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+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
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+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #68761 (https://www.gutenberg.org/ebooks/68761)
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-The Project Gutenberg eBook of Hearts to mend, by Harry A. Overstreet
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world 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. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Hearts to mend
-       A fantasy in one act
-
-Author: Harry A. Overstreet
-
-Release Date: August 15, 2022 [eBook #68761]
-
-Language: English
-
-Produced by: Charlene Taylor, David E. Brown, and the Online Distributed
-             Proofreading Team at https://www.pgdp.net (This file was
-             produced from images generously made available by The
-             Internet Archive/American Libraries.)
-
-*** START OF THE PROJECT GUTENBERG EBOOK HEARTS TO MEND ***
-
-
-
-
-
-_TO BE PUBLISHED SHORTLY_
-
-Fifty Contemporary One-Act Plays
-
-_Edited by Frank Shay and Pierre Loving_
-
-This volume contains FIFTY REPRESENTATIVE ONE-ACT PLAYS of the MODERN
-THEATRE, chosen from the dramatic works of contemporary writers all
-over the world.
-
-
-THE CONTENTS ARE
-
-AUSTRIA:
-  Schnitzler (Arthur)--
-
-BELGIUM:
-  Maeterlinck (Maurice)--The Intruder
-
-BOLIVIA:
-  More (Federico)--Interlude
-
-FRANCE:
-  Ancey (George)--M. Lamblin
-  Porto-Riche (Georges)--Francoise’s Luck
-
-GERMANY:
-  Ettlinger (Karl)--Altruism
-  von Hofmansthal (Hugo)--Madonna Dianora
-  Wedekind (Frank)--The Tenor
-
-GREAT BRITAIN:
-  Bennett (Arnold)--A Good Woman
-  Calderon (George)--The Little Stone House
-  Cannan (Gilbert)--Mary’s Wedding
-  Dowson (Ernest)--The Pierrot of the Minute
-  Ellis (Mrs. Havelock)--The Subjection of Kezia
-  Hankin (St. John)--The Constant Lover
-
-INDIA:
-  Mukerji (Dhan Gopal)--The Judgment of Indra
-
-IRELAND:
-  Gregory (Lady)--The Workhouse Ward
-
-HOLLAND:
-  Speenhoff (J. H.)--Louise
-
-HUNGARY:
-  Biro (Lajos)--The Grandmother
-
-ITALY:
-  Giacosa (Giuseppe)--The Rights of the Soul
-
-RUSSIA:
-  Andreyev (Leonid)--Love of One’s Neighbor
-  Tchekoff (Anton)--The Boor
-
-SPAIN:
-  Benevente (Jacinto)--His Widow’s Husband
-  Quinteros (Serafina and Joaquin Alvarez)--A Sunny Morning
-
-SWEDEN:
-  Strindberg (August)--The Creditor
-  Wied (Gustave)--Autumn Fires
-
-UNITED STATES:
-  Beach (Lewis)--Brothers
-  Cowan (Sada)--In the Morgue
-  Crocker (Bosworth)--The Baby Carriage
-  Cronyn (George W.)--A Death in Fever Flat
-  Davies (Mary Carolyn)--The Slave with Two Faces
-  Day (Frederic L.)--The Slump
-  Flanner (Hildegarde)--Mansions
-  Glaspell (Susan)--Trifles
-  Gerstenberg (Alice)--The Pot Boiler
-  Helburn (Theresa)--Enter the Hero
-  Hudson (Holland)--The Shepherd in the Distance
-  Kemp (Harry)--Boccaccio’s Untold Tale
-  Langner (Lawrence)--Another Way Out
-  Millay (Edna St. Vincent)--Aro da Capo
-  Moeller (Philip)--Helena’s Husband
-  MacMillan (Mary)--The Shadowed Star
-  O’Neill (Eugene)--Ile
-  Stevens (Thomas Wood)--The Nursery Maid of Heaven
-  Stevens (Wallace)--Three Travelers Watch a Sunrise
-  Tompkins (Frank G.)--Sham
-  Walker (Stuart)--The Medicine Show
-  Wellman (Rita)--For All Time
-  Wilde (Percival)--The Finger of God
-
-YIDDISH:
-  Ash (Sholom)--Night
-  Pinski (David)--Forgotten Souls
-
-
-_Large 8vo. Cloth. Gilt top._ =NET $5.00= _¾ Turkey Morocco_ =NET
-$12.00=
-
-
-  STEWART & KIDD COMPANY
-  PUBLISHERS      :-:      CINCINNATI, U.S.A.
-
-
-
-
-  STEWART KIDD MODERN PLAYS
-  Edited by Frank Shay
-
-
-  HEARTS TO MEND
-
-
-
-
-Stewart Kidd Modern Plays
-
-Edited by Frank Shay
-
-
-To meet the immensely increased demands of the play-reading public
-and those interested in the modern drama, Stewart & Kidd Company are
-issuing under the general editorship of Frank Shay a series of plays
-from the pens of the world’s best contemporary writers. No effort is
-being spared to secure the best work available, and the plays are
-issued in a form that is at once attractive to readers and suited to
-the needs of the performer and producer.
-
-From time to time special announcements will be printed giving complete
-lists of the Plays. Those announced thus far are:
-
-SHAM, a Social Satire in One Act.
-
-  By Frank G. Tompkins.
-
-  Originally produced by Sam Hume, at the Arts and Crafts Theatre,
-  Detroit.
