORESTER (_looking off_). Mercy on us! 'T is the dancing girl I told you +of! + +[_Enter_ KAREN, _dancing._] + +KAREN. Stop me, Forester! + +FORESTER. No, no! I dare not! + +KAREN (_to Son_). Stop me, I pray you! Three days have I danced! I can +endure it no longer! + +SON (_to Forester_). Come, let us help her! + +FORESTER. Do not touch her! She is bewitched! + +KAREN. 'T is my shoes are bewitched--not I! + +SON. I say, little maid, pull off your shoes! + +KAREN. They will not come off. See! + +[_She pulls at her shoes._] + +SON (_starting towards Karen_). I'll get them off, bewitched or not +bewitched! + +FORESTER (_seizing Son_). Would you get yourself into trouble? Come home +with me! + +[_Forester runs from wood with Son. The_ MOON _arises suddenly in a fir +tree._] + +KAREN. O Moon, see how I dance below you! Pray tell me how to break this +spell! + +MOON. Ha, ha, ha! + +[_The Moon changes into the red beard of the_ OLD SOLDIER.] + +OLD SOLDIER. My beard makes moonlight for me that I may watch you dance. + +KAREN. Mercy, Old Soldier! I pray you break your spell! + +OLD SOLDIER. You forgot to say the prayers! You thought only of your red +shoes! + +KAREN. I will go barefoot to church! + +OLD SOLDIER. You whispered "red" to the Shoemaker! + +KAREN. I will never deceive my dear Grandmother again! Have pity! + +OLD SOLDIER. You shall dance in your red shoes till you are pale and cold! +By night and by day you shall dance; in sunshine and in rain; in snow and +in sleet. Over highways and byways shall you dance; in dark swamps and on +mountain tops. You shall go on dancing, dancing, dancing, forever and ever! + +[_He disappears._] + +KAREN. I cannot dance on forever! I cannot! I cannot! + +(_Weeping; pause._) + +Well, I know a way to break the spell, and I'll do it! + +(_Crossing to hut of the_ EXECUTIONER; _knocking._) + +Come out! Come out! + +EXECUTIONER (_from within the hut_). Come in! + +KAREN. I cannot come in; I must dance. + +EXECUTIONER. Then I will come out. + +(_The Executioner comes out from hut._) + +Well, do you know me? + +KAREN. You are the Executioner. + +EXECUTIONER. I am the Executioner. I cut off the heads of wicked people +with this great ax. + +KAREN. Do not strike off my head! + +EXECUTIONER. And why not strike off your head, pray? + +KAREN. I must have that to repent of my sin. So please to cut off my feet. + +EXECUTIONER. It shall be as you say. Thrust out your foot, maid. + +[_Enter_ FAIRY QUEEN.] + +FAIRY QUEEN. Stay, Executioner, stay! I've come to save you, Karen! + +KAREN. To save me? + +FAIRY QUEEN. Whenever a child repents of a sin, lo, I am there to save. + +KAREN. Will you remove this spell from me? + +FAIRY QUEEN. Will you give up your red shoes? + +KAREN. Gladly! Gladly! I wish I might never see them again! + +FAIRY QUEEN. Then dance to me that I may touch you with my wand. + +[_Fairy Queen touches Karen's shoes with her wand. The shoes fall off._] + +KAREN. Dear Fairy Queen! Dear Fairy Queen! I thank you! I thank you! + +FAIRY QUEEN. Look, Karen, your shoes are dancing away! Soon they will be +lost to you forever. Shall I not bring them back? + +KAREN. No, no! Let them go! Now I am free! Now I can rest! + +FAIRY QUEEN. Then come, dear child, I will guide you to your home. + + + + +THE STORY OF ALI COGIA + + +SCENE I + +TIME: _one evening_. +PLACE: _the house of a merchant in Bagdad_. + + * * * * * + +THE MERCHANT. +THE MERCHANT'S WIFE. + + * * * * * + +[_The_ MERCHANT _and his_ WIFE _are at supper._] + +WIFE. Our neighbors bought some fine olives to-day. It has been a long time +since we have had olives. I am quite hungry for them. + +MERCHANT. Now you speak of olives, you put me in mind of the jar which Ali +Cogia left with me. + +WIFE (_pointing to a jar in another part of the room_). There is the very +jar waiting for him against his return. + +MERCHANT. Certainly he must be dead, since he has not returned in all this +time. Give me a plate; I will open the jar, and if the olives be good, we +will eat them. + +WIFE. Pray, husband, do not commit so base an action. You know nothing is +more sacred than what is left to one's care and trust. + +MERCHANT. But I am certain All Cogia will never return. + +WIFE. And I have a strong feeling that he will. What will he think of your +honor if he finds the jar has been opened? + +MERCHANT. Surely a jar of olives is not to be guarded so carefully, year +after year. + +WIFE. That is Ali Cogia's affair, not ours. Besides, the olives can't be +good after all this time. + +MERCHANT (_taking a plate_). I mean to have a taste of them, at least. + +WIFE (_indignantly_). You are betraying the trust your friend placed in +you! I will not remain to witness it. + +[_She leaves the room. The Merchant crosses and takes cover from jar._] + +MERCHANT (_looking in jar_). My wife was right--the olives are covered with +mould, but those at the bottom may still be good. + +[_He turns the jar up and shakes out the olives. Several gold pieces fall +out._] + +MERCHANT. What is this? Gold pieces! As I live! Gold! gold! + +[_He shakes the jar again; a shower of gold pieces fall._] + +MERCHANT (_dropping the jar in astonishment_). A thousand pieces at least! +The top of the jar only was laid with olives! + +(_He puts the gold into his pockets._) + +To-night, when my wife is asleep, I will fill the jar entirely with fresh +olives, for these show they have been disturbed. And I will make up the jar +so that no one, except Ali Cogia himself, will know they have been touched. + +[Illustration: "A THOUSAND PIECES AT LEAST!"] + + +SCENE II + +TIME: _one month later; a moonlight night_. +PLACE: _a small court opening upon a narrow street of Bagdad_. + + * * * * * + +THE CALIPH. +THE GRAND VIZIER. +FIRST CHILD, _who plays he is the Cauzee_[Footnote: A Mohammedan judge.] +SECOND CHILD, _who plays he is the officer_. +THIRD CHILD, _who plays he is Ali Cogia_. +ZEYN, _who plays he is the Merchant_. +TWO BOYS, _who play they are Olive Merchants_. +MANY OTHER CHILDREN, _who look on_. + + * * * * * + +[_The_ CALIPH, _accompanied by his_ GRAND VIZIER, _enters the narrow street +upon which the court opens. They are in disguise, appearing as merchants._] + +CALIPH. Perhaps we may hear some talk of this affair of Ali Cogia and the +merchant, as we go through the city to-night. + +VIZIER. It is possible, O Commander of the true Believers! The affair has +made a great noise in Bagdad. + +CALIPH. Ali Cogia carried the merchant before the Cauzee, I believe. + +VIZIER. Yes; he claimed that the merchant had taken from him one thousand +pieces of gold. + +CALIPH. Proceed; I would know all. + +VIZIER. Ali Cogia left with this merchant, so he says, a jar in which he +had placed this money. Upon his return, which was but yesterday, he went +to the merchant, and, having received the jar, opened it. To his surprise +he found that the gold, which he had hidden below a layer of olives, was no +longer there. + +CALIPH. Ah, that is what Ali Cogia says. What says the merchant? + +VIZIER. The merchant made oath before the Cauzee that he did not know there +was money in the jar, and so of course could not have taken it. + +CALIPH. And the Cauzee dismissed the merchant, I believe. + +VIZIER. Yes, Commander of the Faithful, the merchant was acquitted. + +CALIPH. This Ali Cogia presented a petition to me to-day, and I promised to +hear him to-morrow. Would that I could know the truth of the matter that I +may give a just sentence! + +[_They arrive at the court where several_ CHILDREN _are playing in the +moonlight. The Caliph stops to watch them._] + +FIRST CHILD. Let us play that the Cauzee is trying the Merchant. + +SECOND CHILD (_joyfully_). Yes, yes! + +THIRD CHILD (_joyfully_). Yes, yes! + +ALL CHILDREN (_clapping their hands_). Yes, yes! + +CALIPH (_softly to Vizier_). Let us sit on this bench. I would know what +these children are playing. + +[_They sit, but are not seen by children._] + +FIRST CHILD (_taking his seat with great dignity_). I choose to be the +Cauzee! + +SECOND CHILD (_taking his place behind the Cauzee_). I choose to be the +Officer! + +THIRD CHILD. I choose to be Ali Cogia! + +CAUZEE. Who chooses to be the Merchant? + +[_Long pause; all the Children hang back._] + +CAUZEE. Come, Zeyn, you be the Merchant. + +ZEYN. Not I! The part does not please me. + +OFFICER. Would you spoil everything, Zeyn? + +ZEYN. Oh, well, then, I'll be the Merchant this time. + +CAUZEE. Officer, bring in the accused and his accuser. + +[_The Officer presents the Merchant and Ali Cogia before the Cauzee._] + +CAUZEE. Ali Cogia, what charge have you to make against this Merchant? + +ALI COGIA (_bowing_). Sir, when I journeyed from Bagdad seven years ago, I +left with this Merchant a jar. Now, into this jar I had put, with some +olives, a thousand pieces of gold. When I opened the jar, I found that it +had been entirely filled with olives; the gold had disappeared. I beseech +your honor that I may not lose so great a sum of money! + +CAUZEE. Merchant, what have you to say to this charge? + +MERCHANT. I confess that I had the jar in my house, but Ali Cogia found it +exactly as he had left it. Did he ever tell me there was gold in the jar? +No. He now demands that I pay him one thousand pieces of gold. I wonder +that he does not ask me for diamonds and pearls instead of gold. I will +take my oath that what I say is the truth. + +CAUZEE. Not so fast! Before you come to your oath, I should be glad to see +the jar of olives. + +(_Turning to Ali Cogia._) + +Ali Cogia, have you brought the jar? + +ALI COGIA. No; I did not think of that. + +CAUZEE. Then go and fetch it. + +[_Ali Cogia goes._] + +CAUZEE (_to the Merchant_). You thought the jar contained olives all this +time? + +MERCHANT. Ali Cogia told me it contained olives at the first. I will take +oath that what I say is the truth. + +CAUZEE. We are not yet ready for your oath. + +[ALI COGIA _enters. He pretends to set a jar before the Cauzee._] + +CAUZEE. Ali Cogia, is this jar the same you left with the Merchant? + +ALI COGIA. Sir, it is the same. + +CAUZEE. Merchant, do you confess this jar to be the same? + +MERCHANT. Sir, it is the same. + +CAUZEE. Officer, remove the cover. + +(_The Officer pretends to remove the cover._) + +These are fine olives! Let me taste them. + +(_Pretending to eat an olive._) + +They are excellent! But I cannot think that olives will keep seven years +and be so good. Therefore, Officer, bring in Olive Merchants, and let me +hear what is their opinion. + +OFFICER (_announcing_). Forward, two Olive Merchants! + +[_Two_ BOYS _present themselves_]. + +CAUZEE. Are you Olive Merchants? + +BOYS (_bowing_). Sir, we are. + +CAUZEE. Tell me how long olives will keep. + +FIRST OLIVE MERCHANT. Let us take what care we can, they will hardly be +worth anything the third year. + +SECOND OLIVE MERCHANT. It is true, for then they will have neither taste +nor color. + +CAUZEE. If it be so, look into that jar and tell me how long it is since +those olives were put into it. + +[_Both Merchants pretend to examine and taste the olives._] + +FIRST OLIVE MERCHANT. These olives are new and good. + +CAUZEE. You are mistaken. Ali Cogia says he put them into the jar seven +years ago. + +SECOND OLIVE MERCHANT. Sir, they are of this year's growth. There is not a +merchant in Bagdad that will not say the same. + +CAUZEE. Merchant, you stand accused. You must return the thousand pieces of +gold to Ali Cogia. + +MERCHANT. Sir, I protest-- + +CAUZEE (_interrupting_). Be silent! You are a rogue. Take him to prison, +Officer. + +[_All the children seize the Merchant and run from the court, laughing and +shouting._] + +CALIPH (_rising_). I know now what will be a just trial. I have learned it +from the child Cauzee. Do you think I could give a better sentence? + +VIZIER. I think not, if the case be as these children played it. + +CALIPH. Take care to bid Ali Cogia bring his jar of olives to-morrow. And +let two olive merchants attend. + +VIZIER. It shall be done, O Commander of true Believers! + +CALIPH. If the olives be indeed fresh, then the merchant will receive his +punishment and Ali Cogia his thousand pieces of gold. + +(_Starting off; stopping._) + +Take notice of this street, and to-morrow present the boy Cauzee with a +purse of gold. Tell him it is a token of my admiration of his wisdom and +justice. + + + + +THE WILD SWANS + + +SCENE I + +TIME: _a long time ago_. +PLACE: _on the seashore_. + + * * * * * + +ELIZA. +THE GOODY. + + * * * * * + +[_The_ GOODY _is seen walking along the shore._ ELIZA _enters from the +forest._] + +GOODY. Bless me! What is the little girl doing in this lonely place? And +alone, too! + +ELIZA. I seek my eleven brothers. + +GOODY. Ah! Then you must be the Princess Eliza! + +ELIZA (_sadly_). Yes, Goody. + +GOODY. And the eleven brothers you seek are the eleven little princes! + +ELIZA. Yes; do you know them? + +GOODY. I saw them in school one day. Each prince wore a golden crown on his +head, a star on his breast, and a sword by his side. + +ELIZA (_nodding_). They studied very hard, just as princes should. + +GOODY. They wrote on gold slates with diamond pencils. I myself saw them! + +ELIZA. I sat on a little stool of plate-glass. Did you know that? + +GOODY. Oh, yes! And I know about your picture-book worth half a kingdom. + +ELIZA. We were all so happy then! Our dear mother was alive and sometimes +went to school with us. Now all is changed. + +GOODY. What has happened? + +ELIZA. They have driven us from the palace. + +GOODY (_indignantly_). I said so! On the day of that wedding I said so. + +ELIZA. Then you know that my father married again? + +GOODY. Yes, I know. I wept when I heard our good king had married that +wicked queen. + +ELIZA. She drove my brothers away, the very day of the wedding feast. + +GOODY. And now she has driven you away! + +ELIZA (_nodding_). If only I could find my dear brothers! + +GOODY. You may hear something about them very soon. + +ELIZA (_quickly_). Do you know where they are? Tell me! I pray you tell me! + +GOODY (_shaking her head mysteriously_). I cannot say where they are. I +only know what they are. + +ELIZA. I do not understand-- + +GOODY. The wicked queen has turned your brothers into wild swans. + +ELIZA. Wild swans? + +GOODY (_nodding_). I saw them yesterday, at sunrise, flying out over the +sea. Each swan wore a gold crown on his head. + +ELIZA. The queen could not take their crowns from them! + +GOODY. As the swans flew upward, their eleven crowns glittered like eleven +suns. My eyes were dazzled. I was obliged to look away. At that moment the +swans disappeared. + +ELIZA (_sadly to herself_). My poor brothers! I shall never see them again. + +GOODY (_suddenly_). Do you see those great blue bluffs to the south? + +ELIZA. Yes; the sea is dashing against them. + +GOODY. In those bluffs, back from the shore, is a cave. Go at once to that +cave and enter. + +ELIZA. And what shall I do there, good woman? + +GOODY. Perhaps you may learn how to break the spell over your brothers. + +ELIZA (_surprised_). How to break the spell? + +GOODY. Ask no questions, but go at once to the cave. + +ELIZA (_going_). Thank you, good woman. You are very kind to me. + +GOODY. Go now, child, and fear nothing. + +[_Eliza goes; the Goody disappears._] + + +SCENE II + +TIME: _a half-hour later_. +PLACE: _the cave_. + + * * * * * + +ELIZA. +THE FAIRY. + + * * * * * + +[ELIZA _is seen at entrance of cave. She stops; is afraid to enter._] + +ELIZA. I am afraid to enter! It is so dark--I know not what is within! It +may be the den of some wild animal. + +(_Listening._) + +Not a sound do I hear! But wild animals are cunning. They know how to lie +as still as death and then to leap quickly. + +(_Pause._) + +Well, be it so. I will enter, for I must save my +brothers. + +[_She enters the cave._ FAIRY _is within the cave, but invisible._] + +FAIRY. You have courage, little Eliza. + +ELIZA (_showing relief_). Oh! Are you here, good woman? + +FAIRY. Behold! + +[_The cave is filled with light; a beautiful Fairy is seen._] + +ELIZA. Ah! I thought it was the Goody. + +FAIRY. No matter, dear child. I knew you were to come here. + +ELIZA. I was afraid to enter. + +FAIRY. But you did enter. Your love for your brothers was greater than your +fear. + +ELIZA. It was that which gave me courage. + +FAIRY. It was a test of your courage. And now I can tell you how to break +the spell over your brothers. + +ELIZA. I will do whatever you say. + +FAIRY. You will suffer greatly. + +ELIZA. What matter, if I save my brothers! + +FAIRY (_nodding_). Then listen. Do you see the stinging nettles which I +hold in my hand? + +ELIZA. Yes, dear Fairy. + +FAIRY. You must gather great quantities of these. + +ELIZA. I noticed many of the same sort growing near this cave. + +FAIRY (_shaking head_). You must gather only those that grow in graveyards. + +ELIZA. It shall be exactly as you say, dear Fairy. + +FAIRY. The nettles will make blisters on your hands. + +ELIZA. I will not think of myself; I will think only of my brothers. + +FAIRY. Break the nettles into pieces with your hands and feet, and they +will become flax. From this flax you must spin and weave eleven coats with +long sleeves. If these eleven coats can be thrown over the eleven swans, +the spell will be broken. + +ELIZA. It shall be done. + +FAIRY. But remember, that from the moment you begin your task, until it is +finished, you must not speak. Even though it should occupy years of your +life, you must not speak. + +ELIZA. I shall remember. + +FAIRY. The first word you utter will pierce through the hearts of your +brothers like a dagger. Their lives hang upon your tongue. Go now and begin +your task. + +ELIZA (_going_). I go, dear Fairy. + +FAIRY. Remember all I have told you, dear child. Farewell! + +[_Eliza goes; the cave becomes dark; the Fairy disappears._] + + +SCENE III + +TIME: _two days later_. +PLACE: _a distant country; the King's palace_. + + * * * * * + +THE KING. +HIS WICKED UNCLE. +ELIZA. +GUARDSMEN. +SERVANTS. + + * * * * * + +[_The_ WICKED UNCLE _stands waiting to receive the King. Enter the_ KING +_with_ ELIZA. _She is pale and sad._] + +WICKED UNCLE. Welcome, your Majesty! Welcome home from your hunt! But who +is this maiden? + +KING. I know not, my Uncle. + +WICKED UNCLE. What? + +KING. My huntsmen found her in a cave in a far-off country. + +WICKED UNCLE. In a cave? Alone? + +KING (_nodding_). Alone; spinning coats out of flax. + +WICKED UNCLE. This is very strange. + +(_To Eliza._) + +Why were you all alone in a cave, and why were you spinning coats? + +(_Eliza shakes her head._) + +KING. She is dumb, Uncle. Not a word has she uttered since we found her. + +WICKED UNCLE. Why did you bring her with you? + +KING. I will make her my queen. + +WICKED UNCLE (_angrily_). Your queen? + +KING. See how beautiful she is. + +WICKED UNCLE (_whispering to King_). She is a witch! + +KING. Nonsense! She is as good as she is beautiful. + +WICKED UNCLE (_whispering as before_). She has bewitched your heart! + +KING. Nonsense, I say! She did not want to leave the cave. She wept +bitterly when I put her on my horse. + +(_He turns to the servants._) + +Let the music sound! Prepare the wedding feast! + +(_He turns to Eliza, who weeps._) + +Do not weep, my beautiful maid. + +WICKED UNCLE (_whispering to King_). She is not beautiful. She has +bewitched your eyes. + +KING. I will not listen to you! Go, bid them ring the church bells. + +WICKED UNCLE (_going; speaking aside_). I must poison his heart against her +in some way; else I'll never wear the crown. + +[_Wicked Uncle goes._] + +KING (_to Eliza_). Do not weep. You shall be dressed in silks and velvets +and I will place a golden crown upon your head. + +(_Eliza weeps and wrings her hands._) + +Well, then, I know how to make you smile. + +[_The King opens a door into an inner room. Eliza looks in, smiles, and +claps her hands for joy._] + +KING. I thought 't would make you happy! 'T is very like your cave--I had +it made so. + +(_Eliza tries to thank King with her eyes._) + +But no more spinning! Your fingers shall be covered with diamonds instead +of blisters. + +(_Eliza sighs very sadly._) + +Something troubles you, little queen. If you could only tell me of your +grief! + +(_Eliza shakes her head sadly._) + +Well, I can at least save you from a life of labor. You shall be most +tenderly cared for. + +(_Calling._) + +Ho, there, Guardsmen! + +(_Enter_ GUARDSMEN.) + +Guardsmen, behold your queen! + +(_Guards kneel before Eliza._) + +Guardsmen, arise and hear my commands. + +(_Guards rise._) + +Your queen is never to do any of the work about the castle. Do you hear me, +Guardsmen? + +GUARDSMEN (_bowing_). We hear, O King! + +KING. Not even the spinning or weaving. Do you hear me, Guardsmen? + +GUARDSMEN (_bowing_). We hear, O King! + +KING. Those are my commands. Now attend us to the banquet-hall. + +(_To Eliza, who is weeping._) + +Weep no more, little queen. I wish only your happiness. Come, give me your +hand. We go now to the wedding feast. + +[_They go out, the Guards attending._] + + +SCENE IV + +TIME: _two weeks later; sunrise_. +PLACE: _the open just without the town gate_. + + * * * * * + +THE GOODY. +THE WICKED UNCLE. +THE KING. +ELIZA. +HER ELEVEN BROTHERS. +THE EXECUTIONER. +FIRST CITIZEN. +SECOND CITIZEN. +THIRD CITIZEN. +FOURTH CITIZEN. +GUARDS. + + * * * * * + +[_Enter crowds of people from the town gate. Enter the_ GOODY _from the +forest. Enter the_ WICKED UNCLE _from the town gate._] + +GOODY (_to Wicked Uncle_). Why these crowds so early, sir? + +WICKED UNCLE. Do not call me 'sir.' + +GOODY. What shall I say, sir? + +WICKED UNCLE. Say, 'Your Highness.' + +GOODY. But you are not the King, sir. + +WICKED UNCLE. I'm very near it, old woman. + +GOODY. Not so near, sir, as you were, sir. There is the new queen, sir. + +WICKED UNCLE. The new queen is about to die. + +GOODY (_alarmed_). About to die? + +WICKED UNCLE (_nodding_). Aye, because she's a witch. They're bringing her +out here now. + +GOODY. The King permits it? + +WICKED UNCLE (_nodding_). He soon found out the truth about her. + +GOODY. And what was that? + +WICKED UNCLE. Just what I told him the first time I saw her. "She's a +witch," said I, but he would not believe me. + +GOODY. What has so changed him? + +WICKED UNCLE. 'T was I who saw her slip forth from the castle one midnight. +I followed her; straight to the graveyard she went. + +GOODY. To the graveyard? + +WICKED UNCLE (_nodding_). In she went--I following. I saw her gather the +stinging nettles that grow there. + +GOODY. But they would blister her hands. Did she not cry out? + +WICKED UNCLE. Not a sound did she utter! That would prove her a witch, were +there nothing more. + +GOODY. Ah, there is something more, then? + +WICKED UNCLE (_nodding; mysteriously_). I followed her back to the castle; +through the marble halls and up to the little cave room. I saw her break up +the nettles. Then I saw her spin and weave this flax into a magic coat. + +GOODY. Bless me! A magic coat? + +WICKED UNCLE (_nodding_). There were ten of them hanging from the ceiling. + +GOODY. Of course you told the King? + +WICKED UNCLE. Just as soon as I could waken him, but he would not believe +me. He said there was but one coat when they brought her here, and that +there could be but one now. + +GOODY. She worked at night, then, while the castle slept. + +WICKED UNCLE. True queens do not work--nay, can't be made to work. Every +one knows that. + +GOODY. But how did the King find out the truth? + +WICKED UNCLE. I persuaded him to watch with me the next night. Just at +midnight the queen came out. We followed her to the graveyard. "That is +enough," said his Majesty, "she is a witch and must die." + +[_The_ CITIZENS _rush to the gates._] + +CITIZENS (_calling_). See the witch! + +GOODY. Is she coming? + +WICKED UNCLE (_looking_). Yes, she is just within the gate. She rides in an +old cart drawn by an old horse--quite good enough for a witch. + +[_Enter the_ KING _with servants and_ GUARDS. _Behind them is the cart. In +the cart sits_ ELIZA. _She is spinning and weaving, never once looking +up._] + +GOODY. How pale she is! Bless me! She is spinning and weaving. + +WICKED UNCLE. It is the eleventh coat and it will be the last. + +GOODY. How she hurries to finish it! + +[_The cart stops._] + +KING (_to Eliza_). Once again I ask you,--Are you a witch? + +(_Eliza shakes her head._) + +Then give up the coats. They are of no use to any one. + +[_Eliza again shakes her head._] + +WICKED UNCLE. That proves her a witch! Else, she would give up the coats. + +KING (_to Eliza_). Once more,--Will you not give them up? + +[_Eliza shakes her head. The King turns away. He is very sad; his eyes are +filled with tears._] + +FIRST CITIZEN (_calling_). See the witch! + +SECOND CITIZEN (_calling_). See her magic coats! + +THIRD CITIZEN (_calling_). Let us tear them to pieces! + +FOURTH CITIZEN (_calling_). At them, Citizens! Tear them to shreds! + +GOODY (_looking up; speaking aside_). Here come the Wild Swans! Now we +shall see what we shall see! + +[ELEVEN WILD SWANS _descend from the sky and alight on the cart. Each wears +a golden crown._] + +FIRST CITIZEN. Back, Citizens, back! Wild Swans have alighted on the cart! + +FOURTH CITIZEN. What do we care for Wild Swans? Forward, Citizens! + +FIRST CITIZEN. Back, I say! The Swans are beating us with their strong +wings! + +SECOND CITIZEN. Back! back, Citizens! We dare not approach the cart! + +GOODY (_calling to the people_). The Swans have come to save the queen! 'T +is a sign from heaven that she is innocent! + +WICKED UNCLE (_angrily_). Be silent, old woman! + +(_He turns to the Executioner._) + +Executioner, do your duty! + +EXECUTIONER. Out of the cart, witch! + +(_Eliza shakes her head; takes up coats from floor of cart. The Executioner +turns to the Wicked Uncle._) + +She will not come! + +WICKED UNCLE. Seize her--I command you! + +FIRST CITIZEN. Seize her! Seize her! + +GOODY. Look, Citizens, look! She is spreading the coats over the Swans! + +[_Eliza throws the eleven coats over the eleven Swans, who turn to eleven +little princes, but the youngest has a swan's wing instead of an arm, for +the last sleeve was not finished._] + +FIRST CITIZEN. Do you see that, Citizens? They are princes! She has saved +them! + +SECOND CITIZEN. She is no witch! + +THIRD CITIZEN. She is an angel from heaven! + +THE ELEVEN BROTHERS. Dear sister, you have saved us! + +ELIZA. Now I may speak--I am innocent! + +ELDEST BROTHER (_to King_). Yes, she is innocent! + +NINTH BROTHER. How you have suffered for us, dear Eliza! + +CITIZENS (_to Eliza_). Forgive us! + +KING (_to Eliza_). Forgive me! I did not understand. + +WICKED UNCLE (_annoyed, but trying to conceal it_). And I did not +understand, I-- + +KING (_sternly_). Be silent! + +(_To Guards._) + +Seize him! + +(_The Guards seize the Wicked Uncle._) + +Take him to the mountains where the stinging nettles grow. + +WICKED UNCLE. Mercy! Mercy! + +KING. You had no mercy on brave little Eliza! Now you shall gather nettles +for the rest of your life. Away with him, Guardsmen! + +(_The Guards take the Wicked Uncle away. The King turns to his servants._) + +Let the music sound! Bring forth the queen's golden crown! + +(_To Eliza._) + +My whole kingdom shall do you honor! This land has never seen a more +beautiful thing than your love for your brothers. + +GOODY (_whispering aside_). Ring, church bells! Ring of yourselves! + +[_All the church bells are heard ringing._] + +CITIZENS. Hear the church bells! They ring of themselves! + +KING. They ring for this sweet queen whose heart is as good as her face is +beautiful. Come, Citizens! Away now to the castle! Away to the +banquet-hall! + + + + +THE TWO COUNTRYMEN + + +SCENE I + +TIME: _evening_. +PLACE: _a large city; a quiet corner with a high wall back_. + + * * * * * + +FIRST COUNTRYMAN. +SECOND COUNTRYMAN. +FIRST CITY WAG. +SECOND CITY WAG. +MERCHANT. + + * * * * * + +[_Great crowds of people are seen in the streets. The_ TWO COUNTRYMEN _have +just arrived. They find a quiet corner where they place their blankets and +baskets of gourds which they carry._] + +FIRST COUNTRYMAN. I fear something most dreadful must have happened in that +street. See what crowds of people pass that way! + +SECOND COUNTRYMAN. Perhaps there is a fire. And yet-- + +[_He stops, showing he is puzzled._] + +FIRST COUNTRYMAN (_anxiously_). What troubles thee? + +SECOND COUNTRYMAN. Look thou into that other street! It, too, is full of +people, and yet none are gone from here. + +FIRST COUNTRYMAN. Some awful accident hath called them from all parts of +the city. We must find out what it may be. + +[_A_ MERCHANT _passes._] + +SECOND COUNTRYMAN (_to Merchant_). I pray thee stop, citizen. + +(_The Merchant stops._) + +Canst thou tell us what dreadful thing hath befallen this city? + +MERCHANT. What do you mean? + +[TWO CITY WAGS _pass; they stop to listen._] + +SECOND COUNTRYMAN. Whither do they go, these vast multitudes? What dreadful +thing go they to see? + +FIRST COUNTRYMAN. Perhaps they flee from some monster just come out of the +sea? + +MERCHANT. It is ever thus--always the great crowds surging through the +streets. + +[_The Merchant goes._] + +SECOND WAG (_to Countrymen, winking aside at First Wag_). This is your +first visit to a city, I take it? + +BOTH COUNTRYMEN (_bowing_). It is, good sirs. + +FIRST WAG (_winking aside at Second Wag_). You know what happens to +strangers in our city, of course? + +FIRST COUNTRYMAN (_anxiously_). No, good sir. + +SECOND COUNTRYMAN (_anxiously_). Pray tell us what it may be. + +FIRST WAG. 'T is said they become so dazed by the noise of the city and the +rush of such countless numbers, they forget who they are. + +FIRST COUNTRYMAN. Eh? Forget who they are? + +FIRST WAG (_nodding_). Aye. + +(_He winks aside at Second Wag._) + +You have heard of this, dear friend? + +SECOND WAG (_winking aside_). To be sure; 't is quite common. + +SECOND COUNTRYMAN. Forget their own faces? + +SECOND WAG. Aye,--their faces. At least, they are not certain as to whose +faces theirs may be. + +FIRST COUNTRYMAN. Then we dare not leave this corner! + +FIRST WAG. I would not advise it. + +SECOND WAG. It would be most unsafe,--at least for to-night. + +FIRST WAG. Of course there is this danger,--when you awake in the morning +you may not know whether you are yourselves. + +SECOND COUNTRYMAN. Would that I had never left my farm! + +FIRST COUNTRYMAN. Would that I had never left my wife! + +SECOND WAG. Do not despair; there is a way out of your troubles. + +BOTH COUNTRYMEN. Tell us, we pray thee! + +SECOND WAG. Each of you must take a gourd from his basket there and tie it +around his ankle. Then, in the morning, when you awake, you will each know +that it is yourself and none other. + +FIRST COUNTRYMAN (_to Second Countryman, joyfully_). Dost thou hear? By our +gourds we shall know! + +SECOND COUNTRYMAN (_joyfully_). I hear! Thanks and yet again more thanks to +thee, good sir! + +[_The Wags turn to go._] + +FIRST WAG. May you know yourselves in the morning for what you truly are! + +[Illustration: THE TWO COUNTRYMEN] + +[_They go, laughing aside. Each Countryman ties a gourd around his ankle, +wraps his blanket round him, and lies down. They sleep. Pause. + +Enter the_ WAGS _softly, each carrying a small flag. They remove the gourds +from Countrymen's ankles and hide them under their blankets. They then tie +the flags around Countrymen's ankles and go, greatly pleased with their +joke._] + + +SCENE II + +TIME: _the next morning_. +PLACE: _same as Scene I_. + + * * * * * + +FIRST COUNTRYMAN. +SECOND COUNTRYMAN. +FIRST CITY WAG. +SECOND CITY WAG. + + * * * * * + +[_The_ WAGS _are seen peeping around the corner._] + +FIRST WAG (_softly_). They are sound asleep. + +SECOND WAG (_softly_). Then come. + +[_They enter and throw the two baskets of gourds over the wall. They then +retire around the corner, peeping as before._] + +FIRST COUNTRYMAN (_waking; shaking Second Countryman_). Wake up! Wake up! + +[_Each yawns; stretches; throws off his blanket; arises._] + +FIRST COUNTRYMAN (_remembering_). Ah, the gourds! + +[_Each looks at his ankle, then at the other's ankle._] + +SECOND COUNTRYMAN. How's this! + +FIRST COUNTRYMAN. Did we not tie gourds around our ankles? + +SECOND COUNTRYMAN (_nodding_). Why, surely we did. + +FIRST COUNTRYMAN (_looking about_). Did we not have two baskets of gourds +with us? + +SECOND COUNTRYMAN (_nodding_). Surely; there in the corner. + +FIRST COUNTRYMAN (_holding up foot to which flag is tied_). Is this a gourd +or is it not a gourd? + +SECOND COUNTRYMAN. Of a surety it is a flag. + +(_Holding up his foot with flag._) + +And if this be not a gourd, keep thy silence. + +[_The First Countryman stares at the flag, placing his finger on his closed +lips._] + +SECOND COUNTRYMAN. Then it hath indeed happened! + +FIRST COUNTRYMAN. What hath happened? + +SECOND COUNTRYMAN. The dreadful thing foretold by the citizens. I am not I! +Thou art not thou! + +FIRST COUNTRYMAN (_trembling with fear_). How can that be? + +SECOND COUNTRYMAN. I know not. I only know that it is. + +FIRST COUNTRYMAN (_weeping_). I cannot think I am not myself! + +SECOND COUNTRYMAN (_weeping_). Thou needst must think it, whether thou +wouldst or no. + +FIRST COUNTRYMAN. Dost thou indeed think thou art some other person? + +SECOND COUNTRYMAN. If I were myself, would not the gourd still be around my +ankle? + +FIRST COUNTRYMAN. Then who art thou? And who am I? + +SECOND COUNTRYMAN. Alas! I know not. + +[_Enter the_ WAGS.] + +FIRST COUNTRYMAN (_joyfully_). Here come those who will know whether we are +ourselves! + +[_The Wags pretend not to know the Countrymen who are bowing before them. +They pass on._] + +SECOND COUNTRYMAN. Stop, good sirs! + +FIRST COUNTRYMAN. A word with thee! + +[_The Wags stop._] + +SECOND COUNTRYMAN. Dost thou not know us? + +FIRST WAG. I have not that pleasure. + +FIRST COUNTRYMAN. Thou didst talk with us but yester-eve! + +SECOND WAG. Some mistake, I fear, my good man. + +[_The Wags start off._] + +SECOND COUNTRYMAN (_weeping_). Wait! I pray thee, wait! + +(_The Wags stop._) + +Canst thou not tell us who we are? + +FIRST WAG. Do you not know yourselves? + +SECOND COUNTRYMAN. Alas! we are not ourselves. + +FIRST COUNTRYMAN. Thou wouldst know us were we as we were once. + +SECOND WAG. Perhaps those flags will solve the riddle. + +FIRST WAG. True enough; let us look at them. + +[_The Countrymen remove flags and hand them to Wags, who look at them +intently._] + +SECOND WAG (_mysteriously_). Can it be? + +FIRST WAG. It is! It is! + +FIRST COUNTRYMAN. Eh? + +SECOND COUNTRYMAN. Eh? + +SECOND WAG (_to Countrymen_). Your pardon! I do crave your pardon! + +FIRST WAG (_taking a ring from his finger; turning to Second Countryman_). +Please to accept this ring. I shall then know I am forgiven for not +recognizing you at first. + +SECOND COUNTRYMAN (_accepting ring; putting it on the first finger of his +right hand_). Why, yes, I forgive thee. + +SECOND WAG (_to First Countryman, taking off his gold chain_). Please to +accept this chain. By that I shall know I too am forgiven. + +FIRST COUNTRYMAN (_accepting chain; putting it on_). Thou art forgiven. Now +tell me what great person I have become. + +SECOND WAG (_gravely_). Jest with us no more! + +FIRST WAG. We go now to announce your arrival to the Lord Mayor. + +SECOND WAG. Presently, we will return. Await us here. + +[_They go, laughing aside._] + +FIRST COUNTRYMAN. Dost thou know, I have always felt that I was really a +great person. Hast thou not always noticed something unusual about me? + +SECOND COUNTRYMAN. I cannot say that I have. There is, however, certainly +something wonderful about me. I have noticed it for a long time. Hast thou +not felt it when in my company? + +FIRST COUNTRYMAN. I have not. + +SECOND COUNTRYMAN (_indignantly_). Thou hast not? + +FIRST COUNTRYMAN. Never! thou silly goose! + +[_The Second Countryman snatches First Countryman's chain and throws it +over the wall._] + +SECOND COUNTRYMAN. Mind how thou callest me names, thou booby! + +FIRST COUNTRYMAN (_tearing off Second Countryman's ring and throwing it +over the wall_). Silly goose! + +SECOND COUNTRYMAN. I will now depart for my home. I do not desire thy +company. + +FIRST COUNTRYMAN. I likewise will return, and likewise I wish to journey +alone. + +[_They take up their blankets and discover the gourds._] + +FIRST COUNTRYMAN. Eh? + +SECOND COUNTRYMAN. Eh? + +FIRST COUNTRYMAN. Let us tie them around our ankles. We may then discover +whether we are ourselves. + +[_They tie the gourds around their ankles._] + +SECOND COUNTRYMAN (_joyfully_). I am myself! + +FIRST COUNTRYMAN (_joyfully_). And I am myself! + +SECOND COUNTRYMAN. Come, let us journey back together. + +[_They go out. Pause. Enter the_ WAGS. _They remain at entrance, not +knowing Countrymen have gone._] + +FIRST WAG (_whispering_). Do you think the musicians should follow them? + +SECOND WAG (_whispering_). No, they should follow the music. What a joke it +is! + +[_They look around and discover that the Countrymen have gone._] + +FIRST WAG (_sadly_). My ring! + +SECOND WAG (_sadly_). My chain! + + + + +THE MAN AND THE ALLIGATOR + + +SCENE I + +TIME: _the morning after the cyclone_. +PLACE: _The Man's garden_. + + * * * * * + +THE MAN. +THE ALLIGATOR. + + * * * * * + +[_The_ MAN _enters the garden carrying his big stick and small net. The +garden has been almost destroyed by the_ ALLIGATOR, _who still wallows +among the beds._] + +MAN. There should be enough apples on the ground to fill my net. 'T was a +fierce storm last night! + +(_He looks about; sees the Alligator; shows indignation._) + +Thou--within my garden! + +ALLIGATOR (_meekly_). Be not angry with me, O master! By accident I-- + +MAN (_indignantly_). Accident! Thou hast wallowed among my flowers by +accident, hast thou? + +ALLIGATOR. It is true; not of my own will came I hither. + +MAN (_more indignantly_). Thou hast broken my fruit trees by accident, I +suppose! + +ALLIGATOR (_nodding_). It was not of my own intentions, I assure you. I-- + +MAN (_interrupting_). Thou art this moment crushing my strawberry plants +beneath thy great body! I've a mind to beat thee with my big stick! + +ALLIGATOR. Do not beat me, O master! The cyclone is at fault. + +MAN (_surprised_). The cyclone? + +ALLIGATOR (_nodding_). Aye, it blew me here from the river last night. + +MAN. Ha, ha! A likely story! + +ALLIGATOR. I speak the truth. A great waterspout lifted me out of the +river. Then a fierce wind caught me and blew me about as if I were a +feather. Finally, I was dropped here within thy garden. + +MAN (_only half convinced_). Well, there's no cyclone to blow thee back. +Wilt thou be good enough to walk thyself out? + +ALLIGATOR. Alas! I can scarcely move me. I fear some of my ribs are broken. + +MAN. Nonsense! Out with thee! + +ALLIGATOR. But see how the wind has crippled me! It has even blown some of +my claws loose-- + +MAN (_interrupting_). I am sorry for thee, but thou canst not remain here. + +ALLIGATOR. I will go now, if thou wilt help me. + +MAN (_surprised_). _I_ help thee? + +ALLIGATOR (_nodding_). I will be so grateful to thee! + +MAN. Oh, I know how grateful thou canst be! The other animals have told me +that! + +ALLIGATOR. What say they? + +MAN. That thou art the most cruel of all the animals--that thou never dost +any one a favor-- + +ALLIGATOR (_interrupting_). Nonsense! No one could be more grateful for +favors than I! I'll prove it to thee! + +MAN. Prove it? How? + +ALLIGATOR. If thou wilt help me to the river, I'll show thee where to find +the biggest fish. + +MAN. Well--that's something-- + +ALLIGATOR. And when thou wouldst cross the river, I'll carry thee. + +MAN. Of a surety, that's good of thee! Perhaps, after all, thou art not so +black as thou art painted. I'll help thee this time. + +ALLIGATOR. Thanks to thee, master. I will never forget thy kindness; I will +always be thy friend. + +MAN. Why, I am glad to help thee. Now how am I to get thee to the river? + +ALLIGATOR. Carry me, please, O master! + +MAN. What! carry thee? + +ALLIGATOR (_nodding_). I'll get into thy net. + +MAN. Thou get into my small net! + +ALLIGATOR. Only hold thy net open! + +MAN (_holding his net open_). I tell thee, thou canst never get in! + +ALLIGATOR. See how I fold my arms! My legs go under--so! Now I roll myself +up and up and up! And now I am in--all in! + +MAN. Well, seeing is believing! + +ALLIGATOR. Please to tie up thy net, master, that I may not fall out. + +MAN (_tying net_). 'T is done! + +(_Throwing net over shoulder._) + +Thou art heavy! + +ALLIGATOR. I know, it will be hard work for thee, but some day thou wilt +see how grateful I am. + +[_The Man goes, carrying the Alligator over his shoulder and his big stick +in his hand._] + + +SCENE II + +TIME: _the afternoon of the same day_. +PLACE: _the river bank_. + + * * * * * + +THE MAN. +THE ALLIGATOR. +THE WOLF. +THE LEOPARD. +THE RABBIT. + + * * * * * + +[_Enter the_ MAN _carrying the_ ALLIGATOR _over his shoulder. He stops, +throws down his big stick and places the Alligator carefully on the bank._] + +MAN. Our journey is ended, brother. + +(_Untying net._) + +Now then, roll thyself out! + +(_The Alligator comes out of the net._) + +Well, how dost thou feel now? + +ALLIGATOR. Much better, thanks to thee; but I'm very hungry and I find I'm +still quite weak. I pray thee help me down the bank, O master! + +MAN (_helping the Alligator down the bank_). Now, then, thou art close to +the water. + +[_He turns to go._] + +ALLIGATOR. Just a little farther, please. I am still so weak! + +MAN. Then I'll help thee into the water. + +(_He helps the Alligator into the water._) + +Now thou art in; and now I will depart. + +[_He turns to go._] + +ALLIGATOR (_seizing the Man's leg_). Not yet! + +MAN. Let go of my leg! + +ALLIGATOR. Why? + +MAN (_indignantly_). Why! Why! + +ALLIGATOR (nodding_). Why and wherefore? + +MAN. Thou art hurting me! + +ALLIGATOR. It will soon be over. + +MAN. What dost thou mean? + +ALLIGATOR. What I have just spoken. + +MAN. Why dost thou look at me so? + +ALLIGATOR (_slowly_). Because--I--mean--to--eat--thee. + +MAN. Eat me! + +ALLIGATOR (_nodding_). Eat thee. + +MAN. Me? + +ALLIGATOR (_nodding_). Thee. + +MAN. Thou didst promise to be my friend. + +ALLIGATOR. I was only fooling thee. + +MAN. But I helped thee out of trouble. + +ALLIGATOR. No matter--I mean to eat thee. + +MAN. Is that the way to repay a favor--by doing a wrong? + +ALLIGATOR (_nodding_). That's the way of all the animals. + +MAN. Thou art surely mistaken--not all the animals-- + +ALLIGATOR (_interrupting_). There's not one of them remembers a favor or a +friend when hungry. + +MAN. I cannot think that! Suppose we ask the first animal that comes to +drink? + +ALLIGATOR. Ask any of them--I know what they will say. + +[_Enter the_ WOLF. _He comes down the bank to drink._] + +MAN. Wolf, I would question thee. + +WOLF (_gruffly_). Well? + +MAN. How dost thou repay the one who doth thee a favor? + +WOLF (_gruffly, as before_). By doing him a wrong. + +[_The Wolf drinks and goes._] + +ALLIGATOR. Ha, ha, ha! Just what I said! Now I shall eat thee forthwith! + +MAN. I can't believe that every animal would so answer. + +ALLIGATOR. I don't intend waiting for thee to find out. + +MAN. I pray thee wait till the next animal comes to drink! + +ALLIGATOR (_impatiently_). Have I not told thee of my hunger? + +MAN. Listen! Some animal comes through the forest now. + +[_Enter the_ LEOPARD. _He comes down to drink._] + +Leopard, I would question thee. + +LEOPARD (_curtly_). Well? + +MAN. How dost thou repay the one who doth thee a favor? + +LEOPARD (_curtly, as before_). By doing him a wrong. + +[_He drinks and goes._] + +ALLIGATOR. Ha, ha, ha! It is just as I said! I will now eat thee forthwith! + +MAN. I pray thee-- + +ALLIGATOR (_interrupting_). It is now all over with thee! + +MAN (_calling_). Help! help! + +[_Enter the_ RABBIT.] + +RABBIT. A word with thee, Ally dear! + +ALLIGATOR. I shall be busy for a few minutes, Brother Rabbit. + +RABBIT (_going down bank quickly_). Who is this thou art about to dine +upon? Why, 't is the Man! + +MAN. How dost thou repay a favor, Brother Rabbit? + +RABBIT. Why dost thou ask? + +MAN. I found the Alligator in my garden this morning. He had destroyed my +plants, my fruits, and-- + +ALLIGATOR (_interrupting_). I was blown in by the cyclone last night. + +MAN. He said he had been hurt and begged me to help him to the river. He +promised me his friendship if I would do so. + +ALLIGATOR. Ha, ha, ha! I told him I'd show him where to find the biggest +fish. + +RABBIT. And now thou wilt not? + +ALLIGATOR. But I will. He'll find it after he is _inside_ of me. Ha, ha! + +RABBIT. Ha, ha! A good joke! + +ALLIGATOR. I told him I'd carry him across the river. I didn't explain he'd +go _inside_. Ha, ha! + +RABBIT. What a joker thou art, Ally dear! + +(_He turns to the Man._) + +But how didst thou get him here? + +MAN. I carried him in this small net. + +RABBIT (_looking surprised_). Thou art trying to fool me! + +MAN. No, Brother Rabbit, it is quite true. + +ALLIGATOR (_nodding_). Yes, it is true. + +RABBIT. But, Ally, try as thou mightst, thou couldst not so much as get thy +head into that net. + +[Illustration: "HELP! HELP!"] + +ALLIGATOR. But I tell thee I did! + +RABBIT. Ha, ha, ha! That's too funny! + +ALLIGATOR (_angrily_). I do not like thy manners, young man. + +RABBIT. But it's such a joke! Ho, ho, ho! + +ALLIGATOR. Cease thy laughing or I shall eat thee some day! + +RABBIT. I laugh because I must laugh! Ha, ha, ho, ho! + +ALLIGATOR. Thou wilt not believe it, eh? + +RABBIT. Well, not unless I see it. + +MAN. We can prove it to thee, Brother Rabbit. + +RABBIT. Oh, that's good too! Ha, ha, ho! + +ALLIGATOR. Dost thou think we cannot? + +RABBIT. Of course thou canst not! If thou couldst, thou wouldst. + +ALLIGATOR. And we will! Get thy net ready, Man. + +MAN. But how? Thou art holding my leg. + +ALLIGATOR (_freeing the Man; turning to the Rabbit_). We'll show thee just +how it was done, young man. + +RABBIT. Seeing is believing. + +[_The Man brings his net; opens it._] + +ALLIGATOR. See! I put my legs under--so! Then I fold my arms--so! Now I +roll myself up and up and up. And now I am in--all in! + +RABBIT. As I live--thou art! Well, seeing is believing. But how couldst +thou remain within the net? It is quite open. + +ALLIGATOR. Tie it up, Man. Show him exactly how we did it. + +MAN (_tying net_). I tied it tight--like this, Brother Rabbit. + +RABBIT. Is it quite tight? + +ALLIGATOR. Let him try the knot, Man. + +RABBIT (_trying knot_). Most truly, it is tight. + +(_Turning to the Alligator._) + +Thou dost look as if thou couldst not move, Ally dear. + +ALLIGATOR. Of a surety--I cannot. + +RABBIT. Well, Brother Man, now that thou hast him, don't be foolish enough +to let him go. Get thy big stick and beat him to death. + +ALLIGATOR (_surprised_). Eh? + +MAN (_not heeding the Alligator_). That is just what I will do, that I +will! Thanks to thee for helping me, Brother Rabbit. + +ALLIGATOR. Have pity! + +RABBIT (_not heeding the Alligator_). No thanks are necessary, Brother Man. +I haven't forgotten the good turnips thou didst give me last winter when +the ground was covered with snow. Some of us know how to return favor for +favor. + + + + +THE SONG IN THE HEART + + +SCENE I + +TIME: _once upon a time_. +PLACE: _in the house of the poor Spinner_. + + * * * * * + +THE DAME. +ISABEL, _her daughter_. +FLAT-FOOT } +HANGING-LIP } _the Three Great-Aunts_. +BROAD-THUMB } +THE QUEEN. + + * * * * * + +[_The living-room in the Dame's cottage is seen. The_ DAME _and the_ THREE +GREAT-AUNTS _are spinning._ ISABEL _sits at her spinning-wheel, but has +stopped work and looks out of the open door._] + +DAME (_sharply_). Isabel! You gaze without! + +ISABEL (_nodding_). Upon those great trees, mother. How beautiful they are! +How like sentinels they stand at our door guarding us! + +FLAT-FOOT (_growling_). What nonsense! You'd better be spinning. + +ISABEL (_not heeding_). Mother, see you that old oak! See how proudly it +lifts its head up into the sky! 'T is the king of the forest! + +HANGING-LIP (_growling_). I never heard such foolish talk! + +ISABEL (_not heeding_). Mother, a song has come to me,--'t is a song to the +beautiful trees. Let me stop to write it down, while my heart is full of +it. + +BROAD-THUMB (_to the Dame_). Do not permit it, sister! She should be +working. She can scarcely spin at all. + +DAME (_showing much feeling_). Isabel! Isabel! Not a maid in the village +thinks of anything but spinning. + +ISABEL. Mother, let me stop! Soon the song will leave me. I may ne'er hear +it again. + +FLAT-FOOT (_to the Dame_). Sister, she will bring you to shame. + +HANGING-LIP. Already the village folk laugh at her! + +BROAD-THUMB (_nodding_). Aye! They call her "the Dreamer." I myself have +heard them. + +ISABEL. I care not what they call me! + +DAME (_raising her voice_). Nay, but I care. I'll not have you different +from other folk. + +HANGING-LIP. _We_ were never seen gazing upon trees! + +BROAD-THUMB (_nodding_). Aye! _We_ never heard songs within _us_! + +FLAT-FOOT (_nodding_). Aye! _We_ think only of our work! + +ISABEL. What's your work may not be mine! + +DAME (_decidedly_). There's no other work for a maid than spinning. + +ISABEL (_sighing_). I like it not! Though every other maid in all the world +did love to spin, I'd say the same--I like it not! + +DAME (_to Flat-foot; showing alarm_). Sister, close the door, that none +without may hear such words. + +[_Flat-foot rises, but is too late. The_ QUEEN _enters from the street._] + +QUEEN (_showing displeasure_). How now! What's all this noise? I heard it +from the street! + +[_All are frightened; Isabel weeps._] + +DAME (_bowing_). 'T will not happen again, your Majesty. + +QUEEN (_looking at Isabel_). Have they beaten you, my child? + +ISABEL (_still sobbing_). N--o--, your Majesty. + +QUEEN (_to the Dame_). Tell me why your daughter weeps. + +DAME (_more frightened_). She weeps because--because-- + +[_She stops in confusion._] + +QUEEN. Well--well? + +DAME. Because--because--I will not let her spin. + +QUEEN (_showing surprise_). Because you will not let her spin? + +DAME (_nodding_). Yes, your Majesty. + +QUEEN. Why, this is most strange. + +DAME (_nodding_). Would I but let her, she'd spin from morn till night, and +from then on till morn again. + +QUEEN. I see how it can be so. There's nothing I like better than spinning. + +DAME. She weeps whenever I make her leave off. + +QUEEN. 