-
-THE SHEPHERD IN THE DISTANCE, a Pantomime in One Act. By Holland Hudson.
-
-  Originally produced by the Washington Square Players.
-
-MANSIONS, a Play in One Act.
-
-  By Hildegarde Flanner.
-
-  Originally produced by the Indiana Little Theatre Society.
-
-HEARTS TO MEND, a Fantasy in One Act.
-
-  By H. A. Overstreet.
-
-  Originally produced by the Fireside Players, White Plains, N. Y.
-
-
-  _Others to follow._
-  _Bound in Art Paper. Each net 50 cents._
-
-
-
-
-  HEARTS TO MEND
-
-  A FANTASY IN ONE ACT
-
-  By
-  HARRY A. OVERSTREET
-
-  HEARTS TO MEND was first produced by the FIRESIDE
-  PLAYERS, White Plains, N. Y., in April, 1919, with
-  the following cast:
-
-  PIERROT,                     _James H. Wallace_
-  PIERRETTE,                   _Millicent Ives_
-  TINS-TO-MEND MAN,            _G. W. Michelbacker_
-
-  [Illustration]
-
-  CINCINNATI
-  STEWART & KIDD COMPANY
-  PUBLISHERS
-
-
-
-
-  COPYRIGHT, 1920
-
-  STEWART & KIDD COMPANY
-
-
-  _All Rights Reserved_
-
-  COPYRIGHTED IN ENGLAND
-
-
-This play is fully protected by the copyright law, all requirements of
-which have been complied with. No performance, either professional or
-amateur, may be given without the written permission of the author or
-his representative, who may be addressed in care of the publishers,
-Stewart & Kidd Company, Cincinnati, Ohio.
-
-
-
-
-HEARTS TO MEND
-
-
-  _The Scene is the living room, dining room and kitchen--all in
-  one--of Pierrot and Pierrette. It has the diminutive look of a toy
-  house, and the immaculate spick-and-spanness. There are copper
-  kettles and pots on shelves and blue and white plates and cups and
-  saucers. There is a crib in the corner, left, with a screen that can
-  be drawn about it. A table is at the right, front, by the side of
-  which sits Pierrot, head in hands, elbows on knees, very gloomy. A
-  door, left, leads to an inner room; a door, right, to the street._
-
-
-
-
-HEARTS TO MEND
-
-
-(_Pierrette is heard singing a lullaby in the next room._)
-
-  Old Mister Moon is sinking to rest--
-    Sleep, kittikins, sleep!
-  The whispery winds have died in the west--
-    Sleep--kittikins--sleep!
-
-(_She comes in, holding a babe in her arms; sings--very softly._)
-
-  Up in the sky are the firefly stars--
-    Sleep, kittikins, sleep!
-  Father will catch them in crystal jars--
-    Sleep--kittikins--sleep!
-
-(_She lays the babe in its crib, the while softly humming the tune.
-Then she draws the screen about the bed. Meantime she casts anxious
-glances at the moody Pierrot. The babe asleep, she runs to Pierrot,
-kneeling at his side._)
-
-PIERRETTE
-
-Tired, sweetheart?
-
-PIERROT (_indifferently_)
-
-Oh--I guess so.
-
-PIERRETTE
-
-And famished, isn’t that it?
-
-  Kettle not boiling,
-    And table unset;
-  And hungry man waiting
-    For slow Pierrette!
-
-It’ll all be on the table, dear, in just the littlest minute.
-
-PIERROT
-
-Oh, it’s not supper.
-
-PIERRETTE
-
-Not supper?
-
-PIERROT
-
-No.
-
-PIERRETTE (_solicitously_)
-
-You haven’t caught cold, Pierrot? You know I told you to wear your
-woolen muffler and put on your rain shoes. For a man of your superior
-intelligence, you are _so_ careless!
-
-PIERROT
-
-(_getting up with irritation and walking away_)
-
-Oh, let me alone, Pierrette! You wouldn’t understand. Get some supper
-for yourself. I don’t want any.
-
-(_She looks at him troubled for a moment. Then she runs to him, puts
-her hands on his breast._)
-
-PIERRETTE
-
-Pierrot.
-
-PIERROT
-
-Well?
-
-PIERRETTE
-
-(_pointing an accusing finger at him slowly_)
-
-You--haven’t--been--to--see--your--bank--account--again?
-
-(_Pierrot shakes his head gloomily._)
-
-PIERRETTE
-
-Oh yes you have! Don’t deny it! And worrying yourself to death about
-expenses. But Pierrot--things aren’t nearly as bad as you think they
-are. I’m doing all my own work--even the washing and the ironing--and
-Pierrot!--I’ve got a scheme! We’ll take a boarder!
-
-PIERROT (_disgusted_)
-
-Boarder! Ugh!
-
-PIERRETTE
-
-Why not, sweetheart? Of course, we’d have to talk to him at mealtimes,
-I suppose. And you couldn’t kiss me across the table as you used to....
-(_Suddenly, with a catch_) Do you know, Pierrot, you haven’t kissed me
-across the table for--oh--ever so long!
-
-PIERROT (_struggling with himself_)
-
-Pierrette....
-
-PIERRETTE
-
-Yes, dear.
-
-PIERROT (_trying to get it out--then in despair_)
-
-Oh, what’s the use. I can’t tell it to you.
-
-PIERRETTE (_troubled_)
-
-Why, what is it, Pierrot? You’ve lost something?