'T is because she loves it! I am never more pleased than when the +wheels are whirring. + +DAME. But stop she must, for to-day at least. There is no more flax. + +QUEEN. I have rooms full of flax. Let your daughter come to my castle. She +may spin there as much as she pleases. + +DAME (_now, most frightened_). I--I fear she would be a trouble to you. + +QUEEN. Why, no! In fact, I am so pleased with your daughter's industry I +will have my son marry her. + +DAME (_so frightened she can scarcely breathe_). O your Majesty-- + +QUEEN (_interrupting_). But first she must spin all my flax. There are +three rooms full of it--from top to bottom. + +ISABEL (_showing alarm_). Three rooms full! + +QUEEN (_nodding_). Aye, my dear, and when you have spun it all, you shall +become a princess! + +(_Turning to the Dame._) + +Bring your daughter to my castle to-morrow. + +DAME (_bowing_). Yes, your Majesty. + +QUEEN (_going_). To-morrow, mind you. + +DAME (_bowing_). Yes, your Majesty. + +[_All bow to the Queen, who goes._] + +ISABEL. Mother, how could you tell the Queen I love to spin? + +DAME. Think you I'd let the truth be known? I'd not shame myself so! + +ISABEL. I could not spin three rooms of flax in three hundred years. + +DAME. Alas! alas! What shall we do? + +FLAT-FOOT (_to Hanging-lip and Broad-thumb_). Sisters, let us speak +together. + +[_The three Great-Aunts whisper together for a moment._] + +HANGING-LIP. Isabel, we will help you-- + +FLAT-FOOT (_interrupting_). On one condition! + +BROAD-THUMB (_nodding_). Aye,--on a certain condition! + +ISABEL. What do you mean? + +HANGING-LIP. We'll spin the flax for you-- + +FLAT-FOOT (_interrupting_). On one condition. + +BROAD-THUMB (_nodding_). Aye,--on a certain condition! + +DAME. You speak in riddles, sisters. + +HANGING-LIP. 'T is this--if Isabel will invite us to her wedding, we'll +spin the flax. + +FLAT-FOOT. That's the condition. + +BROAD-THUMB (_nodding_). Aye,--that's the certain condition. + +ISABEL. 'T will be deceiving the Queen and the Prince, both. + +DAME. There's no other way to mend things. Go now! Since you are so soon to +be a princess, I'll give you leave to write down your song. + +ISABEL (_sadly_). The song is no longer in my heart. + +DAME. 'T is well. Now listen--you must never let the Prince know about your +songs. He'd send you from the castle. + +BROAD-THUMB (_nodding_). Besides, 't would bring great shame upon us, for +we are a family of spinners. + +FLAT-FOOT (_nodding_). Aye, aye! + +HANGING-LIP (_nodding_). Aye, aye! + + +SCENE II + +TIME: _one week later_. +PLACE: _the Queen's castle_. + + * * * * * + +THE QUEEN. +THE PRINCE. +ISABEL. +THE THREE GREAT-AUNTS. + + * * * * * + +[_The_ THREE GREAT-AUNTS _are working at the last heap of flax in the third +room._ ISABEL _watches them anxiously._] + +ISABEL. Think you to finish before the Queen comes? + +FLAT-FOOT (_nodding as she treads the wheel_). Aye, if treading the wheel +will do it! + +HANGING-LIP (_nodding, as she moistens the thread over her lip_). Aye, if +moistening the thread will do it! + +BROAD-THUMB (_nodding, as she presses the thread with her thumb_). Aye, if +pressing the thread will do it! + +ISABEL. 'T is to-day she brings the Prince. + +FLAT-FOOT. Another minute and we'll have finished. + +ISABEL. Should they come suddenly, you know where to hide--behind those +curtains there. + +THREE GREAT-AUNTS (_nodding_). Aye, we know! + +[_A noise is heard in the distance._] + +ISABEL. Some one comes! + +(_She runs to the door, opens it, and looks out._) + +The Prince comes down the stairs! Quick, aunts, quick! + +FLAT-FOOT (_rising_). Well, 't is finished! + +ISABEL (_looking into hall_). Now comes the Queen! To the curtains, quick! + +[_The three Great-Aunts hide behind the curtains, just as the_ QUEEN _and +the_ PRINCE _enter._] + +QUEEN. Well, have you finished? + +ISABEL (_pointing to a pile of thread_). There's the last of it, your +Majesty. + +QUEEN (_looking at thread_). Spun in the finest style, too! Prince, but a +week ago these rooms were filled with flax. Now look at them. + +PRINCE (_looking about_). Empty, as if flax had never been here. 'T is +wonderful how one maid could do so much! + +QUEEN. 'T is most wonderful! + +PRINCE. The wedding shall take place to-day. Isabel, come now with us. + +ISABEL (_thoughtfully_). No, no! I cannot! + +PRINCE. You cannot? + +QUEEN. You cannot! What do you mean? + +ISABEL (_to the Queen_). Let me go home, your Majesty! + +QUEEN. Go home! + +ISABEL. I am not worthy-- + +PRINCE (_interrupting_). Nonsense! That you are poor is nothing to me. + +QUEEN (_going_). Come, the wedding bells shall ring at once! + +ISABEL. Your Majesty--I--I--did not spin the flax. + +QUEEN. What! You did not spin the flax? + +PRINCE. What is this? + +ISABEL. I deceived you--I can scarcely spin at all. + +QUEEN. But this pile of thread here-- + +ISABEL. 'T was spun by another. + +PRINCE. Another? + +ISABEL. Yes, Prince. + +QUEEN. You shall marry that one then, my son! + +(_To Isabel._) + +As for you, return to your hovel! + +(_Isabel turns to go._) + +Stay! + +(_Isabel stops._) + +Who is the wonderful spinner? Tell us where to find her. + +ISABEL. Here, your Majesty. + +QUEEN. Hidden away, I suppose? + +ISABEL (_nodding_). Yes, your Highness, behind those curtains. + +QUEEN. Go, my son, and draw the curtains. You shall be the first to look +upon your bride. + +[_The Prince draws the curtains and sees the three Great-Aunts, who sit in +a row. They smile and smile upon the Prince, who stands looking at them in +astonishment._] + +FLAT-FOOT. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your foot so flat? + +FLAT-FOOT. From treading the wheel! From treading the wheel! + +HANGING-LIP. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your lip so long? + +HANGING-LIP. From moistening the thread! From moistening the thread! + +BROAD-THUMB. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your thumb so broad? + +BROAD-THUMB. From pressing the thread! From pressing the thread! + +[_The Prince turns to Isabel._] + +FLAT-FOOT (_quickly_). Isabel does naught but gaze and gaze, on flowers and +trees and running brooks. Ha, ha, ha! + +PRINCE. Is this true, Isabel? + +ISABEL (_timidly_). Yes, Prince. + +HANGING-LIP. She says these flowers and trees and running brooks do sing +her songs. Ha, ha, ha! + +PRINCE. Is this true, Isabel? + +ISABEL (_as before_). Yes, Prince. + +BROAD-THUMB. And she begs leave to write down these songs. Ha, ha, ha! + +[ILLUSTRATION: THE PRINCE SEES THE THREE GREAT-AUNTS] + +PRINCE. Is this true, Isabel? + +ISABEL (_hanging head_). Yes, Prince. + +PRINCE. Isabel, hang not your head. I'll give you time to write your songs. + +QUEEN. My son-- + +PRINCE (_interrupting_). Nay, nay, mother! The songs please me better than +the flat-foot and the hanging-lip and the broad-thumb of the spinners. +Come, Isabel, you shall be my princess! You shall sing me your songs! You +shall teach me how to gaze upon flowers and trees and running brooks, for +these things have ever been dear to my heart. Come, Isabel, come! + + + + +THE EMPEROR'S TEST + + +SCENE I + +TIME: _one spring; noon_. +PLACE: _an army camp on the banks of a large creek. A village is near by. +To the south is a great forest_. + + * * * * * + +THE EMPEROR. +THE GENERAL. +THE CAPTAIN. +FIRST AIDE. +SECOND AIDE. +THE MAYOR'S WIFE AND SON. +THE RICH MERCHANT'S WIFE AND SON. +THE POOR WOODCUTTER'S WIFE AND HER SON, PIERRE. + + * * * * * + +[_An ante-room in the Emperor's tent is seen. Great curtains separate this +room from the Emperor's room back. An_ AIDE _waits in the ante-room. Enter +the_ GENERAL _from the Emperor's room._] + +GENERAL (_to the Aide_). Have any yet come from the village? The Emperor +would know. + +AIDE. Yes, General. They wait without. + +GENERAL. Bid them enter. + +AIDE (_crossing; speaking to those without_). You will please enter. + +[_Enter the_ MAYOR'S WIFE _and_ SON; _the_ RICH MERCHANT'S WIFE _and_ SON.] + +GENERAL. You have come to see the Emperor? + +THE LADIES. General, we have. + +GENERAL. His Majesty wishes you to leave your sons here in camp until +evening. + +MAYOR'S WIFE. General, could you not tell us the Emperor's plans? + +GENERAL. Yes, madam. The Emperor must march southward where the enemy is in +camp. He wishes a guide who can lead him safely through this great forest. + +RICH MERCHANT'S WIFE. We were told the Emperor would greatly honor the lad +he chooses. + +GENERAL. 'T is true, madam. The lad chosen will be made an aide. + +MAYOR'S WIFE. I thought only princes were chosen for the Emperor's aides. + +GENERAL. They have always been princes. This is a great opportunity for the +lads of this village. + +MAYOR'S WIFE. But how will the Emperor make a choice? + +GENERAL. A test will be given every boy who comes. This test will prove his +fitness to be guide. + +[_Enter an_ AIDE _from Emperor's room._] + +AIDE. General, the Emperor would see you. + +[_The General bows to the ladies and leaves._] + +AIDE (_turning to the ladies_). The Emperor will receive you presently. + +[_Aide goes. Enter the_ POOR WOODCUTTER'S WIFE _and_ SON.] + +POOR WOODCUTTER'S WIFE (_timidly_). I heard the Emperor wanted a guide. + +MAYOR'S WIFE. The Emperor only wants the boys of the best families, madam. + +[_Enter the_ EMPEROR, GENERAL, _and_ CAPTAIN; _they remain back; are not +seen by the ladies._] + +POOR WOODCUTTER'S WIFE (_sighing_). I suppose that is true, but Pierre is a +smart boy. If the Emperor could only see him-- + +RICH MERCHANT'S WIFE (_interrupting_). The Emperor wants a boy with proud +manners such as our boys have. + +EMPEROR (_indignantly_). Fiddlesticks! + +THE LADIES (_bowing_). Your Highness! + +EMPEROR. Fiddlesticks and candles, I say! + +POOR WOODCUTTER'S WIFE. I am sorry, your Majesty. I didn't know how it was. +Come, Pierre. + +[_She turns to go._] + +EMPEROR. Remain. Pierre shall have the test with the others. Ladies, you +shall know whom I have chosen when the test is finished. I bid you +good-day. + +[_The ladies bow and go._] + +EMPEROR (_turning to the boys_). My lads, go through the forest southward, +till you come to the river. You may then return. Captain, see that guards +go with them. My lads, you must not speak the one to the other until I have +again seen you. I must have your word on that. Do you promise? + +BOYS. Sire, we promise. + +EMPEROR. 'T is well. Captain, they are now in your charge. General, a word +with you. + +[_The Emperor and General go into Emperor's room. The Captain leads the +boys from the tent._] + + +SCENE II + +TIME: _two hours later_. +PLACE: _the Emperor's tent; the Emperor's room_. + + * * * * * + +THE EMPEROR. +FIRST AIDE. +SECOND AIDE. +LUDWIG. + + * * * * * + +[_The_ EMPEROR _is seen sitting at a table looking at maps. Enter an_ AIDE. +_He salutes._] + +EMPEROR. Well? + +AIDE. The prisoner has returned, sire. + +EMPEROR. What prisoner? + +AIDE. The one sent out for the test, sire. + +EMPEROR. Who was sent? + +AIDE. Ludwig, the prisoner who has been ill for so long. + +EMPEROR. Ah, yes; bid him enter. + +(_Aide goes; he reënters with_ LUDWIG, _who wears an old, torn army cloak +over his uniform. He salutes._) + +I notice you are a bit lame, Ludwig. + +LUDWIG. Yes, sire; in my left leg. My dog was hit at the same time. + +EMPEROR. Does your dog go to battle with you? + +LUDWIG. If he can slip into the ranks, sire. He always goes where I go, +sire. + +EMPEROR. Then he went with you to-day, of course? + +LUDWIG. Yes, sire. + +EMPEROR. You are sure the boys didn't see you? + +LUDWIG. No one saw me. I kept a sharp lookout. When I came to a clear space +I went to one side, hiding behind trees, to look ahead. Then I ran across. + +EMPEROR. That must have tired you, Ludwig. You're not quite well yet. + +LUDWIG. I found I couldn't leap the streams; I had to climb down the banks +and wade them. + +EMPEROR. You rested by the way, didn't you? + +LUDWIG. Yes, sire, and once I stopped to pick berries. + +EMPEROR. You made the return trip by boat up the creek? + +LUDWIG. Yes, sire. + +EMPEROR. That is all. + +[_The Aide and Ludwig go. The Emperor claps his hands. Enter_ SECOND AIDE. +_He salutes._] + +EMPEROR (_to Aide_). Have the lads returned? + +AIDE. No, sire. + +EMPEROR. Do you know when the Captain expects them? + +AIDE. In about half an hour, sire. + +EMPEROR. Bid their mothers return at that time. I wish them to be present +at the test. + +AIDE. Yes, sire. + +[_He salutes and goes._] + +EMPEROR (_slowly_). Let me see--a lame man; a lame dog; running footprints +across open spaces; wading streams instead of leaping them; stopping to +pick berries--Why, the story reads itself! + +(_He sits at table; takes up maps._) + +Well, we shall see what we shall see! + + +SCENE III + +TIME: _a half hour later_. +PLACE: _the Emperor's tent; the ante-room_. + + * * * * * + +THE EMPEROR. +THE GENERAL. +THE CAPTAIN. +AN AIDE. +THE MAYOR'S WIFE AND SON. +THE RICH MERCHANT'S WIFE AND SON. +THE POOR WOODCUTTER'S WIFE AND SON, PIERRE. + + * * * * * + +[_The_ LADIES _wait in the lower end of ante-room. Back is a great +armchair._] + +MAYOR'S WIFE. I cannot think why the boys were sent into the forest! + +RICH MERCHANT'S WIFE. Nor I! It seems to me the Emperor should have asked +them what they could do. Now, my boy dances so prettily! + +MAYOR'S WIFE. I was certain he would ask them to ride. Now, my boy rides so +well--just like a prince! + +RICH MERCHANT'S WIFE. Well, he will no doubt ask them all these things upon +their return. + +(_She turns to Pierre's mother._) + +You see, madam, how little chance your boy has. I am sure he cannot dance? + +POOR WOODCUTTER'S WIFE (_sadly_). No, madam. + +MAYOR'S WIFE. I am certain he does not ride? + +POOR WOODCUTTER'S WIFE (_sighing_). No, madam. + +[_Enter an_ AIDE; _crosses to Emperor's room; announces at curtains._] + +AIDE. The boys have returned, sire! + +[_Enter the_ CAPTAIN _with the_ BOYS. _Enter the_ GENERAL _from Emperor's +room._] + +GENERAL (_announcing_). The Emperor! + +[_Enter the_ EMPEROR; _all bow._] + +EMPEROR (_sitting in armchair_). I will now give the test. Captain, bring +up the first boy. + +[_The Captain brings up the_ RICH MERCHANT'S SON.] + +EMPEROR. Well, my lad, what did you see in the forest? + +RICH MERCHANT'S SON. Many, many trees, sire. + +EMPEROR. You saw nothing but trees? + +RICH MERCHANT'S SON. That was all, sire--just trees. + +EMPEROR. I shall not want you; you may go. + +RICH MERCHANT'S WIFE. Oh, your Majesty, if you could only see him dance! + +EMPEROR. Candles and cheese! Do I want a dancing guide? Captain, bring up +the next one. + +[_The Captain brings up the_ MAYOR'S SON.] + +EMPEROR. Well, my lad, what did you see in the forest? + +MAYOR'S SON. I saw trees and bushes, sire. + +EMPEROR. Nothing more? + +MAYOR'S SON. No, sire. + +EMPEROR. I shall not want you; you may go. + +MAYOR'S WIFE. Oh, your Majesty, if you could only see him ride! Just like a +prince, sire! + +EMPEROR. Fiddlesticks! Captain, the last boy there. + +[_The Captain brings up_ PIERRE]. + +EMPEROR. Well, my lad, what did you see in the forest? + +PIERRE. I saw that a man had passed southward just before us, sire. + +EMPEROR. How did you know that? Did you see him? + +PIERRE. No, sire, I saw his footprints. He was lame in the left leg. + +EMPEROR. How did you learn that? + +PIERRE. The footprints were deeper on the right side. His dog was lame +also. + +EMPEROR. He had a dog? + +PIERRE. Yes, sire; a lame dog I'm sure, because one of his tracks was +always faint or missing. + +EMPEROR. Did you trace this man and dog by their footprints? + +PIERRE. Yes, sire, to the river. There were traces of them in the grass, in +the mud, in the dust, on rocks, and in still water. I am certain they had +passed but a short time before--not more than a half hour. + +EMPEROR. How could you tell that? + +PIERRE. The grass had not yet straightened up. The tracks in the mud had +not yet filled with water. The prints in the dust were still clear although +a wind was blowing. + +EMPEROR. Good! But how did you know they had but just passed through still +water and over rocks? + +PIERRE. The water had not yet settled, and the rocks were still damp. + +EMPEROR. Good! Very good! + +PIERRE. Sire, I fear this man is one of the enemy! + +EMPEROR. Indeed! What proof have you of that? + +PIERRE. This, sire. + +(_Handing a small piece of cloth to Emperor._) + +'T is the color of the enemy's uniform. + +EMPEROR. It is, my lad. How came you by it? + +PIERRE. I found it on a thorn-bush. It was torn from his cloak, sire. + +EMPEROR. And why from his cloak? + +PIERRE. The thorn-bush was at least three feet from the man's line of +travel. The wind blew the cloak about. + +EMPEROR (_handing the cloth to an aide; whispering to him_). Take this to +Ludwig. + +(_The Aide goes._) + +Well, Pierre, do you think we should be in fear of this enemy? + +PIERRE. I do not know, sire. I only know that he has a good disposition. + +EMPEROR (_surprised_). A good disposition? How do you know that? + +PIERRE. The dog was always near him. When the man stopped to rest, the dog +lay down at his feet. + +EMPEROR. But he may have held the dog there, my lad. + +PIERRE. Not while he was picking berries, sire. + +EMPEROR. So our enemy picked berries, did he? + +PIERRE. Yes, sire, the dog lying by the bushes all the while. + +EMPEROR. Do you think we could capture this man? + +PIERRE. Yes, sire, for he was very tired. + +EMPEROR. How do you know that? + +PIERRE. He climbed down the banks of every small stream. I should have +leaped them. + +EMPEROR. You think it would be an easy matter, then, to follow and capture +him? + +PIERRE. Not easy, sire, for he was always on the lookout. + +EMPEROR. How do you know that? + +PIERRE. Whenever he reached a clear space, he went to one side, hiding +behind trees to look ahead. Then he ran across the open. + +EMPEROR. Your proof of this, my lad? + +PIERRE. His footprints in every clear space showed only the balls of the +feet. + +EMPEROR. Good! You followed him only to the river. + +PIERRE. Those were the orders, sire. Had I gone on, I could have overtaken +him by evening. + +EMPEROR. That you could not, my lad, for the man is now here, in camp. He +returned by boat. Ladies, the test is over. + +(_He turns to Pierre's mother._) + +Madam, your son shall be my guide. I am proud to have a boy of such keen +sight and quick thought in my kingdom. And 't is much to be the mother of +such a lad. I salute you, madam! With greatest respect I salute you! + +[_He bows to the happy woman with great courtesy._] + +EMPEROR (_turning to the ladies_). Ladies, I bid you farewell. + + + + +CHRISTOPHER COLUMBUS + + +SCENE I + +TIME: _one morning; 1484_. +PLACE: _a street in front of King John's palace, Lisbon, Portugal. Gates to +courtyard of palace in background_. + + * * * * * + +CHRISTOPHER COLUMBUS. +SCHOOLMASTER. +CARLOS. +ROQUE.[Footnote: Pronounced _R[=o]'k[=a]_.] +PANCHO.[Footnote: Pronounced _Pän'ch[=o]_ (_ch_ as in _ch_urch.)] +KING JOHN. +COURTIERS. +JESTER. +RIVERRA,[Footnote: Pronounced _R[=e]-ver'rä_.] A SEA-CAPTAIN. +PORTER. +BOYS, HOSTLERS, SERVANTS. + + * * * * * + +[_Enter_ CARLOS, ROQUE _and_ PANCHO. _They carry their school-books. A +noise is heard in courtyard._] + +ROQUE (_stopping; listening_). There's stirring in the King's courtyard! + +[_He runs to closed gates; peeps through a crack._] + +CARLOS. Come, Roque, we shall be late to school. + +ROQUE (_throwing down books_). Come, look! They are laying the red carpets +in the court! + +PANCHO (_throwing down books; peeping_). 'T is for the King they lay them! + +CARLOS. Come, the master will be angry. + +ROQUE. But the King will soon be coming! + +PANCHO. Let's wait and see him, Carlos! + +CARLOS. Not I! I know how the master flogs! Yesterday I came late to +school. + +PANCHO. Why were you late? + +CARLOS. I stopped to watch the crazy Italian, Columbus. + +[_He starts off; the others follow._] + +ROQUE. I saw him once! + +PANCHO. I wish I might see him! + +CARLOS. There he comes now! (_Calling_.) _Loco!_[Footnote: Pronounced +_l[=o]'k[=o]_; Spanish for _crazy_.] _Loco!_ + +ROQUE. Aye, there he is! (_Calling._) _Loco! Loco!_ + +PANCHO (_calling_). _Loco! Loco!_ + +[_Enter_ COLUMBUS, _dignified and gentle. A crowd of_ BOYS _follow._] + +ALL BOYS. _Loco! Loco! Loco! Loco!_ + +[_Enter_ SCHOOLMASTER, _carrying a switch._] + +MASTER (_flourishing switch_). To school with you! To school now! + +[_Boys run off in alarm._] + +MASTER (_turning angrily upon Columbus_). You were teaching them your +foolish notions, sir! + +COLUMBUS (_smiling_). I'd like the chance to do so, master. + +MASTER. Ah, then you _have_ been at it! I saw them all about you! + +COLUMBUS. I taught them nothing, master,--this time. + +MASTER. 'T is well for you, sir, that you did not. The world is flat, sir, +flat! Do you not know that, sir? + +COLUMBUS. I was so taught-- + +MASTER. How do you dare, then, to say the world is round? + +COLUMBUS. Much study and common sense, dear master, have made me dare. + +MASTER. The lessons taught your fathers are good enough for you, sir. + +COLUMBUS. That cannot be, dear master. How, then, could the world move on? + +MASTER. Move on? Hear him talk! Do you think, sir, that an elephant carries +this flat world on his back and walks about with it? Ha, ha! + +[_Gates are opened;_ PORTER _is seen._] + +MASTER (_going_). Go tell the King this world is round! Ha, ha! Go tell the +King! + +[_Schoolmaster goes._] + +PORTER (_seeing Columbus; aside_). Ah, 't is the crazy Italian! + +COLUMBUS. Porter, I seek the King! + +PORTER. Do you think he'll listen to your silly talk? O, I've heard of you! +Away! + +COLUMBUS. Come, let me in! + +PORTER. Away! Away with you, _loco_! + +[_Enter from gates, the_ JESTER _in cap and bells,_ HOSTLERS _and_ +SERVANTS.] + +JESTER. Who's away? Who's crazy? + +PORTER. The Italian there! He who says this world is round! + +JESTER. Round? How now? Round, say you? + +PORTER (_nodding; laughing_). With people on the other side! + +JESTER. A-standing on their heads--so! + +[_Jester stands on his head; all laugh. Enter a_ COURTIER.] + +COURTIER. The King comes! + +[_Enter_ KING JOHN _and many_ COURTIERS.] + +JESTER (_capering about Columbus_). Ha, ha, ha, ha! + +KING. What's this, Jester? + +JESTER. Here's he, sire, who says this world is round! + +[_He capers about Columbus; all laugh._] + +KING. I've heard of your notions, Columbus. So you think there's land to be +discovered, do you? + +COLUMBUS. Yes, your Majesty, I'm sure of it. + +JESTER. With people a-standing on their heads--so! + +[_He stands on his head; all laugh._] + +KING. Silence! Columbus, I've a mind to listen, and give you ships and +money. Have you maps and charts to prove your plans? + +COLUMBUS (_taking maps from cloak_). Yes, sire. + +KING. Wait, then, till I have spoken with my Courtiers. + +[_Columbus bows, retires, and unrolls maps._ CAPTAIN RIVERRA _crosses to +Columbus; talks with him aside._] + +KING (_speaking softly to Courtiers_). You know, my Courtiers, that should +there be new lands, great glory will be given the discoverer of them. + +FIRST COURTIER. Aye, sire, 't will bring him great honor. + +SECOND COURTIER. And riches. + +KING. 'T is I, and I alone, who should have the honor and the riches! + +FIRST COURTIER. Aye, sire! + +SECOND COURTIER. Aye, sire! + +THIRD COURTIER. But nothing can be done without the Italian's maps and +charts. No one but he knows the route over the unknown seas. + +KING. Well, we must have his maps and charts. + +FIRST COURTIER. He'll not sell them, sire. You may depend on that. + +KING. And we'll not buy them. Go, bid my fool take them. + +(_Courtiers showing surprise._) + +Go, I say, and see to it! + +[_Courtiers talk aside with Jester._] + +RIVERRA (_to Columbus_). I wish you well, sir, for I believe that what you +say is true. + +COLUMBUS. I'm glad to hear you say that, Captain. + +RIVERRA. My ship is in the harbor now, and I must go. But I wish you well, +Columbus, I wish you well. + +[_Columbus, throwing his maps on the stone bench near gates, takes +Riverra's hands in his. The Jester creeps up, takes maps, runs into the +court with them, and disappears._] + +COLUMBUS (_with feeling_). I thank you, Captain--so few believe in me-- + +KING. Come now within, Columbus; I'll look at your maps and charts. + +[_Riverra goes._] + +COLUMBUS (_turning to take up maps_). Why, how is this! My maps were here +but just a moment ago! + +KING. Who saw his maps? + +(_Pause._) + +The Courtiers are silent, sir. + +COLUMBUS. I laid them there, sire! + +KING. Then there they should be. + +COLUMBUS. Some one has taken them--'t is a joke-- + +KING (_interrupting_). My Courtiers do not play jokes in my presence. + +COLUMBUS. Those maps and charts are precious to me, sire! + +KING. Come, now, I'm not so sure you ever had maps or charts. + +COLUMBUS. Your Majesty! + +KING. Well, produce them. + +COLUMBUS. But, sire,-- + +KING (_interrupting_). I'll not hear excuses! Your maps, sir,--at once, +sir! + +COLUMBUS. I'll make other maps and charts-- + +KING. Away with you! + +COLUMBUS. Your Majesty-- + +KING. Away, I say! And come to us no more with tales of unknown lands. + +[_Enter_ JESTER _from gates._] + +JESTER. With people a-walking on their heads--so! + +[_Jester stands on his head; all laugh. Columbus goes, showing bitter +disappointment._] + + +SCENE II + +TIME: _1492_. +PLACE: _Spain. Court of King Ferdinand and Queen Isabella_. + + * * * * * + +KING FERDINAND. +QUEEN ISABELLA. +CHRISTOPHER COLUMBUS. +CAPTAIN RIVERRA. +WISE MEN. +COURTIERS AND LADIES. +A MONK, FATHER-CONFESSOR TO THE QUEEN. +MESSENGER. + + * * * * * + +[_Many_ COURTIERS _and_ LADIES _are seen in audience-room of palace; a +throne is in the background. Enter the_ FIRST COURTIER.] + +FIRST COURTIER. The King and Queen! + +[_Enter_ KING FERDINAND _and_ QUEEN ISABELLA, _followed by_ COURTIERS, +LADIES _and the_ WISE MEN. _All bow as the King and Queen cross to throne +and sit. Enter the_ MONK; _he advances to throne and bows._] + +KING. Speak, good Father. + +MONK. I pray your Majesties to see one Christopher Columbus. + +KING (_inquiringly_). Columbus? + +MONK. The Italian who thinks he can find a short route to the Indies, sire. + +KING (_nodding_). Ah, I remember. You brought his plans to us some time +ago, good Father. + +QUEEN (_nodding_). Let us see him to-day, sire. + +KING (_to First Courtier_). Admit this Christopher Columbus. + +(_Courtier admits_ COLUMBUS. _He kneels before the King._) + +Rise, Columbus, and tell us what you seek. + +COLUMBUS (_rising_). Ships, sire, to prove the plans which I did send your +Majesties; plans for sailing in the unknown seas. + +QUEEN. They seemed to me most wise and sensible. + +COLUMBUS (_with joy_). Ah, your Majesty believes with me? + +KING (_hastily_). I'd have our Wise Men speak. Unfold your maps before +them, sir. + +[_Columbus crosses to Wise Men and unfolds a map before them. They look at +it, shake their heads and laugh._] + +COLUMBUS (_with dignity_). I propose to sail by this route to find that +eastern land. + +FIRST WISE MAN. Ha, ha! I never heard anything so absurd! He'd sail west to +find the east! Ha, ha! + +SECOND WISE MAN (_pointing to map_). The edge of the world is out there in +those strange waters! And you are willing to fall off with your ships into +space, sir? + +COLUMBUS. I'm sure the water continues-- + +THIRD WISE MAN (_interrupting_). How could there be land beyond? 'T would +be under us, and the trees would have to grow their roots in the air. + +[_Wise Men nod wisely._] + +SECOND WISE MAN. And the rain must needs fall upward there! + +ALL WISE MEN (_nodding wisely_). Aye! Aye! + +QUEEN. I've heard you did lay your plans before King John of Portugal? + +COLUMBUS. I did, your Majesty. + +KING. That was bad for you, Columbus. King John sent ships, but they soon +returned. + +(_Turning to_ CAPTAIN RIVERRA.) + +Was not that the way of it, Captain? You sailed with them, I believe? + +RIVERRA. Yes, sire. But the failure came because the sailors were afraid +and refused to go on. + +(_To Columbus._) + +You were thus avenged for the theft of your maps, sir. + +QUEEN. Would you sail again with this man as your leader, Captain? + +RIVERRA. I would, your Majesty! I believe not in the monsters and the edge. + +QUEEN. Nor I! Let's provide the ships, sire. + +KING. Our people would not like it--they'd grumble. And so 't would be bad +for us. + +[_Enter_ MESSENGER _in great haste; kneels before King and Queen._] + +KING. What news do you bring? Speak! + +MESSENGER. The Turks have captured the Spanish merchant ships! + +KING. Our ships bound for the Indies? + +MESSENGER. Yes, your Majesty. + +KING. Alas! Alas! + +QUEEN. The merchants and the sailors--did the Turks spare them? + +MESSENGER. Not one, your Majesty! + +QUEEN. Alas, such loss of life! And 't is not the first time! Not a month +that does not bring us the same sad news! + +FIRST WISE MAN (_to Monk_). You must give our people consolation, Father. + +MONK. 'T is not so much consolation they need, as another passage to the +Indies; one far away from Turkey and the cruel Turks. + +QUEEN. You are right, Father. Speak on. + +MONK. To find such a passage is the chief purpose of Christopher Columbus. +That is the hope that has given him courage when half the world called him +_fool_. + +QUEEN. Sire, we must find ships and money! + +KING. We dare not tax the people more-- + +QUEEN. Then I'll help you, Columbus! I'll pledge my own jewels to raise the +funds. + +COLUMBUS (_joyfully_). Your Majesty! + +QUEEN. 'T is for the safety of our merchants! 'T is for the glory of Spain! + +COLUMBUS (_kneeling before Queen; kissing her robe_). My Queen! + + +SCENE III + +TIME: _five months later; evening_. +PLACE: _on board the Santa Maria_. + + * * * * * + +ADMIRAL CHRISTOPHER COLUMBUS. +CAPTAIN PINZON.[Footnote: Pronounced _Pin'th[=o]n_.] +SAILORS. + + * * * * * + +[_The_ SAILORS _are seen sitting on deck in a group. They are gloomy and +dejected._] + +FIRST SAILOR. 'T is a sea of darkness! + +SECOND SAILOR. Last night I heard the angry sea-gods! + +THIRD SAILOR (_nodding_). Aye, I heard them! + +FOURTH SAILOR. What were they crying? + +SECOND SAILOR. Angry words to us for coming into their own waters. + +FIRST SAILOR. 'T is the Italian Columbus the sea-gods should destroy! + +ALL SAILORS. Aye! Aye! + +SECOND SAILOR. We'll never see Spain again! + +THIRD SAILOR. We should compel him to return! + +ALL SAILORS. Aye! Aye! + +[_Enter_ COLUMBUS _with_ CAPTAIN PINZON. _They cross to bow of ship. The +Captain glances uneasily at the sailors._] + +CAPTAIN. Admiral, I must tell you frankly, the sailors are dissatisfied. + +COLUMBUS. I am sorry to hear that, Captain. + +CAPTAIN. What shall we do, sir? + +COLUMBUS. Do? Why, sail on! + +CAPTAIN. I'll see to it, sir! + +[_Captain goes._] + +FIRST SAILOR (_crossing_). Admiral, the men have chosen me to speak for +them. + +COLUMBUS. What do they wish? + +FIRST SAILOR. To return to Spain, sir! + +COLUMBUS. Tell them we may see land any day now. + +FIRST SAILOR (_shaking head_). They'll no longer listen to that! + +COLUMBUS. Then tell them that I mean to sail on. + +FIRST SAILOR (_starting_). Sail on? + +COLUMBUS. Yes; to sail on and on. Go tell them that. + +[_Sailor goes. Enter_ CAPTAIN.] + +CAPTAIN. Admiral, the sailors below show signs of mutiny! + +COLUMBUS (_alarmed_). Mutiny? + +CAPTAIN (_nodding_). The same as these on deck. Only look at them! + +[_The Sailors talk together excitedly and gesticulate wildly._] + +COLUMBUS. Ah, if I could only give them my courage! + +CAPTAIN. I fear for your life, Admiral, if the order is not given to +return. + +COLUMBUS. I cannot give it, Captain. + +[_The Sailors on deck are joined by others from below. They rush down upon +Columbus._] + +FIRST SAILOR (_angrily_). You must take us back to Spain, sir! + +SECOND SAILOR. We'll not go farther, sir! + +ALL SAILORS. Aye! Aye! + +COLUMBUS. I'm sure we will soon find land-- + +SAILORS (_interrupting; angrily_). Hear him! Hear him! + +COLUMBUS. To the one who first sees land, the Queen has promised money-- + +FIRST SAILOR (_interrupting_). Money! to feed to the sea-monster! + +SECOND SAILOR (_threateningly_). Will you turn back? + +COLUMBUS (_with determination_). No! + +CAPTAIN. Now, men, back to your duties. + +THIRD SAILOR. Alas! we'll never see our homes again! + +FOURTH SAILOR. Nor our friends! + +FIRST SAILOR. We are lost, men! + +SECOND SAILOR. What shall we do? + +ALL SAILORS. What shall we do? What shall we do? + +[_As their anger turns to despair, Columbus is touched._] + +COLUMBUS. Listen, men,--I make you this promise: if we do not see land +within three days, we will return to Spain. + +CAPTAIN. There, now,--that's a fair promise! Go now to your duties! + +COLUMBUS. And let every man watch for land as he has never watched before! + +SAILORS (_pleased_). Aye, aye, sir! + +[_Sailors cross to a distant part of deck._] + +COLUMBUS (_sadly_). Alas for my plans and my hopes, if these three days +bring not land! + +[_He talks aside with the Captain._] + +FIRST SAILOR. We were too easily won over, men. + +SECOND SAILOR (_nodding_). Fearful things may happen to us in these three +days! + +THIRD SAILOR. Suppose we reach the edge to-morrow! + +FOURTH SAILOR. Suppose the sea-monster should come for us to-night! + +ALL SAILORS. Aye! Aye! + +FIRST SAILOR (_cautiously_). Come closer, men! There's something I would +say to you! + +[_Sailors close about him; Captain goes._] + +FIRST SAILOR (_pointing to Columbus, who stands in bow looking at the +stars_). Why should he not fall into the seas to-night? + +SECOND SAILOR. What! You mean-- + +FIRST SAILOR. I mean he _must_ fall into the seas to-night. Are you with +me, men? + +ALL SAILORS. Aye! Aye! + +FIRST SAILOR (_cautiously_). 'T is my plan to push him over as he stands +there looking at the stars. + +FOURTH SAILOR. Why not creep upon him now? + +FIRST SAILOR. Are you willing, men, to have the deed done now? + +ALL SAILORS. Yes! Yes! + +FIRST SAILOR (_to Second and Third Sailors_). Come with me, you two! We'll +creep up on his left. + +[_They creep upon Columbus, who is seen to suddenly bend forward, looking +eagerly into the distance._] + +COLUMBUS. Land! Land! + +[_Sailors stop; enter the_ CAPTAIN.] + +CAPTAIN. Did you say land, sir? + +COLUMBUS. Land, Captain, land! Come, Sailors, come! Land! Land! + +SAILORS (_looking; joyfully_). Land! Land! + +COLUMBUS (_lifting his arms_). Now Heaven be praised! + + + + + NOTE TO TEACHER.--This play conforms to the spirit of the + traditional story of Columbus, but the dramatization has + made it necessary to condense into one scene the somewhat + prolonged negotiations with Ferdinand and Isabella. + + + +***END OF THE PROJECT GUTENBERG EBOOK CHILDREN'S CLASSICS IN DRAMATIC +FORM*** + + +******* This file should be named 10541-8.txt or 10541-8.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/1/0/5/4/10541 + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS," WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + +https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + +http://www.ibiblio.org/gutenberg/etext06 + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + +https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: +https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: +https://www.gutenberg.org/GUTINDEX.ALL + +*** END: FULL LICENSE *** diff --git a/old/10541-8.zip b/old/10541-8.zip Binary files differnew file mode 100644 index 0000000..f14075b --- /dev/null +++ b/old/10541-8.zip diff --git a/old/10541-h.zip b/old/10541-h.zip Binary files differnew file mode 100644 index 0000000..b6dc4cf --- /dev/null +++ b/old/10541-h.zip diff --git a/old/10541-h/10541-h.htm b/old/10541-h/10541-h.htm new file mode 100644 index 0000000..a057972 --- /dev/null +++ b/old/10541-h/10541-h.htm @@ -0,0 +1,4690 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> +<title>The Project Gutenberg eBook of Children's Classics In Dramatic Form, by Augusta Stevenson</title> +<style type="text/css"> + <!-- + * { font-family: Times; + } + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center;} + + HR { width: 50%; } + hr.full { width: 100%; } + .note, .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .toc { font-size: 1em; margin-bottom: 0em;} + CENTER { padding: 10px;} + .figure, .figcenter, .figright, .figleft, + {padding: 1em; margin: 0; text-align: center; font-size: 0.8em;} + .figure img, .figcenter img, .figright img, .figleft img, + {border: none;} + .figure p, .figcenter p, .figright p, figleft p, + {margin: 0; text-indent: 1em;} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} + // --> +</style> +</head> +<body> +<h1>The Project Gutenberg eBook,<br> + Children's Classics In Dramatic Form,<br> + by Augusta Stevenson</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Children's Classics In Dramatic Form</p> +<p>Author: Augusta Stevenson</p> +<p>Release Date: December 29, 2003 [eBook #10541]</p> +<p>Language: English</p> +<p>Character set encoding: iso-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK CHILDREN'S CLASSICS IN DRAMATIC FORM***</p> +<br> +<center><h3>E-text prepared by Juliet Sutherland, Lee Chew-Hung,<br> + and the Project Gutenberg Online Distributed Proofreading Team</h3></center> + + +<hr class="full"> +<p> </p> +<h1>CHILDREN'S CLASSICS IN DRAMATIC FORM</h1> +<br> +<h3>A READER FOR THE FOURTH GRADE</h3> +<br> +<br> +<h3>BY AUGUSTA STEVENSON</h3> +<h5>Formerly a Teacher in the Indianapolis Public Schools</h5> +<h5>1908</h5> +<p> </p> +<h4>TO MISS N. CROPSEY</h4> +<h5>Assistant Superintendent<br> +Indianapolis Public Schools</h5> +<p> </p> +<p> </p> +<h2>FOREWORD</h2> +<p>This book is intended to accomplish three distinct purposes: +first, to arouse a greater interest in oral reading; second, to +develop an expressive voice—sadly lacking in the case of most +Americans; and third, to give freedom and grace in the bodily +attitudes and movements which are involved in reading and speaking. +The stories given are for the most part adaptations of favorite +tales from folklore,—Andersen, Grimm, Aesop, and the Arabian +Nights having been freely drawn upon.</p> +<p>Children are dramatic by nature. They <i>are</i> for the time +the kings, the fairies, and the heroes that they picture in their +imaginations. They <i>are</i> these characters with such abandon +and with such intense pleasure that the on-looker must believe that +nature intended that they should give play to this dramatic +instinct, not so much formally, with all the trappings of the +man-made stage, but spontaneously and naturally, as they talk and +read. If this expressive instinct can be utilized in the teaching +of reading, we shall be able both to add greatly to the child's +enjoyment and to improve the quality of his oral reading. In these +days when so many books are hastily read in school, there is a +tendency to sacrifice expression to the mechanics and +interpretation of reading. Those acquainted with school work know +too well the resulting monotonous, indistinct speech and the +self-conscious, listless attitude which characterize so much of the +reading of pupils in grades above the third. It is believed that +this little book will aid in overcoming these serious faults in +reading, which all teachers and parents deplore. The dramatic +appeal of the stories will cause the child to lose himself in the +character he is impersonating and read with a naturalness and +expressiveness unknown to him before, and this improvement will be +evident in all his oral reading, and even in his speech.</p> +<p>The use of the book permits the whole range of expression, from +merely reading the stories effectively, to "acting them out" with +as little, or as much, stage-setting or costuming as a parent or +teacher may desire. The stories are especially designed to be read +as a part of the regular reading work. Many different plans for +using the book will suggest themselves to the teacher. After a +preliminary reading of a story during the study period, the teacher +may assign different parts to various children, she herself reading +the stage directions and the other brief descriptions inclosed in +brackets. The italicized explanations in parentheses are not +intended to be read aloud; they will aid in giving the child the +cue as to the way the part should be rendered. After the story has +been read in this way, if thought advisable it can be played +informally and simply, with no attempt at costuming or theatric +effects. It will often add to the interest of the play to have some +of the children represent certain of the inanimate objects of the +scene, as the forest, the town gate, a door, etc. Occasionally, for +the "open day," or as a special exercise, a favorite play may be +given by the children with the simplest kind of costuming and +stage-setting. These can well be made in the school as a part of +the manual training and sewing work. In giving the play, it will +generally be better not to have pupils memorize the exact words of +the book, but to depend upon the impromptu rendering of their +parts. This method will contribute more largely to the training in +English.</p> +<p>The best results will usually be obtained by using these stories +in the fourth grade. In some schools, however, the stories in the +first part of the book may profitably be used in the third +grade.</p> +<p>The author has been led to believe from her own experience and +from her conversation with many other teachers that there is a +pronounced call for this kind of book. She therefore hopes that in +the preparation of this book she may have been of service to the +teachers and children who may be led to use it.</p> +<p>A. S.</p> +<hr> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<p><b>CONTENTS</b></p> +<p class="toc"><a href="#2h1">THE TRAVELLERS AND THE +HATCHET</a></p> +<i>Adapted from Aesop's Fable, The Travellers and the Hatchet.</i> +<p class="toc"><a href="#2h2">THE OLD MAN AND HIS GRANDSON</a></p> +<i>Adapted from Grimm's The Old Man and his Grandson.</i> +<p class="toc"><a href="#2h3">THE CROW AND THE FOX</a></p> +<i>Suggested by Aesop's Fable, The Crow and the Fox.</i> +<p class="toc"><a href="#2h4">THE MILLER, HIS SON, AND THEIR +DONKEY</a></p> +<i>Suggested by Aesop's Fable, The Miller, his Son, and their +Ass.</i> +<p class="toc"><a href="#2h5">EACH IN HIS OWN PLACE</a></p> +<i>Suggested by Grimm's The Mouse, the Bird, and the Sausage.</i> +<p class="toc"><a href="#2h6">WHAT THE GOODMAN DOES IS ALWAYS +RIGHT</a></p> +<i>Adapted from Hans Andersen's What the Goodman does is always +Right.</i> +<p class="toc"><a href="#2h7">THE CAT AND THE MOUSE</a></p> +<i>Suggested by Grimm's The Cat and the Mouse.</i> +<p class="toc"><a href="#2h8">THE GIRL WHO TROD ON THE LOAF</a></p> +<i>Suggested by Hans Andersen's The Girl who trod on the Loaf.</i> +<p class="toc"><a href="#2h9">THE UGLY DUCKLING</a></p> +<i>Suggested by Hans Andersen's The Ugly Duckling.</i> +<p class="toc"><a href="#2h10">THE RED SHOES</a></p> +<i>Suggested by Hans Andersen's The Red Shoes.</i> +<p class="toc"><a href="#2h11">THE STORY OF ALI COGIA</a></p> +<i>Adapted from The Story of Ali Cogia from The Arabian Nights' +Entertainments.</i> +<p class="toc"><a href="#2h12">THE WILD SWANS</a></p> +<i>Suggested by Hans Andersen's The Wild Swans.</i> +<p class="toc"><a href="#2h13">THE TWO COUNTRYMEN</a></p> +<i>Suggested by an oriental legend; source unknown.</i> +<p class="toc"><a href="#2h14">THE MAN AND THE ALLIGATOR</a></p> +<i>From a folk-tale of Spanish Honduras.</i> +<p class="toc"><a href="#2h15">THE SONG IN THE HEART</a></p> +<i>Suggested by Grimm's The Three Spinners.</i> +<p class="toc"><a href="#2h16">THE EMPEROR'S TEST</a></p> +<p class="toc"><a href="#2h17">CHRISTOPHER COLUMBUS</a></p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<hr> +<p><b>ILLUSTRATIONS</b></p> +<p class="toc"><a href="#image-001">"The Moon Changes Into the Red +Beard of The Old Soldier"</a></p> +<p class="toc"><a href="#image-012">The Travellers and the +Hatchet</a></p> +<p class="toc"><a href="#image-023">"We Have Lost Our +Donkey"</a></p> +<p class="toc"><a href="#image-034">What the Goodman Does Is Always +Right</a></p> +<p class="toc"><a href="#image-041">The Cat and the Mouse</a></p> +<p class="toc"><a href="#image-051">"'Tis Sinking! What Shall I +Do?"</a></p> +<p class="toc"><a href="#image-062">The Ugly Duckling</a></p> +<p class="toc"><a href="#image-091">"A Thousand Pieces at +Least!"</a></p> +<p class="toc"><a href="#image-123">The Two Countrymen</a></p> +<p class="toc"><a href="#image-141">"Help! Help!"</a></p> +<p class="toc"><a href="#image-157">"The Prince Sees the Three +Great-Aunts"</a></p> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>CHILDREN'S CLASSICS IN DRAMATIC FORM</h2> +<a name="2h1"><!-- h2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE TRAVELLERS AND THE HATCHET</h2> +<p>TIME: <i>last week</i>.<br> +PLACE: <i>a high road</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>FIRST TRAVELLER.</td> +</tr> +<tr> +<td>SECOND TRAVELLER.</td> +</tr> +<tr> +<td>THE CARPENTER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> TWO TRAVELLERS <i>journey along the road. A hatchet +lies in the dust at one side.]</i><a id="footnotetag1" name= +"footnotetag1"></a><a href="#footnote1"><sup>1</sup></a></p> +<p>FIRST TRAVELLER (<i>seeing the hatchet, taking it up</i>).<a id= +"footnotetag2" name="footnotetag2"></a><a href= +"#footnote2"><sup>2</sup></a> Ah, see what I have found!</p> +<p>SECOND TRAVELLER. Do not say <i>I</i>, but rather, what +<i>we</i> have found.</p> +<p>FIRST TRAVELLER. Nonsense! Did I not see the hatchet first? And +did I not take it up?</p> +<p>SECOND TRAVELLER. Well, then, claim the hatchet, since that is +plainly your wish.</p> +<p>[<i>Enter the</i> CARPENTER.]</p> +<p>CARPENTER (<i>to First Traveller</i>). Aha, thief! Now I have +caught you!</p> +<p>[<i>He seizes the First Traveller.</i>]</p> +<p>FIRST TRAVELLER. No thief am I, sir!</p> +<p>CARPENTER. But my own hatchet is in your hand, sir. Come along +to the judge, sir!</p> +<p>FIRST TRAVELLER (<i>to Second Traveller</i>). Alas, we are +undone!</p> +<p>SECOND TRAVELLER. Do not say <i>we</i>. You are undone, not I. +You would not allow me to share the prize; you cannot expect me to +share the danger. I bid you good day, sir.</p> +<a name="image-012"><!--IMG--></a> +<div class="figcenter"><a href="images/012.png"><img src= +"images/012.png" alt="THE TRAVELLERS AND THE HATCHET" width="100%"></a></div> +<!--IMAGE END--> +<a name="2h2"><!-- h2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE OLD MAN AND HIS GRANDSON</h2> +<p>TIME: <i>now</i>.<br> +PLACE: <i>a certain</i> MAN'S <i>house</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MAN.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +</tr> +<tr> +<td>THEIR SON—LITTLE HANS.</td> +</tr> +<tr> +<td>THE GRANDFATHER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MAN, <i>his</i> WIFE, <i>little</i> HANS, <i>and +the</i> GRANDFATHER <i>sit at the table eating the noon +meal.</i>]</p> +<p>MAN. Be careful, father! You are spilling the soup on your +coat.</p> +<p>GRANDFATHER (<i>trying to steady his trembling hand</i>). Yes, +yes, I'll be careful.</p> +<p>[<i>Short pause.</i>]</p> +<p>WIFE (<i>sharply</i>). Grandfather! You have spilled the soup on +my clean tablecloth!</p> +<p>GRANDFATHER (<i>embarrassed</i>). Dear me! Dear me!</p> +<p>[<i>Short pause.</i>]</p> +<p>MAN. Here, father, is your plate of meat.</p> +<p>[<i>The old man takes the plate, but lets it fall.</i>]</p> +<p>WIFE (<i>angrily</i>). There now! Just see what you have +done!</p> +<p>GRANDFATHER. My hand shook so—I'm sorry—so +sorry!</p> +<p>WIFE. That won't mend the plate!</p> +<p>MAN. Nor buy a new one!</p> +<p>WIFE (<i>to her husband</i>). He should eat from wooden +dishes.</p> +<p>MAN (<i>nodding, pointing to a wooden dish</i>). Let him have +that one for his meat.</p> +<p>[<i>The Grandfather sighs sadly. The Wife gets a wooden dish and +fills it with meat. Little Hans leaves the table and plays with his +blocks on the floor.</i>]</p> +<p>WIFE (<i>handing the wooden dish to the Grandfather</i>). Here's +one you can't break. Go now and sit in the corner behind the oven. +You shall eat there hereafter. I cannot have my tablecloths +soiled—that I cannot!</p> +<p>[<i>The Grandfather takes his wooden plate and goes to the seat +in the corner behind the oven. His eyes are filled with +tears.</i>]</p> +<p>MAN. Come, little Hans, and finish your dinner.</p> +<p>WIFE (<i>turning to Hans</i>). Bless me! What are you making, +child?</p> +<p>HANS. A wooden trough for you and father to eat out of when I +grow big.</p> +<p>[<i>The Man and his Wife look at each other; there is a +pause.</i>]</p> +<p>MAN (<i>showing shame</i>). He will treat us as we have treated +father!</p> +<p>WIFE (<i>weeping</i>). 'T will serve us right!</p> +<p>MAN (<i>kindly</i>). Father, throw that wooden dish out of the +window. I am ashamed of what I have done; forgive me!</p> +<p>WIFE (<i>kindly</i>). Father, come back to the table. I too am +ashamed. Forgive me, dear father.</p> +<a name="2h3"><!-- h2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE CROW AND THE FOX</h2> +<p>TIME: <i>yesterday noon</i>.<br> +PLACE: <i>a high tree in a grove</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>MADAM CROW.</td> +</tr> +<tr> +<td>MISS CROW, <i>her Daughter</i>.</td> +</tr> +<tr> +<td>MASTER FOX.</td> +</tr> +</table> +<hr> +<p>[MADAM CROW <i>sits in the tree. Enter</i> MISS CROW. <i>She +carries a large piece of cheese in her mouth.</i>]</p> +<p>MADAM. O joy! O joy! Come, dear daughter, come! We'll dine as if +we were queen and princess!</p> +<p>[<i>Miss Crow flies to Madam Crow. Enter</i> MASTER FOX.]</p> +<p>FOX. I bid you good morning, dear madam.</p> +<p>MADAM. Good morning to you, dear sir.</p> +<p>FOX (<i>sitting under tree</i>). With your permission, I'll +speak with your daughter.</p> +<p>MADAM. She'll be pleased to listen, that she will—you are +so clever.</p> +<p>FOX (<i>modestly</i>). Nay, madam, not so clever, only +thoughtful.</p> +<p>[<i>He sighs deeply twice.</i>]</p> +<p>MADAM. You have something on your mind.</p> +<p>FOX (<i>sighing</i>). Yes, dear madam,—I am thinking of +your daughter.</p> +<p>MADAM. Then speak! Speak now, sir!—at once, sir!</p> +<p>FOX. I speak. O sweet Miss Crow, how beautiful your wings +are!</p> +<p>MADAM (<i>pleased</i>). Do you hear that, daughter?</p> +<p>[<i>Miss Crow nods, spreading her wings proudly.</i>]</p> +<p>FOX. I speak again. How bright your eye, dear maid! How graceful +your neck!</p> +<p>MADAM. Bend your neck, child! Now bend it well that he may +better see your grace.</p> +<p>[<i>Miss Crow bends neck twice.</i>]</p> +<p>FOX. But oh, that such a sweet bird should be dumb!—should +be so utterly dumb!</p> +<p>[<i>He weeps gently in his little pocket handkerchief.</i>]</p> +<p>MADAM (<i>indignantly</i>). Do you think, sir, she cannot +<i>caw</i> as well as the rest of us?</p> +<p>FOX. I must think so, dear madam. Alas!</p> +<p>[<i>Weeping again in his little pocket handkerchief.</i>]</p> +<p>MADAM. You shall think so, then, no longer! Caw, child, caw, as +you have never cawed before!</p> +<p>MISS CROW (<i>opening mouth; dropping cheese</i>). Caw! Caw!</p> +<p>[<i>Fox quickly snaps up the cheese.</i>]</p> +<p>FOX (<i>going</i>). Thank you, Miss Crow. Remember, dear madam, +that whatever I said of her beauty, I said nothing of her +brains.</p> +<p>[<i>He goes, waving the crows a farewell with his little pocket +handkerchief.</i>]</p> +<a name="2h4"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE MILLER, HIS SON, AND THEIR DONKEY</h2> +<p>TIME: <i>this morning</i>.<br> +PLACE: <i>a bridge, near a town and not far from a Fair</i>.</p> +<hr> +<table width="60%" align="center"> +<tr> +<td align="right">THE MILLER AND HIS SON.</td> +<td></td> +</tr> +<tr> +<td>FIRST MAID.</td> +<td>FIRST GOODY.</td> +</tr> +<tr> +<td>SECOND MAID.</td> +<td>SECOND GOODY.</td> +</tr> +<tr> +<td>THIRD MAID.</td> +<td>THIRD GOODY.</td> +</tr> +<tr> +<td>FIRST OLD MAN.</td> +<td>THE MAYOR.</td> +</tr> +<tr> +<td>SECOND OLD MAN.</td> +<td>HIS FIRST CLERK.</td> +</tr> +<tr> +<td>THIRD OLD MAN.</td> +<td>HIS SECOND CLERK.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MILLER <i>and his</i> SON <i>are driving their +donkey across the bridge. They go to the Fair.</i>]</p> +<p>SON. Do you expect to get a good price for our donkey, +father?</p> +<p>MILLER (<i>nodding</i>). Aye, lad; the Fair is the place to take +your wares.</p> +<p>SON. Our donkey is not so young, though.</p> +<p>MILLER. Neither is he so old, though.</p> +<p>SON. But he is not so fat, though.</p> +<p>MILLER. Neither is he so lean, though.</p> +<p>SON. Truly he might be worse.</p> +<p>MILLER. Better or worse, he must be sold.</p> +<p>[THREE MAIDS <i>enter the bridge. They go to the Fair.</i>]</p> +<p>FIRST MAID (<i>pointing to the Miller and his Son</i>). Look +there! Did you ever see such geese?</p> +<p>SECOND MAID. As I live!—walking when they might ride!</p> +<p>THIRD MAID (<i>to the Miller</i>). You'll get a laugh at the +Fair, old man!</p> +<p>[<i>The Maids pass on.</i>]</p> +<p>MILLER. This may be true. Get you upon the beast, lad.</p> +<p>[<i>The boy mounts the donkey. Enter</i> THREE OLD MEN. <i>They +talk together earnestly. They go to the Fair.</i>]</p> +<p>FIRST OLD MAN (<i>pointing to the Miller and his Son</i>). Look +you there! That proves what I was saying.</p> +<p>SECOND OLD MAN (<i>nodding</i>). Aye! There's no respect shown +old age in these days.</p> +<p>THIRD OLD MAN (<i>nodding</i>). Aye! There's that young rogue +riding while his old father has to walk!</p> +<p>[<i>The Old Men pass on.</i>]</p> +<p>MILLER. Get down, lad. 'T would indeed look better should I +ride.</p> +<p>[<i>The lad dismounts; the Miller mounts. Enter</i> THREE +GOODIES; <i>they go to the Fair.</i>]</p> +<p>FIRST GOODY (<i>indignantly, pointing to the Miller and his +Son</i>). Look, Goodies, look! Did you ever see anything so +cruel?</p> +<p>SECOND GOODY (<i>to the Miller</i>). You lazy old fellow! How +can you ride while your own child walks in the dust?</p> +<p>THIRD GOODY (<i>to the lad</i>). You poor, poor child!</p> +<p>[<i>The Goodies pass on, shaking their heads and their canes +indignantly.</i>]</p> +<p>MILLER. Come, lad, get up behind me.</p> +<p>SON. Why, father, I'm not tired!</p> +<p>MILLER. I know, but we must try to please them. Come.</p> +<p>[<i>The lad mounts, sitting behind his father. Enter the</i> +MAYOR <i>and his</i> CLERKS. <i>They go to the Fair.</i>]</p> +<p>MAYOR (<i>turning to his Clerks; pointing to the Miller and his +Son</i>). Look, will you!</p> +<p>(<i>He turns to the Miller.</i>)</p> +<p>Pray, honest friend, is that beast your own?</p> +<p>MILLER. Yes, my lord Mayor.</p> +<p>MAYOR. One would not think so from the way you load him. Say you +not so, my Clerks?</p> +<p>FIRST CLERK (<i>bowing</i>). Just so, my lord Mayor.</p> +<p>SECOND CLERK (<i>bowing</i>). Even so, my lord Mayor.</p> +<p>THE MAYOR (<i>to the Miller and his Son</i>). Why, you two +fellows are better able to carry the poor donkey than he you! Say +you not so, my Clerks?</p> +<p>FIRST CLERK (<i>bowing</i>). Just so, my lord Mayor.</p> +<p>SECOND CLERK (<i>bowing</i>). Even so, my lord Mayor.</p> +<p>MILLER. Come, my son, to please them, we'll carry the +donkey.</p> +<p>[<i>They dismount and try to lift the donkey. This frightens the +poor beast. He tries to get away, and falls over the bridge into +the deep river.</i>]</p> +<p>MILLER (<i>weeping</i>). I have tried to please every one! I +have pleased no one!</p> +<p>SON (<i>weeping</i>). And we have lost our donkey in the +bargain!</p> +<a name="image-023"><!--IMG--></a> +<div class="figcenter"><a href="images/023.png"><img src= +"images/023.png" alt="'WE HAVE LOST OUR DONKEY'" width="80%"></a> +<h3>"WE HAVE LOST OUR DONKEY"</h3> +</div> +<!--IMAGE END--> +<a name="2h5"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>EACH IN HIS OWN PLACE</h2> +<p>TIME: <i>yesterday</i>.<br> +PLACE: <i>in a tiny house</i>.</p> +<hr> +<table width="40%" align="center"> +<tr> +<td>THE STRAW <i>who brings in the wood</i>.</td> +</tr> +<tr> +<td>THE COAL <i>who makes the fire</i>.</td> +</tr> +<tr> +<td>THE SNOWFLAKE <i>who draws the water</i>.</td> +</tr> +<tr> +<td>THE SUGAR LOAF <i>who lays the table</i>.</td> +</tr> +<tr> +<td>THE SAUSAGE <i>who cooks the meals</i>.</td> +</tr> +</table> +<hr> +<p>[<i>The tiny kitchen is seen. The</i> SAUSAGE <i>is stirring the +pot. The</i> COAL <i>is tending the fire. The</i> SUGAR LOAF <i>is +laying the table. Enter</i> STRAW <i>with a load of wood.</i>]</p> +<p>STRAW (<i>throwing down wood</i>). Think you'll need more wood +for the dinner, Sausage?</p> +<p>[<i>Sausage does not answer. She gets into the pot to flavor the +vegetables.</i>]</p> +<p>COAL (<i>whispers to Straw</i>). Sausage is quite put out.</p> +<p>STRAW. What's the trouble?</p> +<p>COAL. No one knows.</p> +<p>[<i>Enter</i> SNOWFLAKE <i>with a pail of water.</i>]</p> +<p>SNOWFLAKE (<i>looking about</i>). Where's Sausage?</p> +<p>STRAW. She is flavoring the vegetables.</p> +<p>[<i>Sausage comes out of the pot.</i>]</p> +<p>SNOWFLAKE. Here is the water, Sausage.</p> +<p>[<i>Sausage does not answer.</i>]</p> +<p>SNOWFLAKE (<i>speaking louder</i>). Will you come for the water, +Sausage?</p> +<p>SAUSAGE (<i>sharply</i>). No, madam, I will not!</p> +<p>THE OTHERS (<i>with surprise</i>). Sausage!</p> +<p>SAUSAGE. I've been slave here long enough!</p> +<p>THE OTHERS (<i>as before</i>). Sister Sausage!</p> +<p>SAUSAGE. I mean just what I say!</p> +<p>SNOWFLAKE. Have I not done my share of the work?</p> +<p>COAL. Have I not done my share?</p> +<p>STRAW. Have I not done my share?</p> +<p>SUGAR LOAF. And have I not done my share?</p> +<p>SAUSAGE. Please to tell me what you do.</p> +<p>STRAW. I bring in wood that Coal may make the fire.</p> +<p>COAL. I make the fire that the pot may boil.</p> +<p>SNOWFLAKE. I draw the water and bring it from the brook.</p> +<p>SUGAR LOAF. I lay the table nicely.</p> +<p>SAUSAGE. What do I? Eh? What do I? I must stand over the fire. I +must not only stir the dinner, I must flavor it with myself. For +each of you there is one duty. For me there are plainly three.</p> +<p>STRAW. But, sister—</p> +<p>SAUSAGE (<i>interrupting</i>). Don't "sister" me!</p> +<p>SNOWFLAKE. Sausage, dear, would you break up our pretty +home?</p> +<p>SUGAR LOAF. And we all so happy here!</p> +<p>SAUSAGE. There must be a change! Some one else can stand over +the fire—can stir the pot—can flavor the +vegetables.</p> +<p>COAL. If I flavored them, they could not be eaten.</p> +<p>SAUSAGE. That's what you're always saying, but I'm not so sure +of it.</p> +<p>SNOWFLAKE. If I stirred the pot, 't would be the end of me.</p> +<p>SAUSAGE. Yes, you say that often enough, but I'm not so sure +that it is true.</p> +<p>STRAW. Should I stand over the fire, I'd be no more.</p> +<p>SAUSAGE (<i>scornfully</i>). Excuses! Excuses!</p> +<p>SUGAR LOAF. 'T is plain that I should not get into the pot.</p> +<p>SAUSAGE. And why not, Miss? why not?</p> +<p>SUGAR LOAF. 'T would be good-by for me, if I should!</p> +<p>SAUSAGE. Excuses! Excuses! I say there must be a change! 'T is I +who will bring the wood or draw the water.</p> +<p>COAL. But, Sausage, you should stay within.</p> +<p>SAUSAGE. Not I, sir! I'll out of the pot and out of the house, I +will! I'll see a bit of the world, I will!</p> +<p>SUGAR LOAF (<i>sighing</i>). Well, if she will, she will!</p> +<p>SAUSAGE (<i>getting slips</i>). Come, now, and draw for it.</p> +<p>[<i>She holds the slips for the others to draw.</i>]</p> +<p>STRAW (<i>drawing; reading from slip</i>). "Who gets this must +make the fire."</p> +<p>SUGAR LOAF (<i>drawing; reading from slip</i>). "Who gets this +must draw the water."</p> +<p>SNOWFLAKE (<i>drawing; reading from slip</i>). "Who gets this +must stir the pot and flavor it with herself."</p> +<p>COAL (<i>drawing; reading from slip</i>). "Who gets this must +lay the table nicely."</p> +<p>SAUSAGE (<i>reading from last slip</i>). "Who gets this must +bring the wood." Well, that pleases me! Straw, see if the fire +needs wood.</p> +<p>(<i>Straw hesitates.</i>)</p> +<p>Come, come, do your duty!</p> +<p>[<i>Straw crosses the hearth and looks into the fire. He is very +careful, but the fire reaches him and he is gone in a +puff!</i>]</p> +<p>SNOWFLAKE. Poor Straw! Well, 't is my duty to stir the pot and +to flavor it with myself.</p> +<p>[<i>She crosses to the hearth, but just as she reaches it, she +disappears without so much as a cry.</i>]</p> +<p>SUGAR LOAF. Poor Snowflake! Well, 't is my duty to draw the +water.</p> +<p>[<i>She forgets that the pail is full, falls into it, and is +seen no more.</i>]</p> +<p>COAL. Poor Sugar Loaf! Well, 't is my duty to lay the table +nicely.</p> +<p>[<i>He forgets that he is still burning from having lately +tended the fire. As he places the plates, the tablecloth catches +fire and wraps itself around him.</i>]</p> +<p>COAL (<i>from inside the burning cloth</i>). This is the end of +me!</p> +<p>SAUSAGE (<i>weeping</i>). Dear me! Dear me! Who would have +thought 't would turn out so badly! Well, 't is my duty to bring in +wood.</p> +<p>[<i>She opens the door and is face to face with a hungry dog who +is sniffing about.</i>]</p> +<p>DOG. Ah, I thought you'd be coming out soon!</p> +<p>SAUSAGE (<i>pleased</i>). Do you want to see me, sir?</p> +<p>DOG. Why, yes, I've been waiting for you.</p> +<p>SAUSAGE. How good to be out in the world! They always said my +place was within.</p> +<p>DOG. They did, eh? Well, just to please them, I'll put you +there.</p> +<p>[<i>He swallows her quickly, which ends both Sister Sausage and +our story.</i>]</p> +<a name="2h6"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>WHAT THE GOODMAN DOES IS ALWAYS RIGHT</h2> +<h4>SCENE I</h4> +<p>TIME: <i>early one morning</i>.<br> +PLACE: <i>a very old farmhouse</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODMAN.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GOODMAN <i>and his</i> WIFE <i>are seated in their +spare room because it is Fair-day.</i>]</p> +<p>WIFE. Yes, I think it would be as well to sell our horse. Or, as +you say, we might exchange him for something more useful.</p> +<p>GOODMAN. What shall we exchange him for?</p> +<p>WIFE. You know best, Goodman. Whatever you do will be right.</p> +<p>GOODMAN (<i>starting out</i>). It is Fair-day. I will ride into +town and see what can be done.</p> +<p>WIFE. Wait till I fasten your neckerchief! You shall have a +pretty double bow this time, for you are going to the Fair.</p> +<p>(<i>She ties the neckerchief. The Goodman starts out.</i>)</p> +<p>Wait till I have smoothed your hat!</p> +<p>(<i>She smooths his old hat.</i>)</p> +<p>Now you are ready.</p> +<p>GOODMAN (<i>going</i>). Be at the window, Wife.</p> +<p>WIFE (<i>nodding</i>). Yes, surely, and I will wave at you as +you ride by.</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>two hours later</i>.<br> +PLACE: <i>near the toll-gate on the road to the Fair</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODMAN.</td> +</tr> +<tr> +<td>FIRST PEASANT.</td> +</tr> +<tr> +<td>SECOND PEASANT.</td> +</tr> +<tr> +<td>THIRD PEASANT.</td> +</tr> +<tr> +<td>TOLL-KEEPER.</td> +</tr> +<tr> +<td>HOSTLER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GOODMAN <i>is seen riding his horse. Enter, from a +country lane, a</i> PEASANT, <i>driving a cow.</i>]</p> +<p>GOODMAN (<i>stopping; calling</i>). Halloo, there—you with +the cow!</p> +<p>PEASANT (<i>stopping</i>). Yes, Goodman.</p> +<p>GOODMAN. Your cow gives good milk, I am certain.</p> +<p>PEASANT (<i>nodding</i>). None richer in this country!</p> +<p>GOODMAN. A horse is of more value than a cow, but I don't care +for that. A cow will be more useful to me; so if you like, we'll +exchange.</p> +<p>PEASANT. To be sure I will. Here is your cow.</p> +<p>GOODMAN. Here is your horse.</p> +<p>[<i>The Peasant goes off riding the horse. A</i> SECOND PEASANT, +<i>driving a sheep, enters from a field near by.</i>]</p> +<p>GOODMAN (<i>sees him and calls</i>). Halloo, there—you +with the sheep!</p> +<p>SECOND PEASANT (<i>stopping</i>). Yes, Goodman.</p> +<p>GOODMAN. I should like to have that sheep.</p> +<p>SECOND PEASANT. She is a good, fat sheep.</p> +<p>GOODMAN. There is plenty of grass for her by our fence at home, +and in the winter we could keep her in the room with us.</p> +<p>SECOND PEASANT. Do you wish to buy her?</p> +<p>GOODMAN. Will you take my cow in exchange?</p> +<p>SECOND PEASANT. I am willing. Here is your sheep.</p> +<p>GOODMAN. Here is your cow.</p> +<p>[<i>The second Peasant goes off driving the cow. Enter, from a +farmyard near by, a</i> THIRD PEASANT <i>carrying a goose.</i>]</p> +<p>GOODMAN. What a heavy creature you have there!</p> +<p>THIRD PEASANT (<i>stopping</i>). She has plenty of feathers and +plenty of fat.</p> +<p>GOODMAN. She would look well paddling in the water at our +place.</p> +<p>THIRD PEASANT (<i>stopping</i>). She would look well in any +place!</p> +<p>GOODMAN. She would be very useful to my wife. She could make all +sorts of profit out of her.</p> +<p>THIRD PEASANT. Indeed she could, Goodman!</p> +<p>GOODMAN. How often she has said,—"If now we only had a +goose!"</p> +<p>THIRD PEASANT. Well, this goose is for sale.</p> +<p>GOODMAN. I will give my sheep for your goose and thanks into the +bargain.</p> +<p>THIRD PEASANT. I am willing; here is your goose.</p> +<p>GOODMAN. Here is your sheep.</p> +<p>[<i>The Peasant goes off with the sheep. The Goodman discovers a +hen in the</i> TOLL-KEEPER'S <i>potato field.</i>]</p> +<p>GOODMAN (<i>calling</i>). That's the finest fowl I ever saw, +Toll-keeper!</p> +<p>TOLL-KEEPER. You're right about that, Goodman.</p> +<p>GOODMAN. She's finer than our pastor's brood-hen! Upon my word +she is! I should like to have that fowl!</p> +<p>TOLL-KEEPER. She is for sale.</p> +<p>GOODMAN. I think it would be a good exchange if I could get her +for my goose.</p> +<p>TOLL-KEEPER. Well, it wouldn't be a bad thing.</p> +<p>GOODMAN. Then here is your goose.</p> +<p>TOLL-KEEPER. Here is your fowl.</p> +<a name="image-034"><!--IMG--></a> +<div class="figcenter"><a href="images/034.png"><img width="100%" +src="images/034.png" alt= +"WHAT THE GOODMAN DOES IS ALWAYS RIGHT"></a></div> +<!--IMAGE END--> +<p>[<i>Enter a</i> HOSTLER <i>carrying a sack.</i>]</p> +<p>GOODMAN (<i>to Hostler</i>). What have you in that sack, +friend?</p> +<p>HOSTLER. Rotten apples—to feed the pigs with.</p> +<p>GOODMAN. Why, that will be a terrible waste. I should like to +take them home to my wife.</p> +<p>HOSTLER (<i>astonished</i>). To your wife?</p> +<p>GOODMAN (<i>nodding</i>). You see, last year our old apple tree +bore only one apple, which we kept in the cupboard till it was +quite rotten. It was always property, my wife said.</p> +<p>HOSTLER. What will you give me for the sackful? Your wife would +then have a great deal of property.</p> +<p>GOODMAN. Well, I will give you my fowl in exchange.</p> +<p>HOSTLER. Here is your sack of rotten apples.</p> +<p>GOODMAN. Here is your fowl.</p> +<p>[<i>The Hostler goes with the fowl.</i>]</p> +<p>TOLL-KEEPER. Toll, Goodman!</p> +<p>GOODMAN. I will not go to the Fair to-day. I have done a great +deal of business, and I am tired. I will go back home.</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>two hours later</i>.<br> +PLACE: <i>the old farmhouse</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODMAN.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +</tr> +</table> +<hr> +<p>[<i>Enter the</i> GOODMAN, <i>carrying the sack. The</i> WIFE +<i>waits for him in the spare room, because he has been +away.</i>]</p> +<p>GOODMAN. Well, Wife, I've made the exchange.</p> +<p>WIFE. Ah, well, you always understand what you're about.</p> +<p>GOODMAN. I got a cow in exchange for the horse.</p> +<p>WIFE. Good! Now we shall have plenty of milk and butter and +cheese on the table. That was a fine exchange!</p> +<p>GOODMAN. Yes, but I changed the cow for a sheep.</p> +<p>WIFE. Ah, better still! We have just enough grass for a +sheep.—Ewe's milk and cheese! Woolen jackets and stockings! +The cow could not give all those. How you think of everything!</p> +<p>GOODMAN. But I changed the sheep for a goose.</p> +<p>WIFE. Then we shall have roast goose to eat this year. You dear +Goodman, you are always thinking of something to please me!</p> +<p>GOODMAN. But I gave away the goose for a fowl.</p> +<p>WIFE. A fowl? Well, that was a good exchange. The fowl will lay +eggs and hatch them. We shall soon have a poultry-yard. Ah, this is +just what I was wishing for!</p> +<p>GOODMAN. Yes, but I exchanged the fowl for a sack of rotten +apples.</p> +<p>WIFE. My dear, good husband! Now, I'll tell you something. Do +you know, almost as soon as you left me this morning, I began +thinking of what I could give you nice for supper. I thought of +bacon with eggs and sweet herbs.</p> +<p>GOODMAN. But we have no sweet herbs.</p> +<p>WIFE (<i>nodding</i>). For that reason, I went over to our +neighbor's and begged her to lend me a handful.</p> +<p>GOODMAN. That was right; they have plenty.</p> +<p>WIFE (<i>nodding</i>). So I thought, but she said, "Lend? I have +nothing to lend, not even a rotten apple." Now I can lend +<i>her</i> ten or the whole sackful. It makes me laugh to think of +it. I am so glad.</p> +<p>GOODMAN. So you think what I did was right?</p> +<p>WIFE. What the Goodman does is always right.</p> +<a name="2h7"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE CAT AND THE MOUSE</h2> +<p>TIME: <i>perhaps this minute</i>.<br> +PLACE: <i>perhaps your own garret</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>MOTHER MOUSE.</td> +</tr> +<tr> +<td>HER DAUGHTER, MISS MOUSE.</td> +</tr> +<tr> +<td>THE CAT.</td> +</tr> +</table> +<hr> +<p>[MOTHER MOUSE <i>and</i> MISS MOUSE <i>are in their spare room +because Mother Mouse is getting ready for a journey. Miss Mouse +helps her. The</i> CAT <i>is outside, peeping now and then through +the window, but so slyly that the mice do not see her.</i>]</p> +<p>MOTHER MOUSE (<i>going</i>). Now mind you keep one eye on our +grease-pot, child.</p> +<p>MISS MOUSE. That I will, dear mother!</p> +<p>MOTHER MOUSE. Let no one in,—no one! no one!</p> +<p>MISS MOUSE. No one, dear mother!</p> +<p>MOTHER MOUSE. I'll not be long away. Good-by, my child.</p> +<p>(<i>Starting out; stopping.</i>)</p> +<p>Mind you show no one the grease-pot, child,—no one! no +one!</p> +<p>Miss MOUSE. No one, dear mother!</p> +<p>[<i>Mother Mouse goes out of the front door.</i>]</p> +<p>CAT (<i>calling through window</i>). Oh, Miss Mouse! Oh, Miss +Mouse!</p> +<p>MISS MOUSE (<i>showing alarm</i>). Who calls?</p> +<p>CAT (<i>very sweetly</i>). Only I! Will you please let me +in?</p> +<p>MISS MOUSE (<i>shaking head</i>). Mother said—</p> +<p>CAT (<i>interrupting quickly</i>). 'T is a matter of +business!</p> +<p>MISS MOUSE (<i>shaking head</i>). But mother said—</p> +<p>CAT (<i>interrupting</i>). 'T is most important!</p> +<p>MISS MOUSE (<i>as before</i>). But mother said—</p> +<p>CAT (<i>interrupting</i>). I wish your advice—you are so +clever!</p> +<p>MISS MOUSE (<i>showing she is pleased; starting to window</i>). +Oh, do you truly think so?</p> +<p>CAT (<i>nodding</i>). Every one thinks so!</p> +<p>MISS MOUSE (<i>showing she is more pleased; going to the +window</i>). Oh, do they, truly?</p> +<p>CAT. Oh, truly they do!</p> +<p>MISS MOUSE (<i>showing she is most pleased; opening window</i>). +What else nice say they?</p> +<p>CAT (<i>jumping in</i>). That I'll tell you by and by.</p> +<p>(<i>Sniffing about.</i>)</p> +<p>There must be a grease-pot about! Am I not right?</p> +<p>MISS MOUSE. Mother said—</p> +<a name="image-041"><!--IMG--></a> +<center> +<div class="figcenter"><a href="images/041.png"><img src= +"images/041.png" alt="THE CAT AND THE MOUSE" width="100%"></a></div> +<!--IMAGE END--> +<p>CAT (<i>interrupting</i>). Only tell me if I be right! 'T will +do no harm!</p> +<p>MISS MOUSE (<i>hesitating</i>). Well—then—yes. But +'t is put away for our winter stores.</p> +<p>CAT (<i>nodding</i>). Just so! Now, I can't decide where to keep +my grease-pot when I have bought one. Won't you give me your +advice? You are so wise.</p> +<p>MISS MOUSE. Do you truly think I'm wise?</p> +<p>CAT (<i>nodding</i>). Aye, and if you will tell me where to keep +my grease-pot when I have bought it, I'll tell you something +more.</p> +<p>MISS MOUSE (<i>greatly pleased</i>). About me?</p> +<p>CAT (<i>nodding</i>). Yes,—what every one says about your +being so beautiful. But first I must know where to keep my +grease-pot.</p> +<p>MISS MOUSE. Then listen—you must keep it, when you have +bought it, in the northwest corner.</p> +<p>[<i>The Cat runs quickly to the northwest corner.</i>]</p> +<p>MISS MOUSE (<i>in alarm</i>). Come away! Come away!</p> +<p>CAT. Why, here is your grease-pot!</p> +<p>MISS MOUSE (<i>as before</i>). Come away, I say!</p> +<p>CAT (<i>looking into the pot</i>). Truly, the fat is kept hard +and cool here.</p> +<p>MISS MOUSE. I pray you come away! Mother does not so much as let +me look into it. 'T is not yet time, she says.</p> +<p>CAT (<i>looking again into pot</i>). Exactly!</p> +<p>(<i>She leaves the pot and joins Miss Mouse.</i>)</p> +<p>'T is just what I'll tell my kittens about my grease-pot when I +have bought it.</p> +<p>MISS MOUSE. Ah, then you have kittens at home?</p> +<p>CAT (<i>nodding</i>). Such beautiful kittens! The eldest is +white, with brown marks.</p> +<p>MISS MOUSE. He must be charming!</p> +<p>CAT. I've a mind to tell you his name. First, though, run out to +see if your dear mother is not coming.</p> +<p>[<i>Miss Mouse nods and runs out. The Cat quickly creeps to the +grease-pot and licks the top off. She crosses to the window just +as</i> MISS MOUSE <i>returns.</i>]</p> +<p>MISS MOUSE. Mother is nowhere to be seen. Now what did you name +your eldest child?</p> +<p>CAT. Top-off.</p> +<p>MISS MOUSE. Top-off? Why, that is a curious name! Is it common +in your family?</p> +<p>CAT. Oh, no! My second child has a white ring around his +neck.</p> +<p>MISS MOUSE. Remarkable!</p> +<p>CAT. Very!</p> +<p>MISS MOUSE. What did you name him?</p> +<p>CAT. I gave him an unusual name. I will tell you what it is. +First, though, run out to see if your dear mother is coming.</p> +<p>[<i>Miss Mouse nods and runs out. The Cat creeps to the +grease-pot and eats half the fat; then crosses to window.</i> MISS +MOUSE <i>returns.</i>]</p> +<p>MISS MOUSE. Mother is nowhere to be seen. Now what did you name +your second child?</p> +<p>CAT. Half-out.</p> +<p>Miss MOUSE. Half-out? I never heard such a name! 'T is not in +the calendar, I'm sure.</p> +<p>CAT. What does that matter, if it pleases me? Now the last child +is really a wonder. He is quite black and has little white claws, +but not a single white hair on his body.</p> +<p>MISS MOUSE. What have you named him?</p> +<p>CAT. I'm afraid that will please you no better than the others, +but still I will tell you. First, though, run to see if your dear +mother is not coming.</p> +<p>[<i>Miss Mouse nods and runs out. The Cat creeps to the pot and +eats all the fat. She then crosses to the window.</i>]</p> +<p>CAT. What one begins one must needs finish.</p> +<p>[MISS MOUSE <i>returns.</i>]</p> +<p>MISS MOUSE. Mother is nowhere to be seen. Now tell me what you +named your youngest child.</p> +<p>CAT. All-out.</p> +<p>MISS MOUSE. All-out? Why, that is more curious than the others. +I have never seen it in print.</p> +<p>CAT (<i>glaring at Miss Mouse</i>). You never will!</p> +<p>MISS MOUSE (<i>frightened</i>). What do you mean?</p> +<p>CAT (<i>preparing to spring</i>). I mean to put you down with +the fat!</p> +<p>MISS MOUSE. Help! help!</p> +<p>[<i>Enter</i> MOTHER MOUSE <i>just as the Cat clutches her +daughter and jumps out of the window with her. Mother Mouse crosses +and looks into the empty grease-pot.</i>]</p> +<p>MOTHER MOUSE (<i>sighing sadly</i>). 'T was ever thus! Show your +grease-pot, and you'll go with it!</p> +<a name="2h8"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE GIRL WHO TROD ON THE LOAF</h2> +<h4>SCENE I</h4> +<p>TIME: <i>the day before Christmas</i>.<br> +PLACE: <i>Ingé's Mother's home</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>INGÉ</td> +</tr> +<tr> +<td>HER MOTHER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MOTHER <i>stands at the kitchen window, watching for +Ingé</i>]</p> +<p>MOTHER. Ah, here she comes at last!</p> +<p>(<i>Short pause. Enter</i> INGÉ)</p> +<p>I have waited long for you, my child. Where have you been?</p> +<p>(<i>Ingé is silent.</i>)</p> +<p>Have you been to the Elf Hill? Tell me.</p> +<p>INGÉ (<i>hesitating</i>). Just for a little while, +mother.</p> +<p>MOTHER. Ingé! Ingé! What have I ever told you?</p> +<p>INGÉ I thought I'd go just this once.</p> +<p>MOTHER (<i>showing sorrow</i>). Ah, Ingé, that's what you +always say.</p> +<p>INGÉ There's no harm talking with the elves.</p> +<p>MOTHER. And I, your mother, say there is harm.</p> +<p>INGÉ But, mother,—they talk so prettily.</p> +<p>MOTHER (<i>nodding</i>). Aye! and that's the harm. They've put +such silly ideas into your head.</p> +<p>INGÉ They say 't is friendship makes them talk as they +do.</p> +<p>MOTHER (<i>indignantly</i>). Friendship! 'T is friendship, is +it, to tell you not to fetch the wood?</p> +<p>INGÉ They say 't will spoil my hands.</p> +<p>MOTHER. Out upon them and their pretty talk! You shall go there +no more. Do you hear me, Ingé?</p> +<p>INGÉ (<i>pouting</i>). I hear.</p> +<p>MOTHER. Now take this loaf of bread to your sick aunt. Say to +her 't is her Christmas gift.</p> +<p>INGÉ But, mother, I must cross the muddy road to go +there.</p> +<p>MOTHER. Well, you are neither sugar nor salt.</p> +<p>INGÉ I'll spoil my shoes!</p> +<p>MOTHER. You think of your shoes, and your aunt lies ill?</p> +<p>INGÉ Wait till spring and the mud will be gone.</p> +<p>MOTHER. Wait till spring and your aunt will be gone! Here is the +loaf—now off with you!</p> +<p>[<i>Ingé takes the loaf and goes, but not +willingly.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>a few minutes later</i>.<br> +PLACE: <i>the muddy road</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>INGÉ</td> +<td></td> +</tr> +<tr> +<td>THE WICKED ELF.</td> +<td></td> +</tr> +</table> +<hr> +<p>[INGÉ <i>is seen stopping at the muddy road.</i>]</p> +<p>INGÉ 'T is too wide to leap!</p> +<p>[<i>The</i> WICKED ELF <i>suddenly appears on the opposite side +of the road.</i>]</p> +<p>WICKED ELF. Good day to you, pretty maid!</p> +<p>INGÉ Good day to you, dear Elf!</p> +<p>WICKED ELF. Wilt cross this muddy road?</p> +<p>INGÉ I must.</p> +<p>WICKED ELF. Then I'll tell you how to do it and not so much as +wet your shoe.</p> +<p>INGÉ Oh, thank you, dear Elf!</p> +<p>WICKED ELF. Throw down your loaf and—</p> +<p>INGÉ (<i>showing surprise; interrupting</i>). Throw down +the loaf?</p> +<p>WICKED ELF. Why, yes,—to use it for a stepping-stone.</p> +<p>INGÉ But 't will spoil the bread!</p> +<p>WICKED ELF. But 't will save your shoes!</p> +<p>INGÉ Well, that's true—</p> +<p>WICKED ELF. A pretty maid ne'er wears a muddy shoe.</p> +<p>INGÉ That's true, too—</p> +<p>WICKED ELF. Come, then, throw down the loaf!</p> +<p>INGÉ Well, I'll do it!</p> +<p>(<i>She throws the loaf and steps upon it.</i>)</p> +<p>'T is sinking! What shall I do?</p> +<p>WICKED ELF. Why, then, jump off!</p> +<p>INGÉ (<i>trying to jump</i>). I can't! Don't you see I +can't?</p> +<p>WICKED ELF. Ha, ha! You're fastened to it!</p> +<p>INGÉ 'T is drawing me down! Help me! Help me!</p> +<p>WICKED ELF. There's no help for you.</p> +<p>INGÉ No help? What do you mean?</p> +<p>WICKED ELF. You must go down with the loaf.</p> +<p>INGÉ I pray you help me! See how I'm sinking! The mud +will soon be over my shoes!</p> +<p>WICKED ELF. The mud will soon be over your head!</p> +<p>INGÉ (<i>weeping</i>). Save me! Save me!</p> +<p>WICKED ELF. Will you be saved by magic?</p> +<p>INGÉ Yes, yes!</p> +<p>WICKED ELF. Listen, then—I'll change you into a bird. Are +you willing?</p> +<p>INGÉ Yes, yes! Quick now, before I sink deeper!</p> +<p>WICKED ELF (<i>nodding head three times</i>). A sparrow shall +you be! Change, now change!</p> +<p>[<i>Ingé changes into a</i> SPARROW, <i>with a tuft of +white feathers, just the shape of a loaf of bread, upon its head. +The Sparrow flies from the mud.</i>]</p> +<p>SPARROW. Now change me back into Ingé</p> +<p>WICKED ELF. You shall remain as you are.</p> +<p>SPARROW (<i>showing surprise</i>). Remain as I am?</p> +<p>WICKED ELF (<i>nodding</i>). Until you can change yourself +back.</p> +<p>SPARROW. And when will that be?</p> +<p>WICKED ELF. When the loaf has gone from your head.</p> +<p>SPARROW. The loaf from my head? What do you mean?</p> +<p>WICKED ELF (<i>going</i>). Fly away to the brook and see! Ha, +ha, ha!</p> +<p>(<i>She runs away, calling back.</i>)</p> +<p>Fly away to the brook and see! Ha, ha, ha!</p> +<a name="image-051"><!--IMG--></a> +<div class="figcenter"><a href="images/051.png"><img src= +"images/051.png" alt="'TIS SINKING! WHAT SHALL I DO?" width="80%"></a> +<h3>"'TIS SINKING! WHAT SHALL I DO?"</h3> +</div> +<!--IMAGE END--> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>the day following Christmas Day</i>.<br> +PLACE: <i>an old stone wall by a brook</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE SPARROW.</td> +<td>FIRST STONE.</td> +</tr> +<tr> +<td>THE PEASANT.</td> +<td>SECOND STONE.</td> +</tr> +<tr> +<td>GRETEL.</td> +<td>THIRD STONE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> SPARROW <i>sits in a hole in the wall.</i>]</p> +<p>FIRST STONE. Come, come, be not so sad, little Sparrow!</p> +<p>SECOND STONE. Come, lift up your head and sing!</p> +<p>THIRD STONE. Come, sing us your Christmas song!</p> +<p>SPARROW. Sing! I have nothing to sing about.</p> +<p>FIRST STONE. Sing of your friends.</p> +<p>SECOND STONE. Sing of their love for you.</p> +<p>THIRD STONE. Sing of their kindness to you.</p> +<p>SPARROW. Talk not to me of friends, or love, or kindness! +There's none in the world.</p> +<p>[<i>Enter a</i> PEASANT <i>with his little</i> GRETEL. <i>The +Peasant carries two ears of corn.</i>]</p> +<p>PEASANT. Now, my Gretel, we'll place the corn here on the old +wall.</p> +<p>GRETEL. Mother thought you brought too much.</p> +<p>PEASANT. Well, 't is true there are only three ears left at +home, but the birds must have their Christmas dinner.</p> +<p>[<i>He places the corn on the wall.</i>]</p> +<p>GRETEL. There's none about to see it!</p> +<p>PEASANT. Oh, some bird will soon find it!</p> +<p>GRETEL. But will it call the others?</p> +<p>PEASANT. We'll wait to see. Come, we'll sit there on the +log.</p> +<p>[<i>They go to a log near by.</i>]</p> +<p>FIRST STONE. There, little Sparrow, say you now there is no +kindness?</p> +<p>SECOND STONE. Or love?</p> +<p>THIRD STONE. Or friendship?</p> +<p>SPARROW. No, no! I can never say that again. The peasant's heart +is full of kindness and love and friendship. I will sing of it! 'T +will be my Christmas song!</p> +<p>[<i>The Sparrow leaves the hole and flies to the corn.</i>]</p> +<p>GRETEL. Look, father, there is a sparrow! And hear it sing! Just +hear it!</p> +<p>PEASANT. It is calling the other birds.</p> +<p>GRETEL. Why, it doesn't even touch the corn!</p> +<p>PEASANT. It's waiting to share it with the others. Is it not a +pretty sight? Come, we must go to tell mother.</p> +<p> </p> +<p> </p> +<h4>SCENE IV</h4> +<p>TIME: <i>one month later</i>.<br> +PLACE: <i>same as</i> SCENE III.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>OUR SPARROW.</td> +</tr> +<tr> +<td>THE VERY OLD SPARROW.</td> +</tr> +<tr> +<td>THE OLD SPARROW.</td> +</tr> +<tr> +<td>THE YOUNG SPARROW.</td> +</tr> +<tr> +<td>THE VERY YOUNG SPARROW.</td> +</tr> +<tr> +<td>THE WICKED ELF.</td> +</tr> +</table> +<hr> +<p>[<i>All the</i> SPARROWS <i>except Our Sparrow sit on the stone +wall.</i>]</p> +<p>YOUNG SPARROW. I say the stranger should be driven away!</p> +<p>VERY YOUNG SPARROW. So say I!</p> +<p>OLD SPARROW. The stranger is a sparrow, but still not a +sparrow.</p> +<p>VERY OLD SPARROW. And yet she is only different by a tuft of +white feathers.</p> +<p>YOUNG SPARROW. And such a tuft! For all the world like a loaf of +bread!</p> +<p>VERY YOUNG SPARROW. I'd think it shame to carry such on +<i>my</i> head!</p> +<p>OLD SPARROW. I fear 't will shame us all to have this stranger +about.</p> +<p>VERY OLD SPARROW. And yet we are not ashamed to eat the crumbs +this stranger brings.</p> +<p>OLD SPARROW. Well, 't is true she has been most kind.</p> +<p>VERY OLD SPARROW. 'T is a hard winter! Shall we drive away the +one who finds food where we find none?</p> +<p>YOUNG SPARROW. And calls us every time!</p> +<p>VERY YOUNG SPARROW. And never eats till we have come!</p> +<p>VERY OLD SPARROW. I've kept in mind the crumbs she has found us. +Now, how many do you think?</p> +<p>OLD SPARROW. I cannot say, for I did not think to notice.</p> +<p>VERY OLD SPARROW. There only lacks two or three now of being a +loaf.</p> +<p>OTHER SPARROWS (<i>greatly surprised</i>). A loaf?</p> +<p>VERY OLD SPARROW (<i>nodding</i>). A loaf.</p> +<p>VERY YOUNG SPARROW. Here comes the stranger now!</p> +<p>OLD SPARROW. She brings a crust!</p> +<p>[OUR SPARROW <i>flies up with a crust in its bill.</i>]</p> +<p>OUR SPARROW. Come, friends, 't is for all of you!</p> +<p>VERY OLD SPARROW. Do you know, stranger bird, that, with these +crumbs, you have brought us in all one loaf?</p> +<p>[<i>Our Sparrow drops the crust for the others. At once it +changes into</i> INGÉ <i>The birds fly away +frightened.</i>]</p> +<p>INGÉ Ah! Now I understand. The loaf had to be made up, +crumb by crumb.</p> +<p>[<i>The</i> WICKED ELF <i>suddenly appears.</i>]</p> +<p>WICKED ELF. Come, pretty maid, come to the Elf Hill!</p> +<p>INGÉ No, no! I will not!</p> +<p>WICKED ELF. But we have such pretty things to tell you!</p> +<p>INGÉ I care not for your pretty things! I go to fetch +wood for my mother. I go to walk in the mud if need be. Away with +you! I'll have none of you! Away, away, I say!</p> +<a name="2h9"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE UGLY DUCKLING</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one summer morning</i>.<br> +PLACE: <i>the farmyard of the Moor Farm</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>MADAM DUCK.</td> +<td>TURKEY.</td> +</tr> +<tr> +<td>FIRST DUCKLING.</td> +<td>GRAY GANDER.</td> +</tr> +<tr> +<td>SECOND DUCKLING.</td> +<td>WHITE GOOSE.</td> +</tr> +<tr> +<td>THE UGLY DUCKLING.</td> +<td>PLYMOUTH ROCK HEN.</td> +</tr> +<tr> +<td>THIRD DUCKLING.</td> +<td>RED ROOSTER.</td> +</tr> +</table> +<hr> +<p>[MADAM DUCK <i>enters the farmyard with her new brood of</i> +DUCKLINGS. <i>The other fowls approach.</i>]</p> +<p>TURKEY (<i>showing displeasure</i>). A new brood of ducks! Look +you all—a new brood of ducks!</p> +<p>GRAY GANDER (<i>also displeased</i>). As if there were not +enough of us here already!</p> +<p>WHITE GOOSE (<i>likewise displeased</i>). True enough,—I +can scarce find a corner for my afternoon nap!</p> +<p>RED ROOSTER. It seems to me, Madam Duck, that you should not +have brought us a new brood this summer.</p> +<p>MADAM DUCK. What is that you are saying?</p> +<p>TURKEY. It seems to all of us, madam, that there is no room here +for a new brood.</p> +<p>PLYMOUTH ROCK HEN. Friends, be just. Madam Duck has a perfect +right to bring her ducklings here. Besides, the children are quite +pretty.</p> +<p>MADAM DUCK. They are beautiful! You shall all see that for +yourselves. Come, children, into a row with you!</p> +<p>[<i>The Ducklings form themselves into a row. The Ugly Duckling +is last.</i>]</p> +<p>MADAM DUCK. Legs wide apart! Toes out! Now speak prettily to my +old friends.</p> +<p>DUCKLINGS (<i>all but the last</i>). Quack! Quack!</p> +<p>MADAM DUCK. There now—are they not charming?</p> +<p>GRAY GANDER (<i>looking down row</i>). Why, yes, they all seem +graceful enough—here—wait a moment! Does that last one +there belong to you?</p> +<p>[<i>All the fowls look at the last Duckling.</i>]</p> +<p>MADAM DUCK. Oh yes! He is larger than the others and perhaps not +so pretty, but—</p> +<p>TURKEY (<i>interrupting</i>). Make no excuses for him, madam. We +can see for ourselves what he is.</p> +<p>GRAY GANDER. In all my life I never saw anything so ugly!</p> +<p>WHITE GOOSE. He is neither duck nor goose!</p> +<p>PLYMOUTH ROCK HEN. Nor duck nor chick!</p> +<p>TURKEY. I'd be 'shamed to have a turkey look like that!</p> +<p>RED ROOSTER. I'd allow no hen of mine to claim him!</p> +<p>MADAM DUCK. Come now, come now, friends. The poor child is not +pretty, but he is good, and he can swim even better than the +others.</p> +<p>TURKEY. That he can swim well is nothing to me!</p> +<p>RED ROOSTER. Nor to me! He should be driven out, I say!</p> +<p>MADAM DUCK. Let him alone; he is not doing any harm.</p> +<p>FIRST DUCKLING. But, mother, no one will look at us if he stays +with us!</p> +<p>MADAM Duck (<i>thoughtfully.</i>) Now perhaps it may turn out +that way.</p> +<p>SECOND DUCKLING. I'll not walk about with him!</p> +<p>THIRD DUCKLING. Nor I!</p> +<p>MADAM DUCK. Well, well! He must be uglier than I thought!</p> +<p>FIRST DUCKLING. Besides, dear mother, he will not quack.</p> +<p>MADAM DUCK. What is this? Did he not quack but just a moment +ago?</p> +<p>SECOND DUCKLING. He turned his toes out, but quack he would +not.</p> +<p>THIRD DUCKLING. 'T is true, dear mother.</p> +<p>MADAM DUCK (<i>to the Ugly Duckling</i>). Quack! Quack +now—at once!</p> +<p>[<i>The Ugly Duckling tries to quack, but chokes. The fowls +laugh and jeer at him.</i>]</p> +<p>GRAY GANDER. Ha, ha! There's a "quack" for you!</p> +<p>WHITE GOOSE. Ha, ha!</p> +<p>PLYMOUTH ROCK HEN. Ha, ha!</p> +<p>RED ROOSTER. Ha, ha!</p> +<p>TURKEY. Ha, ha!</p> +<p>MADAM DUCK (<i>angrily</i>). Once more I tell +you—quack!</p> +<p>[<i>The Ugly Duckling tries again; chokes.</i>]</p> +<p>ALL FOWLS. Ha, ha, ha, ha!</p> +<p>UGLY DUCKLING (<i>weeping</i>). I'm sorry—I'd quack if I +could.</p> +<p>MADAME DUCK. Ah, if you were only far away!</p> +<a name="image-062"><!--IMG--></a> +<div class="figcenter"><a href="images/062.png"><img src= +"images/062.png" alt="THE UGLY DUCKLING" width="100%"></a></div> +<!--IMAGE END--> +<p>FIRST DUCKLING. I wish the cat would eat you!</p> +<p>SECOND DUCKLING. I wish the swans would kill you!</p> +<p>WHITE GOOSE. And they will when they see him—you may be +sure of that.</p> +<p>GRAY GANDER (<i>nodding</i>). Aye, they'll not suffer such an +ugly creature to swim in the brook!</p> +<p>RED ROOSTER. We must drive him off—that's clear!</p> +<p>(<i>Running at the Ugly Duckling.</i>)</p> +<p>Come now, out with you!</p> +<p>PLYMOUTH ROCK HEN (<i>pecking Duckling</i>). Out with you!</p> +<p>UGLY DUCKLING. Mother, save me!</p> +<p>MADAM DUCK. Call not on me!</p> +<p>GRAY GANDER (<i>striking Duckling with his wings</i>). Out with +you!</p> +<p>UGLY DUCKLING (<i>running to Ducklings</i>). Brothers, sisters, +save me!</p> +<p>FIRST DUCKLING. Come not to us!</p> +<p>SECOND DUCKLING. We'll not save you!</p> +<p>THIRD DUCKLING. Away with you!</p> +<p>TURKEY. At him, hens to peck him! At him, geese to beat him! At +him, all of you!</p> +<p>[<i>They all rush upon the Ugly Duckling, who escapes them, +running out of the farmyard into the moor.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the next winter</i>.<br> +PLACE: <i>the Peasant's cottage</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE PEASANT.</td> +<td>THE CAT.</td> +</tr> +<tr> +<td>HIS WIFE.</td> +<td>THE HEN.</td> +</tr> +<tr> +<td>ELIZABETH.</td> +<td>THE UGLY DUCKLING.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> PEASANT <i>enters the cottage, carrying the</i> UGLY +DUCKLING.]</p> +<p>PEASANT. See what I'm bringing you!</p> +<p>WIFE. Why, 't is a duckling—half frozen, too!</p> +<p>PEASANT. I found him frozen in the pond. I had to break the ice +to get him out.</p> +<p>ELIZABETH. Give him to me, father. I will put him behind the +stove.</p> +<p>PEASANT (<i>giving Duckling to Elizabeth</i>). That's a good +child.</p> +<p>WIFE. Handle him tenderly, daughter.</p> +<p>ELIZABETH (<i>taking off her shawl</i>). He shall lie upon my +shawl. You poor, dear, ugly little duckling!</p> +<p>[<i>She places the Duckling upon the shawl behind the stove, +near the</i> CAT <i>and</i> HEN.]</p> +<p>PEASANT. 'T is the duckling I told you of!</p> +<p>WIFE. The one you saw on the pond yesterday?</p> +<p>PEASANT. Aye, and the day before, and all winter long, for that +matter. Yesterday I saw him try to join the wild ducks on the +river, but they drove him back to the pond.</p> +<p>ELIZABETH. Poor duckling! The pond was freezing then!</p> +<p>PEASANT (<i>nodding</i>). Then he tried to find a place among +the rushes on the moor, but the birds drove him from there.</p> +<p>ELIZABETH. Why did they all treat him so, father?</p> +<p>PEASANT. I do not know, unless it is because he is so ugly.</p> +<p>WIFE. Come now to dinner, father—Elizabeth. By the time we +have finished, our duckling will be warmed and awake.</p> +<p>[<i>They go into the kitchen. The Duckling stirs and looks +about.</i>]</p> +<p>HEN. Can you lay eggs?</p> +<p>DUCKLING (<i>politely</i>). No, madam.</p> +<p>CAT. Can you set up your back?</p> +<p>DUCKLING. No, dear sir.</p> +<p>CAT. Can you purr?</p> +<p>DUCKLING (<i>frightened</i>). No.</p> +<p>HEN. Then you can't stay here.</p> +<p>DUCKLING. Do not drive me out, I pray you!</p> +<p>CAT. Will you learn to purr?</p> +<p>HEN. And to lay eggs?</p> +<p>DUCKLING (<i>sadly</i>). Alas, I can do nothing but swim.</p> +<p>CAT. Swim! Well, I must say that is very queer.</p> +<p>DUCKLING. Oh, no, dear sir! It is most pleasant when the waters +close over your head and you plunge to the bottom.</p> +<p>CAT. Plunge to the bottom, indeed! I'd never think of doing such +a silly thing!</p> +<p>HEN. Nor I!</p> +<p>CAT. 'T is clear you can't remain here.</p> +<p>DUCKLING. Where am I to go?</p> +<p>CAT. Go lie in the rushes. The birds flew south this +morning.</p> +<p>DUCKLING. I shall starve there.</p> +<p>CAT. It would really be a good thing for you if I should eat +you.</p> +<p>DUCKLING. I'd thank you to do so, dear sir.</p> +<p>HEN. Eat him, since he is so willing. He is too ugly to +live.</p> +<p>CAT (<i>turning away</i>). I can't, he is too ugly to eat.</p> +<p>(<i>To the Duckling.</i>)</p> +<p>Come, out with you!</p> +<p>HEN (<i>running at him</i>). Yes, yes! Out with you! Out with +you!</p> +<p>[<i>They push the Duckling out of the door into the +snow.</i>]</p> +<p>DUCKLING. Alas! What shall I do? Where shall I go? Why was I +made so ugly that every one despises me!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>the next spring</i>.<br> +PLACE: <i>the brook on the Moor Farm</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE UGLY DUCKLING.</td> +<td>THE MOTHER.</td> +</tr> +<tr> +<td>THE MOLE.</td> +<td>THE CHILDREN.</td> +</tr> +<tr> +<td>THE FATHER.</td> +<td>THE SWANS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> UGLY DUCKLING <i>sits on the hill of a</i> MOLE +<i>near the brook which winds through the Moor Farm.</i>]</p> +<p>MOLE (<i>from the mole hill</i>). Will you please move? I wish +to come out.</p> +<p>DUCKLING (<i>rising quickly</i>). Why, 't is a mole hill I've +been sitting on!</p> +<p>(<i>The Mole comes out from the hill.</i>)</p> +<p>I'm sorry, friend Mole, I didn't notice your hill.</p> +<p>MOLE. Who are you?</p> +<p>DUCKLING. Madam Duck of this farm is my mother.</p> +<p>MOLE. That can't be! You are no duck.</p> +<p>DUCKLING. Yes, but I am. Only, I am uglier than any duck in the +world.</p> +<p>MOLE. You have not the voice of a duck. You do not speak with +the quack of which they are so proud. And then, if you are truly a +duck, why are you not with your family?</p> +<p>DUCKLING. They drove me out last summer because I was ugly and +could not quack.</p> +<p>MOLE. Then why have you come back?</p> +<p>DUCKLING. To let the swans kill me.</p> +<p>MOLE. What! To let them kill you?</p> +<p>DUCKLING. I would rather be killed by those beautiful birds than +pecked by the hens, beaten by the geese, or starved with hunger in +the winter.</p> +<p>MOLE. Perhaps you are not so ugly now as you were then.</p> +<p>DUCKLING. I have not looked at myself in the water since spring +came and took the ice away. But I know well enough how dark and +badly formed I am. The swans will kill me if I dare to approach +them.</p> +<p>[<i>A noise is heard in the distance.</i>]</p> +<p>MOLE. They are coming! Go, while there is yet time.</p> +<p>DUCKLING. There is no place to go to. All winter long I was +driven from moor to moor. I could not make a friend—I no +longer wish to live.</p> +<p>[<i>The</i> SWANS <i>are seen swimming down the brook.</i>]</p> +<p>MOLE. They are here! Do not go to them, I pray you!</p> +<p>DUCKLING (<i>shaking head</i>). Farewell!</p> +<p>[<i>He flies to the water and swims toward the Swans. They see +him and rush to meet him with outstretched wings.</i>]</p> +<p>DUCKLING. Kill me! Kill me!</p> +<p>FIRST SWAN. Kill you! Why, we have come to welcome you, +beautiful stranger.</p> +<p>SECOND SWAN. We saw you from afar, and came to meet you.</p> +<p>THIRD SWAN. We are so happy to have you with us!</p> +<p>[<i>Enter several</i> CHILDREN.]</p> +<p>FIRST CHILD. See, there is a new swan!</p> +<p>SECOND CHILD (<i>calling</i>). Father, mother, come! There is +another swan!</p> +<p>[<i>Enter the</i> FATHER <i>and</i> MOTHER.]</p> +<p>FATHER. What were you calling?</p> +<p>THIRD CHILD. A new swan has come! Look!</p> +<p>MOTHER. I see him! He is beautiful!</p> +<p>FATHER. He is very young, but he is the most beautiful of +all!</p> +<p>FOURTH CHILD. See how the others stroke him with their +beaks!</p> +<p>MOTHER. They are showing him how glad they are to have him with +them. See how they swim around him and how gently they touch +him!</p> +<p>FATHER. I have never seen anything so pretty. How happy the new +swan is! See how he rustles his feathers! See how proudly he curves +his slender neck!</p> +<p>FIRST CHILD. And see how he looks at himself in the water!</p> +<p>SECOND CHILD. Let's get bread and cake for him!</p> +<p>THIRD CHILD. Yes, yes!</p> +<p>FOURTH CHILD. Yes, yes!</p> +<p>[<i>The Children run off, followed by the Father and +Mother.</i>]</p> +<p>MOLE (<i>going into his hill</i>). 'T was not so bad after +all—not to have the family quack!</p> +<a name="2h10"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE RED SHOES</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one morning</i>.<br> +PLACE: <i>the Shoemaker's shop</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>GRANDMOTHER.</td> +</tr> +<tr> +<td>KAREN.</td> +</tr> +<tr> +<td>SHOEMAKER.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GRANDMOTHER <i>and</i> KAREN <i>enter the shop of +the</i> SHOEMAKER.]</p> +<p>GRANDMOTHER. This is my little granddaughter Karen, Shoemaker. +Please to take her measure for a pair of shoes.</p> +<p>SHOEMAKER. What kind do you wish, madam?</p> +<p>GRANDMOTHER. Morocco, the finest you have, Karen is to wear +these shoes to church.</p> +<p>SHOEMAKER. What color do you wish, madam?</p> +<p>GRANDMOTHER. Black.</p> +<p>KAREN (<i>whispering to Shoemaker</i>). Red.</p> +<p>SHOEMAKER (<i>puzzled</i>). Eh?</p> +<p>GRANDMOTHER (<i>louder</i>). Black.</p> +<p>KAREN (<i>whispering to Shoemaker</i>). Red.</p> +<p>SHOEMAKER. Of course, madam, if you say black, black they shall +be.</p> +<p>KAREN. The little princess wore red shoes, Grandmother.</p> +<p>SHOEMAKER (<i>nodding</i>). That is true; I saw them myself.</p> +<p>GRANDMOTHER. Red shoes?</p> +<p>KAREN (<i>nodding</i>). Of beautiful red morocco. The queen let +the princess stand at a window so every one could see her new +shoes.</p> +<p>SHOEMAKER. It is all true, madam.</p> +<p>GRANDMOTHER. No matter; Karen is to have black shoes.</p> +<p>(<i>Taking up a pair of shoes.</i>)</p> +<p>Here, this pair suits me exactly.</p> +<p>SHOEMAKER (<i>surprised</i>). But, madam, those shoes +are—</p> +<p>KAREN (<i>interrupting; whispering</i>). Hush, Shoemaker! Do not +tell her. She can't see very well.</p> +<p>GRANDMOTHER (<i>giving shoes to Karen</i>). Are they of polished +leather? They shine as if they were.</p> +<p>KAREN. Yes; they do shine.</p> +<p>(<i>Trying on the shoes.</i>)</p> +<p>And they just fit me, Grandmother.</p> +<p>GRANDMOTHER. I will take them, Shoemaker.</p> +<p>SHOEMAKER. But, madam—</p> +<p>KAREN (<i>interrupting; whispering</i>). Hush, Shoemaker! She +will never know the difference.</p> +<p>GRANDMOTHER. Here is the money, Shoemaker. Come, Karen.</p> +<p>SHOEMAKER. But, madam—</p> +<p>KAREN (<i>interrupting</i>). I am ready, Grandmother.</p> +<p>GRANDMOTHER. Good day, Shoemaker.</p> +<p>SHOEMAKER. But, madam—</p> +<p>KAREN (<i>interrupting</i>). Good day, Shoemaker.</p> +<p>[<i>The Grandmother and Karen go.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the next Sunday, after church</i>.<br> +PLACE: <i>the Grandmother's home</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GRANDMOTHER.</td> +<td> </td> +</tr> +<tr> +<td>KAREN.</td> +<td> </td> +</tr> +<tr> +<td> </td> +<td><i>First</i>.</td> +</tr> +<tr> +<td> </td> +<td><i>Second</i>.</td> +</tr> +<tr> +<td>THE NEIGHBORS</td> +<td><i>Third</i>.</td> +</tr> +<tr> +<td> </td> +<td><i>Fourth</i>.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> NEIGHBORS <i>sit with the</i> GRANDMOTHER <i>in the +spare room because it is Sunday.</i>]</p> +<p>FIRST NEIGHBOR. I did not see you at church to-day, +Grandmother.</p> +<p>GRANDMOTHER. I could not go, but I sent little Karen.</p> +<p>SECOND NEIGHBOR (<i>mysteriously</i>). Oh, yes; we saw her! +Everybody saw her!</p> +<p>GRANDMOTHER (<i>proudly</i>). People do look at her; she is so +pretty.</p> +<p>THIRD NEIGHBOR. People didn't look at her face to-day.</p> +<p>GRANDMOTHER (<i>alarmed</i>). What do you mean?</p> +<p>THIRD NEIGHBOR. Ask Karen when she returns. We're not the ones +to carry tales.</p> +<p>GRANDMOTHER (<i>looking out window</i>). Here she comes now!</p> +<p>FOURTH NEIGHBOR. Just ask her about the sermon and the +hymns!</p> +<p>GRANDMOTHER (<i>proudly</i>). She will tell me almost every word +the pastor said. She is a smart girl—that Karen.</p> +<p>[<i>Enter</i> KAREN.]</p> +<p>KAREN. Well, Grandmother, here I am! Good morning, +Neighbors.</p> +<p>NEIGHBORS (<i>coldly</i>). Good morning, Karen.</p> +<p>GRANDMOTHER. Now tell me about the sermon, Karen. What was the +text?</p> +<p>KAREN (<i>with confusion; stammering</i>). The text? It +was—it was—Oh, I will tell you all about it by and by, +Grandmother. Our Neighbors want to talk with you now.</p> +<p>FIRST NEIGHBOR. Oh, no! We would rather hear you tell your +Grandmother about the sermon and the music.</p> +<p>GRANDMOTHER. What hymns did they sing, Karen?</p> +<p>KAREN (<i>as before</i>). Hymns? They sang—let me +see—they sang—</p> +<p>[<i>She stops in confusion.</i>]</p> +<p>GRANDMOTHER. Why, Karen! Are you ill?</p> +<p>SECOND NEIGHBOR. No, Grandmother, Karen is not ill. She is +ashamed. She was not thinking of the beautiful music nor of the +sermon this morning. Is that not true, Karen?</p> +<p>KAREN (<i>ashamed</i>). Y-e-s—</p> +<p>GRANDMOTHER. What is this?</p> +<p>THIRD NEIGHBOR. Tell your Grandmother what you were thinking +about in church, Karen.</p> +<p>KAREN. I was thinking about—about—my new shoes.</p> +<p>GRANDMOTHER. A great thing to think about in church—a pair +of plain black shoes!</p> +<p>FOURTH NEIGHBOR. She did not wear her black shoes; she wore +<i>red shoes!</i></p> +<p>GRANDMOTHER (<i>gasping</i>). Red shoes—to church?