-
-PIERROT (_quickly_)
-
-Yes--that’s it. I’ve lost something--the only thing I had,
-Pierrette--my song!
-
-PIERRETTE
-
-Ah, the silly people didn’t laugh to-day--that’s it?
-
-  Silly, silly people,
-  Staring at a steeple;--
-
-And you’re all in the dumps, Pierrot? Isn’t that the trouble?
-
-PIERROT
-
-They didn’t laugh to-day, Pierrette; and they didn’t laugh yesterday.
-They haven’t laughed for a long time--not as they used to. (_Most
-gloomily_) And three of my songs have come back from the editors!
-
-PIERRETTE (_defending him_)
-
-But who cares for editors, Pierrot? They’re such stupid creatures! Some
-day you’ll write a great song that everybody’ll love; and then you’ll
-see all the foolish little editors bringing you velvets and gold.
-
-PIERROT (_in gloom_)
-
-No. The editors are right. The people are right. Something’s gone out
-of me. I’m not the same as I was before--before--How long have we been
-married, Pierrette?
-
-PIERRETTE
-
-Just three tiny years!
-
-PIERROT (_sighing_)
-
-Only three years! (_Then bitterly--to Pierrette_) Here!--I’ll give you
-a sign. Look! (_He walks with flat, listless feet up and down the room;
-then speaks, with a hopeless sob in his voice_) I no longer walk on my
-toes! See! Flat--like that! No songs ever walked that way! Songs?
-No--here’s the way--
-
-(_He rises momentarily to his toes and sings._)
-
-  Oh, a merry, merry fellow,
-  And a sweet, fair maid,
-  Danced on the meadow in the gypsy time--
-  Said the merry, merry fellow
-  To the sweet, fair maid--
-
-(_He breaks off._)
-
-PIERROT (_hopeless_)
-
-No--I can’t do it. It’s gone out of me. (_Desperately_) Pierrette--I’ve
-come to a conclusion. I ought never to have married!
-
-PIERRETTE (_suddenly stabbed_)
-
-Oh, Pierrot, it’s been the most beautiful thing in all the world!
-
-PIERROT
-
-That’s because you’re a woman, Pierrette, and not an artist.
-
-PIERRETTE
-
-But _you_ said it was the most beautiful thing in all the world,
-Pierrot.
-
-PIERROT (_vaguely_)
-
-Did I? That was long ago. You don’t understand, Pierrette. Women never
-do. Life to them is a little cage in which they sit all day long and
-sing tiny songs about tea and muffins. Men are different. Put them in a
-cage and they sing for a day. Then they begin to droop.
-
-PIERRETTE (_hurt_)
-
-So you want to go away, Pierrot?
-
-PIERROT (_passionately_)
-
-I want to capture it again--the power, the thrill, the fire of song!
-
-PIERRETTE
-
-And you would capture it if--if I--(_looking toward the screen which
-hides the crib_) if we--were not here?
-
-PIERROT (_flinging out his arms in despair_)
-
-Oh, I’m a brute, Pierrette! I don’t know. I’m gone stale--that’s the
-trouble. I’m done for--all these worries and things. I’ll sit at home,
-I guess, and darn socks!
-
-(_He flings himself into his chair. Pierrette moves quietly about,
-putting his tea on the table. She sets tea only for one._)
-
-PIERRETTE (_handing him his cup_)
-
-There, sweetheart. Your tea.
-
-PIERROT (_stirring himself_)
-
-Aren’t you going to have some, too?
-
-PIERRETTE (_controlling her voice and with her back half turned to
-him as she goes to the other room_)
-
-Oh no, dear; I’ve had lots of tea this afternoon. I’m not hungry.
-Besides, I’m late with the cleaning up. I’ll be gone only a minute.
-
-(_She goes out quickly. Pierrot makes to rise and follow her; then,
-with a hopeless wave of the hand, sinks back into the chair. He drinks
-his tea moodily. There is a voice outside_)--
-
-  “Tins to mend! Tins to mend!”
-
-(_A knock at the door and the Tins-to-mend man enters._)
-
-MAN (_taking off his cap, half humorously, half apologetically_)
-
-Any tins to mend, sir?
-
-PIERROT (_grimly_)
-
-Nothing as easy as that in this house. It’s hearts to mend here!
-
-MAN (_slinging off his pack_)
-
-Hearts to mend?--oho--I do that, too! Truth is (_confidentially_), it’s
-come to be my main business. For if you’d believe it, there’s more
-hearts to mend and souls to mend than pots and kettles to mend in this
-old world of ours. Fact, my dear sir, fact! (_Sits down_) And you can’t
-throw hearts away when they begin to show wear--now can you?--like you
-throw away an old pot? No siree! (_Impressively_) You got to mend ’em.
-And there’s tricks about mendin’ them, sir--tricks in all trades, say
-I. You can mend ’em so’s they’s worse’n they was in the beginning.
-And you can mend ’em so careful and so clever, you can’t tell they
-was ever mended at all. In fact, I’ve mended some of them so they was
-better that way than they was in the beginning. Seems curious, but it’s
-true. If there was a kettle now you wanted me to work on while I was
-talkin’, it’d keep me busy.
-
-(_Pierrot looks about; gets up and tosses him a kettle._)
-
-PIERROT
-
-There! Bang away at that!