</p> +<p>FIRST NEIGHBOR (<i>nodding</i>). Every one was terribly +shocked!</p> +<p>GRANDMOTHER (<i>still gasping</i>). Red shoes to church!</p> +<p>SECOND NEIGHBOR. Even the pastor looked at her shoes!</p> +<p>GRANDMOTHER (<i>indignantly</i>). Red shoes to church!</p> +<p>THIRD NEIGHBOR. The choir looked! All fixed their eyes on +Karen's red shoes.</p> +<p>GRANDMOTHER. It is the most shocking thing I ever heard! Do you +hear me, Karen?</p> +<p>KAREN (<i>hanging her head in shame</i>). Yes, Grandmother.</p> +<p>GRANDMOTHER. You must never, never, so long as you live, wear +red shoes to church again. It is not at all proper. Do you hear me, +Karen?</p> +<p>KAREN (<i>as before</i>). Yes, Grandmother.</p> +<p>FOURTH NEIGHBOR. Do you think she should have her Sunday +dinner?</p> +<p>GRANDMOTHER. Not one bite! She shall stay in her room all day. +Do you hear me, Karen?</p> +<p>KAREN. Yes, Grandmother.</p> +<p>GRANDMOTHER. Thank you for telling me, Neighbors. To think of +it! Red shoes to church!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>the following Sunday, after church</i>.<br> +PLACE: <i>the churchyard</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GRANDMOTHER.</td> +</tr> +<tr> +<td>KAREN.</td> +</tr> +<tr> +<td>THE OLD SOLDIER.</td> +</tr> +<tr> +<td>THE COACHMAN.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GRANDMOTHER <i>and</i> KAREN <i>come from the +church. The</i> OLD SOLDIER <i>stands near the church door. He +tries to speak to the Grandmother, but she does not hear +him.</i>]</p> +<p>KAREN. Wait a moment, Grandmother! The Old Soldier wants to +speak with you.</p> +<p>GRANDMOTHER (<i>turning</i>). What do you want, Old Soldier?</p> +<p>OLD SOLDIER. I want to dust your shoes, madam.</p> +<p>GRANDMOTHER. That is very good of you.</p> +<p>(<i>Old Soldier dusts her shoes</i>).</p> +<p>Thank you; now I will go to my carriage while you dust Karen's +shoes.</p> +<p>[<i>She goes.</i>]</p> +<p>OLD SOLDIER. Stretch out your foot, little Karen.</p> +<p>(<i>Karen thrusts out her foot.</i>)</p> +<p>What is this? Red shoes for church?</p> +<p>KAREN. I looked at my old black shoes—</p> +<p>OLD SOLDIER (<i>interrupting</i>). And then at your new red +ones?</p> +<p>KAREN (<i>nodding</i>). Yes, and then at my black ones +again—</p> +<p>OLD SOLDIER (<i>interrupting</i>). And then put on your red +ones!</p> +<p>KAREN. Sh-h! Grandmother must not know.</p> +<p>OLD SOLDIER. She can't hear, for I am talking through my long +red beard.</p> +<p>KAREN. Why is your beard so red, Old Soldier?</p> +<p>OLD SOLDIER. To make more light for my eyes—that I may see +without looking.</p> +<p>KAREN. See without looking?</p> +<p>OLD SOLDIER (<i>nodding</i>). I was not in the church, yet I saw +you clearly when you knelt at the altar and raised the golden cup +to your lips.</p> +<p>KAREN (<i>surprised</i>). You saw that?</p> +<p>OLD SOLDIER (<i>nodding</i>). And more—I saw your +thoughts.</p> +<p>KAREN. You saw my thoughts?</p> +<p>OLD SOLDIER (<i>nodding</i>). It was to you as if your red shoes +passed before your eyes in the cup. Am I not right?</p> +<p>KAREN (<i>showing fear</i>). Y-e-s—</p> +<p>OLD SOLDIER. And I saw by the light of my beard that you forgot +to sing the hymns; eh, Karen?</p> +<p>KAREN. Y-e-s—</p> +<p>OLD SOLDIER. And that you forgot to say your prayers; eh, +Karen?</p> +<p>KAREN. Y-e-s—</p> +<p>OLD SOLDIER. You were thinking of your red shoes all the +time.</p> +<p>KAREN. Y-e-s, Old Soldier.</p> +<p>OLD SOLDIER (<i>holding Karen and stooping until his beard +covers her shoes</i>). Cover and touch and change, my beard! Cover +and touch and change!</p> +<p>KAREN. What are you doing? Let me go!</p> +<p>OLD SOLDIER (<i>holding her firmly</i>). I am turning your red +shoes into dancing shoes!</p> +<p>KAREN. I am afraid of you! Let me go!</p> +<p>OLD SOLDIER (<i>slapping soles of her shoes with hand</i>). Now +I have made them stick fast to your feet!</p> +<p>KAREN (<i>calling</i>). Grandmother! Grandmother!</p> +<p>OLD SOLDIER. Now you may go! Ha, ha!</p> +<p>KAREN. Why! I am dancing! I can't stop! Grandmother! +Grandmother!</p> +<p>GRANDMOTHER. What is this? Mercy on me! She is dancing down the +street! Run after her, Coachman! Quick! Stop her!</p> +<p>COACHMAN (<i>running after Karen</i>). Stop, Mistress Karen! I'm +after you!</p> +<p>OLD SOLDIER. Ha, ha, ha! You will never catch her!</p> +<p>GRANDMOTHER (<i>calling after Coachman</i>). There she goes +around the corner!</p> +<p>COACHMAN (<i>calling off</i>). I'll get you, Mistress Karen! +Just stop a bit!</p> +<p>OLD SOLDIER. Ha, ha, ha! You will never catch her!</p> +<p>GRANDMOTHER. My poor Karen! My poor Karen!</p> +<p>COACHMAN (<i>returning</i>). I couldn't catch her, madam! She +danced right out of the town gate!</p> +<p>GRANDMOTHER. Out of the town gate?</p> +<p>COACHMAN. Yes, madam, and straight for the dark wood.</p> +<p>GRANDMOTHER. We will drive after her!</p> +<p>[<i>Coachman jumps to his seat.</i>]</p> +<p>OLD SOLDIER. Ha, ha, ha! You will never catch her!</p> +<p>GRANDMOTHER. Quick, Coachman, quick! We must catch her before +she gets to the dark wood. My poor Karen! My poor Karen!</p> +<p>[<i>The carriage dashes off.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE IV</h4> +<p>TIME: <i>three days later; evening</i>.<br> +PLACE: <i>the dark wood. A hut is seen among the vines</i>.</p> +<hr> +<table width="40%" align="center"> +<tr> +<td>THE FORESTER.</td> +<td>THE EXECUTIONER.</td> +</tr> +<tr> +<td>HIS SON.</td> +<td>THE OLD SOLDIER.</td> +</tr> +<tr> +<td>KAREN.</td> +<td>THE FAIRY QUEEN.</td> +</tr> +<tr> +<td colspan="2" align="center">MOON.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> FORESTER <i>and his</i> SON <i>are felling a +tree.</i>]</p> +<p>KAREN (<i>heard calling off</i>). Stop me! Stop me!</p> +<p>SON. Heard you that cry?</p> +<p>FORESTER (<i>looking off</i>). Mercy on us! 'T is the dancing +girl I told you of!</p> +<p>[<i>Enter</i> KAREN, <i>dancing.</i>]</p> +<p>KAREN. Stop me, Forester!</p> +<p>FORESTER. No, no! I dare not!</p> +<p>KAREN (<i>to Son</i>). Stop me, I pray you! Three days have I +danced! I can endure it no longer!</p> +<p>SON (<i>to Forester</i>). Come, let us help her!</p> +<p>FORESTER. Do not touch her! She is bewitched!</p> +<p>KAREN. 'T is my shoes are bewitched—not I!</p> +<p>SON. I say, little maid, pull off your shoes!</p> +<p>KAREN. They will not come off. See!</p> +<p>[<i>She pulls at her shoes.</i>]</p> +<p>SON (<i>starting towards Karen</i>). I'll get them off, +bewitched or not bewitched!</p> +<p>FORESTER (<i>seizing Son</i>). Would you get yourself into +trouble? Come home with me!</p> +<p>[<i>Forester runs from wood with Son. The</i> MOON <i>arises +suddenly in a fir tree.</i>]</p> +<p>KAREN. O Moon, see how I dance below you! Pray tell me how to +break this spell!</p> +<p>MOON. Ha, ha, ha!</p> +<a name="image-001"><!--IMG--></a> +<div class="figcenter"><a href="images/001.png"><img src= +"images/001.png" alt= +"THE MOON CHANGES INTO THE RED BEARD OF THE OLD SOLDIER." width="80%"></a> +<h3>"THE MOON CHANGES INTO THE RED BEARD OF THE OLD SOLDIER"</h3> +</div> +<!--IMAGE END--> +<p>[<i>The Moon changes into the red beard of the</i> OLD +SOLDIER.]</p> +<p>OLD SOLDIER. My beard makes moonlight for me that I may watch +you dance.</p> +<p>KAREN. Mercy, Old Soldier! I pray you break your spell!</p> +<p>OLD SOLDIER. You forgot to say the prayers! You thought only of +your red shoes!</p> +<p>KAREN. I will go barefoot to church!</p> +<p>OLD SOLDIER. You whispered "red" to the Shoemaker!</p> +<p>KAREN. I will never deceive my dear Grandmother again! Have +pity!</p> +<p>OLD SOLDIER. You shall dance in your red shoes till you are pale +and cold! By night and by day you shall dance; in sunshine and in +rain; in snow and in sleet. Over highways and byways shall you +dance; in dark swamps and on mountain tops. You shall go on +dancing, dancing, dancing, forever and ever!</p> +<p>[<i>He disappears.</i>]</p> +<p>KAREN. I cannot dance on forever! I cannot! I cannot!</p> +<p>(<i>Weeping; pause.</i>)</p> +<p>Well, I know a way to break the spell, and I'll do it!</p> +<p>(<i>Crossing to hut of the</i> EXECUTIONER; +<i>knocking.</i>)</p> +<p>Come out! Come out!</p> +<p>EXECUTIONER (<i>from within the hut</i>). Come in!</p> +<p>KAREN. I cannot come in; I must dance.</p> +<p>EXECUTIONER. Then I will come out.</p> +<p>(<i>The Executioner comes out from hut.</i>)</p> +<p>Well, do you know me?</p> +<p>KAREN. You are the Executioner.</p> +<p>EXECUTIONER. I am the Executioner. I cut off the heads of wicked +people with this great ax.</p> +<p>KAREN. Do not strike off my head!</p> +<p>EXECUTIONER. And why not strike off your head, pray?</p> +<p>KAREN. I must have that to repent of my sin. So please to cut +off my feet.</p> +<p>EXECUTIONER. It shall be as you say. Thrust out your foot, +maid.</p> +<p>[<i>Enter</i> FAIRY QUEEN.]</p> +<p>FAIRY QUEEN. Stay, Executioner, stay! I've come to save you, +Karen!</p> +<p>KAREN. To save me?</p> +<p>FAIRY QUEEN. Whenever a child repents of a sin, lo, I am there +to save.</p> +<p>KAREN. Will you remove this spell from me?</p> +<p>FAIRY QUEEN. Will you give up your red shoes?</p> +<p>KAREN. Gladly! Gladly! I wish I might never see them again!</p> +<p>FAIRY QUEEN. Then dance to me that I may touch you with my +wand.</p> +<p>[<i>Fairy Queen touches Karen's shoes with her wand. The shoes +fall off.</i>]</p> +<p>KAREN. Dear Fairy Queen! Dear Fairy Queen! I thank you! I thank +you!</p> +<p>FAIRY QUEEN. Look, Karen, your shoes are dancing away! Soon they +will be lost to you forever. Shall I not bring them back?</p> +<p>KAREN. No, no! Let them go! Now I am free! Now I can rest!</p> +<p>FAIRY QUEEN. Then come, dear child, I will guide you to your +home.</p> +<a name="2h11"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE STORY OF ALI COGIA</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one evening</i>.<br> +PLACE: <i>the house of a merchant in Bagdad</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MERCHANT.</td> +</tr> +<tr> +<td>THE MERCHANT'S WIFE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MERCHANT <i>and his</i> WIFE <i>are at +supper.</i>]</p> +<p>WIFE. Our neighbors bought some fine olives to-day. It has been +a long time since we have had olives. I am quite hungry for +them.</p> +<p>MERCHANT. Now you speak of olives, you put me in mind of the jar +which Ali Cogia left with me.</p> +<p>WIFE (<i>pointing to a jar in another part of the room</i>). +There is the very jar waiting for him against his return.</p> +<p>MERCHANT. Certainly he must be dead, since he has not returned +in all this time. Give me a plate; I will open the jar, and if the +olives be good, we will eat them.</p> +<p>WIFE. Pray, husband, do not commit so base an action. You know +nothing is more sacred than what is left to one's care and +trust.</p> +<p>MERCHANT. But I am certain All Cogia will never return.</p> +<p>WIFE. And I have a strong feeling that he will. What will he +think of your honor if he finds the jar has been opened?</p> +<p>MERCHANT. Surely a jar of olives is not to be guarded so +carefully, year after year.</p> +<p>WIFE. That is Ali Cogia's affair, not ours. Besides, the olives +can't be good after all this time.</p> +<p>MERCHANT (<i>taking a plate</i>). I mean to have a taste of +them, at least.</p> +<p>WIFE (<i>indignantly</i>). You are betraying the trust your +friend placed in you! I will not remain to witness it.</p> +<p>[<i>She leaves the room. The Merchant crosses and takes cover +from jar.</i>]</p> +<p>MERCHANT (<i>looking in jar</i>). My wife was right—the +olives are covered with mould, but those at the bottom may still be +good.</p> +<p>[<i>He turns the jar up and shakes out the olives. Several gold +pieces fall out.</i>]</p> +<p>MERCHANT. What is this? Gold pieces! As I live! Gold! gold!</p> +<p>[<i>He shakes the jar again; a shower of gold pieces +fall.</i>]</p> +<p>MERCHANT (<i>dropping the jar in astonishment</i>). A thousand +pieces at least! The top of the jar only was laid with olives!</p> +<p>(<i>He puts the gold into his pockets.</i>)</p> +<p>To-night, when my wife is asleep, I will fill the jar entirely +with fresh olives, for these show they have been disturbed. And I +will make up the jar so that no one, except Ali Cogia himself, will +know they have been touched.</p> +<a name="image-091"><!--IMG--></a> +<div class="figcenter"><a href="images/091.png"><img src= +"images/091.png" alt="'A THOUSAND PIECES AT LEAST!'" width="80%"></a> +<h3>"A THOUSAND PIECES AT LEAST"</h3> +</div> +<!--IMAGE END--> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>one month later; a moonlight night</i>.<br> +PLACE: <i>a small court opening upon a narrow street of +Bagdad</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE CALIPH.</td> +</tr> +<tr> +<td>THE GRAND VIZIER.</td> +</tr> +<tr> +<td>FIRST CHILD, <i>who plays he is the Cauzee</i><a id= +"footnotetag3" name="footnotetag3"></a><a href= +"#footnote3"><sup>3</sup></a></td> +</tr> +<tr> +<td>SECOND CHILD, <i>who plays he is the officer</i>.</td> +</tr> +<tr> +<td>THIRD CHILD, <i>who plays he is Ali Cogia</i>.</td> +</tr> +<tr> +<td>ZEYN, <i>who plays he is the Merchant</i>.</td> +</tr> +<tr> +<td>TWO BOYS, <i>who play they are Olive Merchants</i>.</td> +</tr> +<tr> +<td>MANY OTHER CHILDREN, <i>who look on</i>.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> CALIPH, <i>accompanied by his</i> GRAND VIZIER, +<i>enters the narrow street upon which the court opens. They are in +disguise, appearing as merchants.</i>]</p> +<p>CALIPH. Perhaps we may hear some talk of this affair of Ali +Cogia and the merchant, as we go through the city to-night.</p> +<p>VIZIER. It is possible, O Commander of the true Believers! The +affair has made a great noise in Bagdad.</p> +<p>CALIPH. Ali Cogia carried the merchant before the Cauzee, I +believe.</p> +<p>VIZIER. Yes; he claimed that the merchant had taken from him one +thousand pieces of gold.</p> +<p>CALIPH. Proceed; I would know all.</p> +<p>VIZIER. Ali Cogia left with this merchant, so he says, a jar in +which he had placed this money. Upon his return, which was but +yesterday, he went to the merchant, and, having received the jar, +opened it. To his surprise he found that the gold, which he had +hidden below a layer of olives, was no longer there.</p> +<p>CALIPH. Ah, that is what Ali Cogia says. What says the +merchant?</p> +<p>VIZIER. The merchant made oath before the Cauzee that he did not +know there was money in the jar, and so of course could not have +taken it.</p> +<p>CALIPH. And the Cauzee dismissed the merchant, I believe.</p> +<p>VIZIER. Yes, Commander of the Faithful, the merchant was +acquitted.</p> +<p>CALIPH. This Ali Cogia presented a petition to me to-day, and I +promised to hear him to-morrow. Would that I could know the truth +of the matter that I may give a just sentence!</p> +<p>[<i>They arrive at the court where several</i> CHILDREN <i>are +playing in the moonlight. The Caliph stops to watch them.</i>]</p> +<p>FIRST CHILD. Let us play that the Cauzee is trying the +Merchant.</p> +<p>SECOND CHILD (<i>joyfully</i>). Yes, yes!</p> +<p>THIRD CHILD (<i>joyfully</i>). Yes, yes!</p> +<p>ALL CHILDREN (<i>clapping their hands</i>). Yes, yes!</p> +<p>CALIPH (<i>softly to Vizier</i>). Let us sit on this bench. I +would know what these children are playing.</p> +<p>[<i>They sit, but are not seen by children.</i>]</p> +<p>FIRST CHILD (<i>taking his seat with great dignity</i>). I +choose to be the Cauzee!</p> +<p>SECOND CHILD (<i>taking his place behind the Cauzee</i>). I +choose to be the Officer!</p> +<p>THIRD CHILD. I choose to be Ali Cogia!</p> +<p>CAUZEE. Who chooses to be the Merchant?</p> +<p>[<i>Long pause; all the Children hang back.</i>]</p> +<p>CAUZEE. Come, Zeyn, you be the Merchant.</p> +<p>ZEYN. Not I! The part does not please me.</p> +<p>OFFICER. Would you spoil everything, Zeyn?</p> +<p>ZEYN. Oh, well, then, I'll be the Merchant this time.</p> +<p>CAUZEE. Officer, bring in the accused and his accuser.</p> +<p>[<i>The Officer presents the Merchant and Ali Cogia before the +Cauzee.</i>]</p> +<p>CAUZEE. Ali Cogia, what charge have you to make against this +Merchant?</p> +<p>ALI COGIA (<i>bowing</i>). Sir, when I journeyed from Bagdad +seven years ago, I left with this Merchant a jar. Now, into this +jar I had put, with some olives, a thousand pieces of gold. When I +opened the jar, I found that it had been entirely filled with +olives; the gold had disappeared. I beseech your honor that I may +not lose so great a sum of money!</p> +<p>CAUZEE. Merchant, what have you to say to this charge?</p> +<p>MERCHANT. I confess that I had the jar in my house, but Ali +Cogia found it exactly as he had left it. Did he ever tell me there +was gold in the jar? No. He now demands that I pay him one thousand +pieces of gold. I wonder that he does not ask me for diamonds and +pearls instead of gold. I will take my oath that what I say is the +truth.</p> +<p>CAUZEE. Not so fast! Before you come to your oath, I should be +glad to see the jar of olives.</p> +<p>(<i>Turning to Ali Cogia.</i>)</p> +<p>Ali Cogia, have you brought the jar?</p> +<p>ALI COGIA. No; I did not think of that.</p> +<p>CAUZEE. Then go and fetch it.</p> +<p>[<i>Ali Cogia goes.</i>]</p> +<p>CAUZEE (<i>to the Merchant</i>). You thought the jar contained +olives all this time?</p> +<p>MERCHANT. Ali Cogia told me it contained olives at the first. I +will take oath that what I say is the truth.</p> +<p>CAUZEE. We are not yet ready for your oath.</p> +<p>[ALI COGIA <i>enters. He pretends to set a jar before the +Cauzee.</i>]</p> +<p>CAUZEE. Ali Cogia, is this jar the same you left with the +Merchant?</p> +<p>ALI COGIA. Sir, it is the same.</p> +<p>CAUZEE. Merchant, do you confess this jar to be the same?</p> +<p>MERCHANT. Sir, it is the same.</p> +<p>CAUZEE. Officer, remove the cover.</p> +<p>(<i>The Officer pretends to remove the cover.</i>)</p> +<p>These are fine olives! Let me taste them.</p> +<p>(<i>Pretending to eat an olive.</i>)</p> +<p>They are excellent! But I cannot think that olives will keep +seven years and be so good. Therefore, Officer, bring in Olive +Merchants, and let me hear what is their opinion.</p> +<p>OFFICER (<i>announcing</i>). Forward, two Olive Merchants!</p> +<p>[<i>Two</i> BOYS <i>present themselves</i>].</p> +<p>CAUZEE. Are you Olive Merchants?</p> +<p>BOYS (<i>bowing</i>). Sir, we are.</p> +<p>CAUZEE. Tell me how long olives will keep.</p> +<p>FIRST OLIVE MERCHANT. Let us take what care we can, they will +hardly be worth anything the third year.</p> +<p>SECOND OLIVE MERCHANT. It is true, for then they will have +neither taste nor color.</p> +<p>CAUZEE. If it be so, look into that jar and tell me how long it +is since those olives were put into it.</p> +<p>[<i>Both Merchants pretend to examine and taste the +olives.</i>]</p> +<p>FIRST OLIVE MERCHANT. These olives are new and good.</p> +<p>CAUZEE. You are mistaken. Ali Cogia says he put them into the +jar seven years ago.</p> +<p>SECOND OLIVE MERCHANT. Sir, they are of this year's growth. +There is not a merchant in Bagdad that will not say the same.</p> +<p>CAUZEE. Merchant, you stand accused. You must return the +thousand pieces of gold to Ali Cogia.</p> +<p>MERCHANT. Sir, I protest—</p> +<p>CAUZEE (<i>interrupting</i>). Be silent! You are a rogue. Take +him to prison, Officer.</p> +<p>[<i>All the children seize the Merchant and run from the court, +laughing and shouting.</i>]</p> +<p>CALIPH (<i>rising</i>). I know now what will be a just trial. I +have learned it from the child Cauzee. Do you think I could give a +better sentence?</p> +<p>VIZIER. I think not, if the case be as these children played +it.</p> +<p>CALIPH. Take care to bid Ali Cogia bring his jar of olives +to-morrow. And let two olive merchants attend.</p> +<p>VIZIER. It shall be done, O Commander of true Believers!</p> +<p>CALIPH. If the olives be indeed fresh, then the merchant will +receive his punishment and Ali Cogia his thousand pieces of +gold.</p> +<p>(<i>Starting off; stopping.</i>)</p> +<p>Take notice of this street, and to-morrow present the boy Cauzee +with a purse of gold. Tell him it is a token of my admiration of +his wisdom and justice.</p> +<a name="2h12"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE WILD SWANS</h2> +<h4>SCENE I</h4> +<p>TIME: <i>a long time ago</i>.<br> +PLACE: <i>on the seashore</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>THE GOODY.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> GOODY <i>is seen walking along the shore.</i> ELIZA +<i>enters from the forest.</i>]</p> +<p>GOODY. Bless me! What is the little girl doing in this lonely +place? And alone, too!</p> +<p>ELIZA. I seek my eleven brothers.</p> +<p>GOODY. Ah! Then you must be the Princess Eliza!</p> +<p>ELIZA (<i>sadly</i>). Yes, Goody.</p> +<p>GOODY. And the eleven brothers you seek are the eleven little +princes!</p> +<p>ELIZA. Yes; do you know them?</p> +<p>GOODY. I saw them in school one day. Each prince wore a golden +crown on his head, a star on his breast, and a sword by his +side.</p> +<p>ELIZA (<i>nodding</i>). They studied very hard, just as princes +should.</p> +<p>GOODY. They wrote on gold slates with diamond pencils. I myself +saw them!</p> +<p>ELIZA. I sat on a little stool of plate-glass. Did you know +that?</p> +<p>GOODY. Oh, yes! And I know about your picture-book worth half a +kingdom.</p> +<p>ELIZA. We were all so happy then! Our dear mother was alive and +sometimes went to school with us. Now all is changed.</p> +<p>GOODY. What has happened?</p> +<p>ELIZA. They have driven us from the palace.</p> +<p>GOODY (<i>indignantly</i>). I said so! On the day of that +wedding I said so.</p> +<p>ELIZA. Then you know that my father married again?</p> +<p>GOODY. Yes, I know. I wept when I heard our good king had +married that wicked queen.</p> +<p>ELIZA. She drove my brothers away, the very day of the wedding +feast.</p> +<p>GOODY. And now she has driven you away!</p> +<p>ELIZA (<i>nodding</i>). If only I could find my dear +brothers!</p> +<p>GOODY. You may hear something about them very soon.</p> +<p>ELIZA (<i>quickly</i>). Do you know where they are? Tell me! I +pray you tell me!</p> +<p>GOODY (<i>shaking her head mysteriously</i>). I cannot say where +they are. I only know what they are.</p> +<p>ELIZA. I do not understand—</p> +<p>GOODY. The wicked queen has turned your brothers into wild +swans.</p> +<p>ELIZA. Wild swans?</p> +<p>GOODY (<i>nodding</i>). I saw them yesterday, at sunrise, flying +out over the sea. Each swan wore a gold crown on his head.</p> +<p>ELIZA. The queen could not take their crowns from them!</p> +<p>GOODY. As the swans flew upward, their eleven crowns glittered +like eleven suns. My eyes were dazzled. I was obliged to look away. +At that moment the swans disappeared.</p> +<p>ELIZA (<i>sadly to herself</i>). My poor brothers! I shall never +see them again.</p> +<p>GOODY (<i>suddenly</i>). Do you see those great blue bluffs to +the south?</p> +<p>ELIZA. Yes; the sea is dashing against them.</p> +<p>GOODY. In those bluffs, back from the shore, is a cave. Go at +once to that cave and enter.</p> +<p>ELIZA. And what shall I do there, good woman?</p> +<p>GOODY. Perhaps you may learn how to break the spell over your +brothers.</p> +<p>ELIZA (<i>surprised</i>). How to break the spell?</p> +<p>GOODY. Ask no questions, but go at once to the cave.</p> +<p>ELIZA (<i>going</i>). Thank you, good woman. You are very kind +to me.</p> +<p>GOODY. Go now, child, and fear nothing.</p> +<p>[<i>Eliza goes; the Goody disappears.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>a half-hour later</i>.<br> +PLACE: <i>the cave</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>THE FAIRY.</td> +</tr> +</table> +<hr> +<p>[ELIZA <i>is seen at entrance of cave. She stops; is afraid to +enter.</i>]</p> +<p>ELIZA. I am afraid to enter! It is so dark—I know not what +is within! It may be the den of some wild animal.</p> +<p>(<i>Listening.</i>)</p> +<p>Not a sound do I hear! But wild animals are cunning. They know +how to lie as still as death and then to leap quickly.</p> +<p>(<i>Pause.</i>)</p> +<p>Well, be it so. I will enter, for I must save my brothers.</p> +<p>[<i>She enters the cave.</i> FAIRY <i>is within the cave, but +invisible.</i>]</p> +<p>FAIRY. You have courage, little Eliza.</p> +<p>ELIZA (<i>showing relief</i>). Oh! Are you here, good woman?</p> +<p>FAIRY. Behold!</p> +<p>[<i>The cave is filled with light; a beautiful Fairy is +seen.</i>]</p> +<p>ELIZA. Ah! I thought it was the Goody.</p> +<p>FAIRY. No matter, dear child. I knew you were to come here.</p> +<p>ELIZA. I was afraid to enter.</p> +<p>FAIRY. But you did enter. Your love for your brothers was +greater than your fear.</p> +<p>ELIZA. It was that which gave me courage.</p> +<p>FAIRY. It was a test of your courage. And now I can tell you how +to break the spell over your brothers.</p> +<p>ELIZA. I will do whatever you say.</p> +<p>FAIRY. You will suffer greatly.</p> +<p>ELIZA. What matter, if I save my brothers!</p> +<p>FAIRY (<i>nodding</i>). Then listen. Do you see the stinging +nettles which I hold in my hand?</p> +<p>ELIZA. Yes, dear Fairy.</p> +<p>FAIRY. You must gather great quantities of these.</p> +<p>ELIZA. I noticed many of the same sort growing near this +cave.</p> +<p>FAIRY (<i>shaking head</i>). You must gather only those that +grow in graveyards.</p> +<p>ELIZA. It shall be exactly as you say, dear Fairy.</p> +<p>FAIRY. The nettles will make blisters on your hands.</p> +<p>ELIZA. I will not think of myself; I will think only of my +brothers.</p> +<p>FAIRY. Break the nettles into pieces with your hands and feet, +and they will become flax. From this flax you must spin and weave +eleven coats with long sleeves. If these eleven coats can be thrown +over the eleven swans, the spell will be broken.</p> +<p>ELIZA. It shall be done.</p> +<p>FAIRY. But remember, that from the moment you begin your task, +until it is finished, you must not speak. Even though it should +occupy years of your life, you must not speak.</p> +<p>ELIZA. I shall remember.</p> +<p>FAIRY. The first word you utter will pierce through the hearts +of your brothers like a dagger. Their lives hang upon your tongue. +Go now and begin your task.</p> +<p>ELIZA (<i>going</i>). I go, dear Fairy.</p> +<p>FAIRY. Remember all I have told you, dear child. Farewell!</p> +<p>[<i>Eliza goes; the cave becomes dark; the Fairy +disappears.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>two days later</i>.<br> +PLACE: <i>a distant country; the King's palace</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE KING.</td> +</tr> +<tr> +<td>HIS WICKED UNCLE.</td> +</tr> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>GUARDSMEN.</td> +</tr> +<tr> +<td>SERVANTS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> WICKED UNCLE <i>stands waiting to receive the King. +Enter the</i> KING <i>with</i> ELIZA. <i>She is pale and +sad.</i>]</p> +<p>WICKED UNCLE. Welcome, your Majesty! Welcome home from your +hunt! But who is this maiden?</p> +<p>KING. I know not, my Uncle.</p> +<p>WICKED UNCLE. What?</p> +<p>KING. My huntsmen found her in a cave in a far-off country.</p> +<p>WICKED UNCLE. In a cave? Alone?</p> +<p>KING (<i>nodding</i>). Alone; spinning coats out of flax.</p> +<p>WICKED UNCLE. This is very strange.</p> +<p>(<i>To Eliza.</i>)</p> +<p>Why were you all alone in a cave, and why were you spinning +coats?</p> +<p>(<i>Eliza shakes her head.</i>)</p> +<p>KING. She is dumb, Uncle. Not a word has she uttered since we +found her.</p> +<p>WICKED UNCLE. Why did you bring her with you?</p> +<p>KING. I will make her my queen.</p> +<p>WICKED UNCLE (<i>angrily</i>). Your queen?</p> +<p>KING. See how beautiful she is.</p> +<p>WICKED UNCLE (<i>whispering to King</i>). She is a witch!</p> +<p>KING. Nonsense! She is as good as she is beautiful.</p> +<p>WICKED UNCLE (<i>whispering as before</i>). She has bewitched +your heart!</p> +<p>KING. Nonsense, I say! She did not want to leave the cave. She +wept bitterly when I put her on my horse.</p> +<p>(<i>He turns to the servants.</i>)</p> +<p>Let the music sound! Prepare the wedding feast!</p> +<p>(<i>He turns to Eliza, who weeps.</i>)</p> +<p>Do not weep, my beautiful maid.</p> +<p>WICKED UNCLE (<i>whispering to King</i>). She is not beautiful. +She has bewitched your eyes.</p> +<p>KING. I will not listen to you! Go, bid them ring the church +bells.</p> +<p>WICKED UNCLE (<i>going; speaking aside</i>). I must poison his +heart against her in some way; else I'll never wear the crown.</p> +<p>[<i>Wicked Uncle goes.</i>]</p> +<p>KING (<i>to Eliza</i>). Do not weep. You shall be dressed in +silks and velvets and I will place a golden crown upon your +head.</p> +<p>(<i>Eliza weeps and wrings her hands.</i>)</p> +<p>Well, then, I know how to make you smile.</p> +<p>[<i>The King opens a door into an inner room. Eliza looks in, +smiles, and claps her hands for joy.</i>]</p> +<p>KING. I thought 't would make you happy! 'T is very like your +cave—I had it made so.</p> +<p>(<i>Eliza tries to thank King with her eyes.</i>)</p> +<p>But no more spinning! Your fingers shall be covered with +diamonds instead of blisters.</p> +<p>(<i>Eliza sighs very sadly.</i>)</p> +<p>Something troubles you, little queen. If you could only tell me +of your grief!</p> +<p>(<i>Eliza shakes her head sadly.</i>)</p> +<p>Well, I can at least save you from a life of labor. You shall be +most tenderly cared for.</p> +<p>(<i>Calling.</i>)</p> +<p>Ho, there, Guardsmen!</p> +<p>(<i>Enter</i> GUARDSMEN.)</p> +<p>Guardsmen, behold your queen!</p> +<p>(<i>Guards kneel before Eliza.</i>)</p> +<p>Guardsmen, arise and hear my commands.</p> +<p>(<i>Guards rise.</i>)</p> +<p>Your queen is never to do any of the work about the castle. Do +you hear me, Guardsmen?</p> +<p>GUARDSMEN (<i>bowing</i>). We hear, O King!</p> +<p>KING. Not even the spinning or weaving. Do you hear me, +Guardsmen?</p> +<p>GUARDSMEN (<i>bowing</i>). We hear, O King!</p> +<p>KING. Those are my commands. Now attend us to the +banquet-hall.</p> +<p>(<i>To Eliza, who is weeping.</i>)</p> +<p>Weep no more, little queen. I wish only your happiness. Come, +give me your hand. We go now to the wedding feast.</p> +<p>[<i>They go out, the Guards attending.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE IV</h4> +<p>TIME: <i>two weeks later; sunrise</i>.<br> +PLACE: <i>the open just without the town gate</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE GOODY.</td> +</tr> +<tr> +<td>THE WICKED UNCLE.</td> +</tr> +<tr> +<td>THE KING.</td> +</tr> +<tr> +<td>ELIZA.</td> +</tr> +<tr> +<td>HER ELEVEN BROTHERS.</td> +</tr> +<tr> +<td>THE EXECUTIONER.</td> +</tr> +<tr> +<td>FIRST CITIZEN.</td> +</tr> +<tr> +<td>SECOND CITIZEN.</td> +</tr> +<tr> +<td>THIRD CITIZEN.</td> +</tr> +<tr> +<td>FOURTH CITIZEN.</td> +</tr> +<tr> +<td>GUARDS.</td> +</tr> +</table> +<hr> +<p>[<i>Enter crowds of people from the town gate. Enter the</i> +GOODY <i>from the forest. Enter the</i> WICKED UNCLE <i>from the +town gate.</i>]</p> +<p>GOODY (<i>to Wicked Uncle</i>). Why these crowds so early, +sir?</p> +<p>WICKED UNCLE. Do not call me 'sir.'</p> +<p>GOODY. What shall I say, sir?</p> +<p>WICKED UNCLE. Say, 'Your Highness.'</p> +<p>GOODY. But you are not the King, sir.</p> +<p>WICKED UNCLE. I'm very near it, old woman.</p> +<p>GOODY. Not so near, sir, as you were, sir. There is the new +queen, sir.</p> +<p>WICKED UNCLE. The new queen is about to die.</p> +<p>GOODY (<i>alarmed</i>). About to die?</p> +<p>WICKED UNCLE (<i>nodding</i>). Aye, because she's a witch. +They're bringing her out here now.</p> +<p>GOODY. The King permits it?</p> +<p>WICKED UNCLE (<i>nodding</i>). He soon found out the truth about +her.</p> +<p>GOODY. And what was that?</p> +<p>WICKED UNCLE. Just what I told him the first time I saw her. +"She's a witch," said I, but he would not believe me.</p> +<p>GOODY. What has so changed him?</p> +<p>WICKED UNCLE. 'T was I who saw her slip forth from the castle +one midnight. I followed her; straight to the graveyard she +went.</p> +<p>GOODY. To the graveyard?</p> +<p>WICKED UNCLE (<i>nodding</i>). In she went—I following. I +saw her gather the stinging nettles that grow there.</p> +<p>GOODY. But they would blister her hands. Did she not cry +out?</p> +<p>WICKED UNCLE. Not a sound did she utter! That would prove her a +witch, were there nothing more.</p> +<p>GOODY. Ah, there is something more, then?</p> +<p>WICKED UNCLE (<i>nodding; mysteriously</i>). I followed her back +to the castle; through the marble halls and up to the little cave +room. I saw her break up the nettles. Then I saw her spin and weave +this flax into a magic coat.</p> +<p>GOODY. Bless me! A magic coat?</p> +<p>WICKED UNCLE (<i>nodding</i>). There were ten of them hanging +from the ceiling.</p> +<p>GOODY. Of course you told the King?</p> +<p>WICKED UNCLE. Just as soon as I could waken him, but he would +not believe me. He said there was but one coat when they brought +her here, and that there could be but one now.</p> +<p>GOODY. She worked at night, then, while the castle slept.</p> +<p>WICKED UNCLE. True queens do not work—nay, can't be made +to work. Every one knows that.</p> +<p>GOODY. But how did the King find out the truth?</p> +<p>WICKED UNCLE. I persuaded him to watch with me the next night. +Just at midnight the queen came out. We followed her to the +graveyard. "That is enough," said his Majesty, "she is a witch and +must die."</p> +<p>[<i>The</i> CITIZENS <i>rush to the gates.</i>]</p> +<p>CITIZENS (<i>calling</i>). See the witch!</p> +<p>GOODY. Is she coming?</p> +<p>WICKED UNCLE (<i>looking</i>). Yes, she is just within the gate. +She rides in an old cart drawn by an old horse—quite good +enough for a witch.</p> +<p>[<i>Enter the</i> KING <i>with servants and</i> GUARDS. +<i>Behind them is the cart. In the cart sits</i> ELIZA. <i>She is +spinning and weaving, never once looking up.</i>]</p> +<p>GOODY. How pale she is! Bless me! She is spinning and +weaving.</p> +<p>WICKED UNCLE. It is the eleventh coat and it will be the +last.</p> +<p>GOODY. How she hurries to finish it!</p> +<p>[<i>The cart stops.</i>]</p> +<p>KING (<i>to Eliza</i>). Once again I ask you,—Are you a +witch?</p> +<p>(<i>Eliza shakes her head.</i>)</p> +<p>Then give up the coats. They are of no use to any one.</p> +<p>[<i>Eliza again shakes her head.</i>]</p> +<p>WICKED UNCLE. That proves her a witch! Else, she would give up +the coats.</p> +<p>KING (<i>to Eliza</i>). Once more,—Will you not give them +up?</p> +<p>[<i>Eliza shakes her head. The King turns away. He is very sad; +his eyes are filled with tears.</i>]</p> +<p>FIRST CITIZEN (<i>calling</i>). See the witch!</p> +<p>SECOND CITIZEN (<i>calling</i>). See her magic coats!</p> +<p>THIRD CITIZEN (<i>calling</i>). Let us tear them to pieces!</p> +<p>FOURTH CITIZEN (<i>calling</i>). At them, Citizens! Tear them to +shreds!</p> +<p>GOODY (<i>looking up; speaking aside</i>). Here come the Wild +Swans! Now we shall see what we shall see!</p> +<p>[ELEVEN WILD SWANS <i>descend from the sky and alight on the +cart. Each wears a golden crown.</i>]</p> +<p>FIRST CITIZEN. Back, Citizens, back! Wild Swans have alighted on +the cart!</p> +<p>FOURTH CITIZEN. What do we care for Wild Swans? Forward, +Citizens!</p> +<p>FIRST CITIZEN. Back, I say! The Swans are beating us with their +strong wings!</p> +<p>SECOND CITIZEN. Back! back, Citizens! We dare not approach the +cart!</p> +<p>GOODY (<i>calling to the people</i>). The Swans have come to +save the queen! 'T is a sign from heaven that she is innocent!</p> +<p>WICKED UNCLE (<i>angrily</i>). Be silent, old woman!</p> +<p>(<i>He turns to the Executioner.</i>)</p> +<p>Executioner, do your duty!</p> +<p>EXECUTIONER. Out of the cart, witch!</p> +<p>(<i>Eliza shakes her head; takes up coats from floor of cart. +The Executioner turns to the Wicked Uncle.</i>)</p> +<p>She will not come!</p> +<p>WICKED UNCLE. Seize her—I command you!</p> +<p>FIRST CITIZEN. Seize her! Seize her!</p> +<p>GOODY. Look, Citizens, look! She is spreading the coats over the +Swans!</p> +<p>[<i>Eliza throws the eleven coats over the eleven Swans, who +turn to eleven little princes, but the youngest has a swan's wing +instead of an arm, for the last sleeve was not finished.</i>]</p> +<p>FIRST CITIZEN. Do you see that, Citizens? They are princes! She +has saved them!</p> +<p>SECOND CITIZEN. She is no witch!</p> +<p>THIRD CITIZEN. She is an angel from heaven!</p> +<p>THE ELEVEN BROTHERS. Dear sister, you have saved us!</p> +<p>ELIZA. Now I may speak—I am innocent!</p> +<p>ELDEST BROTHER (<i>to King</i>). Yes, she is innocent!</p> +<p>NINTH BROTHER. How you have suffered for us, dear Eliza!</p> +<p>CITIZENS (<i>to Eliza</i>). Forgive us!</p> +<p>KING (<i>to Eliza</i>). Forgive me! I did not understand.</p> +<p>WICKED UNCLE (<i>annoyed, but trying to conceal it</i>). And I +did not understand, I—</p> +<p>KING (<i>sternly</i>). Be silent!</p> +<p>(<i>To Guards.</i>)</p> +<p>Seize him!</p> +<p>(<i>The Guards seize the Wicked Uncle.</i>)</p> +<p>Take him to the mountains where the stinging nettles grow.</p> +<p>WICKED UNCLE. Mercy! Mercy!</p> +<p>KING. You had no mercy on brave little Eliza! Now you shall +gather nettles for the rest of your life. Away with him, +Guardsmen!</p> +<p>(<i>The Guards take the Wicked Uncle away. The King turns to his +servants.</i>)</p> +<p>Let the music sound! Bring forth the queen's golden crown!</p> +<p>(<i>To Eliza.</i>)</p> +<p>My whole kingdom shall do you honor! This land has never seen a +more beautiful thing than your love for your brothers.</p> +<p>GOODY (<i>whispering aside</i>). Ring, church bells! Ring of +yourselves!</p> +<p>[<i>All the church bells are heard ringing.</i>]</p> +<p>CITIZENS. Hear the church bells! They ring of themselves!</p> +<p>KING. They ring for this sweet queen whose heart is as good as +her face is beautiful. Come, Citizens! Away now to the castle! Away +to the banquet-hall!</p> +<a name="2h13"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE TWO COUNTRYMEN</h2> +<h4>SCENE I</h4> +<p>TIME: <i>evening</i>.<br> +PLACE: <i>a large city; a quiet corner with a high wall +back</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>FIRST COUNTRYMAN.</td> +</tr> +<tr> +<td>SECOND COUNTRYMAN.</td> +</tr> +<tr> +<td>FIRST CITY WAG.</td> +</tr> +<tr> +<td>SECOND CITY WAG.</td> +</tr> +<tr> +<td>MERCHANT.</td> +</tr> +</table> +<hr> +<p>[<i>Great crowds of people are seen in the streets. The</i> TWO +COUNTRYMEN <i>have just arrived. They find a quiet corner where +they place their blankets and baskets of gourds which they +carry.</i>]</p> +<p>FIRST COUNTRYMAN. I fear something most dreadful must have +happened in that street. See what crowds of people pass that +way!</p> +<p>SECOND COUNTRYMAN. Perhaps there is a fire. And yet—</p> +<p>[<i>He stops, showing he is puzzled.</i>]</p> +<p>FIRST COUNTRYMAN (<i>anxiously</i>). What troubles thee?</p> +<p>SECOND COUNTRYMAN. Look thou into that other street! It, too, is +full of people, and yet none are gone from here.</p> +<p>FIRST COUNTRYMAN. Some awful accident hath called them from all +parts of the city. We must find out what it may be.</p> +<p>[<i>A</i> MERCHANT <i>passes.</i>]</p> +<p>SECOND COUNTRYMAN (<i>to Merchant</i>). I pray thee stop, +citizen.</p> +<p>(<i>The Merchant stops.</i>)</p> +<p>Canst thou tell us what dreadful thing hath befallen this +city?</p> +<p>MERCHANT. What do you mean?</p> +<p>[TWO CITY WAGS <i>pass; they stop to listen.</i>]</p> +<p>SECOND COUNTRYMAN. Whither do they go, these vast multitudes? +What dreadful thing go they to see?</p> +<p>FIRST COUNTRYMAN. Perhaps they flee from some monster just come +out of the sea?</p> +<p>MERCHANT. It is ever thus—always the great crowds surging +through the streets.</p> +<p>[<i>The Merchant goes.</i>]</p> +<p>SECOND WAG (<i>to Countrymen, winking aside at First Wag</i>). +This is your first visit to a city, I take it?</p> +<p>BOTH COUNTRYMEN (<i>bowing</i>). It is, good sirs.</p> +<p>FIRST WAG (<i>winking aside at Second Wag</i>). You know what +happens to strangers in our city, of course?</p> +<p>FIRST COUNTRYMAN (<i>anxiously</i>). No, good sir.</p> +<p>SECOND COUNTRYMAN (<i>anxiously</i>). Pray tell us what it may +be.</p> +<p>FIRST WAG. 'T is said they become so dazed by the noise of the +city and the rush of such countless numbers, they forget who they +are.</p> +<p>FIRST COUNTRYMAN. Eh? Forget who they are?</p> +<p>FIRST WAG (<i>nodding</i>). Aye.</p> +<p>(<i>He winks aside at Second Wag.</i>)</p> +<p>You have heard of this, dear friend?</p> +<p>SECOND WAG (<i>winking aside</i>). To be sure; 't is quite +common.</p> +<p>SECOND COUNTRYMAN. Forget their own faces?</p> +<p>SECOND WAG. Aye,—their faces. At least, they are not +certain as to whose faces theirs may be.</p> +<p>FIRST COUNTRYMAN. Then we dare not leave this corner!</p> +<p>FIRST WAG. I would not advise it.</p> +<p>SECOND WAG. It would be most unsafe,—at least for +to-night.</p> +<p>FIRST WAG. Of course there is this danger,—when you awake +in the morning you may not know whether you are yourselves.</p> +<p>SECOND COUNTRYMAN. Would that I had never left my farm!</p> +<p>FIRST COUNTRYMAN. Would that I had never left my wife!</p> +<p>SECOND WAG. Do not despair; there is a way out of your +troubles.</p> +<p>BOTH COUNTRYMEN. Tell us, we pray thee!</p> +<p>SECOND WAG. Each of you must take a gourd from his basket there +and tie it around his ankle. Then, in the morning, when you awake, +you will each know that it is yourself and none other.</p> +<p>FIRST COUNTRYMAN (<i>to Second Countryman, joyfully</i>). Dost +thou hear? By our gourds we shall know!</p> +<p>SECOND COUNTRYMAN (<i>joyfully</i>). I hear! Thanks and yet +again more thanks to thee, good sir!</p> +<p>[<i>The Wags turn to go.</i>]</p> +<p>FIRST WAG. May you know yourselves in the morning for what you +truly are!</p> +<a name="image-123"><!--IMG--></a> +<div class="figcenter"><a href="images/123.png"><img src= +"images/123.png" alt="THE TWO COUNTRYMEN" width="100%"></a></div> +<!--IMAGE END--> +<p>[<i>They go, laughing aside. Each Countryman ties a gourd around +his ankle, wraps his blanket round him, and lies down. They sleep. +Pause.</i></p> +<p>Enter the WAGS <i>softly, each carrying a small flag. They +remove the gourds from Countrymen's ankles and hide them under +their blankets. They then tie the flags around Countrymen's ankles +and go, greatly pleased with their joke.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the next morning</i>.<br> +PLACE: <i>same as Scene I</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>FIRST COUNTRYMAN.</td> +</tr> +<tr> +<td>SECOND COUNTRYMAN.</td> +</tr> +<tr> +<td>FIRST CITY WAG.</td> +</tr> +<tr> +<td>SECOND CITY WAG.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> WAGS <i>are seen peeping around the corner.</i>]</p> +<p>FIRST WAG (<i>softly</i>). They are sound asleep.</p> +<p>SECOND WAG (<i>softly</i>). Then come.</p> +<p>[<i>They enter and throw the two baskets of gourds over the +wall. They then retire around the corner, peeping as +before.</i>]</p> +<p>FIRST COUNTRYMAN (<i>waking; shaking Second Countryman</i>). +Wake up! Wake up!</p> +<p>[<i>Each yawns; stretches; throws off his blanket; +arises.</i>]</p> +<p>FIRST COUNTRYMAN (<i>remembering</i>). Ah, the gourds!</p> +<p>[<i>Each looks at his ankle, then at the other's ankle.</i>]</p> +<p>SECOND COUNTRYMAN. How's this!</p> +<p>FIRST COUNTRYMAN. Did we not tie gourds around our ankles?</p> +<p>SECOND COUNTRYMAN (<i>nodding</i>). Why, surely we did.</p> +<p>FIRST COUNTRYMAN (<i>looking about</i>). Did we not have two +baskets of gourds with us?</p> +<p>SECOND COUNTRYMAN (<i>nodding</i>). Surely; there in the +corner.</p> +<p>FIRST COUNTRYMAN (<i>holding up foot to which flag is tied</i>). +Is this a gourd or is it not a gourd?</p> +<p>SECOND COUNTRYMAN. Of a surety it is a flag.</p> +<p>(<i>Holding up his foot with flag.</i>)</p> +<p>And if this be not a gourd, keep thy silence.</p> +<p>[<i>The First Countryman stares at the flag, placing his finger +on his closed lips.</i>]</p> +<p>SECOND COUNTRYMAN. Then it hath indeed happened!</p> +<p>FIRST COUNTRYMAN. What hath happened?</p> +<p>SECOND COUNTRYMAN. The dreadful thing foretold by the citizens. +I am not I! Thou art not thou!</p> +<p>FIRST COUNTRYMAN (<i>trembling with fear</i>). How can that +be?</p> +<p>SECOND COUNTRYMAN. I know not. I only know that it is.</p> +<p>FIRST COUNTRYMAN (<i>weeping</i>). I cannot think I am not +myself!</p> +<p>SECOND COUNTRYMAN (<i>weeping</i>). Thou needst must think it, +whether thou wouldst or no.</p> +<p>FIRST COUNTRYMAN. Dost thou indeed think thou art some other +person?</p> +<p>SECOND COUNTRYMAN. If I were myself, would not the gourd still +be around my ankle?</p> +<p>FIRST COUNTRYMAN. Then who art thou? And who am I?</p> +<p>SECOND COUNTRYMAN. Alas! I know not.</p> +<p>[<i>Enter the</i> WAGS.]</p> +<p>FIRST COUNTRYMAN (<i>joyfully</i>). Here come those who will +know whether we are ourselves!</p> +<p>[<i>The Wags pretend not to know the Countrymen who are bowing +before them. They pass on.</i>]</p> +<p>SECOND COUNTRYMAN. Stop, good sirs!</p> +<p>FIRST COUNTRYMAN. A word with thee!</p> +<p>[<i>The Wags stop.</i>]</p> +<p>SECOND COUNTRYMAN. Dost thou not know us?</p> +<p>FIRST WAG. I have not that pleasure.</p> +<p>FIRST COUNTRYMAN. Thou didst talk with us but yester-eve!</p> +<p>SECOND WAG. Some mistake, I fear, my good man.</p> +<p>[<i>The Wags start off.</i>]</p> +<p>SECOND COUNTRYMAN (<i>weeping</i>). Wait! I pray thee, wait!</p> +<p>(<i>The Wags stop.</i>)</p> +<p>Canst thou not tell us who we are?</p> +<p>FIRST WAG. Do you not know yourselves?</p> +<p>SECOND COUNTRYMAN. Alas! we are not ourselves.</p> +<p>FIRST COUNTRYMAN. Thou wouldst know us were we as we were +once.</p> +<p>SECOND WAG. Perhaps those flags will solve the riddle.</p> +<p>FIRST WAG. True enough; let us look at them.</p> +<p>[<i>The Countrymen remove flags and hand them to Wags, who look +at them intently.</i>]</p> +<p>SECOND WAG (<i>mysteriously</i>). Can it be?</p> +<p>FIRST WAG. It is! It is!</p> +<p>FIRST COUNTRYMAN. Eh?</p> +<p>SECOND COUNTRYMAN. Eh?</p> +<p>SECOND WAG (<i>to Countrymen</i>). Your pardon! I do crave your +pardon!</p> +<p>FIRST WAG (<i>taking a ring from his finger; turning to Second +Countryman</i>). Please to accept this ring. I shall then know I am +forgiven for not recognizing you at first.</p> +<p>SECOND COUNTRYMAN (<i>accepting ring; putting it on the first +finger of his right hand</i>). Why, yes, I forgive thee.</p> +<p>SECOND WAG (<i>to First Countryman, taking off his gold +chain</i>). Please to accept this chain. By that I shall know I too +am forgiven.</p> +<p>FIRST COUNTRYMAN (<i>accepting chain; putting it on</i>). Thou +art forgiven. Now tell me what great person I have become.</p> +<p>SECOND WAG (<i>gravely</i>). Jest with us no more!</p> +<p>FIRST WAG. We go now to announce your arrival to the Lord +Mayor.</p> +<p>SECOND WAG. Presently, we will return. Await us here.</p> +<p>[<i>They go, laughing aside.</i>]</p> +<p>FIRST COUNTRYMAN. Dost thou know, I have always felt that I was +really a great person. Hast thou not always noticed something +unusual about me?</p> +<p>SECOND COUNTRYMAN. I cannot say that I have. There is, however, +certainly something wonderful about me. I have noticed it for a +long time. Hast thou not felt it when in my company?</p> +<p>FIRST COUNTRYMAN. I have not.</p> +<p>SECOND COUNTRYMAN (<i>indignantly</i>). Thou hast not?</p> +<p>FIRST COUNTRYMAN. Never! thou silly goose!</p> +<p>[<i>The Second Countryman snatches First Countryman's chain and +throws it over the wall.</i>]</p> +<p>SECOND COUNTRYMAN. Mind how thou callest me names, thou +booby!</p> +<p>FIRST COUNTRYMAN (<i>tearing off Second Countryman's ring and +throwing it over the wall</i>). Silly goose!</p> +<p>SECOND COUNTRYMAN. I will now depart for my home. I do not +desire thy company.</p> +<p>FIRST COUNTRYMAN. I likewise will return, and likewise I wish to +journey alone.</p> +<p>[<i>They take up their blankets and discover the +gourds.</i>]</p> +<p>FIRST COUNTRYMAN. Eh?</p> +<p>SECOND COUNTRYMAN. Eh?</p> +<p>FIRST COUNTRYMAN. Let us tie them around our ankles. We may then +discover whether we are ourselves.</p> +<p>[<i>They tie the gourds around their ankles.</i>]</p> +<p>SECOND COUNTRYMAN (<i>joyfully</i>). I am myself!</p> +<p>FIRST COUNTRYMAN (<i>joyfully</i>). And I am myself!</p> +<p>SECOND COUNTRYMAN. Come, let us journey back together.</p> +<p>[<i>They go out. Pause. Enter the</i> WAGS. <i>They remain at +entrance, not knowing Countrymen have gone.</i>]</p> +<p>FIRST WAG (<i>whispering</i>). Do you think the musicians should +follow them?</p> +<p>SECOND WAG (<i>whispering</i>). No, they should follow the +music. What a joke it is!</p> +<p>[<i>They look around and discover that the Countrymen have +gone.</i>]</p> +<p>FIRST WAG (<i>sadly</i>). My ring!</p> +<p>SECOND WAG (<i>sadly</i>). My chain!</p> +<a name="2h14"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE MAN AND THE ALLIGATOR</h2> +<h4>SCENE I</h4> +<p>TIME: <i>the morning after the cyclone</i>.<br> +PLACE: <i>The Man's garden</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MAN.</td> +</tr> +<tr> +<td>THE ALLIGATOR.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> MAN <i>enters the garden carrying his big stick and +small net. The garden has been almost destroyed by the</i> +ALLIGATOR, <i>who still wallows among the beds.</i>]</p> +<p>MAN. There should be enough apples on the ground to fill my net. +'T was a fierce storm last night!</p> +<p>(<i>He looks about; sees the Alligator; shows +indignation.</i>)</p> +<p>Thou—within my garden!</p> +<p>ALLIGATOR (<i>meekly</i>). Be not angry with me, O master! By +accident I—</p> +<p>MAN (<i>indignantly</i>). Accident! Thou hast wallowed among my +flowers by accident, hast thou?</p> +<p>ALLIGATOR. It is true; not of my own will came I hither.</p> +<p>MAN (<i>more indignantly</i>). Thou hast broken my fruit trees +by accident, I suppose!</p> +<p>ALLIGATOR (<i>nodding</i>). It was not of my own intentions, I +assure you. I—</p> +<p>MAN (<i>interrupting</i>). Thou art this moment crushing my +strawberry plants beneath thy great body! I've a mind to beat thee +with my big stick!</p> +<p>ALLIGATOR. Do not beat me, O master! The cyclone is at +fault.</p> +<p>MAN (<i>surprised</i>). The cyclone?</p> +<p>ALLIGATOR (<i>nodding</i>). Aye, it blew me here from the river +last night.</p> +<p>MAN. Ha, ha! A likely story!</p> +<p>ALLIGATOR. I speak the truth. A great waterspout lifted me out +of the river. Then a fierce wind caught me and blew me about as if +I were a feather. Finally, I was dropped here within thy +garden.</p> +<p>MAN (<i>only half convinced</i>). Well, there's no cyclone to +blow thee back. Wilt thou be good enough to walk thyself out?</p> +<p>ALLIGATOR. Alas! I can scarcely move me. I fear some of my ribs +are broken.</p> +<p>MAN. Nonsense! Out with thee!</p> +<p>ALLIGATOR. But see how the wind has crippled me! It has even +blown some of my claws loose—</p> +<p>MAN (<i>interrupting</i>). I am sorry for thee, but thou canst +not remain here.</p> +<p>ALLIGATOR. I will go now, if thou wilt help me.</p> +<p>MAN (<i>surprised</i>). <i>I</i> help thee?</p> +<p>ALLIGATOR (<i>nodding</i>). I will be so grateful to thee!</p> +<p>MAN. Oh, I know how grateful thou canst be! The other animals +have told me that!</p> +<p>ALLIGATOR. What say they?</p> +<p>MAN. That thou art the most cruel of all the animals—that +thou never dost any one a favor—</p> +<p>ALLIGATOR (<i>interrupting</i>). Nonsense! No one could be more +grateful for favors than I! I'll prove it to thee!</p> +<p>MAN. Prove it? How?</p> +<p>ALLIGATOR. If thou wilt help me to the river, I'll show thee +where to find the biggest fish.</p> +<p>MAN. Well—that's something—</p> +<p>ALLIGATOR. And when thou wouldst cross the river, I'll carry +thee.</p> +<p>MAN. Of a surety, that's good of thee! Perhaps, after all, thou +art not so black as thou art painted. I'll help thee this time.</p> +<p>ALLIGATOR. Thanks to thee, master. I will never forget thy +kindness; I will always be thy friend.</p> +<p>MAN. Why, I am glad to help thee. Now how am I to get thee to +the river?</p> +<p>ALLIGATOR. Carry me, please, O master!</p> +<p>MAN. What! carry thee?</p> +<p>ALLIGATOR (<i>nodding</i>). I'll get into thy net.</p> +<p>MAN. Thou get into my small net!</p> +<p>ALLIGATOR. Only hold thy net open!</p> +<p>MAN (<i>holding his net open</i>). I tell thee, thou canst never +get in!</p> +<p>ALLIGATOR. See how I fold my arms! My legs go under—so! +Now I roll myself up and up and up! And now I am in—all +in!</p> +<p>MAN. Well, seeing is believing!</p> +<p>ALLIGATOR. Please to tie up thy net, master, that I may not fall +out.</p> +<p>MAN (<i>tying net</i>). 'T is done!</p> +<p>(<i>Throwing net over shoulder.</i>)</p> +<p>Thou art heavy!</p> +<p>ALLIGATOR. I know, it will be hard work for thee, but some day +thou wilt see how grateful I am.</p> +<p>[<i>The Man goes, carrying the Alligator over his shoulder and +his big stick in his hand.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>the afternoon of the same day</i>.<br> +PLACE: <i>the river bank</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE MAN.</td> +</tr> +<tr> +<td>THE ALLIGATOR.</td> +</tr> +<tr> +<td>THE WOLF.</td> +</tr> +<tr> +<td>THE LEOPARD.</td> +</tr> +<tr> +<td>THE RABBIT.</td> +</tr> +</table> +<hr> +<p>[<i>Enter the</i> MAN <i>carrying the</i> ALLIGATOR <i>over his +shoulder. He stops, throws down his big stick and places the +Alligator carefully on the bank.</i>]</p> +<p>MAN. Our journey is ended, brother.</p> +<p>(<i>Untying net.</i>)</p> +<p>Now then, roll thyself out!</p> +<p>(<i>The Alligator comes out of the net.</i>)</p> +<p>Well, how dost thou feel now?</p> +<p>ALLIGATOR. Much better, thanks to thee; but I'm very hungry and +I find I'm still quite weak. I pray thee help me down the bank, O +master!</p> +<p>MAN (<i>helping the Alligator down the bank</i>). Now, then, +thou art close to the water.</p> +<p>[<i>He turns to go.</i>]</p> +<p>ALLIGATOR. Just a little farther, please. I am still so +weak!</p> +<p>MAN. Then I'll help thee into the water.</p> +<p>(<i>He helps the Alligator into the water.</i>)</p> +<p>Now thou art in; and now I will depart.</p> +<p>[<i>He turns to go.</i>]</p> +<p>ALLIGATOR (<i>seizing the Man's leg</i>). Not yet!</p> +<p>MAN. Let go of my leg!</p> +<p>ALLIGATOR. Why?</p> +<p>MAN (<i>indignantly</i>). Why! Why!</p> +<p>ALLIGATOR (<i>nodding</i>). Why and wherefore?</p> +<p>MAN. Thou art hurting me!</p> +<p>ALLIGATOR. It will soon be over.</p> +<p>MAN. What dost thou mean?</p> +<p>ALLIGATOR. What I have just spoken.</p> +<p>MAN. Why dost thou look at me so?</p> +<p>ALLIGATOR (<i>slowly</i>). +Because—I—mean—to—eat—thee.</p> +<p>MAN. Eat me!</p> +<p>ALLIGATOR (<i>nodding</i>). Eat thee.</p> +<p>MAN. Me?</p> +<p>ALLIGATOR (<i>nodding</i>). Thee.</p> +<p>MAN. Thou didst promise to be my friend.</p> +<p>ALLIGATOR. I was only fooling thee.</p> +<p>MAN. But I helped thee out of trouble.</p> +<p>ALLIGATOR. No matter—I mean to eat thee.</p> +<p>MAN. Is that the way to repay a favor—by doing a +wrong?</p> +<p>ALLIGATOR (<i>nodding</i>). That's the way of all the +animals.</p> +<p>MAN. Thou art surely mistaken—not all the +animals—</p> +<p>ALLIGATOR (<i>interrupting</i>). There's not one of them +remembers a favor or a friend when hungry.</p> +<p>MAN. I cannot think that! Suppose we ask the first animal that +comes to drink?</p> +<p>ALLIGATOR. Ask any of them—I know what they will say.</p> +<p>[<i>Enter the</i> WOLF. <i>He comes down the bank to +drink.</i>]</p> +<p>MAN. Wolf, I would question thee.</p> +<p>WOLF (<i>gruffly</i>). Well?</p> +<p>MAN. How dost thou repay the one who doth thee a favor?</p> +<p>WOLF (<i>gruffly, as before</i>). By doing him a wrong.</p> +<p>[<i>The Wolf drinks and goes.</i>]</p> +<p>ALLIGATOR. Ha, ha, ha! Just what I said! Now I shall eat thee +forthwith!</p> +<p>MAN. I can't believe that every animal would so answer.</p> +<p>ALLIGATOR. I don't intend waiting for thee to find out.</p> +<p>MAN. I pray thee wait till the next animal comes to drink!</p> +<p>ALLIGATOR (<i>impatiently</i>). Have I not told thee of my +hunger?</p> +<p>MAN. Listen! Some animal comes through the forest now.</p> +<p>[<i>Enter the</i> LEOPARD. <i>He comes down to drink.</i>]</p> +<p>Leopard, I would question thee.</p> +<p>LEOPARD (<i>curtly</i>). Well?</p> +<p>MAN. How dost thou repay the one who doth thee a favor?</p> +<p>LEOPARD (<i>curtly, as before</i>). By doing him a wrong.</p> +<p>[<i>He drinks and goes.</i>]</p> +<p>ALLIGATOR. Ha, ha, ha! It is just as I said! I will now eat thee +forthwith!</p> +<p>MAN. I pray thee—</p> +<p>ALLIGATOR (<i>interrupting</i>). It is now all over with +thee!</p> +<p>MAN (<i>calling</i>). Help! help!</p> +<p>[<i>Enter the</i> RABBIT.]</p> +<p>RABBIT. A word with thee, Ally dear!</p> +<p>ALLIGATOR. I shall be busy for a few minutes, Brother +Rabbit.</p> +<p>RABBIT (<i>going down bank quickly</i>). Who is this thou art +about to dine upon? Why, 't is the Man!</p> +<p>MAN. How dost thou repay a favor, Brother Rabbit?</p> +<p>RABBIT. Why dost thou ask?</p> +<p>MAN. I found the Alligator in my garden this morning. He had +destroyed my plants, my fruits, and—</p> +<p>ALLIGATOR (<i>interrupting</i>). I was blown in by the cyclone +last night.</p> +<p>MAN. He said he had been hurt and begged me to help him to the +river. He promised me his friendship if I would do so.</p> +<p>ALLIGATOR. Ha, ha, ha! I told him I'd show him where to find the +biggest fish.</p> +<p>RABBIT. And now thou wilt not?</p> +<p>ALLIGATOR. But I will. He'll find it after he is <i>inside</i> +of me. Ha, ha!</p> +<p>RABBIT. Ha, ha! A good joke!</p> +<p>ALLIGATOR. I told him I'd carry him across the river. I didn't +explain he'd go <i>inside</i>. Ha, ha!</p> +<p>RABBIT. What a joker thou art, Ally dear!</p> +<p>(<i>He turns to the Man.</i>)</p> +<p>But how didst thou get him here?</p> +<p>MAN. I carried him in this small net.</p> +<p>RABBIT (<i>looking surprised</i>). Thou art trying to fool +me!</p> +<p>MAN. No, Brother Rabbit, it is quite true.</p> +<p>ALLIGATOR (<i>nodding</i>). Yes, it is true.</p> +<p>RABBIT. But, Ally, try as thou mightst, thou couldst not so much +as get thy head into that net.</p> +<a name="image-141"><!--IMG--></a> +<div class="figcenter"><a href="images/141.png"><img src= +"images/141.png" alt="'HELP! HELP!'" width="70%"></a> +<h3>"HELP! HELP!"</h3> +</div> +<!--IMAGE END--> +<p>ALLIGATOR. But I tell thee I did!</p> +<p>RABBIT. Ha, ha, ha! That's too funny!</p> +<p>ALLIGATOR (<i>angrily</i>). I do not like thy manners, young +man.</p> +<p>RABBIT. But it's such a joke! Ho, ho, ho!</p> +<p>ALLIGATOR. Cease thy laughing or I shall eat thee some day!</p> +<p>RABBIT. I laugh because I must laugh! Ha, ha, ho, ho!</p> +<p>ALLIGATOR. Thou wilt not believe it, eh?</p> +<p>RABBIT. Well, not unless I see it.</p> +<p>MAN. We can prove it to thee, Brother Rabbit.</p> +<p>RABBIT. Oh, that's good too! Ha, ha, ho!</p> +<p>ALLIGATOR. Dost thou think we cannot?</p> +<p>RABBIT. Of course thou canst not! If thou couldst, thou +wouldst.</p> +<p>ALLIGATOR. And we will! Get thy net ready, Man.</p> +<p>MAN. But how? Thou art holding my leg.</p> +<p>ALLIGATOR (<i>freeing the Man; turning to the Rabbit</i>). We'll +show thee just how it was done, young man.</p> +<p>RABBIT. Seeing is believing.</p> +<p>[<i>The Man brings his net; opens it.</i>]</p> +<p>ALLIGATOR. See! I put my legs under—so! Then I fold my +arms—so! Now I roll myself up and up and up. And now I am +in—all in!</p> +<p>RABBIT. As I live—thou art! Well, seeing is believing. But +how couldst thou remain within the net? It is quite open.</p> +<p>ALLIGATOR. Tie it up, Man. Show him exactly how we did it.</p> +<p>MAN (<i>tying net</i>). I tied it tight—like this, Brother +Rabbit.</p> +<p>RABBIT. Is it quite tight?</p> +<p>ALLIGATOR. Let him try the knot, Man.</p> +<p>RABBIT (<i>trying knot</i>). Most truly, it is tight.</p> +<p>(<i>Turning to the Alligator.</i>)</p> +<p>Thou dost look as if thou couldst not move, Ally dear.</p> +<p>ALLIGATOR. Of a surety—I cannot.</p> +<p>RABBIT. Well, Brother Man, now that thou hast him, don't be +foolish enough to let him go. Get thy big stick and beat him to +death.</p> +<p>ALLIGATOR (<i>surprised</i>). Eh?</p> +<p>MAN (<i>not heeding the Alligator</i>). That is just what I will +do, that I will! Thanks to thee for helping me, Brother Rabbit.</p> +<p>ALLIGATOR. Have pity!</p> +<p>RABBIT (<i>not heeding the Alligator</i>). No thanks are +necessary, Brother Man. I haven't forgotten the good turnips thou +didst give me last winter when the ground was covered with snow. +Some of us know how to return favor for favor.</p> +<a name="2h15"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE SONG IN THE HEART</h2> +<h4>SCENE I</h4> +<p>TIME: <i>once upon a time</i>.<br> +PLACE: <i>in the house of the poor Spinner</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE DAME.</td> +<td></td> +</tr> +<tr> +<td colspan="2">ISABEL, <i>her daughter</i>.</td> +<td></td> +</tr> +<tr> +<td>FLAT-FOOT }</td> +<td> </td> +</tr> +<tr> +<td>HANGING-LIP }</td> +<td><i>the Three Great-Aunts</i>.</td> +</tr> +<tr> +<td>BROAD-THUMB }</td> +<td> </td> +</tr> +<tr> +<td>THE QUEEN.</td> +<td> </td> +</tr> +</table> +<hr> +<p>[<i>The living-room in the Dame's cottage is seen. The</i> DAME +<i>and the</i> THREE GREAT-AUNTS <i>are spinning.</i> ISABEL +<i>sits at her spinning-wheel, but has stopped work and looks out +of the open door.</i>]</p> +<p>DAME (<i>sharply</i>). Isabel! You gaze without!</p> +<p>ISABEL (<i>nodding</i>). Upon those great trees, mother. How +beautiful they are! How like sentinels they stand at our door +guarding us!</p> +<p>FLAT-FOOT (<i>growling</i>). What nonsense! You'd better be +spinning.</p> +<p>ISABEL (<i>not heeding</i>). Mother, see you that old oak! See +how proudly it lifts its head up into the sky! 'T is the king of +the forest!</p> +<p>HANGING-LIP (<i>growling</i>). I never heard such foolish +talk!</p> +<p>ISABEL (<i>not heeding</i>). Mother, a song has come to +me,—'t is a song to the beautiful trees. Let me stop to write +it down, while my heart is full of it.</p> +<p>BROAD-THUMB (<i>to the Dame</i>). Do not permit it, sister! She +should be working. She can scarcely spin at all.</p> +<p>DAME (<i>showing much feeling</i>). Isabel! Isabel! Not a maid +in the village thinks of anything but spinning.</p> +<p>ISABEL. Mother, let me stop! Soon the song will leave me. I may +ne'er hear it again.</p> +<p>FLAT-FOOT (<i>to the Dame</i>). Sister, she will bring you to +shame.</p> +<p>HANGING-LIP. Already the village folk laugh at her!</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye! They call her "the Dreamer." +I myself have heard them.</p> +<p>ISABEL. I care not what they call me!</p> +<p>DAME (<i>raising her voice</i>). Nay, but I care. I'll not have +you different from other folk.</p> +<p>HANGING-LIP. <i>We</i> were never seen gazing upon trees!</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye! <i>We</i> never heard songs +within <i>us</i>!</p> +<p>FLAT-FOOT (<i>nodding</i>). Aye! <i>We</i> think only of our +work!</p> +<p>ISABEL. What's your work may not be mine!</p> +<p>DAME (<i>decidedly</i>). There's no other work for a maid than +spinning.</p> +<p>ISABEL (<i>sighing</i>). I like it not! Though every other maid +in all the world did love to spin, I'd say the same—I like it +not!</p> +<p>DAME (<i>to Flat-foot; showing alarm</i>). Sister, close the +door, that none without may hear such words.</p> +<p>[<i>Flat-foot rises, but is too late. The</i> QUEEN <i>enters +from the street.</i>]</p> +<p>QUEEN (<i>showing displeasure</i>). How now! What's all this +noise? I heard it from the street!</p> +<p>[<i>All are frightened; Isabel weeps.</i>]</p> +<p>DAME (<i>bowing</i>). 'T will not happen again, your +Majesty.</p> +<p>QUEEN (<i>looking at Isabel</i>). Have they beaten you, my +child?</p> +<p>ISABEL (<i>still sobbing</i>). N—o—, your +Majesty.</p> +<p>QUEEN (<i>to the Dame</i>). Tell me why your daughter weeps.</p> +<p>DAME (<i>more frightened</i>). She weeps +because—because—</p> +<p>[<i>She stops in confusion.</i>]</p> +<p>QUEEN. Well—well?</p> +<p>DAME. Because—because—I will not let her spin.</p> +<p>QUEEN (<i>showing surprise</i>). Because you will not let her +spin?</p> +<p>DAME (<i>nodding</i>). Yes, your Majesty.</p> +<p>QUEEN. Why, this is most strange.</p> +<p>DAME (<i>nodding</i>). Would I but let her, she'd spin from morn +till night, and from then on till morn again.</p> +<p>QUEEN. I see how it can be so. There's nothing I like better +than spinning.</p> +<p>DAME. She weeps whenever I make her leave off.</p> +<p>QUEEN. 'T is because she loves it! I am never more pleased than +when the wheels are whirring.</p> +<p>DAME. But stop she must, for to-day at least. There is no more +flax.</p> +<p>QUEEN. I have rooms full of flax. Let your daughter come to my +castle. She may spin there as much as she pleases.</p> +<p>DAME (<i>now, most frightened</i>). I—I fear she would be +a trouble to you.</p> +<p>QUEEN. Why, no! In fact, I am so pleased with your daughter's +industry I will have my son marry her.</p> +<p>DAME (<i>so frightened she can scarcely breathe</i>). O your +Majesty—</p> +<p>QUEEN (<i>interrupting</i>). But first she must spin all my +flax. There are three rooms full of it—from top to +bottom.</p> +<p>ISABEL (<i>showing alarm</i>). Three rooms full!</p> +<p>QUEEN (<i>nodding</i>). Aye, my dear, and when you have spun it +all, you shall become a princess!</p> +<p>(<i>Turning to the Dame.</i>)</p> +<p>Bring your daughter to my castle to-morrow.</p> +<p>DAME (<i>bowing</i>). Yes, your Majesty.</p> +<p>QUEEN (<i>going</i>). To-morrow, mind you.</p> +<p>DAME (<i>bowing</i>). Yes, your Majesty.</p> +<p>[<i>All bow to the Queen, who goes.</i>]</p> +<p>ISABEL. Mother, how could you tell the Queen I love to spin?</p> +<p>DAME. Think you I'd let the truth be known? I'd not shame myself +so!</p> +<p>ISABEL. I could not spin three rooms of flax in three hundred +years.</p> +<p>DAME. Alas! alas! What shall we do?</p> +<p>FLAT-FOOT (<i>to Hanging-lip and Broad-thumb</i>). Sisters, let +us speak together.</p> +<p>[<i>The three Great-Aunts whisper together for a +moment.</i>]</p> +<p>HANGING-LIP. Isabel, we will help you—</p> +<p>FLAT-FOOT (<i>interrupting</i>). On one condition!</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye,—on a certain +condition!</p> +<p>ISABEL. What do you mean?</p> +<p>HANGING-LIP. We'll spin the flax for you—</p> +<p>FLAT-FOOT (<i>interrupting</i>). On one condition.</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye,—on a certain +condition!</p> +<p>DAME. You speak in riddles, sisters.</p> +<p>HANGING-LIP. 'T is this—if Isabel will invite us to her +wedding, we'll spin the flax.</p> +<p>FLAT-FOOT. That's the condition.</p> +<p>BROAD-THUMB (<i>nodding</i>). Aye,—that's the certain +condition.</p> +<p>ISABEL. 'T will be deceiving the Queen and the Prince, both.</p> +<p>DAME. There's no other way to mend things. Go now! Since you are +so soon to be a princess, I'll give you leave to write down your +song.</p> +<p>ISABEL (<i>sadly</i>). The song is no longer in my heart.</p> +<p>DAME. 'T is well. Now listen—you must never let the Prince +know about your songs. He'd send you from the castle.</p> +<p>BROAD-THUMB (<i>nodding</i>). Besides, 't would bring great +shame upon us, for we are a family of spinners.</p> +<p>FLAT-FOOT (<i>nodding</i>). Aye, aye!</p> +<p>HANGING-LIP (<i>nodding</i>). Aye, aye!</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>one week later</i>.<br> +PLACE: <i>the Queen's castle</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE QUEEN.</td> +</tr> +<tr> +<td>THE PRINCE.</td> +</tr> +<tr> +<td>ISABEL.</td> +</tr> +<tr> +<td>THE THREE GREAT-AUNTS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> THREE GREAT-AUNTS <i>are working at the last heap of +flax in the third room.</i> ISABEL <i>watches them +anxiously.</i>]</p> +<p>ISABEL. Think you to finish before the Queen comes?</p> +<p>FLAT-FOOT (<i>nodding as she treads the wheel</i>). Aye, if +treading the wheel will do it!</p> +<p>HANGING-LIP (<i>nodding, as she moistens the thread over her +lip</i>). Aye, if moistening the thread will do it!</p> +<p>BROAD-THUMB (<i>nodding, as she presses the thread with her +thumb</i>). Aye, if pressing the thread will do it!</p> +<p>ISABEL. 'T is to-day she brings the Prince.</p> +<p>FLAT-FOOT. Another minute and we'll have finished.</p> +<p>ISABEL. Should they come suddenly, you know where to +hide—behind those curtains there.</p> +<p>THREE GREAT-AUNTS (<i>nodding</i>). Aye, we know!</p> +<p>[<i>A noise is heard in the distance.</i>]</p> +<p>ISABEL. Some one comes!</p> +<p>(<i>She runs to the door, opens it, and looks out.</i>)</p> +<p>The Prince comes down the stairs! Quick, aunts, quick!</p> +<p>FLAT-FOOT (<i>rising</i>). Well, 't is finished!</p> +<p>ISABEL (<i>looking into hall</i>). Now comes the Queen! To the +curtains, quick!</p> +<p>[<i>The three Great-Aunts hide behind the curtains, just as +the</i> QUEEN <i>and the</i> PRINCE <i>enter.</i>]</p> +<p>QUEEN. Well, have you finished?</p> +<p>ISABEL (<i>pointing to a pile of thread</i>). There's the last +of it, your Majesty.</p> +<p>QUEEN (<i>looking at thread</i>). Spun in the finest style, too! +Prince, but a week ago these rooms were filled with flax. Now look +at them.</p> +<p>PRINCE (<i>looking about</i>). Empty, as if flax had never been +here. 'T is wonderful how one maid could do so much!</p> +<p>QUEEN. 'T is most wonderful!</p> +<p>PRINCE. The wedding shall take place to-day. Isabel, come now +with us.</p> +<p>ISABEL (<i>thoughtfully</i>). No, no! I cannot!</p> +<p>PRINCE. You cannot?</p> +<p>QUEEN. You cannot! What do you mean?</p> +<p>ISABEL (<i>to the Queen</i>). Let me go home, your Majesty!</p> +<p>QUEEN. Go home!</p> +<p>ISABEL. I am not worthy—</p> +<p>PRINCE (<i>interrupting</i>). Nonsense! That you are poor is +nothing to me.</p> +<p>QUEEN (<i>going</i>). Come, the wedding bells shall ring at +once!</p> +<p>ISABEL. Your Majesty—I—I—did not spin the +flax.</p> +<p>QUEEN. What! You did not spin the flax?</p> +<p>PRINCE. What is this?</p> +<p>ISABEL. I deceived you—I can scarcely spin at all.</p> +<p>QUEEN. But this pile of thread here—</p> +<p>ISABEL. 'T was spun by another.</p> +<p>PRINCE. Another?</p> +<p>ISABEL. Yes, Prince.</p> +<p>QUEEN. You shall marry that one then, my son!</p> +<p>(<i>To Isabel.</i>)</p> +<p>As for you, return to your hovel!</p> +<p>(<i>Isabel turns to go.</i>)</p> +<p>Stay!</p> +<p>(<i>Isabel stops.</i>)</p> +<p>Who is the wonderful spinner? Tell us where to find her.</p> +<p>ISABEL. Here, your Majesty.</p> +<p>QUEEN. Hidden away, I suppose?</p> +<p>ISABEL (<i>nodding</i>). Yes, your Highness, behind those +curtains.</p> +<p>QUEEN. Go, my son, and draw the curtains. You shall be the first +to look upon your bride.</p> +<p>[<i>The Prince draws the curtains and sees the three +Great-Aunts, who sit in a row. They smile and smile upon the +Prince, who stands looking at them in astonishment.</i>]</p> +<p>FLAT-FOOT. You'd never be sorry to take me for your bride, my +lord.</p> +<p>PRINCE (<i>not heeding</i>). Why is your foot so flat?</p> +<p>FLAT-FOOT. From treading the wheel! From treading the wheel!</p> +<p>HANGING-LIP. You'd never be sorry to take me for your bride, my +lord.</p> +<p>PRINCE (<i>not heeding</i>). Why is your lip so long?</p> +<p>HANGING-LIP. From moistening the thread! From moistening the +thread!</p> +<p>BROAD-THUMB. You'd never be sorry to take me for your bride, my +lord.</p> +<p>PRINCE (<i>not heeding</i>). Why is your thumb so broad?</p> +<p>BROAD-THUMB. From pressing the thread! From pressing the +thread!</p> +<p>[<i>The Prince turns to Isabel.</i>]</p> +<p>FLAT-FOOT (<i>quickly</i>). Isabel does naught but gaze and +gaze, on flowers and trees and running brooks. Ha, ha, ha!</p> +<p>PRINCE. Is this true, Isabel?</p> +<p>ISABEL (<i>timidly</i>). Yes, Prince.</p> +<p>HANGING-LIP. She says these flowers and trees and running brooks +do sing her songs. Ha, ha, ha!</p> +<p>PRINCE. Is this true, Isabel?</p> +<p>ISABEL (<i>as before</i>). Yes, Prince.</p> +<p>BROAD-THUMB. And she begs leave to write down these songs. Ha, +ha, ha!</p> +<p>PRINCE. Is this true, Isabel?</p> +<p>ISABEL (<i>hanging head</i>). Yes, Prince.</p> +<p>PRINCE. Isabel, hang not your head. I'll give you time to write +your songs.</p> +<p>QUEEN. My son—</p> +<p>PRINCE (<i>interrupting</i>). Nay, nay, mother! The songs please +me better than the flat-foot and the hanging-lip and the +broad-thumb of the spinners. Come, Isabel, you shall be my +princess! You shall sing me your songs! You shall teach me how to +gaze upon flowers and trees and running brooks, for these things +have ever been dear to my heart. Come, Isabel, come!</p> +<a name="image-157"><!--IMG--></a> +<div class="figcenter"><a href="images/157.png"><img src= +"images/157.png" alt="'THE PRINCE SEES THE THREE GREAT-AUNTS'" width="70%"></a> +<h3>"THE PRINCE SEES THE THREE GREAT-AUNTS"</h3> +</div> +<!--IMAGE END--> +<a name="2h16"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>THE EMPEROR'S TEST</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one spring; noon</i>.<br> +PLACE: <i>an army camp on the banks of a large creek. A village is +near by. To the south is a great forest</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE EMPEROR.</td> +</tr> +<tr> +<td>THE GENERAL.</td> +</tr> +<tr> +<td>THE CAPTAIN.</td> +</tr> +<tr> +<td>FIRST AIDE.</td> +</tr> +<tr> +<td>SECOND AIDE.</td> +</tr> +<tr> +<td>THE MAYOR'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE RICH MERCHANT'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE POOR WOODCUTTER'S WIFE AND HER SON, PIERRE.</td> +</tr> +</table> +<hr> +<p>[<i>An ante-room in the Emperor's tent is seen. Great curtains +separate this room from the Emperor's room back. An</i> AIDE +<i>waits in the ante-room. Enter the</i> GENERAL <i>from the +Emperor's room.</i>]</p> +<p>GENERAL (<i>to the Aide</i>). Have any yet come from the +village? The Emperor would know.</p> +<p>AIDE. Yes, General. They wait without.</p> +<p>GENERAL. Bid them enter.</p> +<p>AIDE (<i>crossing; speaking to those without</i>). You will +please enter.</p> +<p>[<i>Enter the</i> MAYOR'S WIFE <i>and</i> SON; <i>the</i> RICH +MERCHANT'S WIFE <i>and</i> SON.]</p> +<p>GENERAL. You have come to see the Emperor?</p> +<p>THE LADIES. General, we have.</p> +<p>GENERAL. His Majesty wishes you to leave your sons here in camp +until evening.</p> +<p>MAYOR'S WIFE. General, could you not tell us the Emperor's +plans?</p> +<p>GENERAL. Yes, madam. The Emperor must march southward where the +enemy is in camp. He wishes a guide who can lead him safely through +this great forest.</p> +<p>RICH MERCHANT'S WIFE. We were told the Emperor would greatly +honor the lad he chooses.</p> +<p>GENERAL. 'T is true, madam. The lad chosen will be made an +aide.</p> +<p>MAYOR'S WIFE. I thought only princes were chosen for the +Emperor's aides.</p> +<p>GENERAL. They have always been princes. This is a great +opportunity for the lads of this village.</p> +<p>MAYOR'S WIFE. But how will the Emperor make a choice?</p> +<p>GENERAL. A test will be given every boy who comes. This test +will prove his fitness to be guide.</p> +<p>[<i>Enter an</i> AIDE <i>from Emperor's room.</i>]</p> +<p>AIDE. General, the Emperor would see you.</p> +<p>[<i>The General bows to the ladies and leaves.</i>]</p> +<p>AIDE (<i>turning to the ladies</i>). The Emperor will receive +you presently.</p> +<p>[<i>Aide goes. Enter the</i> POOR WOODCUTTER'S WIFE <i>and</i> +SON.]</p> +<p>POOR WOODCUTTER'S WIFE (<i>timidly</i>). I heard the Emperor +wanted a guide.</p> +<p>MAYOR'S WIFE. The Emperor only wants the boys of the best +families, madam.</p> +<p>[<i>Enter the</i> EMPEROR, GENERAL, <i>and</i> CAPTAIN; <i>they +remain back; are not seen by the ladies.</i>]</p> +<p>POOR WOODCUTTER'S WIFE (<i>sighing</i>). I suppose that is true, +but Pierre is a smart boy. If the Emperor could only see +him—</p> +<p>RICH MERCHANT'S WIFE (<i>interrupting</i>). The Emperor wants a +boy with proud manners such as our boys have.</p> +<p>EMPEROR (<i>indignantly</i>). Fiddlesticks!</p> +<p>THE LADIES (<i>bowing</i>). Your Highness!</p> +<p>EMPEROR. Fiddlesticks and candles, I say!</p> +<p>POOR WOODCUTTER'S WIFE. I am sorry, your Majesty. I didn't know +how it was. Come, Pierre.</p> +<p>[<i>She turns to go.</i>]</p> +<p>EMPEROR. Remain. Pierre shall have the test with the others. +Ladies, you shall know whom I have chosen when the test is +finished. I bid you good-day.</p> +<p>[<i>The ladies bow and go.</i>]</p> +<p>EMPEROR (<i>turning to the boys</i>). My lads, go through the +forest southward, till you come to the river. You may then return. +Captain, see that guards go with them. My lads, you must not speak +the one to the other until I have again seen you. I must have your +word on that. Do you promise?</p> +<p>BOYS. Sire, we promise.</p> +<p>EMPEROR. 'T is well. Captain, they are now in your charge. +General, a word with you.</p> +<p>[<i>The Emperor and General go into Emperor's room. The Captain +leads the boys from the tent.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>two hours later</i>.<br> +PLACE: <i>the Emperor's tent; the Emperor's room</i>.</p> +<hr> +<table width="30%" align="center"> +<tr> +<td>THE EMPEROR.</td> +</tr> +<tr> +<td>FIRST AIDE.</td> +</tr> +<tr> +<td>SECOND AIDE.</td> +</tr> +<tr> +<td>LUDWIG.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> EMPEROR <i>is seen sitting at a table looking at +maps. Enter an</i> AIDE. <i>He salutes.</i>]</p> +<p>EMPEROR. Well?</p> +<p>AIDE. The prisoner has returned, sire.</p> +<p>EMPEROR. What prisoner?</p> +<p>AIDE. The one sent out for the test, sire.</p> +<p>EMPEROR. Who was sent?</p> +<p>AIDE. Ludwig, the prisoner who has been ill for so long.</p> +<p>EMPEROR. Ah, yes; bid him enter.</p> +<p>(<i>Aide goes; he reënters with</i> LUDWIG, <i>who wears an +old, torn army cloak over his uniform. He salutes.</i>)</p> +<p>I notice you are a bit lame, Ludwig.</p> +<p>LUDWIG. Yes, sire; in my left leg. My dog was hit at the same +time.</p> +<p>EMPEROR. Does your dog go to battle with you?</p> +<p>LUDWIG. If he can slip into the ranks, sire. He always goes +where I go, sire.</p> +<p>EMPEROR. Then he went with you to-day, of course?</p> +<p>LUDWIG. Yes, sire.</p> +<p>EMPEROR. You are sure the boys didn't see you?</p> +<p>LUDWIG. No one saw me. I kept a sharp lookout. When I came to a +clear space I went to one side, hiding behind trees, to look ahead. +Then I ran across.</p> +<p>EMPEROR. That must have tired you, Ludwig. You're not quite well +yet.</p> +<p>LUDWIG. I found I couldn't leap the streams; I had to climb down +the banks and wade them.</p> +<p>EMPEROR. You rested by the way, didn't you?</p> +<p>LUDWIG. Yes, sire, and once I stopped to pick berries.</p> +<p>EMPEROR. You made the return trip by boat up the creek?</p> +<p>LUDWIG. Yes, sire.</p> +<p>EMPEROR. That is all.</p> +<p>[<i>The Aide and Ludwig go. The Emperor claps his hands. +Enter</i> SECOND AIDE. <i>He salutes.</i>]</p> +<p>EMPEROR (<i>to Aide</i>). Have the lads returned?</p> +<p>AIDE. No, sire.</p> +<p>EMPEROR. Do you know when the Captain expects them?</p> +<p>AIDE. In about half an hour, sire.</p> +<p>EMPEROR. Bid their mothers return at that time. I wish them to +be present at the test.</p> +<p>AIDE. Yes, sire.</p> +<p>[<i>He salutes and goes.</i>]</p> +<p>EMPEROR (<i>slowly</i>). Let me see—a lame man; a lame +dog; running footprints across open spaces; wading streams instead +of leaping them; stopping to pick berries—Why, the story +reads itself!</p> +<p>(<i>He sits at table; takes up maps.</i>)</p> +<p>Well, we shall see what we shall see!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>a half hour later</i>.<br> +PLACE: <i>the Emperor's tent; the ante-room</i>.</p> +<hr> +<table width="50%" align="center"> +<tr> +<td>THE EMPEROR.</td> +</tr> +<tr> +<td>THE GENERAL.</td> +</tr> +<tr> +<td>THE CAPTAIN.</td> +</tr> +<tr> +<td>AN AIDE.</td> +</tr> +<tr> +<td>THE MAYOR'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE RICH MERCHANT'S WIFE AND SON.</td> +</tr> +<tr> +<td>THE POOR WOODCUTTER'S WIFE AND SON, PIERRE.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> LADIES <i>wait in the lower end of ante-room. Back +is a great armchair.</i>]</p> +<p>MAYOR'S WIFE. I cannot think why the boys were sent into the +forest!</p> +<p>RICH MERCHANT'S WIFE. Nor I! It seems to me the Emperor should +have asked them what they could do. Now, my boy dances so +prettily!</p> +<p>MAYOR'S WIFE. I was certain he would ask them to ride. Now, my +boy rides so well—just like a prince!</p> +<p>RICH MERCHANT'S WIFE. Well, he will no doubt ask them all these +things upon their return.</p> +<p>(<i>She turns to Pierre's mother.</i>)</p> +<p>You see, madam, how little chance your boy has. I am sure he +cannot dance?</p> +<p>POOR WOODCUTTER'S WIFE (<i>sadly</i>). No, madam.</p> +<p>MAYOR'S WIFE. I am certain he does not ride?</p> +<p>POOR WOODCUTTER'S WIFE (<i>sighing</i>). No, madam.</p> +<p>[<i>Enter an</i> AIDE; <i>crosses to Emperor's room; announces +at curtains.</i>]</p> +<p>AIDE. The boys have returned, sire!</p> +<p>[<i>Enter the</i> CAPTAIN <i>with the</i> BOYS. <i>Enter the</i> +GENERAL <i>from Emperor's room.</i>]</p> +<p>GENERAL (<i>announcing</i>). The Emperor!</p> +<p>[<i>Enter the</i> EMPEROR; <i>all bow.</i>]</p> +<p>EMPEROR (<i>sitting in armchair</i>). I will now give the test. +Captain, bring up the first boy.</p> +<p>[<i>The Captain brings up the</i> RICH MERCHANT'S SON.]</p> +<p>EMPEROR. Well, my lad, what did you see in the forest?</p> +<p>RICH MERCHANT'S SON. Many, many trees, sire.</p> +<p>EMPEROR. You saw nothing but trees?</p> +<p>RICH MERCHANT'S SON. That was all, sire—just trees.</p> +<p>EMPEROR. I shall not want you; you may go.</p> +<p>RICH MERCHANT'S WIFE. Oh, your Majesty, if you could only see +him dance!</p> +<p>EMPEROR. Candles and cheese! Do I want a dancing guide? Captain, +bring up the next one.</p> +<p>[<i>The Captain brings up the</i> MAYOR'S SON.]</p> +<p>EMPEROR. Well, my lad, what did you see in the forest?</p> +<p>MAYOR'S SON. I saw trees and bushes, sire.</p> +<p>EMPEROR. Nothing more?</p> +<p>MAYOR'S SON. No, sire.</p> +<p>EMPEROR. I shall not want you; you may go.</p> +<p>MAYOR'S WIFE. Oh, your Majesty, if you could only see him ride! +Just like a prince, sire!</p> +<p>EMPEROR. Fiddlesticks! Captain, the last boy there.</p> +<p>[<i>The Captain brings up</i> PIERRE].</p> +<p>EMPEROR. Well, my lad, what did you see in the forest?</p> +<p>PIERRE. I saw that a man had passed southward just before us, +sire.</p> +<p>EMPEROR. How did you know that? Did you see him?</p> +<p>PIERRE. No, sire, I saw his footprints. He was lame in the left +leg.</p> +<p>EMPEROR. How did you learn that?</p> +<p>PIERRE. The footprints were deeper on the right side. His dog +was lame also.</p> +<p>EMPEROR. He had a dog?</p> +<p>PIERRE. Yes, sire; a lame dog I'm sure, because one of his +tracks was always faint or missing.</p> +<p>EMPEROR. Did you trace this man and dog by their footprints?</p> +<p>PIERRE. Yes, sire, to the river. There were traces of them in +the grass, in the mud, in the dust, on rocks, and in still water. I +am certain they had passed but a short time before—not more +than a half hour.</p> +<p>EMPEROR. How could you tell that?</p> +<p>PIERRE. The grass had not yet straightened up. The tracks in the +mud had not yet filled with water. The prints in the dust were +still clear although a wind was blowing.</p> +<p>EMPEROR. Good! But how did you know they had but just passed +through still water and over rocks?</p> +<p>PIERRE. The water had not yet settled, and the rocks were still +damp.</p> +<p>EMPEROR. Good! Very good!</p> +<p>PIERRE. Sire, I fear this man is one of the enemy!</p> +<p>EMPEROR. Indeed! What proof have you of that?</p> +<p>PIERRE. This, sire.</p> +<p>(<i>Handing a small piece of cloth to Emperor.</i>)</p> +<p>'T is the color of the enemy's uniform.</p> +<p>EMPEROR. It is, my lad. How came you by it?</p> +<p>PIERRE. I found it on a thorn-bush. It was torn from his cloak, +sire.</p> +<p>EMPEROR. And why from his cloak?</p> +<p>PIERRE. The thorn-bush was at least three feet from the man's +line of travel. The wind blew the cloak about.</p> +<p>EMPEROR (<i>handing the cloth to an aide; whispering to +him</i>). Take this to Ludwig.</p> +<p>(<i>The Aide goes.</i>)</p> +<p>Well, Pierre, do you think we should be in fear of this +enemy?</p> +<p>PIERRE. I do not know, sire. I only know that he has a good +disposition.</p> +<p>EMPEROR (<i>surprised</i>). A good disposition? How do you know +that?</p> +<p>PIERRE. The dog was always near him. When the man stopped to +rest, the dog lay down at his feet.</p> +<p>EMPEROR. But he may have held the dog there, my lad.</p> +<p>PIERRE. Not while he was picking berries, sire.</p> +<p>EMPEROR. So our enemy picked berries, did he?</p> +<p>PIERRE. Yes, sire, the dog lying by the bushes all the +while.</p> +<p>EMPEROR. Do you think we could capture this man?</p> +<p>PIERRE. Yes, sire, for he was very tired.</p> +<p>EMPEROR. How do you know that?</p> +<p>PIERRE. He climbed down the banks of every small stream. I +should have leaped them.</p> +<p>EMPEROR. You think it would be an easy matter, then, to follow +and capture him?</p> +<p>PIERRE. Not easy, sire, for he was always on the lookout.</p> +<p>EMPEROR. How do you know that?</p> +<p>PIERRE. Whenever he reached a clear space, he went to one side, +hiding behind trees to look ahead. Then he ran across the open.</p> +<p>EMPEROR. Your proof of this, my lad?</p> +<p>PIERRE. His footprints in every clear space showed only the +balls of the feet.</p> +<p>EMPEROR. Good! You followed him only to the river.</p> +<p>PIERRE. Those were the orders, sire. Had I gone on, I could have +overtaken him by evening.</p> +<p>EMPEROR. That you could not, my lad, for the man is now here, in +camp. He returned by boat. Ladies, the test is over.</p> +<p>(<i>He turns to Pierre's mother.</i>)</p> +<p>Madam, your son shall be my guide. I am proud to have a boy of +such keen sight and quick thought in my kingdom. And 't is much to +be the mother of such a lad. I salute you, madam! With greatest +respect I salute you!</p> +<p>[<i>He bows to the happy woman with great courtesy.</i>]</p> +<p>EMPEROR (<i>turning to the ladies</i>). Ladies, I bid you +farewell.</p> +<a name="2h17"><!-- H2 anchor --></a> +<p> </p> +<p> </p> +<p> </p> +<p> </p> +<h2>CHRISTOPHER COLUMBUS</h2> +<h4>SCENE I</h4> +<p>TIME: <i>one morning; 1484</i>.<br> +PLACE: <i>a street in front of King John's palace, Lisbon, +Portugal. Gates to courtyard of palace in background</i>.</p> +<hr> +<table width="60%" align="center"> +<tr> +<td>CHRISTOPHER COLUMBUS.</td> +<td>KING JOHN.</td> +</tr> +<tr> +<td>SCHOOLMASTER.</td> +<td>COURTIERS.</td> +</tr> +<tr> +<td>CARLOS.</td> +<td>JESTER.</td> +</tr> +<tr> +<td>ROQUE.<a id="footnotetag4" name="footnotetag4"></a><a href= +"#footnote4"><sup>4</sup></a></td> +<td>RIVERRA,<a id="footnotetag6" name="footnotetag6"></a><a href= +"#footnote6"><sup>6</sup></a> A SEA-CAPTAIN.</td> +</tr> +<tr> +<td>PANCHO.<a id="footnotetag5" name="footnotetag5"></a><a href= +"#footnote5"><sup>5</sup></a></td> +<td>PORTER.</td> +</tr> +<tr> +<td colspan="2">BOYS, HOSTLERS, SERVANTS.</td> +</tr> +</table> +<hr> +<p>[<i>Enter</i> CARLOS, ROQUE <i>and</i> PANCHO. <i>They carry +their school-books. A noise is heard in courtyard.</i>]</p> +<p>ROQUE (<i>stopping; listening</i>). There's stirring in the +King's courtyard!</p> +<p>[<i>He runs to closed gates; peeps through a crack.</i>]</p> +<p>CARLOS. Come, Roque, we shall be late to school.</p> +<p>ROQUE (<i>throwing down books</i>). Come, look! They are laying +the red carpets in the court!</p> +<p>PANCHO (<i>throwing down books; peeping</i>). 'T is for the King +they lay them!</p> +<p>CARLOS. Come, the master will be angry.</p> +<p>ROQUE. But the King will soon be coming!</p> +<p>PANCHO. Let's wait and see him, Carlos!</p> +<p>CARLOS. Not I! I know how the master flogs! Yesterday I came +late to school.</p> +<p>PANCHO. Why were you late?</p> +<p>CARLOS. I stopped to watch the crazy Italian, Columbus.</p> +<p>[<i>He starts off; the others follow.</i>]</p> +<p>ROQUE. I saw him once!</p> +<p>PANCHO. I wish I might see him!</p> +<p>CARLOS. There he comes now! (<i>Calling.) Loco!</i>[Footnote: +Pronounced <i>l[=o]'k[=o]</i>; Spanish for <i>crazy.] Loco!</i></p> +<p>ROQUE. Aye, there he is! (<i>Calling.) Loco! Loco!</i></p> +<p>PANCHO (<i>calling). Loco! Loco!</i></p> +<p>[<i>Enter</i> COLUMBUS, <i>dignified and gentle. A crowd of</i> +BOYS <i>follow.</i>]</p> +<p>ALL BOYS. <i>Loco! Loco! Loco! Loco!</i></p> +<p>[<i>Enter</i> SCHOOLMASTER, <i>carrying a switch.</i>]</p> +<p>MASTER (<i>flourishing switch</i>). To school with you! To +school now!</p> +<p>[<i>Boys run off in alarm.</i>]</p> +<p>MASTER (<i>turning angrily upon Columbus</i>). You were teaching +them your foolish notions, sir!</p> +<p>COLUMBUS (<i>smiling</i>). I'd like the chance to do so, +master.</p> +<p>MASTER. Ah, then you <i>have</i> been at it! I saw them all +about you!</p> +<p>COLUMBUS. I taught them nothing, master,—this time.</p> +<p>MASTER. 'T is well for you, sir, that you did not. The world is +flat, sir, flat! Do you not know that, sir?</p> +<p>COLUMBUS. I was so taught—</p> +<p>MASTER. How do you dare, then, to say the world is round?</p> +<p>COLUMBUS. Much study and common sense, dear master, have made me +dare.</p> +<p>MASTER. The lessons taught your fathers are good enough for you, +sir.</p> +<p>COLUMBUS. That cannot be, dear master. How, then, could the +world move on?</p> +<p>MASTER. Move on? Hear him talk! Do you think, sir, that an +elephant carries this flat world on his back and walks about with +it? Ha, ha!</p> +<p>[<i>Gates are opened;</i> PORTER <i>is seen.</i>]</p> +<p>MASTER (<i>going</i>). Go tell the King this world is round! Ha, +ha! Go tell the King!</p> +<p>[<i>Schoolmaster goes.</i>]</p> +<p>PORTER (<i>seeing Columbus; aside</i>). Ah, 't is the crazy +Italian!</p> +<p>COLUMBUS. Porter, I seek the King!</p> +<p>PORTER. Do you think he'll listen to your silly talk? O, I've +heard of you! Away!</p> +<p>COLUMBUS. Come, let me in!</p> +<p>PORTER. Away! Away with you, <i>loco</i>!</p> +<p>[<i>Enter from gates, the</i> JESTER <i>in cap and bells,</i> +HOSTLERS <i>and</i> SERVANTS.]</p> +<p>JESTER. Who's away? Who's crazy?</p> +<p>PORTER. The Italian there! He who says this world is round!</p> +<p>JESTER. Round? How now? Round, say you?</p> +<p>PORTER (<i>nodding; laughing</i>). With people on the other +side!</p> +<p>JESTER. A-standing on their heads—so!</p> +<p>[<i>Jester stands on his head; all laugh. Enter a</i> +COURTIER.]</p> +<p>COURTIER. The King comes!</p> +<p>[<i>Enter</i> KING JOHN <i>and many</i> COURTIERS.]</p> +<p>JESTER (<i>capering about Columbus</i>). Ha, ha, ha, ha!</p> +<p>KING. What's this, Jester?</p> +<p>JESTER. Here's he, sire, who says this world is round!</p> +<p>[<i>He capers about Columbus; all laugh.</i>]</p> +<p>KING. I've heard of your notions, Columbus. So you think there's +land to be discovered, do you?</p> +<p>COLUMBUS. Yes, your Majesty, I'm sure of it.</p> +<p>JESTER. With people a-standing on their heads—so!</p> +<p>[<i>He stands on his head; all laugh.</i>]</p> +<p>KING. Silence! Columbus, I've a mind to listen, and give you +ships and money. Have you maps and charts to prove your plans?</p> +<p>COLUMBUS (<i>taking maps from cloak</i>). Yes, sire.</p> +<p>KING. Wait, then, till I have spoken with my Courtiers.</p> +<p>[<i>Columbus bows, retires, and unrolls maps.</i> CAPTAIN +RIVERRA <i>crosses to Columbus; talks with him aside.</i>]</p> +<p>KING (<i>speaking softly to Courtiers</i>). You know, my +Courtiers, that should there be new lands, great glory will be +given the discoverer of them.</p> +<p>FIRST COURTIER. Aye, sire, 't will bring him great honor.</p> +<p>SECOND COURTIER. And riches.</p> +<p>KING. 'T is I, and I alone, who should have the honor and the +riches!</p> +<p>FIRST COURTIER. Aye, sire!</p> +<p>SECOND COURTIER. Aye, sire!</p> +<p>THIRD COURTIER. But nothing can be done without the Italian's +maps and charts. No one but he knows the route over the unknown +seas.</p> +<p>KING. Well, we must have his maps and charts.</p> +<p>FIRST COURTIER. He'll not sell them, sire. You may depend on +that.</p> +<p>KING. And we'll not buy them. Go, bid my fool take them.</p> +<p>(<i>Courtiers showing surprise.</i>)</p> +<p>Go, I say, and see to it!</p> +<p>[<i>Courtiers talk aside with Jester.</i>]</p> +<p>RIVERRA (<i>to Columbus</i>). I wish you well, sir, for I +believe that what you say is true.</p> +<p>COLUMBUS. I'm glad to hear you say that, Captain.</p> +<p>RIVERRA. My ship is in the harbor now, and I must go. But I wish +you well, Columbus, I wish you well.</p> +<p>[<i>Columbus, throwing his maps on the stone bench near gates, +takes Riverra's hands in his. The Jester creeps up, takes maps, +runs into the court with them, and disappears.</i>]</p> +<p>COLUMBUS (<i>with feeling</i>). I thank you, Captain—so +few believe in me—</p> +<p>KING. Come now within, Columbus; I'll look at your maps and +charts.</p> +<p>[<i>Riverra goes.</i>]</p> +<p>COLUMBUS (<i>turning to take up maps</i>). Why, how is this! My +maps were here but just a moment ago!</p> +<p>KING. Who saw his maps?</p> +<p>(<i>Pause.</i>)</p> +<p>The Courtiers are silent, sir.</p> +<p>COLUMBUS. I laid them there, sire!</p> +<p>KING. Then there they should be.</p> +<p>COLUMBUS. Some one has taken them—'t is a joke—</p> +<p>KING (<i>interrupting</i>). My Courtiers do not play jokes in my +presence.</p> +<p>COLUMBUS. Those maps and charts are precious to me, sire!</p> +<p>KING. Come, now, I'm not so sure you ever had maps or +charts.</p> +<p>COLUMBUS. Your Majesty!</p> +<p>KING. Well, produce them.</p> +<p>COLUMBUS. But, sire,—</p> +<p>KING (<i>interrupting</i>). I'll not hear excuses! Your maps, +sir,—at once, sir!</p> +<p>COLUMBUS. I'll make other maps and charts—</p> +<p>KING. Away with you!</p> +<p>COLUMBUS. Your Majesty—</p> +<p>KING. Away, I say! And come to us no more with tales of unknown +lands.</p> +<p>[<i>Enter</i> JESTER <i>from gates.</i>]</p> +<p>JESTER. With people a-walking on their heads—so!</p> +<p>[<i>Jester stands on his head; all laugh. Columbus goes, showing +bitter disappointment.</i>]</p> +<p> </p> +<p> </p> +<h4>SCENE II</h4> +<p>TIME: <i>1492</i>.<br> +PLACE: <i>Spain. Court of King Ferdinand and Queen +Isabella</i>.</p> +<hr> +<table width="60%" align="center"> +<tr> +<td>KING FERDINAND.</td> +<td>CAPTAIN RIVERRA.</td> +</tr> +<tr> +<td>QUEEN ISABELLA.</td> +<td>WISE MEN.</td> +</tr> +<tr> +<td>CHRISTOPHER COLUMBUS.</td> +<td>COURTIERS AND LADIES.</td> +</tr> +<tr> +<td colspan="2">A MONK, FATHER-CONFESSOR TO THE QUEEN.</td> +</tr> +<tr> +<td colspan="2" align="center">MESSENGER.</td> +</tr> +</table> +<hr> +<p>[<i>Many</i> COURTIERS <i>and</i> LADIES <i>are seen in +audience-room of palace; a throne is in the background. Enter +the</i> FIRST COURTIER.]</p> +<p>FIRST COURTIER. The King and Queen!</p> +<p>[<i>Enter</i> KING FERDINAND <i>and</i> QUEEN ISABELLA, +<i>followed by</i> COURTIERS, LADIES <i>and the</i> WISE MEN. +<i>All bow as the King and Queen cross to throne and sit. Enter +the</i> MONK; <i>he advances to throne and bows.</i>]</p> +<p>KING. Speak, good Father.</p> +<p>MONK. I pray your Majesties to see one Christopher Columbus.</p> +<p>KING (<i>inquiringly</i>). Columbus?</p> +<p>MONK. The Italian who thinks he can find a short route to the +Indies, sire.</p> +<p>KING (<i>nodding</i>). Ah, I remember. You brought his plans to +us some time ago, good Father.</p> +<p>QUEEN (<i>nodding</i>). Let us see him to-day, sire.</p> +<p>KING (<i>to First Courtier</i>). Admit this Christopher +Columbus.</p> +<p>(<i>Courtier admits</i> COLUMBUS. <i>He kneels before the +King.</i>)</p> +<p>Rise, Columbus, and tell us what you seek.</p> +<p>COLUMBUS (<i>rising</i>). Ships, sire, to prove the plans which +I did send your Majesties; plans for sailing in the unknown +seas.</p> +<p>QUEEN. They seemed to me most wise and sensible.</p> +<p>COLUMBUS (<i>with joy</i>). Ah, your Majesty believes with +me?</p> +<p>KING (<i>hastily</i>). I'd have our Wise Men speak. Unfold your +maps before them, sir.</p> +<p>[<i>Columbus crosses to Wise Men and unfolds a map before them. +They look at it, shake their heads and laugh.</i>]</p> +<p>COLUMBUS (<i>with dignity</i>). I propose to sail by this route +to find that eastern land.</p> +<p>FIRST WISE MAN. Ha, ha! I never heard anything so absurd! He'd +sail west to find the east! Ha, ha!</p> +<p>SECOND WISE MAN (<i>pointing to map</i>). The edge of the world +is out there in those strange waters! And you are willing to fall +off with your ships into space, sir?</p> +<p>COLUMBUS. I'm sure the water continues—</p> +<p>THIRD WISE MAN (<i>interrupting</i>). How could there be land +beyond? 'T would be under us, and the trees would have to grow +their roots in the air.</p> +<p>[<i>Wise Men nod wisely.</i>]</p> +<p>SECOND WISE MAN. And the rain must needs fall upward there!</p> +<p>ALL WISE MEN (<i>nodding wisely</i>). Aye! Aye!</p> +<p>QUEEN. I've heard you did lay your plans before King John of +Portugal?</p> +<p>COLUMBUS. I did, your Majesty.</p> +<p>KING. That was bad for you, Columbus. King John sent ships, but +they soon returned.</p> +<p>(<i>Turning to</i> CAPTAIN RIVERRA.)</p> +<p>Was not that the way of it, Captain? You sailed with them, I +believe?</p> +<p>RIVERRA. Yes, sire. But the failure came because the sailors +were afraid and refused to go on.</p> +<p>(<i>To Columbus.</i>)</p> +<p>You were thus avenged for the theft of your maps, sir.</p> +<p>QUEEN. Would you sail again with this man as your leader, +Captain?</p> +<p>RIVERRA. I would, your Majesty! I believe not in the monsters +and the edge.</p> +<p>QUEEN. Nor I! Let's provide the ships, sire.</p> +<p>KING. Our people would not like it—they'd grumble. And so +'t would be bad for us.</p> +<p>[<i>Enter</i> MESSENGER <i>in great haste; kneels before King +and Queen.</i>]</p> +<p>KING. What news do you bring? Speak!</p> +<p>MESSENGER. The Turks have captured the Spanish merchant +ships!</p> +<p>KING. Our ships bound for the Indies?</p> +<p>MESSENGER. Yes, your Majesty.</p> +<p>KING. Alas! Alas!</p> +<p>QUEEN. The merchants and the sailors—did the Turks spare +them?</p> +<p>MESSENGER. Not one, your Majesty!</p> +<p>QUEEN. Alas, such loss of life! And 't is not the first time! +Not a month that does not bring us the same sad news!</p> +<p>FIRST WISE MAN (<i>to Monk</i>). You must give our people +consolation, Father.</p> +<p>MONK. 'T is not so much consolation they need, as another +passage to the Indies; one far away from Turkey and the cruel +Turks.</p> +<p>QUEEN. You are right, Father. Speak on.</p> +<p>MONK. To find such a passage is the chief purpose of Christopher +Columbus. That is the hope that has given him courage when half the +world called him <i>fool</i>.</p> +<p>QUEEN. Sire, we must find ships and money!</p> +<p>KING. We dare not tax the people more—</p> +<p>QUEEN. Then I'll help you, Columbus! I'll pledge my own jewels +to raise the funds.</p> +<p>COLUMBUS (<i>joyfully</i>). Your Majesty!</p> +<p>QUEEN. 'T is for the safety of our merchants! 'T is for the +glory of Spain!</p> +<p>COLUMBUS (<i>kneeling before Queen; kissing her robe</i>). My +Queen!</p> +<p> </p> +<p> </p> +<h4>SCENE III</h4> +<p>TIME: <i>five months later; evening</i>.<br> +PLACE: <i>on board the Santa Maria</i>.</p> +<hr> +<table width="40%" align="center"> +<tr> +<td>ADMIRAL CHRISTOPHER COLUMBUS.</td> +</tr> +<tr> +<td>CAPTAIN PINZON.<a id="footnotetag7" name= +"footnotetag7"></a><a href="#footnote7"><sup>7</sup></a></td> +</tr> +<tr> +<td>SAILORS.</td> +</tr> +</table> +<hr> +<p>[<i>The</i> SAILORS <i>are seen sitting on deck in a group. They +are gloomy and dejected.</i>]</p> +<p>FIRST SAILOR. 'T is a sea of darkness!</p> +<p>SECOND SAILOR. Last night I heard the angry sea-gods!</p> +<p>THIRD SAILOR (<i>nodding</i>). Aye, I heard them!</p> +<p>FOURTH SAILOR. What were they crying?</p> +<p>SECOND SAILOR. Angry words to us for coming into their own +waters.</p> +<p>FIRST SAILOR. 'T is the Italian Columbus the sea-gods should +destroy!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>SECOND SAILOR. We'll never see Spain again!</p> +<p>THIRD SAILOR. We should compel him to return!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>[<i>Enter</i> COLUMBUS <i>with</i> CAPTAIN PINZON. <i>They cross +to bow of ship. The Captain glances uneasily at the +sailors.</i>]</p> +<p>CAPTAIN. Admiral, I must tell you frankly, the sailors are +dissatisfied.</p> +<p>COLUMBUS. I am sorry to hear that, Captain.</p> +<p>CAPTAIN. What shall we do, sir?</p> +<p>COLUMBUS. Do? Why, sail on!</p> +<p>CAPTAIN. I'll see to it, sir!</p> +<p>[<i>Captain goes.</i>]</p> +<p>FIRST SAILOR (<i>crossing</i>). Admiral, the men have chosen me +to speak for them.</p> +<p>COLUMBUS. What do they wish?</p> +<p>FIRST SAILOR. To return to Spain, sir!</p> +<p>COLUMBUS. Tell them we may see land any day now.</p> +<p>FIRST SAILOR (<i>shaking head</i>). They'll no longer listen to +that!</p> +<p>COLUMBUS. Then tell them that I mean to sail on.</p> +<p>FIRST SAILOR (<i>starting</i>). Sail on?</p> +<p>COLUMBUS. Yes; to sail on and on. Go tell them that.</p> +<p>[<i>Sailor goes. Enter</i> CAPTAIN.]</p> +<p>CAPTAIN. Admiral, the sailors below show signs of mutiny!</p> +<p>COLUMBUS (<i>alarmed</i>). Mutiny?</p> +<p>CAPTAIN (<i>nodding</i>). The same as these on deck. Only look +at them!</p> +<p>[<i>The Sailors talk together excitedly and gesticulate +wildly.</i>]</p> +<p>COLUMBUS. Ah, if I could only give them my courage!</p> +<p>CAPTAIN. I fear for your life, Admiral, if the order is not +given to return.</p> +<p>COLUMBUS. I cannot give it, Captain.</p> +<p>[<i>The Sailors on deck are joined by others from below. They +rush down upon Columbus.</i>]</p> +<p>FIRST SAILOR (<i>angrily</i>). You must take us back to Spain, +sir!</p> +<p>SECOND SAILOR. We'll not go farther, sir!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>COLUMBUS. I'm sure we will soon find land—</p> +<p>SAILORS (<i>interrupting; angrily</i>). Hear him! Hear him!</p> +<p>COLUMBUS. To the one who first sees land, the Queen has promised +money—</p> +<p>FIRST SAILOR (<i>interrupting</i>). Money! to feed to the +sea-monster!</p> +<p>SECOND SAILOR (<i>threateningly</i>). Will you turn back?</p> +<p>COLUMBUS (<i>with determination</i>). No!</p> +<p>CAPTAIN. Now, men, back to your duties.</p> +<p>THIRD SAILOR. Alas! we'll never see our homes again!</p> +<p>FOURTH SAILOR. Nor our friends!</p> +<p>FIRST SAILOR. We are lost, men!