-
-(_He sits down again. The Tins-to-mend man hammers away for awhile,
-Pierrot watching him gloomily._)
-
-MAN
-
-You see--pots and kettles is curious things. Y’ can’t just let ’em set
-there and be. They rust. That’s what they do. Y’ got t’ keep shinin’
-’em--keep polishin’ ’em up. And they like it, sir--oh, they do! They
-kinda get a hold on life. And when they hang in your kitchen all bright
-and happy like, they just seem to sing away like birds. Now you’re a
-singer, sir--why don’t you make a song about that?
-
-PIERROT
-
-I can’t sing any more.
-
-MAN
-
-Lost your voice, sir?
-
-PIERROT
-
-No--worse than that--I’m married!
-
-MAN (_solicitously_)
-
-That’s bad, sir; that’s bad--if you’re not married right. They take it
-out of a man, them wicked ones!
-
-PIERROT (_firing up_)
-
-Who said she was a wicked one?
-
-MAN
-
-But if she’s good--
-
-PIERROT (_hopelessly_)
-
-Ah, that’s the trouble. She’s good. A man can’t live on goodness alone.
-It gets on his nerves.
-
-MAN
-
-And what else should he live on?
-
-PIERROT (_passionately_)
-
-Thrills--passions--longings! The kisses that make dreams--the touches
-of hands that make the songs come tumbling out of you--
-
-MAN (_laughing_)
-
-Oho, but it ought to be easy enough for a handsome young master like
-you to get those things!
-
-PIERROT
-
-It’d break her heart.
-
-MAN (_lifting his eyes_)
-
-Then you’re fond of her, sir?
-
-PIERROT (_roughly_)
-
-Of course I’m fond of her. That’s just the trouble! (_pause_) But
-I’m tired to death of her--and that’s the trouble, too. First, when
-I loved her, just a peep of her out of a window would set my heart
-dancing. Now, when I see her--it’s just like seeing--the butcher
-boy--or the bakeshop woman. (_Rises excitedly_) I tell you when things
-are like that, something’s got to be done. An artist can’t live
-that way. Ordinary men can. All they want of their wives is to be
-cushions--soft--so’s they can go to sleep. Artists are different. They
-want the sky and all the quivering stars in the sky. When they marry
-(_he makes a grimace_)--it’s good-bye to the stars!
-
-MAN (_looking at him quizzically_)
-
-Did you ever think, sir, why the night was made--with them stars you
-talk of?
-
-PIERROT
-
-Why was the night made?
-
-MAN
-
-Or why there’s settin’ o’ the sun and risin’ o’ the sun?
-
-PIERROT
-
-Why is there setting of the sun and rising of the sun?
-
-MAN
-
-Well--I don’t exactly know myself. But I seem to figger it out this
-way. Think of what it’d be, I says to myself, if there was all just
-one long day. Always day and day and day. Always the same glary light
-starin’ y’ in the eye--borin’ into your brain--so’s y’ couldn’t shut it
-out from y’; so’s y’ couldn’t get away from it; so’s y’ couldn’t watch
-the shadders come stealin’ along, the sun a-settin’ and the twinklin’
-stars a-comin’ out--and so’s y’ couldn’t stretch yourself out and
-sleep--and so’s y’ couldn’t all of a sudden wake and hear the birds
-chirpin’ and a new day come! Ah, it’s that, sir--it’s the comin’ of the
-new day that makes life the grand thing it is--the comin’ of the new
-day _every_ day!
-
-PIERROT (_wonderingly_)
-
-The coming of the new day every day?
-
-MAN
-
-Just that. It’s a grand plan, sir! Keeps the world young. You try it.
-
-PIERROT
-
-Try it? What do you mean? I’m not the sun.
-
-MAN
-
-Ah, but you can be--and starlight and moonlight! How long was it--now
-tell me--since the thought came to you in the morning--I’ll bring
-her--I’ll bring her a vi’let? Oho--I know--(_sings_)
-
-  Sweet was the honeymoon,
-    Swift it passed away--
-  Now we’re steady married folk--
-    Day after day.
-
-It’s only for a short time--in the beginning--that every day’s a new
-day. After that it’s just always the same--always the same--and no
-risin’ o’ the sun in the mornin’--no chirp of birds--and no singin’ in
-the heart.
-
-PIERROT
-
-You mean--
-
-MAN (_roguishly, bending to his task_)
-
-I mean there’s a good way to mend kettles and a bad way, sir; and when
-the kettles are singin’ and the fires are burnin’ under them--Oho--but
-there’s more hearts than kettles!
-
-(_Pierrot stands thinking._)
-
-PIERROT (_to himself_)
-
-I used to bring her things--a little red cloak I once brought her. Oh,
-she was happy! I remember that day. I made a song about it.
-
-MAN (_hammering away--sings_)
-
-  Tins to mend,
-  And hearts to tend;
-  Hearts and tins
-  Have outs and ins!
-
-PIERROT (_continuing--to himself_)
-
-It was one of my very best songs. And she was so happy! (_Suddenly_)
-Why--I’ve forgotten all about her lately! Even her birthday! She had to
-remind me of it! Poor Pierrette!
-
-MAN (_sings_)
-
-  Outs and ins;
-  Outs and ins;
-  That’s where the trouble
-  Of life begins!
-
-(_Pierrot looks up. His eyes suddenly grow bright with an idea._)
-
-PIERROT (_rising to his toes--running to the Tins-to-Mend Man_)
-
-I have it, old fellow--I have it! There’s a shop--just a step away. I
-know something she wants there. I’m going to get it for her!
-
-  My purse it is lean;
-    My purse it is lank;
-  But who cares a flip
-    For the state of my bank!