</p> +<p>SECOND SAILOR. What shall we do?</p> +<p>ALL SAILORS. What shall we do? What shall we do?</p> +<p>[<i>As their anger turns to despair, Columbus is +touched.</i>]</p> +<p>COLUMBUS. Listen, men,—I make you this promise: if we do +not see land within three days, we will return to Spain.</p> +<p>CAPTAIN. There, now,—that's a fair promise! Go now to your +duties!</p> +<p>COLUMBUS. And let every man watch for land as he has never +watched before!</p> +<p>SAILORS (<i>pleased</i>). Aye, aye, sir!</p> +<p>[<i>Sailors cross to a distant part of deck.</i>]</p> +<p>COLUMBUS (<i>sadly</i>). Alas for my plans and my hopes, if +these three days bring not land!</p> +<p>[<i>He talks aside with the Captain.</i>]</p> +<p>FIRST SAILOR. We were too easily won over, men.</p> +<p>SECOND SAILOR (<i>nodding</i>). Fearful things may happen to us +in these three days!</p> +<p>THIRD SAILOR. Suppose we reach the edge to-morrow!</p> +<p>FOURTH SAILOR. Suppose the sea-monster should come for us +to-night!</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>FIRST SAILOR (<i>cautiously</i>). Come closer, men! There's +something I would say to you!</p> +<p>[<i>Sailors close about him; Captain goes.</i>]</p> +<p>FIRST SAILOR (<i>pointing to Columbus, who stands in bow looking +at the stars</i>). Why should he not fall into the seas +to-night?</p> +<p>SECOND SAILOR. What! You mean—</p> +<p>FIRST SAILOR. I mean he <i>must</i> fall into the seas to-night. +Are you with me, men?</p> +<p>ALL SAILORS. Aye! Aye!</p> +<p>FIRST SAILOR (<i>cautiously</i>). 'T is my plan to push him over +as he stands there looking at the stars.</p> +<p>FOURTH SAILOR. Why not creep upon him now?</p> +<p>FIRST SAILOR. Are you willing, men, to have the deed done +now?</p> +<p>ALL SAILORS. Yes! Yes!</p> +<p>FIRST SAILOR (<i>to Second and Third Sailors</i>). Come with me, +you two! We'll creep up on his left.</p> +<p>[<i>They creep upon Columbus, who is seen to suddenly bend +forward, looking eagerly into the distance.</i>]</p> +<p>COLUMBUS. Land! Land!</p> +<p>[<i>Sailors stop; enter the</i> CAPTAIN.]</p> +<p>CAPTAIN. Did you say land, sir?</p> +<p>COLUMBUS. Land, Captain, land! Come, Sailors, come! Land! +Land!</p> +<p>SAILORS (<i>looking; joyfully</i>). Land! Land!</p> +<p>COLUMBUS (<i>lifting his arms</i>). Now Heaven be praised!</p> +<hr> +<blockquote class="note">NOTE TO TEACHER.—This play conforms +to the spirit of the traditional story of Columbus, but the +dramatization has made it necessary to condense into one scene the +somewhat prolonged negotiations with Ferdinand and +Isabella.</blockquote> +<hr> +<blockquote class="footnote"><a id="footnote1" name= +"footnote1"></a> <b>Footnote 1</b>: <a href= +"#footnotetag1">(return)</a> +<p>The explanations in <i>brackets</i> may be read by the +teacher.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote2" name= +"footnote2"></a> <b>Footnote 2</b>: <a href= +"#footnotetag2">(return)</a> +<p>The words in <i>parentheses</i> are not intended to be read +aloud; they will give the child the cue as to how the part should +be rendered.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote3" name= +"footnote3"></a> <b>Footnote 3</b>: <a href= +"#footnotetag3">(return)</a> +<p>A Mohammedan judge.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote4" name= +"footnote4"></a> <b>Footnote 4</b>: <a href= +"#footnotetag4">(return)</a> +<p>Pronounced <i>R[=o]'k[=a]</i>.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote5" name= +"footnote5"></a> <b>Footnote 5</b>: <a href= +"#footnotetag5">(return)</a> +<p>Pronounced <i>Pän'ch[=o]</i> (<i>ch</i> as in +<i>ch</i>urch.)</p> +</blockquote> +<blockquote class="footnote"><a id="footnote6" name= +"footnote6"></a> <b>Footnote 6</b>: <a href= +"#footnotetag6">(return)</a> +<p>Pronounced <i>R[=e]-ver'rä</i>.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote7" name= +"footnote7"></a> <b>Footnote 7</b>: <a href= +"#footnotetag7">(return)</a> +<p>Pronounced <i>Pin'th[=o]n</i>.</p> +</blockquote> +</center> +<hr class="full"> +<p>***END OF THE PROJECT GUTENBERG EBOOK CHILDREN'S CLASSICS IN DRAMATIC FORM***</p> +<p>******* This file should be named 10541-h.txt or 10541-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="https://www.gutenberg.org/1/0/5/4/10541">https://www.gutenberg.org/1/0/5/4/10541</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution.</p> + + + +<pre> +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +<a href="https://gutenberg.org/license">https://gutenberg.org/license)</a>. + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS," WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + +<a href="https://www.gutenberg.org">https://www.gutenberg.org</a> + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + +<a href="http://www.ibiblio.org/gutenberg/etext06">http://www.ibiblio.org/gutenberg/etext06</a> + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + +https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: +https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: +<a href="https://www.gutenberg.org/GUTINDEX.ALL">https://www.gutenberg.org/GUTINDEX.ALL</a> + +*** END: FULL LICENSE *** +</pre> +</body> +</html> diff --git a/old/10541-h/images/001.png b/old/10541-h/images/001.png Binary files differnew file mode 100644 index 0000000..65a6cf2 --- /dev/null +++ b/old/10541-h/images/001.png diff --git a/old/10541-h/images/012.png b/old/10541-h/images/012.png Binary files differnew file mode 100644 index 0000000..8f013ac --- /dev/null +++ b/old/10541-h/images/012.png diff --git a/old/10541-h/images/023.png b/old/10541-h/images/023.png Binary files differnew file mode 100644 index 0000000..5bf74a3 --- /dev/null +++ b/old/10541-h/images/023.png diff --git a/old/10541-h/images/034.png b/old/10541-h/images/034.png Binary files differnew file mode 100644 index 0000000..c3b7b6c --- /dev/null +++ b/old/10541-h/images/034.png diff --git a/old/10541-h/images/041.png b/old/10541-h/images/041.png Binary files differnew file mode 100644 index 0000000..ee4dbf8 --- /dev/null +++ b/old/10541-h/images/041.png diff --git a/old/10541-h/images/051.png b/old/10541-h/images/051.png Binary files differnew file mode 100644 index 0000000..a925957 --- /dev/null +++ b/old/10541-h/images/051.png diff --git a/old/10541-h/images/062.png b/old/10541-h/images/062.png Binary files differnew file mode 100644 index 0000000..255086c --- /dev/null +++ b/old/10541-h/images/062.png diff --git a/old/10541-h/images/091.png b/old/10541-h/images/091.png Binary files differnew file mode 100644 index 0000000..0ac66e6 --- /dev/null +++ b/old/10541-h/images/091.png diff --git a/old/10541-h/images/123.png b/old/10541-h/images/123.png Binary files differnew file mode 100644 index 0000000..c03797f --- /dev/null +++ b/old/10541-h/images/123.png diff --git a/old/10541-h/images/141.png b/old/10541-h/images/141.png Binary files differnew file mode 100644 index 0000000..c149ca5 --- /dev/null +++ b/old/10541-h/images/141.png diff --git a/old/10541-h/images/157.png b/old/10541-h/images/157.png Binary files differnew file mode 100644 index 0000000..5f9680e --- /dev/null +++ b/old/10541-h/images/157.png diff --git a/old/10541.txt b/old/10541.txt new file mode 100644 index 0000000..0b41dce --- /dev/null +++ b/old/10541.txt @@ -0,0 +1,5891 @@ +The Project Gutenberg eBook, Children's Classics In Dramatic Form, by +Augusta Stevenson + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + + + + +Title: Children's Classics In Dramatic Form + +Author: Augusta Stevenson + +Release Date: December 29, 2003 [eBook #10541] + +Language: English + +Character set encoding: US-ASCII + + +***START OF THE PROJECT GUTENBERG EBOOK CHILDREN'S CLASSICS IN DRAMATIC +FORM*** + + +E-text prepared by Juliet Sutherland, Lee Chew-Hung, and the Project +Gutenberg Online Distributed Proofreading Team + + + +CHILDREN'S CLASSICS IN DRAMATIC FORM + +A READER FOR THE FOURTH GRADE + +BY AUGUSTA STEVENSON + +Formerly a Teacher in the Indianapolis Public Schools + +1908 + + + + + + +TO +MISS N. CROPSEY + +Assistant Superintendent +Indianapolis Public Schools + + + + +[Illustration: "The moon changes into the red beard of the old +soldier"] + + + + +FOREWORD + + +This book is intended to accomplish three distinct purposes: first, to +arouse a greater interest in oral reading; second, to develop an expressive +voice--sadly lacking in the case of most Americans; and third, to give +freedom and grace in the bodily attitudes and movements which are involved +in reading and speaking. The stories given are for the most part +adaptations of favorite tales from folklore,--Andersen, Grimm, Aesop, and +the Arabian Nights having been freely drawn upon. + +Children are dramatic by nature. They _are_ for the time the kings, the +fairies, and the heroes that they picture in their imaginations. They _are_ +these characters with such abandon and with such intense pleasure that the +on-looker must believe that nature intended that they should give play to +this dramatic instinct, not so much formally, with all the trappings of the +man-made stage, but spontaneously and naturally, as they talk and read. If +this expressive instinct can be utilized in the teaching of reading, we +shall be able both to add greatly to the child's enjoyment and to improve +the quality of his oral reading. In these days when so many books are +hastily read in school, there is a tendency to sacrifice expression to the +mechanics and interpretation of reading. Those acquainted with school work +know too well the resulting monotonous, indistinct speech and the +self-conscious, listless attitude which characterize so much of the +reading of pupils in grades above the third. It is believed that this +little book will aid in overcoming these serious faults in reading, which +all teachers and parents deplore. The dramatic appeal of the stories will +cause the child to lose himself in the character he is impersonating and +read with a naturalness and expressiveness unknown to him before, and this +improvement will be evident in all his oral reading, and even in his +speech. + +The use of the book permits the whole range of expression, from merely +reading the stories effectively, to "acting them out" with as little, or as +much, stage-setting or costuming as a parent or teacher may desire. The +stories are especially designed to be read as a part of the regular reading +work. Many different plans for using the book will suggest themselves to +the teacher. After a preliminary reading of a story during the study +period, the teacher may assign different parts to various children, she +herself reading the stage directions and the other brief descriptions +inclosed in brackets. The italicized explanations in parentheses are not +intended to be read aloud; they will aid in giving the child the cue as to +the way the part should be rendered. After the story has been read in this +way, if thought advisable it can be played informally and simply, with no +attempt at costuming or theatric effects. It will often add to the interest +of the play to have some of the children represent certain of the inanimate +objects of the scene, as the forest, the town gate, a door, etc. +Occasionally, for the "open day," or as a special exercise, a favorite play +may be given by the children with the simplest kind of costuming and +stage-setting. These can well be made in the school as a part of the manual +training and sewing work. In giving the play, it will generally be better +not to have pupils memorize the exact words of the book, but to depend upon +the impromptu rendering of their parts. This method will contribute more +largely to the training in English. + +The best results will usually be obtained by using these stories in the +fourth grade. In some schools, however, the stories in the first part of +the book may profitably be used in the third grade. + +The author has been led to believe from her own experience and from her +conversation with many other teachers that there is a pronounced call for +this kind of book. She therefore hopes that in the preparation of this book +she may have been of service to the teachers and children who may be led to +use it. + +A. S. + + + + +CONTENTS + + +THE TRAVELLERS AND THE HATCHET +_Adapted from Aesop's Fable, The Travellers and the Hatchet._ + +THE OLD MAN AND HIS GRANDSON +_Adapted from Grimm's The Old Man and his Grandson._ + +THE CROW AND THE FOX +_Suggested by Aesop's Fable, The Crow and the Fox._ + +THE MILLER, HIS SON, AND THEIR DONKEY +_Suggested by Aesop's Fable, The Miller, his Son, and their Ass._ + +EACH IN HIS OWN PLACE +_Suggested by Grimm's The Mouse, the Bird, and the Sausage._ + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT +_Adapted from Hans Andersen's What the Goodman does is always Right._ + +THE CAT AND THE MOUSE +_Suggested by Grimm's The Cat and the Mouse._ + +THE GIRL WHO TROD ON THE LOAF +_Suggested by Hans Andersen's The Girl who trod on the Loaf._ + +THE UGLY DUCKLING +_Suggested by Hans Andersen's The Ugly Duckling._ + +THE RED SHOES +_Suggested by Hans Andersen's The Red Shoes._ + +THE STORY OF ALI COGIA +_Adapted from The Story of Ali Cogia from The Arabian Nights' +Entertainments._ + +THE WILD SWANS +_Suggested by Hans Andersen's The Wild Swans._ + +THE TWO COUNTRYMEN +_Suggested by an oriental legend; source unknown._ + +THE MAN AND THE ALLIGATOR +_From a folk-tale of Spanish Honduras._ + +THE SONG IN THE HEART +_Suggested by Grimm's The Three Spinners._ + +THE EMPEROR'S TEST + +CHRISTOPHER COLUMBUS + + + + +ILLUSTRATIONS + + +THE MOON CHANGES INTO THE RED BEARD OF THE OLD SOLDIER. + +THE TRAVELLERS AND THE HATCHET + +"WE HAVE LOST OUR DONKEY" + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT + +THE CAT AND THE MOUSE + +"'T IS SINKING! WHAT SHALL I DO?" + +THE UGLY DUCKLING + +"A THOUSAND PIECES AT LEAST" + +THE TWO COUNTRYMEN + +"HELP! HELP!" + +THE PRINCE SEES THE THREE GREAT-AUNTS + + + + + + + +THE TRAVELLERS AND THE HATCHET + + +TIME: _last week_. +PLACE: _a high road_. + + * * * * * + +FIRST TRAVELLER. +SECOND TRAVELLER. +THE CARPENTER. + + * * * * * + +[_The_ TWO TRAVELLERS _journey along the road. A hatchet lies in the dust +at one side._][Footnote: The explanations in _brackets_ may be read by the +teacher.] + +FIRST TRAVELLER (_seeing the hatchet, taking it up_).[Footnote: The words +in _parentheses_ are not intended to be read aloud; they will give the +child the cue as to how the part should be rendered.] Ah, see what I have +found! + +SECOND TRAVELLER. Do not say _I_, but rather, what _we_ have found. + +FIRST TRAVELLER. Nonsense! Did I not see the hatchet first? And did I not +take it up? + +SECOND TRAVELLER. Well, then, claim the hatchet, since that is plainly your +wish. + +[_Enter the_ CARPENTER.] + +CARPENTER (_to First Traveller_). Aha, thief! Now I have caught you! + +[_He seizes the First Traveller._] + +FIRST TRAVELLER. No thief am I, sir! + +[Illustration: THE TRAVELLERS AND THE HATCHET] + +CARPENTER. But my own hatchet is in your hand, sir. Come along to the +judge, sir! + +FIRST TRAVELLER (_to Second Traveller_). Alas, we are undone! + +SECOND TRAVELLER. Do not say _we_. You are undone, not I. You would not +allow me to share the prize; you cannot expect me to share the danger. I +bid you good day, sir. + + + + +THE OLD MAN AND HIS GRANDSON + + +TIME: _now_. +PLACE: _a certain_ MAN'S _house_. + + * * * * * + +THE MAN. +HIS WIFE. +THEIR SON--LITTLE HANS. +THE GRANDFATHER. + + * * * * * + +[_The_ MAN, _his_ WIFE, _little_ HANS, _and the_ GRANDFATHER _sit at the +table eating the noon meal._] + +MAN. Be careful, father! You are spilling the soup on your coat. + +GRANDFATHER (_trying to steady his trembling hand_). Yes, yes, I'll be +careful. + +[_Short pause._] + +WIFE (_sharply_). Grandfather! You have spilled the soup on my clean +tablecloth! + +GRANDFATHER (_embarrassed_). Dear me! Dear me! + +[_Short pause._] + +MAN. Here, father, is your plate of meat. + +[_The old man takes the plate, but lets it fall._] + +WIFE (_angrily_). There now! Just see what +you have done! + +GRANDFATHER. My hand shook so--I'm sorry--so sorry! + +WIFE. That won't mend the plate! + +MAN. Nor buy a new one! + +WIFE (_to her husband_). He should eat from wooden dishes. + +MAN (_nodding, pointing to a wooden dish_). Let him have that one for his +meat. + +[_The Grandfather sighs sadly. The Wife gets a wooden dish and fills it +with meat. Little Hans leaves the table and plays with his blocks on the +floor._] + +WIFE (_handing the wooden dish to the Grandfather_). Here's one you can't +break. Go now and sit in the corner behind the oven. You shall eat there +hereafter. I cannot have my tablecloths soiled--that I cannot! + +[_The Grandfather takes his wooden plate and goes to the seat in the corner +behind the oven. His eyes are filled with tears._] + +MAN. Come, little Hans, and finish your dinner. + +WIFE (_turning to Hans_). Bless me! What are you making, child? + +HANS. A wooden trough for you and father to eat out of when I grow big. + +[_The Man and his Wife look at each other; there is a pause._] + +MAN (_showing shame_). He will treat us as we have treated father! + +WIFE (_weeping_). 'T will serve us right! + +MAN (_kindly_). Father, throw that wooden dish out of the window. I am +ashamed of what I have done; forgive me! + +WIFE (_kindly_). Father, come back to the table. I too am ashamed. Forgive +me, dear father. + + + + +THE CROW AND THE FOX + + +TIME: _yesterday noon_. +PLACE: _a high tree in a grove_. + + * * * * * + +MADAM CROW. +MISS CROW, _her Daughter_. +MASTER FOX. + + * * * * * + +[MADAM CROW _sits in the tree. Enter_ MISS CROW. _She carries a large piece +of cheese in her mouth._] + +MADAM. O joy! O joy! Come, dear daughter, come! We'll dine as if we were +queen and princess! + +[_Miss Crow flies to Madam Crow. Enter_ MASTER FOX.] + +FOX. I bid you good morning, dear madam. + +MADAM. Good morning to you, dear sir. + +FOX (_sitting under tree_). With your permission, I'll speak with your +daughter. + +MADAM. She'll be pleased to listen, that she will--you are so clever. + +FOX (_modestly_). Nay, madam, not so clever, only thoughtful. + +[_He sighs deeply twice._] + +MADAM. You have something on your mind. + +FOX (_sighing_). Yes, dear madam,--I am thinking of your daughter. + +MADAM. Then speak! Speak now, sir!--at once, sir! + +FOX. I speak. O sweet Miss Crow, how beautiful your wings are! + +MADAM (_pleased_). Do you hear that, daughter? + +[_Miss Crow nods, spreading her wings proudly._] + +FOX. I speak again. How bright your eye, dear maid! How graceful your neck! + +MADAM. Bend your neck, child! Now bend it well that he may better see your +grace. + +[_Miss Crow bends neck twice._] + +FOX. But oh, that such a sweet bird should be dumb!--should be so utterly +dumb! + +[_He weeps gently in his little pocket handkerchief._] + +MADAM (_indignantly_). Do you think, sir, she cannot _caw_ as well as the +rest of us? + +FOX. I must think so, dear madam. Alas! + +[_Weeping again in his little pocket handkerchief._] + +MADAM. You shall think so, then, no longer! Caw, child, caw, as you have +never cawed before! + +MISS CROW (_opening mouth; dropping cheese_). Caw! Caw! + +[_Fox quickly snaps up the cheese._] + +FOX (_going_). Thank you, Miss Crow. Remember, dear madam, that whatever +I said of her beauty, I said nothing of her brains. + +[_He goes, waving the crows a farewell with his little pocket +handkerchief._] + + + + +THE MILLER, HIS SON, AND THEIR DONKEY + + +TIME: _this morning_. +PLACE: _a bridge, near a town and not far from a Fair_. + + * * * * * + +THE MILLER AND HIS SON. +FIRST MAID. +SECOND MAID. +THIRD MAID. +FIRST OLD MAN. +SECOND OLD MAN. +THIRD OLD MAN. +FIRST GOODY. +SECOND GOODY. +THIRD GOODY. +THE MAYOR. +HIS FIRST CLERK. +HIS SECOND CLERK. + + * * * * * + +[_The_ MILLER _and his_ SON _are driving their donkey across the bridge. +They go to the Fair._] + +SON. Do you expect to get a good price for our donkey, father? + +MILLER (_nodding_). Aye, lad; the Fair is the place to take your wares. + +SON. Our donkey is not so young, though. + +MILLER. Neither is he so old, though. + +SON. But he is not so fat, though. + +MILLER. Neither is he so lean, though. + +SON. Truly he might be worse. + +MILLER. Better or worse, he must be sold. + +[THREE MAIDS _enter the bridge. They go to the Fair._] + +FIRST MAID (_pointing to the Miller and his Son_). Look there! Did you ever +see such geese? + +SECOND MAID. As I live!--walking when they might ride! + +THIRD MAID (_to the Miller_). You'll get a laugh at the Fair, old man! + +[_The Maids pass on._] + +MILLER. This may be true. Get you upon the beast, lad. + +[_The boy mounts the donkey. Enter_ THREE OLD MEN. _They talk together +earnestly. They go to the Fair._] + +FIRST OLD MAN (_pointing to the Miller and his Son_). Look you there! That +proves what I was saying. + +SECOND OLD MAN (_nodding_). Aye! There's no respect shown old age in these +days. + +THIRD OLD MAN (_nodding_). Aye! There's that young rogue riding while his +old father has to walk! + +[_The Old Men pass on._] + +MILLER. Get down, lad. 'T would indeed look better should I ride. + +[_The lad dismounts; the Miller mounts. Enter_ THREE GOODIES; _they go to +the Fair._] + +FIRST GOODY (_indignantly, pointing to the Miller and his Son_). Look, +Goodies, look! Did you ever see anything so cruel? + +SECOND GOODY (_to the Miller_). You lazy old fellow! How can you ride while +your own child walks in the dust? + +THIRD GOODY (_to the lad_). You poor, poor child! + +[_The Goodies pass on, shaking their heads and their canes indignantly._] + +MILLER. Come, lad, get up behind me. + +SON. Why, father, I'm not tired! + +MILLER. I know, but we must try to please them. Come. + +[_The lad mounts, sitting behind his father. Enter the_ MAYOR _and his_ +CLERKS. _They go to the Fair._] + +MAYOR (_turning to his Clerks; pointing to the Miller and his Son_). Look, +will you! + +(_He turns to the Miller._) + +Pray, honest friend, is that beast your own? + +MILLER. Yes, my lord Mayor. + +MAYOR. One would not think so from the way you load him. Say you not so, my +Clerks? + +FIRST CLERK (_bowing_). Just so, my lord Mayor. + +SECOND CLERK (_bowing_). Even so, my lord Mayor. + +THE MAYOR (_to the Miller and his Son_). Why, you two fellows are better +able to carry the poor donkey than he you! Say you not so, my Clerks? + +FIRST CLERK (_bowing_). Just so, my lord Mayor. + +SECOND CLERK (_bowing_). Even so, my lord Mayor. + +MILLER. Come, my son, to please them, we'll carry the donkey. + +[_They dismount and try to lift the donkey. This frightens the poor beast. +He tries to get away, and falls over the bridge into the deep river._] + +MILLER (_weeping_). I have tried to please every one! I have pleased no +one! + +SON (_weeping_). And we have lost our donkey in the bargain! + +[Illustration: "WE HAVE LOST OUR DONKEY"] + + + + +EACH IN HIS OWN PLACE + + +TIME: _yesterday_. +PLACE: _in a tiny house_. + + * * * * * + +THE STRAW _who brings in the wood_. +THE COAL _who makes the fire_. +THE SNOWFLAKE _who draws the water_. +THE SUGAR LOAF _who lays the table_. +THE SAUSAGE _who cooks the meals_. + + * * * * * + +[_The tiny kitchen is seen. The_ SAUSAGE _is stirring the pot. The_ COAL +_is tending the fire. The_ SUGAR LOAF _is laying the table. Enter_ STRAW +_with a load of wood._] + +STRAW (_throwing down wood_). Think you'll need more wood for the dinner, +Sausage? + +[_Sausage does not answer. She gets into the pot to flavor the +vegetables._] + +COAL (_whispers to Straw_). Sausage is quite put out. + +STRAW. What's the trouble? + +COAL. No one knows. + +[_Enter_ SNOWFLAKE _with a pail of water._] + +SNOWFLAKE (_looking about_). Where's Sausage? + +STRAW. She is flavoring the vegetables. + +[_Sausage comes out of the pot._] + +SNOWFLAKE. Here is the water, Sausage. + +[_Sausage does not answer._] + +SNOWFLAKE (_speaking louder_). Will you come for the water, Sausage? + +SAUSAGE (_sharply_). No, madam, I will not! + +THE OTHERS (_with surprise_). Sausage! + +SAUSAGE. I've been slave here long enough! + +THE OTHERS (_as before_). Sister Sausage! + +SAUSAGE. I mean just what I say! + +SNOWFLAKE. Have I not done my share of the work? + +COAL. Have I not done my share? + +STRAW. Have I not done my share? + +SUGAR LOAF. And have I not done my share? + +SAUSAGE. Please to tell me what you do. + +STRAW. I bring in wood that Coal may make the fire. + +COAL. I make the fire that the pot may boil. + +SNOWFLAKE. I draw the water and bring it from the brook. + +SUGAR LOAF. I lay the table nicely. + +SAUSAGE. What do I? Eh? What do I? I must stand over the fire. I must not +only stir the dinner, I must flavor it with myself. For each of you there +is one duty. For me there are plainly three. + +STRAW. But, sister-- + +SAUSAGE (_interrupting_). Don't "sister" me! + +SNOWFLAKE. Sausage, dear, would you break up our pretty home? + +SUGAR LOAF. And we all so happy here! + +SAUSAGE. There must be a change! Some one else can stand over the fire--can +stir the pot--can flavor the vegetables. + +COAL. If I flavored them, they could not be eaten. + +SAUSAGE. That's what you're always saying, but I'm not so sure of it. + +SNOWFLAKE. If I stirred the pot, 't would be the end of me. + +SAUSAGE. Yes, you say that often enough, but I'm not so sure that it is +true. + +STRAW. Should I stand over the fire, I'd be no more. + +SAUSAGE (_scornfully_). Excuses! Excuses! + +SUGAR LOAF. 'T is plain that I should not get into the pot. + +SAUSAGE. And why not, Miss? why not? + +SUGAR LOAF. 'T would be good-by for me, if I should! + +SAUSAGE. Excuses! Excuses! I say there must be a change! 'T is I who will +bring the wood or draw the water. + +COAL. But, Sausage, you should stay within. + +SAUSAGE. Not I, sir! I'll out of the pot and out of the house, I will! I'll +see a bit of the world, I will! + +SUGAR LOAF (_sighing_). Well, if she will, she will! + +SAUSAGE (_getting slips_). Come, now, and draw for it. + +[_She holds the slips for the others to draw._] + +STRAW (_drawing; reading from slip_). "Who gets this must make the fire." + +SUGAR LOAF (_drawing; reading from slip_). "Who gets this must draw the +water." + +SNOWFLAKE (_drawing; reading from slip_). "Who gets this must stir the pot +and flavor it with herself." + +COAL (_drawing; reading from slip_). "Who gets this must lay the table +nicely." + +SAUSAGE (_reading from last slip_). "Who gets this must bring the wood." +Well, that pleases me! Straw, see if the fire needs wood. + +(_Straw hesitates._) + +Come, come, do your duty! + +[_Straw crosses the hearth and looks into the fire. He is very careful, but +the fire reaches him and he is gone in a puff!_] + +SNOWFLAKE. Poor Straw! Well, 't is my duty to stir the pot and to flavor it +with myself. + +[_She crosses to the hearth, but just as she reaches it, she disappears +without so much as a cry._] + +SUGAR LOAF. Poor Snowflake! Well, 't is my duty to draw the water. + +[_She forgets that the pail is full, falls into it, and is seen no more._] + +COAL. Poor Sugar Loaf! Well, 't is my duty to lay the table nicely. + +[_He forgets that he is still burning from having lately tended the fire. +As he places the plates, the tablecloth catches fire and wraps itself +around him._] + +COAL (_from inside the burning cloth_). This is the end of me! + +SAUSAGE (_weeping_). Dear me! Dear me! Who would have thought 't would turn +out so badly! Well, 't is my duty to bring in wood. + +[_She opens the door and is face to face with a hungry dog who is sniffing +about._] + +DOG. Ah, I thought you'd be coming out soon! + +SAUSAGE (_pleased_). Do you want to see me, sir? + +DOG. Why, yes, I've been waiting for you. + +SAUSAGE. How good to be out in the world! They always said my place was +within. + +DOG. They did, eh? Well, just to please them, I'll put you there. + +[_He swallows her quickly, which ends both Sister Sausage and our story._] + + + + +WHAT THE GOODMAN DOES IS ALWAYS RIGHT + + +SCENE I + +TIME: _early one morning_. +PLACE: _a very old farmhouse_. + + * * * * * + +THE GOODMAN. +HIS WIFE. + + * * * * * + +[_The_ GOODMAN _and his_ WIFE _are seated in their spare room because it is +Fair-day._] + +WIFE. Yes, I think it would be as well to sell our horse. Or, as you say, +we might exchange him for something more useful. + +GOODMAN. What shall we exchange him for? + +WIFE. You know best, Goodman. Whatever you do will be right. + +GOODMAN (_starting out_). It is Fair-day. I will ride into town and see +what can be done. + +WIFE. Wait till I fasten your neckerchief! You shall have a pretty double +bow this time, for you are going to the Fair. + +(_She ties the neckerchief. The Goodman starts out._) + +Wait till I have smoothed your hat! + +(_She smooths his old hat._) + +Now you are ready. + +GOODMAN (_going_). Be at the window, Wife. + +WIFE (_nodding_). Yes, surely, and I will wave at you as you ride by. + + +SCENE II + +TIME: _two hours later_. +PLACE: _near the toll-gate on the road to the Fair_. + + * * * * * + +THE GOODMAN. +FIRST PEASANT. +SECOND PEASANT. +THIRD PEASANT. +TOLL-KEEPER. +HOSTLER. + + * * * * * + +[_The_ GOODMAN _is seen riding his horse. Enter, from a country lane, a_ +PEASANT, _driving a cow._] + +GOODMAN (_stopping; calling_). Halloo, there--you with the cow! + +PEASANT (_stopping_). Yes, Goodman. + +GOODMAN. Your cow gives good milk, I am certain. + +PEASANT (_nodding_). None richer in this country! + +GOODMAN. A horse is of more value than a cow, but I don't care for that. A +cow will be more useful to me; so if you like, we'll exchange. + +PEASANT. To be sure I will. Here is your cow. + +GOODMAN. Here is your horse. + +[_The Peasant goes off riding the horse. A_ SECOND PEASANT, _driving a +sheep, enters from a field near by._] + +GOODMAN (_sees him and calls_). Halloo, there--you with the sheep! + +SECOND PEASANT (_stopping_). Yes, Goodman. + +GOODMAN. I should like to have that sheep. + +SECOND PEASANT. She is a good, fat sheep. + +GOODMAN. There is plenty of grass for her by our fence at home, and in the +winter we could keep her in the room with us. + +SECOND PEASANT. Do you wish to buy her? + +GOODMAN. Will you take my cow in exchange? + +SECOND PEASANT. I am willing. Here is your sheep. + +GOODMAN. Here is your cow. + +[_The second Peasant goes off driving the cow. Enter, from a farmyard near +by, a_ THIRD PEASANT _carrying a goose._] + +GOODMAN. What a heavy creature you have there! + +THIRD PEASANT (_stopping_). She has plenty of feathers and plenty of fat. + +GOODMAN. She would look well paddling in the water at our place. + +THIRD PEASANT (_stopping_). She would look well in any place! + +GOODMAN. She would be very useful to my wife. She could make all sorts of +profit out of her. + +THIRD PEASANT. Indeed she could, Goodman! + +GOODMAN. How often she has said,--"If now we only had a goose!" + +THIRD PEASANT. Well, this goose is for sale. + +GOODMAN. I will give my sheep for your goose and thanks into the bargain. + +THIRD PEASANT. I am willing; here is your goose. + +GOODMAN. Here is your sheep. + +[_The Peasant goes off with the sheep. The Goodman discovers a hen in the_ +TOLL-KEEPER'S _potato field._] + +GOODMAN (_calling_). That's the finest fowl I ever saw, Toll-keeper! + +TOLL-KEEPER. You're right about that, Goodman. + +GOODMAN. She's finer than our pastor's brood-hen! Upon my word she is! I +should like to have that fowl! + +TOLL-KEEPER. She is for sale. + +GOODMAN. I think it would be a good exchange if I could get her for my +goose. + +TOLL-KEEPER. Well, it wouldn't be a bad thing. + +GOODMAN. Then here is your goose. + +TOLL-KEEPER. Here is your fowl. + +[_Enter a_ HOSTLER _carrying a sack._] + +GOODMAN (_to Hostler_). What have you in that sack, friend? + +HOSTLER. Rotten apples--to feed the pigs with. + +GOODMAN. Why, that will be a terrible waste. I should like to take them +home to my wife. + +HOSTLER (_astonished_). To your wife? + +GOODMAN (_nodding_). You see, last year our old apple tree bore only one +apple, which we kept in the cupboard till it was quite rotten. It was +always property, my wife said. + +HOSTLER. What will you give me for the sackful? Your wife would then have a +great deal of property. + +GOODMAN. Well, I will give you my fowl in exchange. + +HOSTLER. Here is your sack of rotten apples. + +GOODMAN. Here is your fowl. + +[_The Hostler goes with the fowl._] + +TOLL-KEEPER. Toll, Goodman! + +GOODMAN. I will not go to the Fair to-day. I have done a great deal of +business, and I am tired. I will go back home. + + +SCENE III + +TIME: _two hours later_. +PLACE: _the old farmhouse_. + + * * * * * + +THE GOODMAN. +HIS WIFE. + + * * * * * + +[_Enter the_ GOODMAN, _carrying the sack. The_ WIFE _waits for him in the +spare room, because he has been away._] + +GOODMAN. Well, Wife, I've made the exchange. + +WIFE. Ah, well, you always understand what you're about. + +GOODMAN. I got a cow in exchange for the horse. + +WIFE. Good! Now we shall have plenty of milk and butter and cheese on the +table. That was a fine exchange! + +GOODMAN. Yes, but I changed the cow for a sheep. + +WIFE. Ah, better still! We have just enough grass for a sheep.--Ewe's milk +and cheese! Woolen jackets and stockings! The cow could not give all those. +How you think of everything! + +GOODMAN. But I changed the sheep for a goose. + +WIFE. Then we shall have roast goose to eat this year. You dear Goodman, +you are always thinking of something to please me! + +GOODMAN. But I gave away the goose for a fowl. + +WIFE. A fowl? Well, that was a good exchange. The fowl will lay eggs and +hatch them. We shall soon have a poultry-yard. Ah, this is just what I was +wishing for! + +GOODMAN. Yes, but I exchanged the fowl for a sack of rotten apples. + +WIFE. My dear, good husband! Now, I'll tell you something. Do you know, +almost as soon as you left me this morning, I began thinking of what I +could give you nice for supper. I thought of bacon with eggs and sweet +herbs. + +GOODMAN. But we have no sweet herbs. + +WIFE (_nodding_). For that reason, I went over to our neighbor's and begged +her to lend me a handful. + +GOODMAN. That was right; they have plenty. + +WIFE (_nodding_). So I thought, but she said, "Lend? I have nothing to +lend, not even a rotten apple." Now I can lend _her_ ten or the whole +sackful. It makes me laugh to think of it. I am so glad. + +GOODMAN. So you think what I did was right? + +WIFE. What the Goodman does is always right. + + + + +THE CAT AND THE MOUSE + + +TIME: _perhaps this minute_. +PLACE: _perhaps your own garret_. + + * * * * * + +MOTHER MOUSE. +HER DAUGHTER, MISS MOUSE. +THE CAT. + + * * * * * + +[MOTHER MOUSE _and_ MISS MOUSE _are in their spare room because Mother +Mouse is getting ready for a journey. Miss Mouse helps her. The_ CAT _is +outside, peeping now and then through the window, but so slyly that the +mice do not see her._] + +MOTHER MOUSE (_going_). Now mind you keep one eye on our grease-pot, child. + +MISS MOUSE. That I will, dear mother! + +MOTHER MOUSE. Let no one in,--no one! no one! + +MISS MOUSE. No one, dear mother! + +MOTHER MOUSE. I'll not be long away. Good-by, my child. + +(_Starting out; stopping._) + +Mind you show no one the grease-pot, child,--no one! no one! + +Miss MOUSE. No one, dear mother! + +[_Mother Mouse goes out of the front door._] + +CAT (_calling through window_). Oh, Miss Mouse! Oh, Miss Mouse! + +MISS MOUSE (_showing alarm_). Who calls? + +CAT (_very sweetly_). Only I! Will you please let me in? + +MISS MOUSE (_shaking head_). Mother said-- + +CAT (_interrupting quickly_). 'T is a matter of business! + +MISS MOUSE (_shaking head_). But mother said-- + +CAT (_interrupting_). 'T is most important! + +MISS MOUSE (_as before_). But mother said-- + +CAT (_interrupting_). I wish your advice--you are so clever! + +MISS MOUSE (_showing she is pleased; starting to window_). Oh, do you truly +think so? + +CAT (_nodding_). Every one thinks so! + +MISS MOUSE (_showing she is more pleased; going to the window_). Oh, do +they, truly? + +CAT. Oh, truly they do! + +MISS MOUSE (_showing she is most pleased; opening window_). What else nice +say they? + +CAT (_jumping in_). That I'll tell you by and by. + +(_Sniffing about._) + +There must be a grease-pot about! Am I not right? + +MISS MOUSE. Mother said-- + +[Illustration: THE CAT AND THE MOUSE] + +CAT (_interrupting_). Only tell me if I be right! 'T will do no harm! + +MISS MOUSE (_hesitating_). Well--then--yes. But 't is put away for our +winter stores. + +CAT (_nodding_). Just so! Now, I can't decide where to keep my grease-pot +when I have bought one. Won't you give me your advice? You are so wise. + +MISS MOUSE. Do you truly think I'm wise? + +CAT (_nodding_). Aye, and if you will tell me where to keep my grease-pot +when I have bought it, I'll tell you something more. + +MISS MOUSE (_greatly pleased_). About me? + +CAT (_nodding_). Yes,--what every one says about your being so beautiful. +But first I must know where to keep my grease-pot. + +MISS MOUSE. Then listen--you must keep it, when you have bought it, in the +northwest corner. + +[_The Cat runs quickly to the northwest corner._] + +MISS MOUSE (_in alarm_). Come away! Come away! + +CAT. Why, here is your grease-pot! + +MISS MOUSE (_as before_). Come away, I say! + +CAT (_looking into the pot_). Truly, the fat is kept hard and cool here. + +MISS MOUSE. I pray you come away! Mother does not so much as let me look +into it. 'T is not yet time, she says. + +CAT (_looking again into pot_). Exactly! + +(_She leaves the pot and joins Miss Mouse._) + +'T is just what I'll tell my kittens about my grease-pot when I have bought +it. + +MISS MOUSE. Ah, then you have kittens at home? + +CAT (_nodding_). Such beautiful kittens! The eldest is white, with brown +marks. + +MISS MOUSE. He must be charming! + +CAT. I've a mind to tell you his name. First, though, run out to see if +your dear mother is not coming. + +[_Miss Mouse nods and runs out. The Cat quickly creeps to the grease-pot +and licks the top off. She crosses to the window just as_ MISS MOUSE +_returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now what did you name your eldest +child? + +CAT. Top-off. + +MISS MOUSE. Top-off? Why, that is a curious name! Is it common in your +family? + +CAT. Oh, no! My second child has a white ring around his neck. + +MISS MOUSE. Remarkable! + +CAT. Very! + +MISS MOUSE. What did you name him? + +CAT. I gave him an unusual name. I will tell you what it is. First, though, +run out to see if your dear mother is coming. + +[_Miss Mouse nods and runs out. The Cat creeps to the grease-pot and eats +half the fat; then crosses to window._ MISS MOUSE _returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now what did you name your second +child? + +CAT. Half-out. + +Miss MOUSE. Half-out? I never heard such a name! 'T is not in the calendar, +I'm sure. + +CAT. What does that matter, if it pleases me? Now the last child is really +a wonder. He is quite black and has little white claws, but not a single +white hair on his body. + +MISS MOUSE. What have you named him? + +CAT. I'm afraid that will please you no better than the others, but still I +will tell you. First, though, run to see if your dear mother is not coming. + +[_Miss Mouse nods and runs out. The Cat creeps to the pot and eats all the +fat. She then crosses to the window._] + +CAT. What one begins one must needs finish. + +[MISS MOUSE _returns._] + +MISS MOUSE. Mother is nowhere to be seen. Now tell me what you named your +youngest child. + +CAT. All-out. + +MISS MOUSE. All-out? Why, that is more curious than the others. I have +never seen it in print. + +CAT (_glaring at Miss Mouse_). You never will! + +MISS MOUSE (_frightened_). What do you mean? + +CAT (_preparing to spring_). I mean to put you down with the fat! + +MISS MOUSE. Help! help! + +[_Enter_ MOTHER MOUSE _just as the Cat clutches her daughter and jumps out +of the window with her. Mother Mouse crosses and looks into the empty +grease-pot._] + +MOTHER MOUSE (_sighing sadly_). 'T was ever thus! Show your grease-pot, and +you'll go with it! + + + + +THE GIRL WHO TROD ON THE LOAF + + +SCENE I + +TIME: _the day before Christmas_. + +PLACE: _Inge's Mother's home_. + + * * * * * + +INGE. +HER MOTHER. + + * * * * * + +[_The_ MOTHER _stands at the kitchen window, watching for Inge._] + +MOTHER. Ah, here she comes at last! + +(_Short pause. Enter_ INGE.) + +I have waited long for you, my child. Where have you been? + +(_Inge is silent._) + +Have you been to the Elf Hill? Tell me. + +INGE (_hesitating_). Just for a little while, mother. + +MOTHER. Inge! Inge! What have I ever told you? + +INGE. I thought I'd go just this once. + +MOTHER (_showing sorrow_). Ah, Inge, that's what you always say. + +INGE. There's no harm talking with the elves. + +MOTHER. And I, your mother, say there is harm. + +INGE. But, mother,--they talk so prettily. + +MOTHER (_nodding_). Aye! and that's the harm. They've put such silly ideas +into your head. + +INGE. They say 't is friendship makes them talk as they do. + +MOTHER (_indignantly_). Friendship! 'T is friendship, is it, to tell you +not to fetch the wood? + +INGE. They say 't will spoil my hands. + +MOTHER. Out upon them and their pretty talk! You shall go there no more. Do +you hear me, Inge? + +INGE (_pouting_). I hear. + +MOTHER. Now take this loaf of bread to your sick aunt. Say to her 't is her +Christmas gift. + +INGE. But, mother, I must cross the muddy road to go there. + +MOTHER. Well, you are neither sugar nor salt. + +INGE. I'll spoil my shoes! + +MOTHER. You think of your shoes, and your aunt lies ill? + +INGE. Wait till spring and the mud will be gone. + +MOTHER. Wait till spring and your aunt will be gone! Here is the loaf--now +off with you! + +[_Inge takes the loaf and goes, but not willingly._] + + +SCENE II + +TIME: _a few minutes later_. +PLACE: _the muddy road_. + + * * * * * + +INGE. +THE WICKED ELF. + + * * * * * + +[INGE _is seen stopping at the muddy road._] + +INGE. 'T is too wide to leap! + +[_The_ WICKED ELF _suddenly appears on the opposite side of the road._] + +WICKED ELF. Good day to you, pretty maid! + +INGE. Good day to you, dear Elf! + +WICKED ELF. Wilt cross this muddy road? + +INGE. I must. + +WICKED ELF. Then I'll tell you how to do it and not so much as wet your +shoe. + +INGE. Oh, thank you, dear Elf! + +WICKED ELF. Throw down your loaf and-- + +INGE. (_showing surprise; interrupting_). Throw down the loaf? + +WICKED ELF. Why, yes,--to use it for a stepping-stone. + +INGE. But 't will spoil the bread! + +WICKED ELF. But 't will save your shoes! + +INGE. Well, that's true-- + +WICKED ELF. A pretty maid ne'er wears a muddy shoe. + +INGE. That's true, too-- + +WICKED ELF. Come, then, throw down the loaf! + +INGE. Well, I'll do it! + +(_She throws the loaf and steps upon it._) + +'T is sinking! What shall I do? + +WICKED ELF. Why, then, jump off! + +INGE (_trying to jump_). I can't! Don't you see I can't? + +WICKED ELF. Ha, ha! You're fastened to it! + +INGE. 'T is drawing me down! Help me! Help me! + +WICKED ELF. There's no help for you. + +INGE. No help? What do you mean? + +WICKED ELF. You must go down with the loaf. + +INGE. I pray you help me! See how I'm sinking! The mud will soon be over my +shoes! + +WICKED ELF. The mud will soon be over your head! + +INGE (_weeping_). Save me! Save me! + +WICKED ELF. Will you be saved by magic? + +INGE. Yes, yes! + +WICKED ELF. Listen, then--I'll change you into a bird. Are you willing? + +INGE. Yes, yes! Quick now, before I sink deeper! + +WICKED ELF (_nodding head three times_). A sparrow shall you be! Change, +now change! + +[_Inge changes into a_ SPARROW, _with a tuft of white feathers, just the +shape of a loaf of bread, upon its head. The Sparrow flies from the mud._] + +SPARROW. Now change me back into Inge. + +WICKED ELF. You shall remain as you are. + +SPARROW (_showing surprise_). Remain as I am? + +WICKED ELF (_nodding_). Until you can change yourself back. + +SPARROW. And when will that be? + +WICKED ELF. When the loaf has gone from your head. + +SPARROW. The loaf from my head? What do you mean? + +WICKED ELF (_going_). Fly away to the brook and see! Ha, ha, ha! + +(_She runs away, calling back._) + +Fly away to the brook and see! Ha, ha, ha! + +[Illustration: "'T IS SINKING! WHAT SHALL I DO?"] + + +SCENE III + +TIME: _the day following Christmas Day_. +PLACE: _an old stone wall by a brook_. + + * * * * * + +THE SPARROW. +THE PEASANT. +GRETEL. +FIRST STONE. +SECOND STONE. +THIRD STONE. + + * * * * * + +[_The_ SPARROW _sits in a hole in the wall._] + +FIRST STONE. Come, come, be not so sad, little Sparrow! + +SECOND STONE. Come, lift up your head and sing! + +THIRD STONE. Come, sing us your Christmas song! + +SPARROW. Sing! I have nothing to sing about. + +FIRST STONE. Sing of your friends. + +SECOND STONE. Sing of their love for you. + +THIRD STONE. Sing of their kindness to you. + +SPARROW. Talk not to me of friends, or love, or kindness! There's none in +the world. + +[_Enter a_ PEASANT _with his little_ GRETEL. _The Peasant carries two ears +of corn._] + +PEASANT. Now, my Gretel, we'll place the corn here on the old wall. + +GRETEL. Mother thought you brought too much. + +PEASANT. Well, 't is true there are only three ears left at home, but the +birds must have their Christmas dinner. + +[_He places the corn on the wall._] + +GRETEL. There's none about to see it! + +PEASANT. Oh, some bird will soon find it! + +GRETEL. But will it call the others? + +PEASANT. We'll wait to see. Come, we'll sit there on the log. + +[_They go to a log near by._] + +FIRST STONE. There, little Sparrow, say you now there is no kindness? + +SECOND STONE. Or love? + +THIRD STONE. Or friendship? + +SPARROW. No, no! I can never say that again. The peasant's heart is full +of kindness and love and friendship. I will sing of it! 'T will be my +Christmas song! + +[_The Sparrow leaves the hole and flies to the corn._] + +GRETEL. Look, father, there is a sparrow! And hear it sing! Just hear it! + +PEASANT. It is calling the other birds. + +GRETEL. Why, it doesn't even touch the corn! + +PEASANT. It's waiting to share it with the others. Is it not a pretty +sight? Come, we must go to tell mother. + + +SCENE IV + +TIME: _one month later_. +PLACE: _same as_ SCENE III. + + * * * * * + +OUR SPARROW. +THE VERY OLD SPARROW. +THE OLD SPARROW. +THE YOUNG SPARROW. +THE VERY YOUNG SPARROW. +THE WICKED ELF. + + * * * * * + +[_All the_ SPARROWS _except Our Sparrow sit on the stone wall._] + +YOUNG SPARROW. I say the stranger should be driven away! + +VERY YOUNG SPARROW. So say I! + +OLD SPARROW. The stranger is a sparrow, but still not a sparrow. + +VERY OLD SPARROW. And yet she is only different by a tuft of white +feathers. + +YOUNG SPARROW. And such a tuft! For all the world like a loaf of bread! + +VERY YOUNG SPARROW. I'd think it shame to carry such on _my_ head! + +OLD SPARROW. I fear 't will shame us all to have this stranger about. + +VERY OLD SPARROW. And yet we are not ashamed to eat the crumbs this +stranger brings. + +OLD SPARROW. Well, 't is true she has been most kind. + +VERY OLD SPARROW. 'T is a hard winter! Shall we drive away the one who +finds food where we find none? + +YOUNG SPARROW. And calls us every time! + +VERY YOUNG SPARROW. And never eats till we have come! + +VERY OLD SPARROW. I've kept in mind the crumbs she has found us. Now, how +many do you think? + +OLD SPARROW. I cannot say, for I did not think to notice. + +VERY OLD SPARROW. There only lacks two or three now of being a loaf. + +OTHER SPARROWS (_greatly surprised_). A loaf? + +VERY OLD SPARROW (_nodding_). A loaf. + +VERY YOUNG SPARROW. Here comes the stranger now! + +OLD SPARROW. She brings a crust! + +[OUR SPARROW _flies up with a crust in its bill._] + +OUR SPARROW. Come, friends, 't is for all of you! + +VERY OLD SPARROW. Do you know, stranger bird, that, with these crumbs, you +have brought us in all one loaf? + +[_Our Sparrow drops the crust for the others. At once it changes into_ +INGE. _The birds fly away frightened._] + +INGE. Ah! Now I understand. The loaf had to be made up, crumb by crumb. + +[_The_ WICKED ELF _suddenly appears._] + +WICKED ELF. Come, pretty maid, come to the Elf Hill! + +INGE. No, no! I will not! + +WICKED ELF. But we have such pretty things to tell you! + +INGE. I care not for your pretty things! I go to fetch wood for my mother. +I go to walk in the mud if need be. Away with you! I'll have none of you! +Away, away, I say! + + + + +THE UGLY DUCKLING + + +SCENE I + +TIME: _one summer morning_. +PLACE: _the farmyard of the Moor Farm_. + + * * * * * + +MADAM DUCK. +FIRST DUCKLING. +SECOND DUCKLING. +THE UGLY DUCKLING. +THIRD DUCKLING. +TURKEY. +GRAY GANDER. +WHITE GOOSE. +PLYMOUTH ROCK HEN. +RED ROOSTER. + + * * * * * + +[MADAM DUCK _enters the farmyard with her new brood of_ DUCKLINGS. _The +other fowls approach._] + +TURKEY (_showing displeasure_). A new brood of ducks! Look you all--a new +brood of ducks! + +GRAY GANDER (_also displeased_). As if there were not enough of us here +already! + +WHITE GOOSE (_likewise displeased_). True enough,--I can scarce find a +corner for my afternoon nap! + +RED ROOSTER. It seems to me, Madam Duck, that you should not have brought +us a new brood this summer. + +MADAM DUCK. What is that you are saying? + +TURKEY. It seems to all of us, madam, that there is no room here for a new +brood. + +PLYMOUTH ROCK HEN. Friends, be just. Madam Duck has a perfect right to +bring her ducklings here. Besides, the children are quite pretty. + +MADAM DUCK. They are beautiful! You shall all see that for yourselves. +Come, children, into a row with you! + +[_The Ducklings form themselves into a row. The Ugly Duckling is last._] + +MADAM DUCK. Legs wide apart! Toes out! Now speak prettily to my old +friends. + +DUCKLINGS (_all but the last_). Quack! Quack! + +MADAM DUCK. There now--are they not charming? + +GRAY GANDER (_looking down row_). Why, yes, they all seem graceful +enough--here--wait a moment! Does that last one there belong to you? + +[_All the fowls look at the last Duckling._] + +MADAM DUCK. Oh yes! He is larger than the others and perhaps not so pretty, +but-- + +TURKEY (_interrupting_). Make no excuses for him, madam. We can see for +ourselves what he is. + +GRAY GANDER. In all my life I never saw anything so ugly! + +WHITE GOOSE. He is neither duck nor goose! + +PLYMOUTH ROCK HEN. Nor duck nor chick! + +TURKEY. I'd be 'shamed to have a turkey look like that! + +RED ROOSTER. I'd allow no hen of mine to claim him! + +MADAM DUCK. Come now, come now, friends. The poor child is not pretty, but +he is good, and he can swim even better than the others. + +TURKEY. That he can swim well is nothing to me! + +RED ROOSTER. Nor to me! He should be driven out, I say! + +MADAM DUCK. Let him alone; he is not doing any harm. + +FIRST DUCKLING. But, mother, no one will look at us if he stays with us! + +MADAM Duck (_thoughtfully._) Now perhaps it may turn out that way. + +SECOND DUCKLING. I'll not walk about with him! + +THIRD DUCKLING. Nor I! + +MADAM DUCK. Well, well! He must be uglier than I thought! + +FIRST DUCKLING. Besides, dear mother, he will not quack. + +MADAM DUCK. What is this? Did he not quack but just a moment ago? + +SECOND DUCKLING. He turned his toes out, but quack he would not. + +THIRD DUCKLING. 'T is true, dear mother. + +MADAM DUCK (_to the Ugly Duckling_). Quack! Quack now--at once! + +[_The Ugly Duckling tries to quack, but chokes. The fowls laugh and jeer at +him._] + +GRAY GANDER. Ha, ha! There's a "quack" for you! + +WHITE GOOSE. Ha, ha! + +PLYMOUTH ROCK HEN. Ha, ha! + +RED ROOSTER. Ha, ha! + +TURKEY. Ha, ha! + +MADAM DUCK (_angrily_). Once more I tell you--quack! + +[_The Ugly Duckling tries again; chokes._] + +ALL FOWLS. Ha, ha, ha, ha! + +UGLY DUCKLING (_weeping_). I'm sorry--I'd quack if I could. + +MADAME DUCK. Ah, if you were only far away! + +[Illustration: THE UGLY DUCKLING] + +FIRST DUCKLING. I wish the cat would eat you! + +SECOND DUCKLING. I wish the swans would kill you! + +WHITE GOOSE. And they will when they see him--you may be sure of that. + +GRAY GANDER (_nodding_). Aye, they'll not suffer such an ugly creature to +swim in the brook! + +RED ROOSTER. We must drive him off--that's clear! + +(_Running at the Ugly Duckling._) + +Come now, out with you! + +PLYMOUTH ROCK HEN (_pecking Duckling_). Out with you! + +UGLY DUCKLING. Mother, save me! + +MADAM DUCK. Call not on me! + +GRAY GANDER (_striking Duckling with his wings_). Out with you! + +UGLY DUCKLING (_running to Ducklings_). Brothers, sisters, save me! + +FIRST DUCKLING. Come not to us! + +SECOND DUCKLING. We'll not save you! + +THIRD DUCKLING. Away with you! + +TURKEY. At him, hens to peck him! At him, geese to beat him! At him, all of +you! + +[_They all rush upon the Ugly Duckling, who escapes them, running out of +the farmyard into the moor._] + + +SCENE II + +TIME: _the next winter_. +PLACE: _the Peasant's cottage_. + + * * * * * + +THE PEASANT. +HIS WIFE. +ELIZABETH. +THE CAT. +THE HEN. +THE UGLY DUCKLING. + + * * * * * + +[_The_ PEASANT _enters the cottage, carrying the_ UGLY DUCKLING.] + +PEASANT. See what I'm bringing you! + +WIFE. Why, 't is a duckling--half frozen, too! + +PEASANT. I found him frozen in the pond. I had to break the ice to get him +out. + +ELIZABETH. Give him to me, father. I will put him behind the stove. + +PEASANT (_giving Duckling to Elizabeth_). That's a good child. + +WIFE. Handle him tenderly, daughter. + +ELIZABETH (_taking off her shawl_). He shall lie upon my shawl. You poor, +dear, ugly little duckling! + +[_She places the Duckling upon the shawl behind the stove, near the_ CAT +_and_ HEN.] + +PEASANT. 'T is the duckling I told you of! + +WIFE. The one you saw on the pond yesterday? + +PEASANT. Aye, and the day before, and all winter long, for that matter. +Yesterday I saw him try to join the wild ducks on the river, but they drove +him back to the pond. + +ELIZABETH. Poor duckling! The pond was freezing then! + +PEASANT (_nodding_). Then he tried to find a place among the rushes on the +moor, but the birds drove him from there. + +ELIZABETH. Why did they all treat him so, father? + +PEASANT. I do not know, unless it is because he is so ugly. + +WIFE. Come now to dinner, father--Elizabeth. By the time we have finished, +our duckling will be warmed and awake. + +[_They go into the kitchen. The Duckling stirs and looks about._] + +HEN. Can you lay eggs? + +DUCKLING (_politely_). No, madam. + +CAT. Can you set up your back? + +DUCKLING. No, dear sir. + +CAT. Can you purr? + +DUCKLING (_frightened_). No. + +HEN. Then you can't stay here. + +DUCKLING. Do not drive me out, I pray you! + +CAT. Will you learn to purr? + +HEN. And to lay eggs? + +DUCKLING (_sadly_). Alas, I can do nothing but swim. + +CAT. Swim! Well, I must say that is very queer. + +DUCKLING. Oh, no, dear sir! It is most pleasant when the waters close over +your head and you plunge to the bottom. + +CAT. Plunge to the bottom, indeed! I'd never think of doing such a silly +thing! + +HEN. Nor I! + +CAT. 'T is clear you can't remain here. + +DUCKLING. Where am I to go? + +CAT. Go lie in the rushes. The birds flew south this morning. + +DUCKLING. I shall starve there. + +CAT. It would really be a good thing for you if I should eat you. + +DUCKLING. I'd thank you to do so, dear sir. + +HEN. Eat him, since he is so willing. He is too ugly to live. + +CAT (_turning away_). I can't, he is too ugly to eat. + +(_To the Duckling._) + +Come, out with you! + +HEN (_running at him_). Yes, yes! Out with you! Out with you! + +[_They push the Duckling out of the door into the snow._] + +DUCKLING. Alas! What shall I do? Where shall I go? Why was I made so ugly +that every one despises me! + + +SCENE III + +TIME: _the next spring_. +PLACE: _the brook on the Moor Farm_. + + * * * * * + +THE UGLY DUCKLING. +THE MOLE. +THE FATHER. +THE MOTHER. +THE CHILDREN. +THE SWANS. + + * * * * * + +[_The_ UGLY DUCKLING _sits on the hill of a_ MOLE _near the brook which +winds through the Moor Farm._] + +MOLE (_from the mole hill_). Will you please move? I wish to come out. + +DUCKLING (_rising quickly_). Why, 't is a mole hill I've been sitting on! + +(_The Mole comes out from the hill._) + +I'm sorry, friend Mole, I didn't notice your hill. + +MOLE. Who are you? + +DUCKLING. Madam Duck of this farm is my mother. + +MOLE. That can't be! You are no duck. + +DUCKLING. Yes, but I am. Only, I am uglier than any duck in the world. + +MOLE. You have not the voice of a duck. You do not speak with the quack of +which they are so proud. And then, if you are truly a duck, why are you not +with your family? + +DUCKLING. They drove me out last summer because I was ugly and could not +quack. + +MOLE. Then why have you come back? + +DUCKLING. To let the swans kill me. + +MOLE. What! To let them kill you? + +DUCKLING. I would rather be killed by those beautiful birds than pecked by +the hens, beaten by the geese, or starved with hunger in the winter. + +MOLE. Perhaps you are not so ugly now as you were then. + +DUCKLING. I have not looked at myself in the water since spring came and +took the ice away. But I know well enough how dark and badly formed I am. +The swans will kill me if I dare to approach them. + +[_A noise is heard in the distance._] + +MOLE. They are coming! Go, while there is yet time. + +DUCKLING. There is no place to go to. All winter long I was driven from +moor to moor. I could not make a friend--I no longer wish to live. + +[_The_ SWANS _are seen swimming down the brook._] + +MOLE. They are here! Do not go to them, I pray you! + +DUCKLING (_shaking head_). Farewell! + +[_He flies to the water and swims toward the Swans. They see him and rush +to meet him with outstretched wings._] + +DUCKLING. Kill me! Kill me! + +FIRST SWAN. Kill you! Why, we have come to welcome you, beautiful stranger. + +SECOND SWAN. We saw you from afar, and came to meet you. + +THIRD SWAN. We are so happy to have you with us! + +[_Enter several_ CHILDREN.] + +FIRST CHILD. See, there is a new swan! + +SECOND CHILD (_calling_). Father, mother, come! There is another swan! + +[_Enter the_ FATHER _and_ MOTHER.] + +FATHER. What were you calling? + +THIRD CHILD. A new swan has come! Look! + +MOTHER. I see him! He is beautiful! + +FATHER. He is very young, but he is the most beautiful of all! + +FOURTH CHILD. See how the others stroke him with their beaks! + +MOTHER. They are showing him how glad they are to have him with them. See +how they swim around him and how gently they touch him! + +FATHER. I have never seen anything so pretty. How happy the new swan is! +See how he rustles his feathers! See how proudly he curves his slender +neck! + +FIRST CHILD. And see how he looks at himself in the water! + +SECOND CHILD. Let's get bread and cake for him! + +THIRD CHILD. Yes, yes! + +FOURTH CHILD. Yes, yes! + +[_The Children run off, followed by the Father and Mother._] + +MOLE (_going into his hill_). 'T was not so bad after all--not to have the +family quack! + + + + +THE RED SHOES + + +SCENE I + +TIME: _one morning_. + +PLACE: _the Shoemaker's shop_. + + * * * * * + +GRANDMOTHER. +KAREN. +SHOEMAKER. + + * * * * * + +[_The_ GRANDMOTHER _and_ KAREN _enter the shop of the_ SHOEMAKER.] + +GRANDMOTHER. This is my little granddaughter Karen, Shoemaker. Please to +take her measure for a pair of shoes. + +SHOEMAKER. What kind do you wish, madam? + +GRANDMOTHER. Morocco, the finest you have, Karen is to wear these shoes to +church. + +SHOEMAKER. What color do you wish, madam? + +GRANDMOTHER. Black. + +KAREN (_whispering to Shoemaker_). Red. + +SHOEMAKER (_puzzled_). Eh? + +GRANDMOTHER (_louder_). Black. + +KAREN (_whispering to Shoemaker_). Red. + +SHOEMAKER. Of course, madam, if you say black, black they shall be. + +KAREN. The little princess wore red shoes, Grandmother. + +SHOEMAKER (_nodding_). That is true; I saw them myself. + +GRANDMOTHER. Red shoes? + +KAREN (_nodding_). Of beautiful red morocco. The queen let the princess +stand at a window so every one could see her new shoes. + +SHOEMAKER. It is all true, madam. + +GRANDMOTHER. No matter; Karen is to have black shoes. + +(_Taking up a pair of shoes._) + +Here, this pair suits me exactly. + +SHOEMAKER (_surprised_). But, madam, those shoes are-- + +KAREN (_interrupting; whispering_). Hush, Shoemaker! Do not tell her. She +can't see very well. + +GRANDMOTHER (_giving shoes to Karen_). Are they of polished leather? They +shine as if they were. + +KAREN. Yes; they do shine. + +(_Trying on the shoes._) + +And they just fit me, Grandmother. + +GRANDMOTHER. I will take them, Shoemaker. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting; whispering_). Hush, Shoemaker! She will never know +the difference. + +GRANDMOTHER. Here is the money, Shoemaker. Come, Karen. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting_). I am ready, Grandmother. + +GRANDMOTHER. Good day, Shoemaker. + +SHOEMAKER. But, madam-- + +KAREN (_interrupting_). Good day, Shoemaker. + +[_The Grandmother and Karen go._] + + +SCENE II + +TIME: _the next Sunday, after church_. +PLACE: _the Grandmother's home_. + + * * * * * + +THE GRANDMOTHER. +KAREN. +THE NEIGHBORS { _First_. + { _Second_. + { _Third_. + { _Fourth_. + + * * * * * + +[_The_ NEIGHBORS _sit with the_ GRANDMOTHER _in the spare room because it +is Sunday._] + +FIRST NEIGHBOR. I did not see you at church to-day, Grandmother. + +GRANDMOTHER. I could not go, but I sent little Karen. + +SECOND NEIGHBOR (_mysteriously_). Oh, yes; we saw her! Everybody saw her! + +GRANDMOTHER (_proudly_). People do look at her; she is so pretty. + +THIRD NEIGHBOR. People didn't look at her face to-day. + +GRANDMOTHER (_alarmed_). What do you mean? + +THIRD NEIGHBOR. Ask Karen when she returns. We're not the ones to carry +tales. + +GRANDMOTHER (_looking out window_). Here she comes now! + +FOURTH NEIGHBOR. Just ask her about the sermon and the hymns! + +GRANDMOTHER (_proudly_). She will tell me almost every word the pastor +said. She is a smart girl--that Karen. + +[_Enter_ KAREN.] + +KAREN. Well, Grandmother, here I am! Good morning, Neighbors. + +NEIGHBORS (_coldly_). Good morning, Karen. + +GRANDMOTHER. Now tell me about the sermon, Karen. What was the text? + +KAREN (_with confusion; stammering_). The text? It was--it was--Oh, I will +tell you all about it by and by, Grandmother. Our Neighbors want to talk +with you now. + +FIRST NEIGHBOR. Oh, no! We would rather hear you tell your Grandmother +about the sermon and the music. + +GRANDMOTHER. What hymns did they sing, Karen? + +KAREN (_as before_). Hymns? They sang--let me see--they sang-- + +[_She stops in confusion._] + +GRANDMOTHER. Why, Karen! Are you ill? + +SECOND NEIGHBOR. No, Grandmother, Karen is not ill. She is ashamed. She was +not thinking of the beautiful music nor of the sermon this morning. Is that +not true, Karen? + +KAREN (_ashamed_). Y-e-s-- + +GRANDMOTHER. What is this? + +THIRD NEIGHBOR. Tell your Grandmother what you were thinking about in +church, Karen. + +KAREN. I was thinking about--about--my new shoes. + +GRANDMOTHER. A great thing to think about in church--a pair of plain black +shoes! + +FOURTH NEIGHBOR. She did not wear her black shoes; she wore _red shoes!_ + +GRANDMOTHER (_gasping_). Red shoes--to church? + +FIRST NEIGHBOR (_nodding_). Every one was terribly shocked! + +GRANDMOTHER (_still gasping_). Red shoes to church! + +SECOND NEIGHBOR. Even the pastor looked at her shoes! + +GRANDMOTHER (_indignantly_). Red shoes to church! + +THIRD NEIGHBOR. The choir looked! All fixed their eyes on Karen's red +shoes. + +GRANDMOTHER. It is the most shocking thing I ever heard! Do you hear me, +Karen? + +KAREN (_hanging her head in shame_). Yes, Grandmother. + +GRANDMOTHER. You must never, never, so long as you live, wear red shoes to +church again. It is not at all proper. Do you hear me, Karen? + +KAREN (_as before_). Yes, Grandmother. + +FOURTH NEIGHBOR. Do you think she should have her Sunday dinner? + +GRANDMOTHER. Not one bite! She shall stay in her room all day. Do you hear +me, Karen? + +KAREN. Yes, Grandmother. + +GRANDMOTHER. Thank you for telling me, Neighbors. To think of it! Red shoes +to church! + + +SCENE III + +TIME: _the following Sunday, after church_. +PLACE: _the churchyard_. + + * * * * * + +THE GRANDMOTHER. +KAREN. +THE OLD SOLDIER. +THE COACHMAN. + + * * * * * + +[_The_ GRANDMOTHER _and_ KAREN _come from the church. The_ OLD SOLDIER +_stands near the church door. He tries to speak to the Grandmother, but she +does not hear him._] + +KAREN. Wait a moment, Grandmother! The Old Soldier wants to speak with you. + +GRANDMOTHER (_turning_). What do you want, Old Soldier? + +OLD SOLDIER. I want to dust your shoes, madam. + +GRANDMOTHER. That is very good of you. + +(_Old Soldier dusts her shoes_). + +Thank you; now I will go to my carriage while you dust Karen's shoes. + +[_She goes._] + +OLD SOLDIER. Stretch out your foot, little Karen. + +(_Karen thrusts out her foot._) + +What is this? Red shoes for church? + +KAREN. I looked at my old black shoes-- + +OLD SOLDIER (_interrupting_). And then at your new red ones? + +KAREN (_nodding_). Yes, and then at my black ones again-- + +OLD SOLDIER (_interrupting_). And then put on your red ones! + +KAREN. Sh-h! Grandmother must not know. + +OLD SOLDIER. She can't hear, for I am talking through my long red beard. + +KAREN. Why is your beard so red, Old Soldier? + +OLD SOLDIER. To make more light for my eyes--that I may see without +looking. + +KAREN. See without looking? + +OLD SOLDIER (_nodding_). I was not in the church, yet I saw you clearly +when you knelt at the altar and raised the golden cup to your lips. + +KAREN (_surprised_). You saw that? + +OLD SOLDIER (_nodding_). And more--I saw your thoughts. + +KAREN. You saw my thoughts? + +OLD SOLDIER (_nodding_). It was to you as if your red shoes passed before +your eyes in the cup. Am I not right? + +KAREN (_showing fear_). Y-e-s-- + +OLD SOLDIER. And I saw by the light of my beard that you forgot to sing the +hymns; eh, Karen? + +KAREN. Y-e-s-- + +OLD SOLDIER. And that you forgot to say your prayers; eh, Karen? + +KAREN. Y-e-s-- + +OLD SOLDIER. You were thinking of your red shoes all the time. + +KAREN. Y-e-s, Old Soldier. + +OLD SOLDIER (_holding Karen and stooping until his beard covers her +shoes_). Cover and touch and change, my beard! Cover and touch and change! + +KAREN. What are you doing? Let me go! + +OLD SOLDIER (_holding her firmly_). I am turning your red shoes into +dancing shoes! + +KAREN. I am afraid of you! Let me go! + +OLD SOLDIER (_slapping soles of her shoes with hand_). Now I have made them +stick fast to your feet! + +KAREN (_calling_). Grandmother! Grandmother! + +OLD SOLDIER. Now you may go! Ha, ha! + +KAREN. Why! I am dancing! I can't stop! Grandmother! Grandmother! + +GRANDMOTHER. What is this? Mercy on me! She is dancing down the street! Run +after her, Coachman! Quick! Stop her! + +COACHMAN (_running after Karen_). Stop, Mistress Karen! I'm after you! + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER (_calling after Coachman_). There she goes around the corner! + +COACHMAN (_calling off_). I'll get you, Mistress Karen! Just stop a bit! + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER. My poor Karen! My poor Karen! + +COACHMAN (_returning_). I couldn't catch her, madam! She danced right out +of the town gate! + +GRANDMOTHER. Out of the town gate? + +COACHMAN. Yes, madam, and straight for the dark wood. + +GRANDMOTHER. We will drive after her! + +[_Coachman jumps to his seat._] + +OLD SOLDIER. Ha, ha, ha! You will never catch her! + +GRANDMOTHER. Quick, Coachman, quick! We must catch her before she gets to +the dark wood. My poor Karen! My poor Karen! + +[_The carriage dashes off._] + + +SCENE IV + +TIME: _three days later; evening_. +PLACE: _the dark wood. A hut is seen among the vines_. + + * * * * * + +THE FORESTER. +HIS SON. +KAREN. +THE EXECUTIONER. +THE OLD SOLDIER. +THE FAIRY QUEEN. +MOON. + + * * * * * + +[_The_ FORESTER _and his_ SON _are felling a tree._] + +KAREN (_heard calling off_). Stop me! Stop me! + +SON. Heard you that cry? + +FORESTER (_looking off_). Mercy on us! 'T is the dancing girl I told you +of! + +[_Enter_ KAREN, _dancing._] + +KAREN. Stop me, Forester! + +FORESTER. No, no! I dare not! + +KAREN (_to Son_). Stop me, I pray you! Three days have I danced! I can +endure it no longer! + +SON (_to Forester_). Come, let us help her! + +FORESTER. Do not touch her! She is bewitched! + +KAREN. 'T is my shoes are bewitched--not I! + +SON. I say, little maid, pull off your shoes! + +KAREN. They will not come off. See! + +[_She pulls at her shoes._] + +SON (_starting towards Karen_). I'll get them off, bewitched or not +bewitched! + +FORESTER (_seizing Son_). Would you get yourself into trouble? Come home +with me! + +[_Forester runs from wood with Son. The_ MOON _arises suddenly in a fir +tree._] + +KAREN. O Moon, see how I dance below you! Pray tell me how to break this +spell! + +MOON. Ha, ha, ha! + +[_The Moon changes into the red beard of the_ OLD SOLDIER.] + +OLD SOLDIER. My beard makes moonlight for me that I may watch you dance. + +KAREN. Mercy, Old Soldier! I pray you break your spell! + +OLD SOLDIER. You forgot to say the prayers! You thought only of your red +shoes! + +KAREN. I will go barefoot to church! + +OLD SOLDIER. You whispered "red" to the Shoemaker! + +KAREN. I will never deceive my dear Grandmother again! Have pity! + +OLD SOLDIER. You shall dance in your red shoes till you are pale and cold! +By night and by day you shall dance; in sunshine and in rain; in snow and +in sleet. Over highways and byways shall you dance; in dark swamps and on +mountain tops. You shall go on dancing, dancing, dancing, forever and ever! + +[_He disappears._] + +KAREN. I cannot dance on forever! I cannot! I cannot! + +(_Weeping; pause._) + +Well, I know a way to break the spell, and I'll do it! + +(_Crossing to hut of the_ EXECUTIONER; _knocking._) + +Come out! Come out! + +EXECUTIONER (_from within the hut_). Come in! + +KAREN. I cannot come in; I must dance. + +EXECUTIONER. Then I will come out. + +(_The Executioner comes out from hut._) + +Well, do you know me? + +KAREN. You are the Executioner. + +EXECUTIONER. I am the Executioner. I cut off the heads of wicked people +with this great ax. + +KAREN. Do not strike off my head! + +EXECUTIONER. And why not strike off your head, pray? + +KAREN. I must have that to repent of my sin. So please to cut off my feet. + +EXECUTIONER. It shall be as you say. Thrust out your foot, maid. + +[_Enter_ FAIRY QUEEN.] + +FAIRY QUEEN. Stay, Executioner, stay! I've come to save you, Karen! + +KAREN. To save me? + +FAIRY QUEEN. Whenever a child repents of a sin, lo, I am there to save. + +KAREN. Will you remove this spell from me? + +FAIRY QUEEN. Will you give up your red shoes? + +KAREN. Gladly! Gladly! I wish I might never see them again! + +FAIRY QUEEN. Then dance to me that I may touch you with my wand. + +[_Fairy Queen touches Karen's shoes with her wand. The shoes fall off._] + +KAREN. Dear Fairy Queen! Dear Fairy Queen! I thank you! I thank you! + +FAIRY QUEEN. Look, Karen, your shoes are dancing away! Soon they will be +lost to you forever. Shall I not bring them back? + +KAREN. No, no! Let them go! Now I am free! Now I can rest! + +FAIRY QUEEN. Then come, dear child, I will guide you to your home. + + + + +THE STORY OF ALI COGIA + + +SCENE I + +TIME: _one evening_. +PLACE: _the house of a merchant in Bagdad_. + + * * * * * + +THE MERCHANT. +THE MERCHANT'S WIFE. + + * * * * * + +[_The_ MERCHANT _and his_ WIFE _are at supper._] + +WIFE. Our neighbors bought some fine olives to-day. It has been a long time +since we have had olives. I am quite hungry for them. + +MERCHANT. Now you speak of olives, you put me in mind of the jar which Ali +Cogia left with me. + +WIFE (_pointing to a jar in another part of the room_). There is the very +jar waiting for him against his return. + +MERCHANT. Certainly he must be dead, since he has not returned in all this +time. Give me a plate; I will open the jar, and if the olives be good, we +will eat them. + +WIFE. Pray, husband, do not commit so base an action. You know nothing is +more sacred than what is left to one's care and trust. + +MERCHANT. But I am certain All Cogia will never return. + +WIFE. And I have a strong feeling that he will. What will he think of your +honor if he finds the jar has been opened? + +MERCHANT. Surely a jar of olives is not to be guarded so carefully, year +after year. + +WIFE. That is Ali Cogia's affair, not ours. Besides, the olives can't be +good after all this time. + +MERCHANT (_taking a plate_). I mean to have a taste of them, at least. + +WIFE (_indignantly_). You are betraying the trust your friend placed in +you! I will not remain to witness it. + +[_She leaves the room. The Merchant crosses and takes cover from jar._] + +MERCHANT (_looking in jar_). My wife was right--the olives are covered with +mould, but those at the bottom may still be good. + +[_He turns the jar up and shakes out the olives. Several gold pieces fall +out._] + +MERCHANT. What is this? Gold pieces! As I live! Gold! gold! + +[_He shakes the jar again; a shower of gold pieces fall._] + +MERCHANT (_dropping the jar in astonishment_). A thousand pieces at least! +The top of the jar only was laid with olives! + +(_He puts the gold into his pockets._) + +To-night, when my wife is asleep, I will fill the jar entirely with fresh +olives, for these show they have been disturbed. And I will make up the jar +so that no one, except Ali Cogia himself, will know they have been touched. + +[Illustration: "A THOUSAND PIECES AT LEAST!"] + + +SCENE II + +TIME: _one month later; a moonlight night_. +PLACE: _a small court opening upon a narrow street of Bagdad_. + + * * * * * + +THE CALIPH. +THE GRAND VIZIER. +FIRST CHILD, _who plays he is the Cauzee_[Footnote: A Mohammedan judge.] +SECOND CHILD, _who plays he is the officer_. +THIRD CHILD, _who plays he is Ali Cogia_. +ZEYN, _who plays he is the Merchant_. +TWO BOYS, _who play they are Olive Merchants_. +MANY OTHER CHILDREN, _who look on_. + + * * * * * + +[_The_ CALIPH, _accompanied by his_ GRAND VIZIER, _enters the narrow street +upon which the court opens. They are in disguise, appearing as merchants._] + +CALIPH. Perhaps we may hear some talk of this affair of Ali Cogia and the +merchant, as we go through the city to-night. + +VIZIER. It is possible, O Commander of the true Believers! The affair has +made a great noise in Bagdad. + +CALIPH. Ali Cogia carried the merchant before the Cauzee, I believe. + +VIZIER. Yes; he claimed that the merchant had taken from him one thousand +pieces of gold. + +CALIPH. Proceed; I would know all. + +VIZIER. Ali Cogia left with this merchant, so he says, a jar in which he +had placed this money. Upon his return, which was but yesterday, he went +to the merchant, and, having received the jar, opened it. To his surprise +he found that the gold, which he had hidden below a layer of olives, was no +longer there. + +CALIPH. Ah, that is what Ali Cogia says. What says the merchant? + +VIZIER. The merchant made oath before the Cauzee that he did not know there +was money in the jar, and so of course could not have taken it. + +CALIPH. And the Cauzee dismissed the merchant, I believe. + +VIZIER. Yes, Commander of the Faithful, the merchant was acquitted. + +CALIPH. This Ali Cogia presented a petition to me to-day, and I promised to +hear him to-morrow. Would that I could know the truth of the matter that I +may give a just sentence! + +[_They arrive at the court where several_ CHILDREN _are playing in the +moonlight. The Caliph stops to watch them._] + +FIRST CHILD. Let us play that the Cauzee is trying the Merchant. + +SECOND CHILD (_joyfully_). Yes, yes! + +THIRD CHILD (_joyfully_). Yes, yes! + +ALL CHILDREN (_clapping their hands_). Yes, yes! + +CALIPH (_softly to Vizier_). Let us sit on this bench. I would know what +these children are playing. + +[_They sit, but are not seen by children._] + +FIRST CHILD (_taking his seat with great dignity_). I choose to be the +Cauzee! + +SECOND CHILD (_taking his place behind the Cauzee_). I choose to be the +Officer! + +THIRD CHILD. I choose to be Ali Cogia! + +CAUZEE. Who chooses to be the Merchant? + +[_Long pause; all the Children hang back._] + +CAUZEE. Come, Zeyn, you be the Merchant. + +ZEYN. Not I! The part does not please me. + +OFFICER. Would you spoil everything, Zeyn? + +ZEYN. Oh, well, then, I'll be the Merchant this time. + +CAUZEE. Officer, bring in the accused and his accuser. + +[_The Officer presents the Merchant and Ali Cogia before the Cauzee._] + +CAUZEE. Ali Cogia, what charge have you to make against this Merchant? + +ALI COGIA (_bowing_). Sir, when I journeyed from Bagdad seven years ago, I +left with this Merchant a jar. Now, into this jar I had put, with some +olives, a thousand pieces of gold. When I opened the jar, I found that it +had been entirely filled with olives; the gold had disappeared. I beseech +your honor that I may not lose so great a sum of money! + +CAUZEE. Merchant, what have you to say to this charge? + +MERCHANT. I confess that I had the jar in my house, but Ali Cogia found it +exactly as he had left it. Did he ever tell me there was gold in the jar? +No. He now demands that I pay him one thousand pieces of gold. I wonder +that he does not ask me for diamonds and pearls instead of gold. I will +take my oath that what I say is the truth. + +CAUZEE. Not so fast! Before you come to your oath, I should be glad to see +the jar of olives. + +(_Turning to Ali Cogia._) + +Ali Cogia, have you brought the jar? + +ALI COGIA. No; I did not think of that. + +CAUZEE. Then go and fetch it. + +[_Ali Cogia goes._] + +CAUZEE (_to the Merchant_). You thought the jar contained olives all this +time? + +MERCHANT. Ali Cogia told me it contained olives at the first. I will take +oath that what I say is the truth. + +CAUZEE. We are not yet ready for your oath. + +[ALI COGIA _enters. He pretends to set a jar before the Cauzee._] + +CAUZEE. Ali Cogia, is this jar the same you left with the Merchant? + +ALI COGIA. Sir, it is the same. + +CAUZEE. Merchant, do you confess this jar to be the same? + +MERCHANT. Sir, it is the same. + +CAUZEE. Officer, remove the cover. + +(_The Officer pretends to remove the cover._) + +These are fine olives! Let me taste them. + +(_Pretending to eat an olive._) + +They are excellent! But I cannot think that olives will keep seven years +and be so good. Therefore, Officer, bring in Olive Merchants, and let me +hear what is their opinion. + +OFFICER (_announcing_). Forward, two Olive Merchants! + +[_Two_ BOYS _present themselves_]. + +CAUZEE. Are you Olive Merchants? + +BOYS (_bowing_). Sir, we are. + +CAUZEE. Tell me how long olives will keep. + +FIRST OLIVE MERCHANT. Let us take what care we can, they will hardly be +worth anything the third year. + +SECOND OLIVE MERCHANT. It is true, for then they will have neither taste +nor color. + +CAUZEE. If it be so, look into that jar and tell me how long it is since +those olives were put into it. + +[_Both Merchants pretend to examine and taste the olives._] + +FIRST OLIVE MERCHANT. These olives are new and good. + +CAUZEE. You are mistaken. Ali Cogia says he put them into the jar seven +years ago. + +SECOND OLIVE MERCHANT. Sir, they are of this year's growth. There is not a +merchant in Bagdad that will not say the same. + +CAUZEE. Merchant, you stand accused. You must return the thousand pieces of +gold to Ali Cogia. + +MERCHANT. Sir, I protest-- + +CAUZEE (_interrupting_). Be silent! You are a rogue. Take him to prison, +Officer. + +[_All the children seize the Merchant and run from the court, laughing and +shouting._] + +CALIPH (_rising_). I know now what will be a just trial. I have learned it +from the child Cauzee. Do you think I could give a better sentence? + +VIZIER. I think not, if the case be as these children played it. + +CALIPH. Take care to bid Ali Cogia bring his jar of olives to-morrow. And +let two olive merchants attend. + +VIZIER. It shall be done, O Commander of true Believers! + +CALIPH. If the olives be indeed fresh, then the merchant will receive his +punishment and Ali Cogia his thousand pieces of gold. + +(_Starting off; stopping._) + +Take notice of this street, and to-morrow present the boy Cauzee with a +purse of gold. Tell him it is a token of my admiration of his wisdom and +justice. + + + + +THE WILD SWANS + + +SCENE I + +TIME: _a long time ago_. +PLACE: _on the seashore_. + + * * * * * + +ELIZA. +THE GOODY. + + * * * * * + +[_The_ GOODY _is seen walking along the shore._ ELIZA _enters from the +forest._] + +GOODY. Bless me! What is the little girl doing in this lonely place? And +alone, too! + +ELIZA. I seek my eleven brothers. + +GOODY. Ah! Then you must be the Princess Eliza! + +ELIZA (_sadly_). Yes, Goody. + +GOODY. And the eleven brothers you seek are the eleven little princes! + +ELIZA. Yes; do you know them? + +GOODY. I saw them in school one day. Each prince wore a golden crown on his +head, a star on his breast, and a sword by his side. + +ELIZA (_nodding_). They studied very hard, just as princes should. + +GOODY. They wrote on gold slates with diamond pencils. I myself saw them! + +ELIZA. I sat on a little stool of plate-glass. Did you know that? + +GOODY. Oh, yes! And I know about your picture-book worth half a kingdom. + +ELIZA. We were all so happy then! Our dear mother was alive and sometimes +went to school with us. Now all is changed. + +GOODY. What has happened? + +ELIZA. They have driven us from the palace. + +GOODY (_indignantly_). I said so! On the day of that wedding I said so. + +ELIZA. Then you know that my father married again? + +GOODY. Yes, I know. I wept when I heard our good king had married that +wicked queen. + +ELIZA. She drove my brothers away, the very day of the wedding feast. + +GOODY. And now she has driven you away! + +ELIZA (_nodding_). If only I could find my dear brothers! + +GOODY. You may hear something about them very soon. + +ELIZA (_quickly_). Do you know where they are? Tell me! I pray you tell me! + +GOODY (_shaking her head mysteriously_). I cannot say where they are. I +only know what they are. + +ELIZA. I do not understand-- + +GOODY. The wicked queen has turned your brothers into wild swans. + +ELIZA. Wild swans? + +GOODY (_nodding_). I saw them yesterday, at sunrise, flying out over the +sea. Each swan wore a gold crown on his head. + +ELIZA. The queen could not take their crowns from them! + +GOODY. As the swans flew upward, their eleven crowns glittered like eleven +suns. My eyes were dazzled. I was obliged to look away. At that moment the +swans disappeared. + +ELIZA (_sadly to herself_). My poor brothers! I shall never see them again. + +GOODY (_suddenly_). Do you see those great blue bluffs to the south? + +ELIZA. Yes; the sea is dashing against them. + +GOODY. In those bluffs, back from the shore, is a cave. Go at once to that +cave and enter. + +ELIZA. And what shall I do there, good woman? + +GOODY. Perhaps you may learn how to break the spell over your brothers. + +ELIZA (_surprised_). How to break the spell? + +GOODY. Ask no questions, but go at once to the cave. + +ELIZA (_going_). Thank you, good woman. You are very kind to me. + +GOODY. Go now, child, and fear nothing. + +[_Eliza goes; the Goody disappears._] + + +SCENE II + +TIME: _a half-hour later_. +PLACE: _the cave_. + + * * * * * + +ELIZA. +THE FAIRY. + + * * * * * + +[ELIZA _is seen at entrance of cave. She stops; is afraid to enter._] + +ELIZA. I am afraid to enter! It is so dark--I know not what is within! It +may be the den of some wild animal. + +(_Listening._) + +Not a sound do I hear! But wild animals are cunning. They know how to lie +as still as death and then to leap quickly. + +(_Pause._) + +Well, be it so. I will enter, for I must save my +brothers. + +[_She enters the cave._ FAIRY _is within the cave, but invisible._] + +FAIRY. You have courage, little Eliza. + +ELIZA (_showing relief_). Oh! Are you here, good woman? + +FAIRY. Behold! + +[_The cave is filled with light; a beautiful Fairy is seen._] + +ELIZA. Ah! I thought it was the Goody. + +FAIRY. No matter, dear child. I knew you were to come here. + +ELIZA. I was afraid to enter. + +FAIRY. But you did enter. Your love for your brothers was greater than your +fear. + +ELIZA. It was that which gave me courage. + +FAIRY. It was a test of your courage. And now I can tell you how to break +the spell over your brothers. + +ELIZA. I will do whatever you say. + +FAIRY. You will suffer greatly. + +ELIZA. What matter, if I save my brothers! + +FAIRY (_nodding_). Then listen. Do you see the stinging nettles which I +hold in my hand? + +ELIZA. Yes, dear Fairy. + +FAIRY. You must gather great quantities of these. + +ELIZA. I noticed many of the same sort growing near this cave. + +FAIRY (_shaking head_). You must gather only those that grow in graveyards. + +ELIZA. It shall be exactly as you say, dear Fairy. + +FAIRY. The nettles will make blisters on your hands. + +ELIZA. I will not think of myself; I will think only of my brothers. + +FAIRY. Break the nettles into pieces with your hands and feet, and they +will become flax. From this flax you must spin and weave eleven coats with +long sleeves. If these eleven coats can be thrown over the eleven swans, +the spell will be broken. + +ELIZA. It shall be done. + +FAIRY. But remember, that from the moment you begin your task, until it is +finished, you must not speak. Even though it should occupy years of your +life, you must not speak. + +ELIZA. I shall remember. + +FAIRY. The first word you utter will pierce through the hearts of your +brothers like a dagger. Their lives hang upon your tongue. Go now and begin +your task. + +ELIZA (_going_). I go, dear Fairy. + +FAIRY. Remember all I have told you, dear child. Farewell! + +[_Eliza goes; the cave becomes dark; the Fairy disappears._] + + +SCENE III + +TIME: _two days later_. +PLACE: _a distant country; the King's palace_. + + * * * * * + +THE KING. +HIS WICKED UNCLE. +ELIZA. +GUARDSMEN. +SERVANTS. + + * * * * * + +[_The_ WICKED UNCLE _stands waiting to receive the King. Enter the_ KING +_with_ ELIZA. _She is pale and sad._] + +WICKED UNCLE. Welcome, your Majesty! Welcome home from your hunt! But who +is this maiden? + +KING. I know not, my Uncle. + +WICKED UNCLE. What? + +KING. My huntsmen found her in a cave in a far-off country. + +WICKED UNCLE. In a cave? Alone? + +KING (_nodding_). Alone; spinning coats out of flax. + +WICKED UNCLE. This is very strange. + +(_To Eliza._) + +Why were you all alone in a cave, and why were you spinning coats? + +(_Eliza shakes her head._) + +KING. She is dumb, Uncle. Not a word has she uttered since we found her. + +WICKED UNCLE. Why did you bring her with you? + +KING. I will make her my queen. + +WICKED UNCLE (_angrily_). Your queen? + +KING. See how beautiful she is. + +WICKED UNCLE (_whispering to King_). She is a witch! + +KING. Nonsense! She is as good as she is beautiful. + +WICKED UNCLE (_whispering as before_). She has bewitched your heart! + +KING. Nonsense, I say! She did not want to leave the cave. She wept +bitterly when I put her on my horse. + +(_He turns to the servants._) + +Let the music sound! Prepare the wedding feast! + +(_He turns to Eliza, who weeps._) + +Do not weep, my beautiful maid. + +WICKED UNCLE (_whispering to King_). She is not beautiful. She has +bewitched your eyes. + +KING. I will not listen to you! Go, bid them ring the church bells. + +WICKED UNCLE (_going; speaking aside_). I must poison his heart against her +in some way; else I'll never wear the crown. + +[_Wicked Uncle goes._] + +KING (_to Eliza_). Do not weep. You shall be dressed in silks and velvets +and I will place a golden crown upon your head. + +(_Eliza weeps and wrings her hands._) + +Well, then, I know how to make you smile. + +[_The King opens a door into an inner room. Eliza looks in, smiles, and +claps her hands for joy._] + +KING. I thought 't would make you happy! 'T is very like your cave--I had +it made so. + +(_Eliza tries to thank King with her eyes._) + +But no more spinning! Your fingers shall be covered with diamonds instead +of blisters. + +(_Eliza sighs very sadly._) + +Something troubles you, little queen. If you could only tell me of your +grief! + +(_Eliza shakes her head sadly._) + +Well, I can at least save you from a life of labor. You shall be most +tenderly cared for. + +(_Calling._) + +Ho, there, Guardsmen! + +(_Enter_ GUARDSMEN.) + +Guardsmen, behold your queen! + +(_Guards kneel before Eliza._) + +Guardsmen, arise and hear my commands. + +(_Guards rise._) + +Your queen is never to do any of the work about the castle. Do you hear me, +Guardsmen? + +GUARDSMEN (_bowing_). We hear, O King! + +KING. Not even the spinning or weaving. Do you hear me, Guardsmen? + +GUARDSMEN (_bowing_). We hear, O King! + +KING. Those are my commands. Now attend us to the banquet-hall. + +(_To Eliza, who is weeping._) + +Weep no more, little queen. I wish only your happiness. Come, give me your +hand. We go now to the wedding feast. + +[_They go out, the Guards attending._] + + +SCENE IV + +TIME: _two weeks later; sunrise_. +PLACE: _the open just without the town gate_. + + * * * * * + +THE GOODY. +THE WICKED UNCLE. +THE KING. +ELIZA. +HER ELEVEN BROTHERS. +THE EXECUTIONER. +FIRST CITIZEN. +SECOND CITIZEN. +THIRD CITIZEN. +FOURTH CITIZEN. +GUARDS. + + * * * * * + +[_Enter crowds of people from the town gate. Enter the_ GOODY _from the +forest. Enter the_ WICKED UNCLE _from the town gate._] + +GOODY (_to Wicked Uncle_). Why these crowds so early, sir? + +WICKED UNCLE. Do not call me 'sir.' + +GOODY. What shall I say, sir? + +WICKED UNCLE. Say, 'Your Highness.' + +GOODY. But you are not the King, sir. + +WICKED UNCLE. I'm very near it, old woman. + +GOODY. Not so near, sir, as you were, sir. There is the new queen, sir. + +WICKED UNCLE. The new queen is about to die. + +GOODY (_alarmed_). About to die? + +WICKED UNCLE (_nodding_). Aye, because she's a witch. They're bringing her +out here now. + +GOODY. The King permits it? + +WICKED UNCLE (_nodding_). He soon found out the truth about her. + +GOODY. And what was that? + +WICKED UNCLE. Just what I told him the first time I saw her. "She's a +witch," said I, but he would not believe me. + +GOODY. What has so changed him? + +WICKED UNCLE. 'T was I who saw her slip forth from the castle one midnight. +I followed her; straight to the graveyard she went. + +GOODY. To the graveyard? + +WICKED UNCLE (_nodding_). In she went--I following. I saw her gather the +stinging nettles that grow there. + +GOODY. But they would blister her hands. Did she not cry out? + +WICKED UNCLE. Not a sound did she utter! That would prove her a witch, were +there nothing more. + +GOODY. Ah, there is something more, then? + +WICKED UNCLE (_nodding; mysteriously_). I followed her back to the castle; +through the marble halls and up to the little cave room. I saw her break up +the nettles. Then I saw her spin and weave this flax into a magic coat. + +GOODY. Bless me! A magic coat? + +WICKED UNCLE (_nodding_). There were ten of them hanging from the ceiling. + +GOODY. Of course you told the King? + +WICKED UNCLE. Just as soon as I could waken him, but he would not believe +me. He said there was but one coat when they brought her here, and that +there could be but one now. + +GOODY. She worked at night, then, while the castle slept. + +WICKED UNCLE. True queens do not work--nay, can't be made to work. Every +one knows that. + +GOODY. But how did the King find out the truth? + +WICKED UNCLE. I persuaded him to watch with me the next night. Just at +midnight the queen came out. We followed her to the graveyard. "That is +enough," said his Majesty, "she is a witch and must die." + +[_The_ CITIZENS _rush to the gates._] + +CITIZENS (_calling_). See the witch! + +GOODY. Is she coming? + +WICKED UNCLE (_looking_). Yes, she is just within the gate. She rides in an +old cart drawn by an old horse--quite good enough for a witch. + +[_Enter the_ KING _with servants and_ GUARDS. _Behind them is the cart. In +the cart sits_ ELIZA. _She is spinning and weaving, never once looking +up._] + +GOODY. How pale she is! Bless me! She is spinning and weaving. + +WICKED UNCLE. It is the eleventh coat and it will be the last. + +GOODY. How she hurries to finish it! + +[_The cart stops._] + +KING (_to Eliza_). Once again I ask you,--Are you a witch? + +(_Eliza shakes her head._) + +Then give up the coats. They are of no use to any one. + +[_Eliza again shakes her head._] + +WICKED UNCLE. That proves her a witch! Else, she would give up the coats. + +KING (_to Eliza_). Once more,--Will you not give them up? + +[_Eliza shakes her head. The King turns away. He is very sad; his eyes are +filled with tears._] + +FIRST CITIZEN (_calling_). See the witch! + +SECOND CITIZEN (_calling_). See her magic coats! + +THIRD CITIZEN (_calling_). Let us tear them to pieces! + +FOURTH CITIZEN (_calling_). At them, Citizens! Tear them to shreds! + +GOODY (_looking up; speaking aside_). Here come the Wild Swans! Now we +shall see what we shall see! + +[ELEVEN WILD SWANS _descend from the sky and alight on the cart. Each wears +a golden crown._] + +FIRST CITIZEN. Back, Citizens, back! Wild Swans have alighted on the cart! + +FOURTH CITIZEN. What do we care for Wild Swans? Forward, Citizens! + +FIRST CITIZEN. Back, I say! The Swans are beating us with their strong +wings! + +SECOND CITIZEN. Back! back, Citizens! We dare not approach the cart! + +GOODY (_calling to the people_). The Swans have come to save the queen! 'T +is a sign from heaven that she is innocent! + +WICKED UNCLE (_angrily_). Be silent, old woman! + +(_He turns to the Executioner._) + +Executioner, do your duty! + +EXECUTIONER. Out of the cart, witch! + +(_Eliza shakes her head; takes up coats from floor of cart. The Executioner +turns to the Wicked Uncle._) + +She will not come! + +WICKED UNCLE. Seize her--I command you! + +FIRST CITIZEN. Seize her! Seize her! + +GOODY. Look, Citizens, look! She is spreading the coats over the Swans! + +[_Eliza throws the eleven coats over the eleven Swans, who turn to eleven +little princes, but the youngest has a swan's wing instead of an arm, for +the last sleeve was not finished._] + +FIRST CITIZEN. Do you see that, Citizens? They are princes! She has saved +them! + +SECOND CITIZEN. She is no witch! + +THIRD CITIZEN. She is an angel from heaven! + +THE ELEVEN BROTHERS. Dear sister, you have saved us! + +ELIZA. Now I may speak--I am innocent! + +ELDEST BROTHER (_to King_). Yes, she is innocent! + +NINTH BROTHER. How you have suffered for us, dear Eliza! + +CITIZENS (_to Eliza_). Forgive us! + +KING (_to Eliza_). Forgive me! I did not understand. + +WICKED UNCLE (_annoyed, but trying to conceal it_). And I did not +understand, I-- + +KING (_sternly_). Be silent! + +(_To Guards._) + +Seize him! + +(_The Guards seize the Wicked Uncle._) + +Take him to the mountains where the stinging nettles grow. + +WICKED UNCLE. Mercy! Mercy! + +KING. You had no mercy on brave little Eliza! Now you shall gather nettles +for the rest of your life. Away with him, Guardsmen! + +(_The Guards take the Wicked Uncle away. The King turns to his servants._) + +Let the music sound! Bring forth the queen's golden crown! + +(_To Eliza._) + +My whole kingdom shall do you honor! This land has never seen a more +beautiful thing than your love for your brothers. + +GOODY (_whispering aside_). Ring, church bells! Ring of yourselves! + +[_All the church bells are heard ringing._] + +CITIZENS. Hear the church bells! They ring of themselves! + +KING. They ring for this sweet queen whose heart is as good as her face is +beautiful. Come, Citizens! Away now to the castle! Away to the +banquet-hall! + + + + +THE TWO COUNTRYMEN + + +SCENE I + +TIME: _evening_. +PLACE: _a large city; a quiet corner with a high wall back_. + + * * * * * + +FIRST COUNTRYMAN. +SECOND COUNTRYMAN. +FIRST CITY WAG. +SECOND CITY WAG. +MERCHANT. + + * * * * * + +[_Great crowds of people are seen in the streets. The_ TWO COUNTRYMEN _have +just arrived. They find a quiet corner where they place their blankets and +baskets of gourds which they carry._] + +FIRST COUNTRYMAN. I fear something most dreadful must have happened in that +street. See what crowds of people pass that way! + +SECOND COUNTRYMAN. Perhaps there is a fire. And yet-- + +[_He stops, showing he is puzzled._] + +FIRST COUNTRYMAN (_anxiously_). What troubles thee? + +SECOND COUNTRYMAN. Look thou into that other street! It, too, is full of +people, and yet none are gone from here. + +FIRST COUNTRYMAN. Some awful accident hath called them from all parts of +the city. We must find out what it may be. + +[_A_ MERCHANT _passes._] + +SECOND COUNTRYMAN (_to Merchant_). I pray thee stop, citizen. + +(_The Merchant stops._) + +Canst thou tell us what dreadful thing hath befallen this city? + +MERCHANT. What do you mean? + +[TWO CITY WAGS _pass; they stop to listen._] + +SECOND COUNTRYMAN. Whither do they go, these vast multitudes? What dreadful +thing go they to see? + +FIRST COUNTRYMAN. Perhaps they flee from some monster just come out of the +sea? + +MERCHANT. It is ever thus--always the great crowds surging through the +streets. + +[_The Merchant goes._] + +SECOND WAG (_to Countrymen, winking aside at First Wag_). This is your +first visit to a city, I take it? + +BOTH COUNTRYMEN (_bowing_). It is, good sirs. + +FIRST WAG (_winking aside at Second Wag_). You know what happens to +strangers in our city, of course? + +FIRST COUNTRYMAN (_anxiously_). No, good sir. + +SECOND COUNTRYMAN (_anxiously_). Pray tell us what it may be. + +FIRST WAG. 'T is said they become so dazed by the noise of the city and the +rush of such countless numbers, they forget who they are. + +FIRST COUNTRYMAN. Eh? Forget who they are? + +FIRST WAG (_nodding_). Aye. + +(_He winks aside at Second Wag._) + +You have heard of this, dear friend? + +SECOND WAG (_winking aside_). To be sure; 't is quite common. + +SECOND COUNTRYMAN. Forget their own faces? + +SECOND WAG. Aye,--their faces. At least, they are not certain as to whose +faces theirs may be. + +FIRST COUNTRYMAN. Then we dare not leave this corner! + +FIRST WAG. I would not advise it. + +SECOND WAG. It would be most unsafe,--at least for to-night. + +FIRST WAG. Of course there is this danger,--when you awake in the morning +you may not know whether you are yourselves. + +SECOND COUNTRYMAN. Would that I had never left my farm! + +FIRST COUNTRYMAN. Would that I had never left my wife! + +SECOND WAG. Do not despair; there is a way out of your troubles. + +BOTH COUNTRYMEN. Tell us, we pray thee! + +SECOND WAG. Each of you must take a gourd from his basket there and tie it +around his ankle. Then, in the morning, when you awake, you will each know +that it is yourself and none other. + +FIRST COUNTRYMAN (_to Second Countryman, joyfully_). Dost thou hear? By our +gourds we shall know! + +SECOND COUNTRYMAN (_joyfully_). I hear! Thanks and yet again more thanks to +thee, good sir! + +[_The Wags turn to go._] + +FIRST WAG. May you know yourselves in the morning for what you truly are! + +[Illustration: THE TWO COUNTRYMEN] + +[_They go, laughing aside. Each Countryman ties a gourd around his ankle, +wraps his blanket round him, and lies down. They sleep. Pause. + +Enter the_ WAGS _softly, each carrying a small flag. They remove the gourds +from Countrymen's ankles and hide them under their blankets. They then tie +the flags around Countrymen's ankles and go, greatly pleased with their +joke._] + + +SCENE II + +TIME: _the next morning_. +PLACE: _same as Scene I_. + + * * * * * + +FIRST COUNTRYMAN. +SECOND COUNTRYMAN. +FIRST CITY WAG. +SECOND CITY WAG. + + * * * * * + +[_The_ WAGS _are seen peeping around the corner._] + +FIRST WAG (_softly_). They are sound asleep. + +SECOND WAG (_softly_). Then come. + +[_They enter and throw the two baskets of gourds over the wall. They then +retire around the corner, peeping as before._] + +FIRST COUNTRYMAN (_waking; shaking Second Countryman_). Wake up! Wake up! + +[_Each yawns; stretches; throws off his blanket; arises._] + +FIRST COUNTRYMAN (_remembering_). Ah, the gourds! + +[_Each looks at his ankle, then at the other's ankle._] + +SECOND COUNTRYMAN. How's this! + +FIRST COUNTRYMAN. Did we not tie gourds around our ankles? + +SECOND COUNTRYMAN (_nodding_). Why, surely we did. + +FIRST COUNTRYMAN (_looking about_). Did we not have two baskets of gourds +with us? + +SECOND COUNTRYMAN (_nodding_). Surely; there in the corner. + +FIRST COUNTRYMAN (_holding up foot to which flag is tied_). Is this a gourd +or is it not a gourd? + +SECOND COUNTRYMAN. Of a surety it is a flag. + +(_Holding up his foot with flag._) + +And if this be not a gourd, keep thy silence. + +[_The First Countryman stares at the flag, placing his finger on his closed +lips._] + +SECOND COUNTRYMAN. Then it hath indeed happened! + +FIRST COUNTRYMAN. What hath happened? + +SECOND COUNTRYMAN. The dreadful thing foretold by the citizens. I am not I! +Thou art not thou! + +FIRST COUNTRYMAN (_trembling with fear_). How can that be? + +SECOND COUNTRYMAN. I know not. I only know that it is. + +FIRST COUNTRYMAN (_weeping_). I cannot think I am not myself! + +SECOND COUNTRYMAN (_weeping_). Thou needst must think it, whether thou +wouldst or no. + +FIRST COUNTRYMAN. Dost thou indeed think thou art some other person? + +SECOND COUNTRYMAN. If I were myself, would not the gourd still be around my +ankle? + +FIRST COUNTRYMAN. Then who art thou? And who am I? + +SECOND COUNTRYMAN. Alas! I know not. + +[_Enter the_ WAGS.] + +FIRST COUNTRYMAN (_joyfully_). Here come those who will know whether we are +ourselves! + +[_The Wags pretend not to know the Countrymen who are bowing before them. +They pass on._] + +SECOND COUNTRYMAN. Stop, good sirs! + +FIRST COUNTRYMAN. A word with thee! + +[_The Wags stop._] + +SECOND COUNTRYMAN. Dost thou not know us? + +FIRST WAG. I have not that pleasure. + +FIRST COUNTRYMAN. Thou didst talk with us but yester-eve! + +SECOND WAG. Some mistake, I fear, my good man. + +[_The Wags start off._] + +SECOND COUNTRYMAN (_weeping_). Wait! I pray thee, wait! + +(_The Wags stop._) + +Canst thou not tell us who we are? + +FIRST WAG. Do you not know yourselves? + +SECOND COUNTRYMAN. Alas! we are not ourselves. + +FIRST COUNTRYMAN. Thou wouldst know us were we as we were once. + +SECOND WAG. Perhaps those flags will solve the riddle. + +FIRST WAG. True enough; let us look at them. + +[_The Countrymen remove flags and hand them to Wags, who look at them +intently._] + +SECOND WAG (_mysteriously_). Can it be? + +FIRST WAG. It is! It is! + +FIRST COUNTRYMAN. Eh? + +SECOND COUNTRYMAN. Eh? + +SECOND WAG (_to Countrymen_). Your pardon! I do crave your pardon! + +FIRST WAG (_taking a ring from his finger; turning to Second Countryman_). +Please to accept this ring. I shall then know I am forgiven for not +recognizing you at first. + +SECOND COUNTRYMAN (_accepting ring; putting it on the first finger of his +right hand_). Why, yes, I forgive thee. + +SECOND WAG (_to First Countryman, taking off his gold chain_). Please to +accept this chain. By that I shall know I too am forgiven. + +FIRST COUNTRYMAN (_accepting chain; putting it on_). Thou art forgiven. Now +tell me what great person I have become. + +SECOND WAG (_gravely_). Jest with us no more! + +FIRST WAG. We go now to announce your arrival to the Lord Mayor. + +SECOND WAG. Presently, we will return. Await us here. + +[_They go, laughing aside._] + +FIRST COUNTRYMAN. Dost thou know, I have always felt that I was really a +great person. Hast thou not always noticed something unusual about me? + +SECOND COUNTRYMAN. I cannot say that I have. There is, however, certainly +something wonderful about me. I have noticed it for a long time. Hast thou +not felt it when in my company? + +FIRST COUNTRYMAN. I have not. + +SECOND COUNTRYMAN (_indignantly_). Thou hast not? + +FIRST COUNTRYMAN. Never! thou silly goose! + +[_The Second Countryman snatches First Countryman's chain and throws it +over the wall._] + +SECOND COUNTRYMAN. Mind how thou callest me names, thou booby! + +FIRST COUNTRYMAN (_tearing off Second Countryman's ring and throwing it +over the wall_). Silly goose! + +SECOND COUNTRYMAN. I will now depart for my home. I do not desire thy +company. + +FIRST COUNTRYMAN. I likewise will return, and likewise I wish to journey +alone. + +[_They take up their blankets and discover the gourds._] + +FIRST COUNTRYMAN. Eh? + +SECOND COUNTRYMAN. Eh? + +FIRST COUNTRYMAN. Let us tie them around our ankles. We may then discover +whether we are ourselves. + +[_They tie the gourds around their ankles._] + +SECOND COUNTRYMAN (_joyfully_). I am myself! + +FIRST COUNTRYMAN (_joyfully_). And I am myself! + +SECOND COUNTRYMAN. Come, let us journey back together. + +[_They go out. Pause. Enter the_ WAGS. _They remain at entrance, not +knowing Countrymen have gone._] + +FIRST WAG (_whispering_). Do you think the musicians should follow them? + +SECOND WAG (_whispering_). No, they should follow the music. What a joke it +is! + +[_They look around and discover that the Countrymen have gone._] + +FIRST WAG (_sadly_). My ring! + +SECOND WAG (_sadly_). My chain! + + + + +THE MAN AND THE ALLIGATOR + + +SCENE I + +TIME: _the morning after the cyclone_. +PLACE: _The Man's garden_. + + * * * * * + +THE MAN. +THE ALLIGATOR. + + * * * * * + +[_The_ MAN _enters the garden carrying his big stick and small net. The +garden has been almost destroyed by the_ ALLIGATOR, _who still wallows +among the beds._] + +MAN. There should be enough apples on the ground to fill my net. 