-
-(_He dances delighted._)
-
-Come--are you finished? I’ve got to hurry. She’s gone off into that
-room to clear up. She’ll be coming back any minute.
-
-MAN (_looking up smiling--handing him the kettle_)
-
-It’s mended. Better than it ever was!
-
-(_Pierrot takes the kettle--runs to the shelf and puts it away. To the
-Man--_
-
-PIERROT
-
-Come now, come!
-
-MAN (_gathering up pack_)
-
-I’m coming. (_Sings_)--
-
-  Life’s a joy
-    When turned about;
-  In to in
-    And out to out.
-
-PIERROT (_putting on cloak_)
-
-If I hurry now, I’ll have it here before she’s through with her work;
-it’s a beauty--it’s a beauty (_dances exultant_).
-
-  My pockets are slimpsy as pockets can be;
-  And short is the space twixt the poorhouse and me;
-  But while there’s a copper that hasn’t been spent,
-  I’ll mortgage my shoes for the price of the rent!
-
-(_They both make their exit as Pierrot sings._)
-
-_After a moment, Pierrette opens the inner door softly, and seeing that
-no one is there, steps in. She has on a cloak and a hood over her head.
-She is very sad._
-
-_She first takes the tea things from the table. Then, hesitating, she
-goes to the screen, pulling it softly aside. She leans over the crib
-for a merest moment. Then she pulls the screen to again, whispering:_
-
-  Up in the sky are the firefly stars;
-    Sleep, Kittikins, sleep!
-  Father will catch them in crystal jars--
-
-PIERRETTE
-
-Yes, Kittikins, we must let father. Father can make such beautiful
-songs. We must not stand in his way, Kittikins--we love him so.
-
-(_She goes to the shelf and gets down a sheet of paper, the ink horn
-and a quill pen--takes them to the table, sits and writes._)
-
-PIERRETTE
-
-We’ll just write this: “Mother Merle--will--take--Kittikins.--She--
-loves--her.--Good-bye--Sweetheart.” We’ll leave it here.
-
-(_She folds it and lays it on the table. She half goes once more to the
-crib; but she controls herself. Then, as she goes to the door, she half
-turns, looks at Pierrot’s chair, and sings softly_)--
-
-  Love comes in, a-tip-toe, laughing;
-    Love trails out with leaden feet--
-  Love that’s here to-day may leave us,
-    Banished in a windy street.
-
-  I shall love you always, always--
-    Sweetheart, through the endless years;
-  I shall love you with my heartaches;
-    I shall love you with my tears.
-
-(_She goes out into the night._)
-
-(_After a time Pierrot comes hurrying in. His eyes are dancing. His
-toes are dancing. He peeks about to see if she is there. Then he makes
-to hide his package under the stool, but thinks better of it. He runs
-to the screen, but again decides against the place. He looks about and
-considers. An idea strikes him and he takes off his peaked hat and
-drops the package into that. But again he decides against it. At last,
-with a sudden inspiration, he runs to the pewter pot._)
-
-PIERROT (_gleeful_)
-
-She’ll use that to-night when she warms Kittikins’ milk. A great idea!
-Oh, she’ll be surprised! And I’ll just pretend I know nothing about it!
-I’ll be reading in my book--or writing--making faces at my paper--and
-I’ll see her out of the corner of my eye--
-
-  Hi, hi--
-    Pierrette, hot!--
-  Peep behind
-    The pewter pot!
-
-She’ll take the pot away. She’ll find the package! She’ll open it! Then
-she’ll just go all red and white--I can see her in my mind’s eye--and
-she’ll run over to me--
-
-(_He sees the paper on the table; reads it._)
-
-PIERROT
-
-Pierrette! (_He runs to the door of the inner room_) Pierrette! (_He
-runs to the street door_) Pierrette! (_Then he runs back for his hat;
-but just as he makes to follow her, the meaning of it comes over
-him. He drops his hat. He goes slowly to the table, dropping into
-his chair_) It’s right. It’s what ought to be. She was a wisp of
-sunlight--a night of stars--she was birds singing and summer winds. She
-was Pierrette!--(_With a sob_) And I drove her away!
-
-(_He sinks into the chair, his head on his arms. There is a pause. The
-door opens softly. Pierrette peeps in. Seeing Pierrot all crumpled up,
-she tiptoes toward him a few steps, stretching out her arms yearningly.
-But she controls herself, tiptoes a few steps towards the crib, blows
-a kiss to the baby and turns to go out again. Pierrot lifts his head
-suddenly, sees her and jumps up. Pierrette tries to escape him._)
-
-PIERROT (_catching her in his arms_)
-
-Pierrette!
-
-PIERRETTE
-
-Oh, Pierrot, I just came back for the littlest look. I couldn’t help
-it. I’ll go now.
-
-PIERROT
-
-But Pierrette, look! _(He dances about)_ It’s all come back again! I’ve
-got a new song singing in me, Pierrette! It’s the best song yet. It’ll
-make me famous!
-
-  The editors will flock to me,
-    Exactly as you said--
-  A-bringing gold and velvets
-    And a-swelling of my head!
-
-(_He tries to take her cloak off._)
-
-PIERROT (_coaxingly_)
-
-Pierrette, please stay!
-
-PIERRETTE
-
-No, no--it was _because_ I went away, don’t you see? That’s how you
-found your song. You’re right, Pierrot--wives _ought_ to go away.