'T was a +fierce storm last night! + +(_He looks about; sees the Alligator; shows indignation._) + +Thou--within my garden! + +ALLIGATOR (_meekly_). Be not angry with me, O master! By accident I-- + +MAN (_indignantly_). Accident! Thou hast wallowed among my flowers by +accident, hast thou? + +ALLIGATOR. It is true; not of my own will came I hither. + +MAN (_more indignantly_). Thou hast broken my fruit trees by accident, I +suppose! + +ALLIGATOR (_nodding_). It was not of my own intentions, I assure you. I-- + +MAN (_interrupting_). Thou art this moment crushing my strawberry plants +beneath thy great body! I've a mind to beat thee with my big stick! + +ALLIGATOR. Do not beat me, O master! The cyclone is at fault. + +MAN (_surprised_). The cyclone? + +ALLIGATOR (_nodding_). Aye, it blew me here from the river last night. + +MAN. Ha, ha! A likely story! + +ALLIGATOR. I speak the truth. A great waterspout lifted me out of the +river. Then a fierce wind caught me and blew me about as if I were a +feather. Finally, I was dropped here within thy garden. + +MAN (_only half convinced_). Well, there's no cyclone to blow thee back. +Wilt thou be good enough to walk thyself out? + +ALLIGATOR. Alas! I can scarcely move me. I fear some of my ribs are broken. + +MAN. Nonsense! Out with thee! + +ALLIGATOR. But see how the wind has crippled me! It has even blown some of +my claws loose-- + +MAN (_interrupting_). I am sorry for thee, but thou canst not remain here. + +ALLIGATOR. I will go now, if thou wilt help me. + +MAN (_surprised_). _I_ help thee? + +ALLIGATOR (_nodding_). I will be so grateful to thee! + +MAN. Oh, I know how grateful thou canst be! The other animals have told me +that! + +ALLIGATOR. What say they? + +MAN. That thou art the most cruel of all the animals--that thou never dost +any one a favor-- + +ALLIGATOR (_interrupting_). Nonsense! No one could be more grateful for +favors than I! I'll prove it to thee! + +MAN. Prove it? How? + +ALLIGATOR. If thou wilt help me to the river, I'll show thee where to find +the biggest fish. + +MAN. Well--that's something-- + +ALLIGATOR. And when thou wouldst cross the river, I'll carry thee. + +MAN. Of a surety, that's good of thee! Perhaps, after all, thou art not so +black as thou art painted. I'll help thee this time. + +ALLIGATOR. Thanks to thee, master. I will never forget thy kindness; I will +always be thy friend. + +MAN. Why, I am glad to help thee. Now how am I to get thee to the river? + +ALLIGATOR. Carry me, please, O master! + +MAN. What! carry thee? + +ALLIGATOR (_nodding_). I'll get into thy net. + +MAN. Thou get into my small net! + +ALLIGATOR. Only hold thy net open! + +MAN (_holding his net open_). I tell thee, thou canst never get in! + +ALLIGATOR. See how I fold my arms! My legs go under--so! Now I roll myself +up and up and up! And now I am in--all in! + +MAN. Well, seeing is believing! + +ALLIGATOR. Please to tie up thy net, master, that I may not fall out. + +MAN (_tying net_). 'T is done! + +(_Throwing net over shoulder._) + +Thou art heavy! + +ALLIGATOR. I know, it will be hard work for thee, but some day thou wilt +see how grateful I am. + +[_The Man goes, carrying the Alligator over his shoulder and his big stick +in his hand._] + + +SCENE II + +TIME: _the afternoon of the same day_. +PLACE: _the river bank_. + + * * * * * + +THE MAN. +THE ALLIGATOR. +THE WOLF. +THE LEOPARD. +THE RABBIT. + + * * * * * + +[_Enter the_ MAN _carrying the_ ALLIGATOR _over his shoulder. He stops, +throws down his big stick and places the Alligator carefully on the bank._] + +MAN. Our journey is ended, brother. + +(_Untying net._) + +Now then, roll thyself out! + +(_The Alligator comes out of the net._) + +Well, how dost thou feel now? + +ALLIGATOR. Much better, thanks to thee; but I'm very hungry and I find I'm +still quite weak. I pray thee help me down the bank, O master! + +MAN (_helping the Alligator down the bank_). Now, then, thou art close to +the water. + +[_He turns to go._] + +ALLIGATOR. Just a little farther, please. I am still so weak! + +MAN. Then I'll help thee into the water. + +(_He helps the Alligator into the water._) + +Now thou art in; and now I will depart. + +[_He turns to go._] + +ALLIGATOR (_seizing the Man's leg_). Not yet! + +MAN. Let go of my leg! + +ALLIGATOR. Why? + +MAN (_indignantly_). Why! Why! + +ALLIGATOR (nodding_). Why and wherefore? + +MAN. Thou art hurting me! + +ALLIGATOR. It will soon be over. + +MAN. What dost thou mean? + +ALLIGATOR. What I have just spoken. + +MAN. Why dost thou look at me so? + +ALLIGATOR (_slowly_). Because--I--mean--to--eat--thee. + +MAN. Eat me! + +ALLIGATOR (_nodding_). Eat thee. + +MAN. Me? + +ALLIGATOR (_nodding_). Thee. + +MAN. Thou didst promise to be my friend. + +ALLIGATOR. I was only fooling thee. + +MAN. But I helped thee out of trouble. + +ALLIGATOR. No matter--I mean to eat thee. + +MAN. Is that the way to repay a favor--by doing a wrong? + +ALLIGATOR (_nodding_). That's the way of all the animals. + +MAN. Thou art surely mistaken--not all the animals-- + +ALLIGATOR (_interrupting_). There's not one of them remembers a favor or a +friend when hungry. + +MAN. I cannot think that! Suppose we ask the first animal that comes to +drink? + +ALLIGATOR. Ask any of them--I know what they will say. + +[_Enter the_ WOLF. _He comes down the bank to drink._] + +MAN. Wolf, I would question thee. + +WOLF (_gruffly_). Well? + +MAN. How dost thou repay the one who doth thee a favor? + +WOLF (_gruffly, as before_). By doing him a wrong. + +[_The Wolf drinks and goes._] + +ALLIGATOR. Ha, ha, ha! Just what I said! Now I shall eat thee forthwith! + +MAN. I can't believe that every animal would so answer. + +ALLIGATOR. I don't intend waiting for thee to find out. + +MAN. I pray thee wait till the next animal comes to drink! + +ALLIGATOR (_impatiently_). Have I not told thee of my hunger? + +MAN. Listen! Some animal comes through the forest now. + +[_Enter the_ LEOPARD. _He comes down to drink._] + +Leopard, I would question thee. + +LEOPARD (_curtly_). Well? + +MAN. How dost thou repay the one who doth thee a favor? + +LEOPARD (_curtly, as before_). By doing him a wrong. + +[_He drinks and goes._] + +ALLIGATOR. Ha, ha, ha! It is just as I said! I will now eat thee forthwith! + +MAN. I pray thee-- + +ALLIGATOR (_interrupting_). It is now all over with thee! + +MAN (_calling_). Help! help! + +[_Enter the_ RABBIT.] + +RABBIT. A word with thee, Ally dear! + +ALLIGATOR. I shall be busy for a few minutes, Brother Rabbit. + +RABBIT (_going down bank quickly_). Who is this thou art about to dine +upon? Why, 't is the Man! + +MAN. How dost thou repay a favor, Brother Rabbit? + +RABBIT. Why dost thou ask? + +MAN. I found the Alligator in my garden this morning. He had destroyed my +plants, my fruits, and-- + +ALLIGATOR (_interrupting_). I was blown in by the cyclone last night. + +MAN. He said he had been hurt and begged me to help him to the river. He +promised me his friendship if I would do so. + +ALLIGATOR. Ha, ha, ha! I told him I'd show him where to find the biggest +fish. + +RABBIT. And now thou wilt not? + +ALLIGATOR. But I will. He'll find it after he is _inside_ of me. Ha, ha! + +RABBIT. Ha, ha! A good joke! + +ALLIGATOR. I told him I'd carry him across the river. I didn't explain he'd +go _inside_. Ha, ha! + +RABBIT. What a joker thou art, Ally dear! + +(_He turns to the Man._) + +But how didst thou get him here? + +MAN. I carried him in this small net. + +RABBIT (_looking surprised_). Thou art trying to fool me! + +MAN. No, Brother Rabbit, it is quite true. + +ALLIGATOR (_nodding_). Yes, it is true. + +RABBIT. But, Ally, try as thou mightst, thou couldst not so much as get thy +head into that net. + +[Illustration: "HELP! HELP!"] + +ALLIGATOR. But I tell thee I did! + +RABBIT. Ha, ha, ha! That's too funny! + +ALLIGATOR (_angrily_). I do not like thy manners, young man. + +RABBIT. But it's such a joke! Ho, ho, ho! + +ALLIGATOR. Cease thy laughing or I shall eat thee some day! + +RABBIT. I laugh because I must laugh! Ha, ha, ho, ho! + +ALLIGATOR. Thou wilt not believe it, eh? + +RABBIT. Well, not unless I see it. + +MAN. We can prove it to thee, Brother Rabbit. + +RABBIT. Oh, that's good too! Ha, ha, ho! + +ALLIGATOR. Dost thou think we cannot? + +RABBIT. Of course thou canst not! If thou couldst, thou wouldst. + +ALLIGATOR. And we will! Get thy net ready, Man. + +MAN. But how? Thou art holding my leg. + +ALLIGATOR (_freeing the Man; turning to the Rabbit_). We'll show thee just +how it was done, young man. + +RABBIT. Seeing is believing. + +[_The Man brings his net; opens it._] + +ALLIGATOR. See! I put my legs under--so! Then I fold my arms--so! Now I +roll myself up and up and up. And now I am in--all in! + +RABBIT. As I live--thou art! Well, seeing is believing. But how couldst +thou remain within the net? It is quite open. + +ALLIGATOR. Tie it up, Man. Show him exactly how we did it. + +MAN (_tying net_). I tied it tight--like this, Brother Rabbit. + +RABBIT. Is it quite tight? + +ALLIGATOR. Let him try the knot, Man. + +RABBIT (_trying knot_). Most truly, it is tight. + +(_Turning to the Alligator._) + +Thou dost look as if thou couldst not move, Ally dear. + +ALLIGATOR. Of a surety--I cannot. + +RABBIT. Well, Brother Man, now that thou hast him, don't be foolish enough +to let him go. Get thy big stick and beat him to death. + +ALLIGATOR (_surprised_). Eh? + +MAN (_not heeding the Alligator_). That is just what I will do, that I +will! Thanks to thee for helping me, Brother Rabbit. + +ALLIGATOR. Have pity! + +RABBIT (_not heeding the Alligator_). No thanks are necessary, Brother Man. +I haven't forgotten the good turnips thou didst give me last winter when +the ground was covered with snow. Some of us know how to return favor for +favor. + + + + +THE SONG IN THE HEART + + +SCENE I + +TIME: _once upon a time_. +PLACE: _in the house of the poor Spinner_. + + * * * * * + +THE DAME. +ISABEL, _her daughter_. +FLAT-FOOT } +HANGING-LIP } _the Three Great-Aunts_. +BROAD-THUMB } +THE QUEEN. + + * * * * * + +[_The living-room in the Dame's cottage is seen. The_ DAME _and the_ THREE +GREAT-AUNTS _are spinning._ ISABEL _sits at her spinning-wheel, but has +stopped work and looks out of the open door._] + +DAME (_sharply_). Isabel! You gaze without! + +ISABEL (_nodding_). Upon those great trees, mother. How beautiful they are! +How like sentinels they stand at our door guarding us! + +FLAT-FOOT (_growling_). What nonsense! You'd better be spinning. + +ISABEL (_not heeding_). Mother, see you that old oak! See how proudly it +lifts its head up into the sky! 'T is the king of the forest! + +HANGING-LIP (_growling_). I never heard such foolish talk! + +ISABEL (_not heeding_). Mother, a song has come to me,--'t is a song to the +beautiful trees. Let me stop to write it down, while my heart is full of +it. + +BROAD-THUMB (_to the Dame_). Do not permit it, sister! She should be +working. She can scarcely spin at all. + +DAME (_showing much feeling_). Isabel! Isabel! Not a maid in the village +thinks of anything but spinning. + +ISABEL. Mother, let me stop! Soon the song will leave me. I may ne'er hear +it again. + +FLAT-FOOT (_to the Dame_). Sister, she will bring you to shame. + +HANGING-LIP. Already the village folk laugh at her! + +BROAD-THUMB (_nodding_). Aye! They call her "the Dreamer." I myself have +heard them. + +ISABEL. I care not what they call me! + +DAME (_raising her voice_). Nay, but I care. I'll not have you different +from other folk. + +HANGING-LIP. _We_ were never seen gazing upon trees! + +BROAD-THUMB (_nodding_). Aye! _We_ never heard songs within _us_! + +FLAT-FOOT (_nodding_). Aye! _We_ think only of our work! + +ISABEL. What's your work may not be mine! + +DAME (_decidedly_). There's no other work for a maid than spinning. + +ISABEL (_sighing_). I like it not! Though every other maid in all the world +did love to spin, I'd say the same--I like it not! + +DAME (_to Flat-foot; showing alarm_). Sister, close the door, that none +without may hear such words. + +[_Flat-foot rises, but is too late. The_ QUEEN _enters from the street._] + +QUEEN (_showing displeasure_). How now! What's all this noise? I heard it +from the street! + +[_All are frightened; Isabel weeps._] + +DAME (_bowing_). 'T will not happen again, your Majesty. + +QUEEN (_looking at Isabel_). Have they beaten you, my child? + +ISABEL (_still sobbing_). N--o--, your Majesty. + +QUEEN (_to the Dame_). Tell me why your daughter weeps. + +DAME (_more frightened_). She weeps because--because-- + +[_She stops in confusion._] + +QUEEN. Well--well? + +DAME. Because--because--I will not let her spin. + +QUEEN (_showing surprise_). Because you will not let her spin? + +DAME (_nodding_). Yes, your Majesty. + +QUEEN. Why, this is most strange. + +DAME (_nodding_). Would I but let her, she'd spin from morn till night, and +from then on till morn again. + +QUEEN. I see how it can be so. There's nothing I like better than spinning. + +DAME. She weeps whenever I make her leave off. + +QUEEN. 'T is because she loves it! I am never more pleased than when the +wheels are whirring. + +DAME. But stop she must, for to-day at least. There is no more flax. + +QUEEN. I have rooms full of flax. Let your daughter come to my castle. She +may spin there as much as she pleases. + +DAME (_now, most frightened_). I--I fear she would be a trouble to you. + +QUEEN. Why, no! In fact, I am so pleased with your daughter's industry I +will have my son marry her. + +DAME (_so frightened she can scarcely breathe_). O your Majesty-- + +QUEEN (_interrupting_). But first she must spin all my flax. There are +three rooms full of it--from top to bottom. + +ISABEL (_showing alarm_). Three rooms full! + +QUEEN (_nodding_). Aye, my dear, and when you have spun it all, you shall +become a princess! + +(_Turning to the Dame._) + +Bring your daughter to my castle to-morrow. + +DAME (_bowing_). Yes, your Majesty. + +QUEEN (_going_). To-morrow, mind you. + +DAME (_bowing_). Yes, your Majesty. + +[_All bow to the Queen, who goes._] + +ISABEL. Mother, how could you tell the Queen I love to spin? + +DAME. Think you I'd let the truth be known? I'd not shame myself so! + +ISABEL. I could not spin three rooms of flax in three hundred years. + +DAME. Alas! alas! What shall we do? + +FLAT-FOOT (_to Hanging-lip and Broad-thumb_). Sisters, let us speak +together. + +[_The three Great-Aunts whisper together for a moment._] + +HANGING-LIP. Isabel, we will help you-- + +FLAT-FOOT (_interrupting_). On one condition! + +BROAD-THUMB (_nodding_). Aye,--on a certain condition! + +ISABEL. What do you mean? + +HANGING-LIP. We'll spin the flax for you-- + +FLAT-FOOT (_interrupting_). On one condition. + +BROAD-THUMB (_nodding_). Aye,--on a certain condition! + +DAME. You speak in riddles, sisters. + +HANGING-LIP. 'T is this--if Isabel will invite us to her wedding, we'll +spin the flax. + +FLAT-FOOT. That's the condition. + +BROAD-THUMB (_nodding_). Aye,--that's the certain condition. + +ISABEL. 'T will be deceiving the Queen and the Prince, both. + +DAME. There's no other way to mend things. Go now! Since you are so soon to +be a princess, I'll give you leave to write down your song. + +ISABEL (_sadly_). The song is no longer in my heart. + +DAME. 'T is well. Now listen--you must never let the Prince know about your +songs. He'd send you from the castle. + +BROAD-THUMB (_nodding_). Besides, 't would bring great shame upon us, for +we are a family of spinners. + +FLAT-FOOT (_nodding_). Aye, aye! + +HANGING-LIP (_nodding_). Aye, aye! + + +SCENE II + +TIME: _one week later_. +PLACE: _the Queen's castle_. + + * * * * * + +THE QUEEN. +THE PRINCE. +ISABEL. +THE THREE GREAT-AUNTS. + + * * * * * + +[_The_ THREE GREAT-AUNTS _are working at the last heap of flax in the third +room._ ISABEL _watches them anxiously._] + +ISABEL. Think you to finish before the Queen comes? + +FLAT-FOOT (_nodding as she treads the wheel_). Aye, if treading the wheel +will do it! + +HANGING-LIP (_nodding, as she moistens the thread over her lip_). Aye, if +moistening the thread will do it! + +BROAD-THUMB (_nodding, as she presses the thread with her thumb_). Aye, if +pressing the thread will do it! + +ISABEL. 'T is to-day she brings the Prince. + +FLAT-FOOT. Another minute and we'll have finished. + +ISABEL. Should they come suddenly, you know where to hide--behind those +curtains there. + +THREE GREAT-AUNTS (_nodding_). Aye, we know! + +[_A noise is heard in the distance._] + +ISABEL. Some one comes! + +(_She runs to the door, opens it, and looks out._) + +The Prince comes down the stairs! Quick, aunts, quick! + +FLAT-FOOT (_rising_). Well, 't is finished! + +ISABEL (_looking into hall_). Now comes the Queen! To the curtains, quick! + +[_The three Great-Aunts hide behind the curtains, just as the_ QUEEN _and +the_ PRINCE _enter._] + +QUEEN. Well, have you finished? + +ISABEL (_pointing to a pile of thread_). There's the last of it, your +Majesty. + +QUEEN (_looking at thread_). Spun in the finest style, too! Prince, but a +week ago these rooms were filled with flax. Now look at them. + +PRINCE (_looking about_). Empty, as if flax had never been here. 'T is +wonderful how one maid could do so much! + +QUEEN. 'T is most wonderful! + +PRINCE. The wedding shall take place to-day. Isabel, come now with us. + +ISABEL (_thoughtfully_). No, no! I cannot! + +PRINCE. You cannot? + +QUEEN. You cannot! What do you mean? + +ISABEL (_to the Queen_). Let me go home, your Majesty! + +QUEEN. Go home! + +ISABEL. I am not worthy-- + +PRINCE (_interrupting_). Nonsense! That you are poor is nothing to me. + +QUEEN (_going_). Come, the wedding bells shall ring at once! + +ISABEL. Your Majesty--I--I--did not spin the flax. + +QUEEN. What! You did not spin the flax? + +PRINCE. What is this? + +ISABEL. I deceived you--I can scarcely spin at all. + +QUEEN. But this pile of thread here-- + +ISABEL. 'T was spun by another. + +PRINCE. Another? + +ISABEL. Yes, Prince. + +QUEEN. You shall marry that one then, my son! + +(_To Isabel._) + +As for you, return to your hovel! + +(_Isabel turns to go._) + +Stay! + +(_Isabel stops._) + +Who is the wonderful spinner? Tell us where to find her. + +ISABEL. Here, your Majesty. + +QUEEN. Hidden away, I suppose? + +ISABEL (_nodding_). Yes, your Highness, behind those curtains. + +QUEEN. Go, my son, and draw the curtains. You shall be the first to look +upon your bride. + +[_The Prince draws the curtains and sees the three Great-Aunts, who sit in +a row. They smile and smile upon the Prince, who stands looking at them in +astonishment._] + +FLAT-FOOT. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your foot so flat? + +FLAT-FOOT. From treading the wheel! From treading the wheel! + +HANGING-LIP. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your lip so long? + +HANGING-LIP. From moistening the thread! From moistening the thread! + +BROAD-THUMB. You'd never be sorry to take me for your bride, my lord. + +PRINCE (_not heeding_). Why is your thumb so broad? + +BROAD-THUMB. From pressing the thread! From pressing the thread! + +[_The Prince turns to Isabel._] + +FLAT-FOOT (_quickly_). Isabel does naught but gaze and gaze, on flowers and +trees and running brooks. Ha, ha, ha! + +PRINCE. Is this true, Isabel? + +ISABEL (_timidly_). Yes, Prince. + +HANGING-LIP. She says these flowers and trees and running brooks do sing +her songs. Ha, ha, ha! + +PRINCE. Is this true, Isabel? + +ISABEL (_as before_). Yes, Prince. + +BROAD-THUMB. And she begs leave to write down these songs. Ha, ha, ha! + +[ILLUSTRATION: THE PRINCE SEES THE THREE GREAT-AUNTS] + +PRINCE. Is this true, Isabel? + +ISABEL (_hanging head_). Yes, Prince. + +PRINCE. Isabel, hang not your head. I'll give you time to write your songs. + +QUEEN. My son-- + +PRINCE (_interrupting_). Nay, nay, mother! The songs please me better than +the flat-foot and the hanging-lip and the broad-thumb of the spinners. +Come, Isabel, you shall be my princess! You shall sing me your songs! You +shall teach me how to gaze upon flowers and trees and running brooks, for +these things have ever been dear to my heart. Come, Isabel, come! + + + + +THE EMPEROR'S TEST + + +SCENE I + +TIME: _one spring; noon_. +PLACE: _an army camp on the banks of a large creek. A village is near by. +To the south is a great forest_. + + * * * * * + +THE EMPEROR. +THE GENERAL. +THE CAPTAIN. +FIRST AIDE. +SECOND AIDE. +THE MAYOR'S WIFE AND SON. +THE RICH MERCHANT'S WIFE AND SON. +THE POOR WOODCUTTER'S WIFE AND HER SON, PIERRE. + + * * * * * + +[_An ante-room in the Emperor's tent is seen. Great curtains separate this +room from the Emperor's room back. An_ AIDE _waits in the ante-room. Enter +the_ GENERAL _from the Emperor's room._] + +GENERAL (_to the Aide_). Have any yet come from the village? The Emperor +would know. + +AIDE. Yes, General. They wait without. + +GENERAL. Bid them enter. + +AIDE (_crossing; speaking to those without_). You will please enter. + +[_Enter the_ MAYOR'S WIFE _and_ SON; _the_ RICH MERCHANT'S WIFE _and_ SON.] + +GENERAL. You have come to see the Emperor? + +THE LADIES. General, we have. + +GENERAL. His Majesty wishes you to leave your sons here in camp until +evening. + +MAYOR'S WIFE. General, could you not tell us the Emperor's plans? + +GENERAL. Yes, madam. The Emperor must march southward where the enemy is in +camp. He wishes a guide who can lead him safely through this great forest. + +RICH MERCHANT'S WIFE. We were told the Emperor would greatly honor the lad +he chooses. + +GENERAL. 'T is true, madam. The lad chosen will be made an aide. + +MAYOR'S WIFE. I thought only princes were chosen for the Emperor's aides. + +GENERAL. They have always been princes. This is a great opportunity for the +lads of this village. + +MAYOR'S WIFE. But how will the Emperor make a choice? + +GENERAL. A test will be given every boy who comes. This test will prove his +fitness to be guide. + +[_Enter an_ AIDE _from Emperor's room._] + +AIDE. General, the Emperor would see you. + +[_The General bows to the ladies and leaves._] + +AIDE (_turning to the ladies_). The Emperor will receive you presently. + +[_Aide goes. Enter the_ POOR WOODCUTTER'S WIFE _and_ SON.] + +POOR WOODCUTTER'S WIFE (_timidly_). I heard the Emperor wanted a guide. + +MAYOR'S WIFE. The Emperor only wants the boys of the best families, madam. + +[_Enter the_ EMPEROR, GENERAL, _and_ CAPTAIN; _they remain back; are not +seen by the ladies._] + +POOR WOODCUTTER'S WIFE (_sighing_). I suppose that is true, but Pierre is a +smart boy. If the Emperor could only see him-- + +RICH MERCHANT'S WIFE (_interrupting_). The Emperor wants a boy with proud +manners such as our boys have. + +EMPEROR (_indignantly_). Fiddlesticks! + +THE LADIES (_bowing_). Your Highness! + +EMPEROR. Fiddlesticks and candles, I say! + +POOR WOODCUTTER'S WIFE. I am sorry, your Majesty. I didn't know how it was. +Come, Pierre. + +[_She turns to go._] + +EMPEROR. Remain. Pierre shall have the test with the others. Ladies, you +shall know whom I have chosen when the test is finished. I bid you +good-day. + +[_The ladies bow and go._] + +EMPEROR (_turning to the boys_). My lads, go through the forest southward, +till you come to the river. You may then return. Captain, see that guards +go with them. My lads, you must not speak the one to the other until I have +again seen you. I must have your word on that. Do you promise? + +BOYS. Sire, we promise. + +EMPEROR. 'T is well. Captain, they are now in your charge. General, a word +with you. + +[_The Emperor and General go into Emperor's room. The Captain leads the +boys from the tent._] + + +SCENE II + +TIME: _two hours later_. +PLACE: _the Emperor's tent; the Emperor's room_. + + * * * * * + +THE EMPEROR. +FIRST AIDE. +SECOND AIDE. +LUDWIG. + + * * * * * + +[_The_ EMPEROR _is seen sitting at a table looking at maps. Enter an_ AIDE. +_He salutes._] + +EMPEROR. Well? + +AIDE. The prisoner has returned, sire. + +EMPEROR. What prisoner? + +AIDE. The one sent out for the test, sire. + +EMPEROR. Who was sent? + +AIDE. Ludwig, the prisoner who has been ill for so long. + +EMPEROR. Ah, yes; bid him enter. + +(_Aide goes; he reenters with_ LUDWIG, _who wears an old, torn army cloak +over his uniform. He salutes._) + +I notice you are a bit lame, Ludwig. + +LUDWIG. Yes, sire; in my left leg. My dog was hit at the same time. + +EMPEROR. Does your dog go to battle with you? + +LUDWIG. If he can slip into the ranks, sire. He always goes where I go, +sire. + +EMPEROR. Then he went with you to-day, of course? + +LUDWIG. Yes, sire. + +EMPEROR. You are sure the boys didn't see you? + +LUDWIG. No one saw me. I kept a sharp lookout. When I came to a clear space +I went to one side, hiding behind trees, to look ahead. Then I ran across. + +EMPEROR. That must have tired you, Ludwig. You're not quite well yet. + +LUDWIG. I found I couldn't leap the streams; I had to climb down the banks +and wade them. + +EMPEROR. You rested by the way, didn't you? + +LUDWIG. Yes, sire, and once I stopped to pick berries. + +EMPEROR. You made the return trip by boat up the creek? + +LUDWIG. Yes, sire. + +EMPEROR. That is all. + +[_The Aide and Ludwig go. The Emperor claps his hands. Enter_ SECOND AIDE. +_He salutes._] + +EMPEROR (_to Aide_). Have the lads returned? + +AIDE. No, sire. + +EMPEROR. Do you know when the Captain expects them? + +AIDE. In about half an hour, sire. + +EMPEROR. Bid their mothers return at that time. I wish them to be present +at the test. + +AIDE. Yes, sire. + +[_He salutes and goes._] + +EMPEROR (_slowly_). Let me see--a lame man; a lame dog; running footprints +across open spaces; wading streams instead of leaping them; stopping to +pick berries--Why, the story reads itself! + +(_He sits at table; takes up maps._) + +Well, we shall see what we shall see! + + +SCENE III + +TIME: _a half hour later_. +PLACE: _the Emperor's tent; the ante-room_. + + * * * * * + +THE EMPEROR. +THE GENERAL. +THE CAPTAIN. +AN AIDE. +THE MAYOR'S WIFE AND SON. +THE RICH MERCHANT'S WIFE AND SON. +THE POOR WOODCUTTER'S WIFE AND SON, PIERRE. + + * * * * * + +[_The_ LADIES _wait in the lower end of ante-room. Back is a great +armchair._] + +MAYOR'S WIFE. I cannot think why the boys were sent into the forest! + +RICH MERCHANT'S WIFE. Nor I! It seems to me the Emperor should have asked +them what they could do. Now, my boy dances so prettily! + +MAYOR'S WIFE. I was certain he would ask them to ride. Now, my boy rides so +well--just like a prince! + +RICH MERCHANT'S WIFE. Well, he will no doubt ask them all these things upon +their return. + +(_She turns to Pierre's mother._) + +You see, madam, how little chance your boy has. I am sure he cannot dance? + +POOR WOODCUTTER'S WIFE (_sadly_). No, madam. + +MAYOR'S WIFE. I am certain he does not ride? + +POOR WOODCUTTER'S WIFE (_sighing_). No, madam. + +[_Enter an_ AIDE; _crosses to Emperor's room; announces at curtains._] + +AIDE. The boys have returned, sire! + +[_Enter the_ CAPTAIN _with the_ BOYS. _Enter the_ GENERAL _from Emperor's +room._] + +GENERAL (_announcing_). The Emperor! + +[_Enter the_ EMPEROR; _all bow._] + +EMPEROR (_sitting in armchair_). I will now give the test. Captain, bring +up the first boy. + +[_The Captain brings up the_ RICH MERCHANT'S SON.] + +EMPEROR. Well, my lad, what did you see in the forest? + +RICH MERCHANT'S SON. Many, many trees, sire. + +EMPEROR. You saw nothing but trees? + +RICH MERCHANT'S SON. That was all, sire--just trees. + +EMPEROR. I shall not want you; you may go. + +RICH MERCHANT'S WIFE. Oh, your Majesty, if you could only see him dance! + +EMPEROR. Candles and cheese! Do I want a dancing guide? Captain, bring up +the next one. + +[_The Captain brings up the_ MAYOR'S SON.] + +EMPEROR. Well, my lad, what did you see in the forest? + +MAYOR'S SON. I saw trees and bushes, sire. + +EMPEROR. Nothing more? + +MAYOR'S SON. No, sire. + +EMPEROR. I shall not want you; you may go. + +MAYOR'S WIFE. Oh, your Majesty, if you could only see him ride! Just like a +prince, sire! + +EMPEROR. Fiddlesticks! Captain, the last boy there. + +[_The Captain brings up_ PIERRE]. + +EMPEROR. Well, my lad, what did you see in the forest? + +PIERRE. I saw that a man had passed southward just before us, sire. + +EMPEROR. How did you know that? Did you see him? + +PIERRE. No, sire, I saw his footprints. He was lame in the left leg. + +EMPEROR. How did you learn that? + +PIERRE. The footprints were deeper on the right side. His dog was lame +also. + +EMPEROR. He had a dog? + +PIERRE. Yes, sire; a lame dog I'm sure, because one of his tracks was +always faint or missing. + +EMPEROR. Did you trace this man and dog by their footprints? + +PIERRE. Yes, sire, to the river. There were traces of them in the grass, in +the mud, in the dust, on rocks, and in still water. I am certain they had +passed but a short time before--not more than a half hour. + +EMPEROR. How could you tell that? + +PIERRE. The grass had not yet straightened up. The tracks in the mud had +not yet filled with water. The prints in the dust were still clear although +a wind was blowing. + +EMPEROR. Good! But how did you know they had but just passed through still +water and over rocks? + +PIERRE. The water had not yet settled, and the rocks were still damp. + +EMPEROR. Good! Very good! + +PIERRE. Sire, I fear this man is one of the enemy! + +EMPEROR. Indeed! What proof have you of that? + +PIERRE. This, sire. + +(_Handing a small piece of cloth to Emperor._) + +'T is the color of the enemy's uniform. + +EMPEROR. It is, my lad. How came you by it? + +PIERRE. I found it on a thorn-bush. It was torn from his cloak, sire. + +EMPEROR. And why from his cloak? + +PIERRE. The thorn-bush was at least three feet from the man's line of +travel. The wind blew the cloak about. + +EMPEROR (_handing the cloth to an aide; whispering to him_). Take this to +Ludwig. + +(_The Aide goes._) + +Well, Pierre, do you think we should be in fear of this enemy? + +PIERRE. I do not know, sire. I only know that he has a good disposition. + +EMPEROR (_surprised_). A good disposition? How do you know that? + +PIERRE. The dog was always near him. When the man stopped to rest, the dog +lay down at his feet. + +EMPEROR. But he may have held the dog there, my lad. + +PIERRE. Not while he was picking berries, sire. + +EMPEROR. So our enemy picked berries, did he? + +PIERRE. Yes, sire, the dog lying by the bushes all the while. + +EMPEROR. Do you think we could capture this man? + +PIERRE. Yes, sire, for he was very tired. + +EMPEROR. How do you know that? + +PIERRE. He climbed down the banks of every small stream. I should have +leaped them. + +EMPEROR. You think it would be an easy matter, then, to follow and capture +him? + +PIERRE. Not easy, sire, for he was always on the lookout. + +EMPEROR. How do you know that? + +PIERRE. Whenever he reached a clear space, he went to one side, hiding +behind trees to look ahead. Then he ran across the open. + +EMPEROR. Your proof of this, my lad? + +PIERRE. His footprints in every clear space showed only the balls of the +feet. + +EMPEROR. Good! You followed him only to the river. + +PIERRE. Those were the orders, sire. Had I gone on, I could have overtaken +him by evening. + +EMPEROR. That you could not, my lad, for the man is now here, in camp. He +returned by boat. Ladies, the test is over. + +(_He turns to Pierre's mother._) + +Madam, your son shall be my guide. I am proud to have a boy of such keen +sight and quick thought in my kingdom. And 't is much to be the mother of +such a lad. I salute you, madam! With greatest respect I salute you! + +[_He bows to the happy woman with great courtesy._] + +EMPEROR (_turning to the ladies_). Ladies, I bid you farewell. + + + + +CHRISTOPHER COLUMBUS + + +SCENE I + +TIME: _one morning; 1484_. +PLACE: _a street in front of King John's palace, Lisbon, Portugal. Gates to +courtyard of palace in background_. + + * * * * * + +CHRISTOPHER COLUMBUS. +SCHOOLMASTER. +CARLOS. +ROQUE.[Footnote: Pronounced _R[=o]'k[=a]_.] +PANCHO.[Footnote: Pronounced _Paen'ch[=o]_ (_ch_ as in _ch_urch.)] +KING JOHN. +COURTIERS. +JESTER. +RIVERRA,[Footnote: Pronounced _R[=e]-ver'rae_.] A SEA-CAPTAIN. +PORTER. +BOYS, HOSTLERS, SERVANTS. + + * * * * * + +[_Enter_ CARLOS, ROQUE _and_ PANCHO. _They carry their school-books. A +noise is heard in courtyard._] + +ROQUE (_stopping; listening_). There's stirring in the King's courtyard! + +[_He runs to closed gates; peeps through a crack._] + +CARLOS. Come, Roque, we shall be late to school. + +ROQUE (_throwing down books_). Come, look! They are laying the red carpets +in the court! + +PANCHO (_throwing down books; peeping_). 'T is for the King they lay them! + +CARLOS. Come, the master will be angry. + +ROQUE. But the King will soon be coming! + +PANCHO. Let's wait and see him, Carlos! + +CARLOS. Not I! I know how the master flogs! Yesterday I came late to +school. + +PANCHO. Why were you late? + +CARLOS. I stopped to watch the crazy Italian, Columbus. + +[_He starts off; the others follow._] + +ROQUE. I saw him once! + +PANCHO. I wish I might see him! + +CARLOS. There he comes now! (_Calling_.) _Loco!_[Footnote: Pronounced +_l[=o]'k[=o]_; Spanish for _crazy_.] _Loco!_ + +ROQUE. Aye, there he is! (_Calling._) _Loco! Loco!_ + +PANCHO (_calling_). _Loco! Loco!_ + +[_Enter_ COLUMBUS, _dignified and gentle. A crowd of_ BOYS _follow._] + +ALL BOYS. _Loco! Loco! Loco! Loco!_ + +[_Enter_ SCHOOLMASTER, _carrying a switch._] + +MASTER (_flourishing switch_). To school with you! To school now! + +[_Boys run off in alarm._] + +MASTER (_turning angrily upon Columbus_). You were teaching them your +foolish notions, sir! + +COLUMBUS (_smiling_). I'd like the chance to do so, master. + +MASTER. Ah, then you _have_ been at it! I saw them all about you! + +COLUMBUS. I taught them nothing, master,--this time. + +MASTER. 'T is well for you, sir, that you did not. The world is flat, sir, +flat! Do you not know that, sir? + +COLUMBUS. I was so taught-- + +MASTER. How do you dare, then, to say the world is round? + +COLUMBUS. Much study and common sense, dear master, have made me dare. + +MASTER. The lessons taught your fathers are good enough for you, sir. + +COLUMBUS. That cannot be, dear master. How, then, could the world move on? + +MASTER. Move on? Hear him talk! Do you think, sir, that an elephant carries +this flat world on his back and walks about with it? Ha, ha! + +[_Gates are opened;_ PORTER _is seen._] + +MASTER (_going_). Go tell the King this world is round! Ha, ha! Go tell the +King! + +[_Schoolmaster goes._] + +PORTER (_seeing Columbus; aside_). Ah, 't is the crazy Italian! + +COLUMBUS. Porter, I seek the King! + +PORTER. Do you think he'll listen to your silly talk? O, I've heard of you! +Away! + +COLUMBUS. Come, let me in! + +PORTER. Away! Away with you, _loco_! + +[_Enter from gates, the_ JESTER _in cap and bells,_ HOSTLERS _and_ +SERVANTS.] + +JESTER. Who's away? Who's crazy? + +PORTER. The Italian there! He who says this world is round! + +JESTER. Round? How now? Round, say you? + +PORTER (_nodding; laughing_). With people on the other side! + +JESTER. A-standing on their heads--so! + +[_Jester stands on his head; all laugh. Enter a_ COURTIER.] + +COURTIER. The King comes! + +[_Enter_ KING JOHN _and many_ COURTIERS.] + +JESTER (_capering about Columbus_). Ha, ha, ha, ha! + +KING. What's this, Jester? + +JESTER. Here's he, sire, who says this world is round! + +[_He capers about Columbus; all laugh._] + +KING. I've heard of your notions, Columbus. So you think there's land to be +discovered, do you? + +COLUMBUS. Yes, your Majesty, I'm sure of it. + +JESTER. With people a-standing on their heads--so! + +[_He stands on his head; all laugh._] + +KING. Silence! Columbus, I've a mind to listen, and give you ships and +money. Have you maps and charts to prove your plans? + +COLUMBUS (_taking maps from cloak_). Yes, sire. + +KING. Wait, then, till I have spoken with my Courtiers. + +[_Columbus bows, retires, and unrolls maps._ CAPTAIN RIVERRA _crosses to +Columbus; talks with him aside._] + +KING (_speaking softly to Courtiers_). You know, my Courtiers, that should +there be new lands, great glory will be given the discoverer of them. + +FIRST COURTIER. Aye, sire, 't will bring him great honor. + +SECOND COURTIER. And riches. + +KING. 'T is I, and I alone, who should have the honor and the riches! + +FIRST COURTIER. Aye, sire! + +SECOND COURTIER. Aye, sire! + +THIRD COURTIER. But nothing can be done without the Italian's maps and +charts. No one but he knows the route over the unknown seas. + +KING. Well, we must have his maps and charts. + +FIRST COURTIER. He'll not sell them, sire. You may depend on that. + +KING. And we'll not buy them. Go, bid my fool take them. + +(_Courtiers showing surprise._) + +Go, I say, and see to it! + +[_Courtiers talk aside with Jester._] + +RIVERRA (_to Columbus_). I wish you well, sir, for I believe that what you +say is true. + +COLUMBUS. I'm glad to hear you say that, Captain. + +RIVERRA. My ship is in the harbor now, and I must go. But I wish you well, +Columbus, I wish you well. + +[_Columbus, throwing his maps on the stone bench near gates, takes +Riverra's hands in his. The Jester creeps up, takes maps, runs into the +court with them, and disappears._] + +COLUMBUS (_with feeling_). I thank you, Captain--so few believe in me-- + +KING. Come now within, Columbus; I'll look at your maps and charts. + +[_Riverra goes._] + +COLUMBUS (_turning to take up maps_). Why, how is this! My maps were here +but just a moment ago! + +KING. Who saw his maps? + +(_Pause._) + +The Courtiers are silent, sir. + +COLUMBUS. I laid them there, sire! + +KING. Then there they should be. + +COLUMBUS. Some one has taken them--'t is a joke-- + +KING (_interrupting_). My Courtiers do not play jokes in my presence. + +COLUMBUS. Those maps and charts are precious to me, sire! + +KING. Come, now, I'm not so sure you ever had maps or charts. + +COLUMBUS. Your Majesty! + +KING. Well, produce them. + +COLUMBUS. But, sire,-- + +KING (_interrupting_). I'll not hear excuses! Your maps, sir,--at once, +sir! + +COLUMBUS. I'll make other maps and charts-- + +KING. Away with you! + +COLUMBUS. Your Majesty-- + +KING. Away, I say! And come to us no more with tales of unknown lands. + +[_Enter_ JESTER _from gates._] + +JESTER. With people a-walking on their heads--so! + +[_Jester stands on his head; all laugh. Columbus goes, showing bitter +disappointment._] + + +SCENE II + +TIME: _1492_. +PLACE: _Spain. Court of King Ferdinand and Queen Isabella_. + + * * * * * + +KING FERDINAND. +QUEEN ISABELLA. +CHRISTOPHER COLUMBUS. +CAPTAIN RIVERRA. +WISE MEN. +COURTIERS AND LADIES. +A MONK, FATHER-CONFESSOR TO THE QUEEN. +MESSENGER. + + * * * * * + +[_Many_ COURTIERS _and_ LADIES _are seen in audience-room of palace; a +throne is in the background. Enter the_ FIRST COURTIER.] + +FIRST COURTIER. The King and Queen! + +[_Enter_ KING FERDINAND _and_ QUEEN ISABELLA, _followed by_ COURTIERS, +LADIES _and the_ WISE MEN. _All bow as the King and Queen cross to throne +and sit. Enter the_ MONK; _he advances to throne and bows._] + +KING. Speak, good Father. + +MONK. I pray your Majesties to see one Christopher Columbus. + +KING (_inquiringly_). Columbus? + +MONK. The Italian who thinks he can find a short route to the Indies, sire. + +KING (_nodding_). Ah, I remember. You brought his plans to us some time +ago, good Father. + +QUEEN (_nodding_). Let us see him to-day, sire. + +KING (_to First Courtier_). Admit this Christopher Columbus. + +(_Courtier admits_ COLUMBUS. _He kneels before the King._) + +Rise, Columbus, and tell us what you seek. + +COLUMBUS (_rising_). Ships, sire, to prove the plans which I did send your +Majesties; plans for sailing in the unknown seas. + +QUEEN. They seemed to me most wise and sensible. + +COLUMBUS (_with joy_). Ah, your Majesty believes with me? + +KING (_hastily_). I'd have our Wise Men speak. Unfold your maps before +them, sir. + +[_Columbus crosses to Wise Men and unfolds a map before them. They look at +it, shake their heads and laugh._] + +COLUMBUS (_with dignity_). I propose to sail by this route to find that +eastern land. + +FIRST WISE MAN. Ha, ha! I never heard anything so absurd! He'd sail west to +find the east! Ha, ha! + +SECOND WISE MAN (_pointing to map_). The edge of the world is out there in +those strange waters! And you are willing to fall off with your ships into +space, sir? + +COLUMBUS. I'm sure the water continues-- + +THIRD WISE MAN (_interrupting_). How could there be land beyond? 'T would +be under us, and the trees would have to grow their roots in the air. + +[_Wise Men nod wisely._] + +SECOND WISE MAN. And the rain must needs fall upward there! + +ALL WISE MEN (_nodding wisely_). Aye! Aye! + +QUEEN. I've heard you did lay your plans before King John of Portugal? + +COLUMBUS. I did, your Majesty. + +KING. That was bad for you, Columbus. King John sent ships, but they soon +returned. + +(_Turning to_ CAPTAIN RIVERRA.) + +Was not that the way of it, Captain? You sailed with them, I believe? + +RIVERRA. Yes, sire. But the failure came because the sailors were afraid +and refused to go on. + +(_To Columbus._) + +You were thus avenged for the theft of your maps, sir. + +QUEEN. Would you sail again with this man as your leader, Captain? + +RIVERRA. I would, your Majesty! I believe not in the monsters and the edge. + +QUEEN. Nor I! Let's provide the ships, sire. + +KING. Our people would not like it--they'd grumble. And so 't would be bad +for us. + +[_Enter_ MESSENGER _in great haste; kneels before King and Queen._] + +KING. What news do you bring? Speak! + +MESSENGER. The Turks have captured the Spanish merchant ships! + +KING. Our ships bound for the Indies? + +MESSENGER. Yes, your Majesty. + +KING. Alas! Alas! + +QUEEN. The merchants and the sailors--did the Turks spare them? + +MESSENGER. Not one, your Majesty! + +QUEEN. Alas, such loss of life! And 't is not the first time! Not a month +that does not bring us the same sad news! + +FIRST WISE MAN (_to Monk_). You must give our people consolation, Father. + +MONK. 'T is not so much consolation they need, as another passage to the +Indies; one far away from Turkey and the cruel Turks. + +QUEEN. You are right, Father. Speak on. + +MONK. To find such a passage is the chief purpose of Christopher Columbus. +That is the hope that has given him courage when half the world called him +_fool_. + +QUEEN. Sire, we must find ships and money! + +KING. We dare not tax the people more-- + +QUEEN. Then I'll help you, Columbus! I'll pledge my own jewels to raise the +funds. + +COLUMBUS (_joyfully_). Your Majesty! + +QUEEN. 'T is for the safety of our merchants! 'T is for the glory of Spain! + +COLUMBUS (_kneeling before Queen; kissing her robe_). My Queen! + + +SCENE III + +TIME: _five months later; evening_. +PLACE: _on board the Santa Maria_. + + * * * * * + +ADMIRAL CHRISTOPHER COLUMBUS. +CAPTAIN PINZON.[Footnote: Pronounced _Pin'th[=o]n_.] +SAILORS. + + * * * * * + +[_The_ SAILORS _are seen sitting on deck in a group. They are gloomy and +dejected._] + +FIRST SAILOR. 'T is a sea of darkness! + +SECOND SAILOR. Last night I heard the angry sea-gods! + +THIRD SAILOR (_nodding_). Aye, I heard them! + +FOURTH SAILOR. What were they crying? + +SECOND SAILOR. Angry words to us for coming into their own waters. + +FIRST SAILOR. 'T is the Italian Columbus the sea-gods should destroy! + +ALL SAILORS. Aye! Aye! + +SECOND SAILOR. We'll never see Spain again! + +THIRD SAILOR. We should compel him to return! + +ALL SAILORS. Aye! Aye! + +[_Enter_ COLUMBUS _with_ CAPTAIN PINZON. _They cross to bow of ship. The +Captain glances uneasily at the sailors._] + +CAPTAIN. Admiral, I must tell you frankly, the sailors are dissatisfied. + +COLUMBUS. I am sorry to hear that, Captain. + +CAPTAIN. What shall we do, sir? + +COLUMBUS. Do? Why, sail on! + +CAPTAIN. I'll see to it, sir! + +[_Captain goes._] + +FIRST SAILOR (_crossing_). Admiral, the men have chosen me to speak for +them. + +COLUMBUS. What do they wish? + +FIRST SAILOR. To return to Spain, sir! + +COLUMBUS. Tell them we may see land any day now. + +FIRST SAILOR (_shaking head_). They'll no longer listen to that! + +COLUMBUS. Then tell them that I mean to sail on. + +FIRST SAILOR (_starting_). Sail on? + +COLUMBUS. Yes; to sail on and on. Go tell them that. + +[_Sailor goes. Enter_ CAPTAIN.] + +CAPTAIN. Admiral, the sailors below show signs of mutiny! + +COLUMBUS (_alarmed_). Mutiny? + +CAPTAIN (_nodding_). The same as these on deck. Only look at them! + +[_The Sailors talk together excitedly and gesticulate wildly._] + +COLUMBUS. Ah, if I could only give them my courage! + +CAPTAIN. I fear for your life, Admiral, if the order is not given to +return. + +COLUMBUS. I cannot give it, Captain. + +[_The Sailors on deck are joined by others from below. They rush down upon +Columbus._] + +FIRST SAILOR (_angrily_). You must take us back to Spain, sir! + +SECOND SAILOR. We'll not go farther, sir! + +ALL SAILORS. Aye! Aye! + +COLUMBUS. I'm sure we will soon find land-- + +SAILORS (_interrupting; angrily_). Hear him! Hear him! + +COLUMBUS. To the one who first sees land, the Queen has promised money-- + +FIRST SAILOR (_interrupting_). Money! to feed to the sea-monster! + +SECOND SAILOR (_threateningly_). Will you turn back? + +COLUMBUS (_with determination_). No! + +CAPTAIN. Now, men, back to your duties. + +THIRD SAILOR. Alas! we'll never see our homes again! + +FOURTH SAILOR. Nor our friends! + +FIRST SAILOR. We are lost, men! + +SECOND SAILOR. What shall we do? + +ALL SAILORS. What shall we do? What shall we do? + +[_As their anger turns to despair, Columbus is touched._] + +COLUMBUS. Listen, men,--I make you this promise: if we do not see land +within three days, we will return to Spain. + +CAPTAIN. There, now,--that's a fair promise! Go now to your duties! + +COLUMBUS. And let every man watch for land as he has never watched before! + +SAILORS (_pleased_). Aye, aye, sir! + +[_Sailors cross to a distant part of deck._] + +COLUMBUS (_sadly_). Alas for my plans and my hopes, if these three days +bring not land! + +[_He talks aside with the Captain._] + +FIRST SAILOR. We were too easily won over, men. + +SECOND SAILOR (_nodding_). Fearful things may happen to us in these three +days! + +THIRD SAILOR. Suppose we reach the edge to-morrow! + +FOURTH SAILOR. Suppose the sea-monster should come for us to-night! + +ALL SAILORS. Aye! Aye! + +FIRST SAILOR (_cautiously_). Come closer, men! There's something I would +say to you! + +[_Sailors close about him; Captain goes._] + +FIRST SAILOR (_pointing to Columbus, who stands in bow looking at the +stars_). Why should he not fall into the seas to-night? + +SECOND SAILOR. What! You mean-- + +FIRST SAILOR. I mean he _must_ fall into the seas to-night. Are you with +me, men? + +ALL SAILORS. Aye! Aye! + +FIRST SAILOR (_cautiously_). 'T is my plan to push him over as he stands +there looking at the stars. + +FOURTH SAILOR. Why not creep upon him now? + +FIRST SAILOR. Are you willing, men, to have the deed done now? + +ALL SAILORS. Yes! Yes! + +FIRST SAILOR (_to Second and Third Sailors_). Come with me, you two! We'll +creep up on his left. + +[_They creep upon Columbus, who is seen to suddenly bend forward, looking +eagerly into the distance._] + +COLUMBUS. Land! Land! + +[_Sailors stop; enter the_ CAPTAIN.] + +CAPTAIN. Did you say land, sir? + +COLUMBUS. Land, Captain, land! Come, Sailors, come! Land! Land! + +SAILORS (_looking; joyfully_). Land! Land! + +COLUMBUS (_lifting his arms_). Now Heaven be praised! + + + + + NOTE TO TEACHER.--This play conforms to the spirit of the + traditional story of Columbus, but the dramatization has + made it necessary to condense into one scene the somewhat + prolonged negotiations with Ferdinand and Isabella. + + + +***END OF THE PROJECT GUTENBERG EBOOK CHILDREN'S CLASSICS IN DRAMATIC +FORM*** + + +******* This file should be named 10541.txt or 10541.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/1/0/5/4/10541 + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS," WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + +https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + +http://www.ibiblio.org/gutenberg/etext06 + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + +https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: +https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: +https://www.gutenberg.org/GUTINDEX.ALL + +*** END: FULL LICENSE *** diff --git a/old/10541.zip b/old/10541.zip Binary files differnew file mode 100644 index 0000000..e0881bf --- /dev/null +++ b/old/10541.zip |