-
-PIERROT
-
-But they ought to come back again, too, Pierrette!
-
-PIERRETTE
-
-Only for a tiny look, Pierrot. They’d like--oh yes, they’d like to
-stay. But if they’re wise--ah no--Good-bye!
-
-(_She starts to go. Pierrot runs after her._)
-
-PIERROT
-
-Pierrette--if you _must_ go--wait--(_mysteriously_)--there’s something
-here for you.
-
-PIERRETTE
-
-Something for me?
-
-PIERROT
-
-Something for you.
-
-PIERRETTE
-
-Where is it?
-
-PIERROT (_teasingly_)
-
-  Perhaps it’s on the ceiling,
-    Perhaps it’s on the floor;
-  Perhaps it’s gone to visit the moon,
-    And won’t be back till four!
-
-PIERRETTE
-
-Oh, Pierrot, don’t tease! Where is it?
-
-PIERROT (_more teasingly_)
-
-Guess!
-
-PIERRETTE
-
-Is it--is it--behind the screen?
-
-PIERROT
-
-Guess again.
-
-PIERRETTE
-
-Is it--is it--under the clock?
-
-PIERROT
-
-Guess again.
-
-PIERRETTE
-
-Is it--is it--under your hat?
-
-PIERROT
-
-Guess again.
-
-PIERRETTE
-
-Is it--is it--ah--I know where it is. It’s behind the pewter pot!
-
-PIERROT
-
-Right!
-
-(_She runs up and gets the package, opens it and discovers a necklace
-of gay, red beads._)
-
-PIERRETTE
-
-Why--Pierrot--for me?
-
-PIERROT (_making believe to consider_)
-
-Well, that depends. I thought it was for you. But if you’re going
-away--
-
-PIERRETTE
-
-But why did you get it for me?
-
-PIERROT
-
-Do you want to know, sweetheart?
-
-PIERRETTE
-
-Yes.
-
-Pierrot (_dances_)
-
-  Old Mister Pierrot
-    Went to a shop;
-  Then he came back again--
-    Hop--skip--hop!
-
-PIERRETTE
-
-But that isn’t the _reason_, Pierrot. Be sensible.
-
-PIERROT (_continues_)
-
-  Old Mister Pierrot
-    Was blue, blue, blue--
-  Along came a tinker-man
-    And showed him what to do!
-
-PIERROT
-
-Pierrette, I’ve come to a conclusion!
-
-PIERRETTE (_apprehensively_)
-
-Not another conclusion, Pierrot?
-
-PIERROT
-
-Yes. I’m great on conclusions. It’s this: that most husbands, with
-adorable wives, are donkeys!
-
-PIERRETTE
-
-Oh, but I knew that long ago--ever since I married you.
-
-PIERROT
-
-You knew it all that time?
-
-PIERRETTE
-
-Of course.
-
-PIERROT
-
-Then how were you able to put up with me?
-
-PIERRETTE
-
-Oh, I knew you’d discover it some day; and when you did discover it,
-you’d be such a _nice_ donkey. Pierrot, I’ve come to a conclusion
-myself!
-
-PIERROT (_apprehensively_)
-
-You, too, Pierrette? What is it?
-
-PIERRETTE
-
-That most wives, with clever husbands, are silly geese!
-
-PIERROT (_heartily_)
-
-Why, I’ve known that, Pierrette, ever since I married _you_. I didn’t
-think I ought to tell you, though.
-
-PIERRETTE
-
-And I don’t blame you, Pierrot--not for a minute--for wanting me to go
-away.
-
-PIERROT (_fervently_)
-
-I want you back, now!
-
-PIERRETTE
-
-But I _am_ going away, Pierrot!
-
-PIERROT
-
-Pierrette!
-
-PIERRETTE
-
-Not now, Pierrot--but some time!
-
-(_As the curtain falls, they bend quickly toward each other, their
-hands stretched out behind, and kiss._)
-
-
-
-
-Four Plays of the Free Theater:
-
-
-  “The Fossils,” “The Serenade,” “Francoise’ Luck,” “The Dupe.”
-
-Authorized Translation with Introduction by BARRETT H. CLARK
-
-_The Contents of this Volume are_:
-
-  Preface by----Brieux
-  Antoine and the Free Theater, by Barrett H. Clark.
-
-_The Fossils_, by Francois de Curel. Rather short three-act play, first
-produced in 1892. Time, the present. A problem play of family pride and
-desire to perpetuate itself. Characters: The Duke de Chartmelle, Robert
-de Chartmelle, Nicolas, a Farmer, a Country Neighbor, a Servant, Claire
-de Chartmelle, Helen Vatrin, a Nun.
-
-_The Serenade_, by Jean Jullien, a Bourgeois Study in three rather
-short acts; first produced in 1887. Characters: Theodore Cottin,
-Calixte Poujade, Maxine Champanet, Prosper Poujade, Dumoulin, Fournier,
-Nathelie Cottin, Genevieve Cottin, Celina Roulard, Leocadie, Dumoulin,
-Clemma, Dodo.
-
-_Francoise’ Luck_, by Georges de Porto-Riche. Medium length, one-act
-comedy; first produced in 1888. Characters: Marcel Desroches, Guerin,
-Jean, Francois, Maseleine.
-
-_The Dupe_, by Georges Ancey, a comedy in five short acts; first
-produced in 1891. Characters: Albert, Madame Viot, Adele, Marie.
-
-_Handsomely bound and uniform with S. & K. Dramatic Series, Net, $2.50.
-¾ Turkey Morocco, Net, $8.50._
-
-  STEWART & KIDD COMPANY
-  Publishers      Cincinnati, U. S. A.
-
-
-
-
-SHORT PLAYS
-
-BY MARY MACMILLAN
-
-
-To fill a long-felt want. All have been successfully presented.
-Suitable for Women’s Clubs, Girls’ Schools, etc. While elaborate enough
-for big presentation, they may be given very simply.
-
-This volume contains ten Plays:
-
-_The Shadowed Star_ has six women, one boy; may all be taken by women.
-Time, present. Scene, in a tenement Christmas Eve. One act, 45 minutes.
-
-_The Ring._ Costume play. Time, days of Shakespeare. Three women, seven
-men. Scene, interior. One act, 45 minutes.
-
-_The Rose._ One woman, two men. Time, Elizabethan. Scene, castle
-interior. One act, 30 minutes. Song introduced.
-
-_Luck._ Four short acts. Time, present. Interior scene. Seven women,
-six men. Comedy.
-
-_Entre’ Acte._ Costume play. Time, present. Scene, interior. Two women,
-one man. Contains a song. One act.
-
-_A Woman’s a Woman for A’ That._ Time, present. Interior scene. One
-act, 45 minutes. Three women, two men. Comedy.
-
-_A Fan and Two Candlesticks._ Costume play, Colonial times. Scene,
-interior. Two men, one woman. One act, 20 to 30 minutes. Written in
-rhymed couplets.
-
-_A Modern Masque._ Time, present. Scene, outdoors. Fantastic, written
-in prose and verse. Costume play in one act, 30 minutes or more. Four
-women, three men.
-
-_The Futurists._ One-act farce, of the first woman’s club of the early
-eighties. Interior. Forty-five minutes. Eight women.
-
-_The Gate of Wishes._ One-act fantasy. Outdoors. Half hour. One girl,
-one man. Singing voices of fairies.
-
-  _Handsomely bound and uniform with S. & K. Dramatic Series. 12mo.
-  Cloth, Net, $2.50; ¾ Turkey Morocco, Net, $8.50._
-
-
-  STEWART & KIDD COMPANY
-  Publishers      Cincinnati, U. S. A.
-
-
-
-
-MORE SHORT PLAYS
-
-BY MARY MACMILLAN
-
-
-Plays that act well may read well. Miss MacMillan’s Plays are good
-reading. Nor is literary excellence a detriment to dramatic performance.
-
-This volume contains eight Plays:
-
-_His Second Girl_. One-act comedy, just before the Civil War. Interior,
-45 minutes. Three women, three men.
-
-_At the Church Door_. Fantastic farce, one act, 20 to 30 minutes.
-Interior. Present. Two women, two men.
-
-_Honey_. Four short acts. Present, in the southern mountains. Same
-interior cabin scene throughout. Three women, one man, two girls.
-
-_The Dress Rehearsal of Hamlet_. One-act costume farce. Present.
-Interior. Forty-five minutes. Ten women taking men’s parts.
-
-_The Pioneers_. Five very short acts. 1791 in Middle-West. Interior.
-Four men, five women, five children, five Indians.
-
-_In Mendelesia, Part I_. Costume play, Middle Ages. Interior. Thirty
-minutes or more. Four women, one man-servant.
-
-_In Mendelesia, Part II_. Modern realism of same plot. One act.
-Present. Interior. Thirty minutes. Four women, one maid-servant.
-
-_The Dryad_. Fantasy in free verse, one act. Thirty minutes. Outdoors.
-Two women, one man. Present.
-
-These plays, as well as SHORT PLAYS, have been presented by clubs and
-schools in Boston, New York, Buffalo, Detroit, Cleveland, New Orleans,
-San Francisco, etc., and by the Portmanteau Theatre, the Chicago Art
-Institute Theatre, the Denver Little Art Theatre, at Carmel-by-the-Sea
-in California, etc.
-
-  _Handsomely bound and uniform with S. & K. Dramatic Series. 12mo.
-  Cloth. Net, $2.50; ¾ Turkey Morocco, Net, $8.50._
-
-
-  STEWART & KIDD COMPANY
-  Publishers      Cincinnati, U. S. A.
-
-
-
-
-_A Notable Achievement_
-
-
-European Theories of the Drama
-
-AN ANTHOLOGY OF DRAMATIC THEORY AND CRITICISM FROM ARISTOTLE TO
-THE PRESENT DAY, IN A SERIES OF SELECTED TEXTS, WITH COMMENTARIES,
-BIOGRAPHIES AND BIBLIOGRAPHIES
-
-BY BARRETT H. CLARK
-
-AUTHOR OF
-
-“CONTEMPORARY FRENCH DRAMATISTS,” “THE CONTINENTAL DRAMA OF TODAY,”
-“BRITISH AND AMERICAN DRAMA OF TODAY,” ETC., ETC.
-
-A book of paramount importance. This monumental anthology brings
-together for the first time the epoch-making theories and criticisms
-of the drama which have affected our civilization from the beginnings
-in Greece down to the present day. Beginning with Aristotle, each
-utterance on the subject has been chosen with reference to its
-importance, and its effect on subsequent dramatic writing. The texts
-alone would be of great interest and value, but the author, Barrett H.
-Clark, has so connected each period by means of inter-chapters that his
-comments taken as a whole constitute a veritable history of dramatic
-criticism, in which each text bears out his statements.
-
-Nowhere else is so important a body of doctrine on the subject of
-the drama to be obtained. It cannot fail to appeal to anyone who is
-interested in the theater, and will be indispensable to students.
-
-The introduction to each section of the book is followed by an
-exhaustive bibliography; each writer whose work is represented is made
-the subject of a brief biography, and the entire volume is rendered
-doubly valuable by the index, which is worked out in great detail.
-
-_Prof. Brander Matthews_, of Columbia University, says: “Mr. Clark
-deserves high praise for the careful thoroughness with which he has
-performed the task he set for himself. He has done well what was
-well worth doing. In these five hundred pages he has extracted the
-essence of several five-foot shelves. His anthology will be invaluable
-to all students of the principles of playmaking; and it ought to be
-welcomed by all those whose curiosity has been aroused by the frequent
-references of our latter-day theorists of the theater to their
-predecessors Aristotle and Horace, Castelvetro and Scaliger, Sidney
-and Jonson, d’Aubignac and Boileau, Lessing and Schlegel, Goethe and
-Coleridge.”
-
-_Wm. Lyon Phelps_, of Yale University, writes: “Mr. Clark’s book,
-‘European Theories of the Drama,’ is an exceedingly valuable work and
-ought to be widely useful.”
-
-_Large 8vo, 500 pages. Net, $5.00; ¾ Turkey Morocco, Net, $12._
-
-
-  STEWART & KIDD COMPANY
-  Publishers      Cincinnati, U. S. A.
-
-
-
-
-The Portmanteau Plays
-
-BY STUART WALKER
-
-Edited and with an introduction by Edward Hale Bierstadt
-
-
-_=Brooklyn Eagle=_: “All of the plays in these attractive maroon
-volumes are literary without being pedantic, and dramatic without
-being noisy. They are a genuine addition to the steadily growing list
-of worthwhile plays by American dramatists. Stewart & Kidd are to be
-congratulated on presenting them to the public in such attractive
-format.”
-
-  Vol. 1--Portmanteau Plays
-        Introduction
-        The Trimplet
-        Nevertheless
-        Six Who Pass While the Lentils Boil
-        Medicine Show
-
-  Vol. 2--More Portmanteau Plays
-        Introduction
-        The Lady of the Weeping Willow Tree
-        The Very Naked Boy
-        Jonathan Makes a Wish
-
-        To be issued shortly
-
-  Vol. 3--Portmanteau Adaptations
-        Introduction
-        Gammer Gurton’s Needle
-        The Birthday of the Infanta
-        “Seventeen”
-
-  _Each of the above volumes handsomely bound and illustrated. Per
-  volume net, in Silk Cloth $2.50; ¾ Turkey Morocco $8.50_
-
-
-  Stewart & Kidd Company
-  Publishers      Cincinnati, U. S. A.
-
-
-
-
-TRANSCRIBER’S NOTES:
-
-
-  Italicized text is surrounded by underscores: _italics_.
-
-  Obvious typographical errors have been corrected.
-
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-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Hearts to mend, by Harry A. Overstreet</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world 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>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Hearts to mend</p>
-<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>A fantasy in one act</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Harry A. Overstreet</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: August 15, 2022 [eBook #68761]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, David E. Brown, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK HEARTS TO MEND ***</div>
-
-<div class="figcenter hide"><img src="images/coversmall.jpg" width="450" alt="" /></div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="blockquot">
-<p class="ph1"><i>TO BE PUBLISHED SHORTLY</i></p>
-
-<p class="ph2">Fifty Contemporary One-Act Plays</p>
-
-<p class="ph1"><i>Edited by Frank Shay and Pierre Loving</i></p>
-
-<p class="center">This volume contains FIFTY REPRESENTATIVE ONE-ACT
-PLAYS of the MODERN THEATRE, chosen from the dramatic
-works of contemporary writers all over the world.</p>
-
-<p class="center">THE CONTENTS ARE</p>
-
-<div class="poetry-container">
-<div class="poetry">
-
-<p>AUSTRIA:</p>
-
-<div class="blockquot2">
-
-<p>Schnitzler (Arthur)—</p>
-</div>
-
-<p>BELGIUM:</p>
-
-<div class="blockquot2">
-
-<p>Maeterlinck (Maurice)—The Intruder</p>
-</div>
-
-<p>BOLIVIA:</p>
-
-<div class="blockquot2">
-
-<p>More (Federico)—Interlude</p>
-</div>
-
-<p>FRANCE:</p>
-
-<div class="blockquot2">
-
-<p>Ancey (George)—M. Lamblin</p>
-
-<p>Porto-Riche (Georges)—Francoise’s
-Luck</p>
-</div>
-
-<p>GERMANY:</p>
-
-<div class="blockquot2">
-
-<p>Ettlinger (Karl)—Altruism</p>
-
-<p>von Hofmansthal (Hugo)—Madonna
-Dianora</p>
-
-<p>Wedekind (Frank)—The Tenor</p>
-</div>
-
-<p>GREAT BRITAIN:</p>
-
-<div class="blockquot2">
-
-<p>Bennett (Arnold)—A Good Woman</p>
-
-<p>Calderon (George)—The Little Stone
-House</p>
-
-<p>Cannan (Gilbert)—Mary’s Wedding</p>
-
-<p>Dowson (Ernest)—The Pierrot of the
-Minute</p>
-
-<p>Ellis (Mrs. Havelock)—The Subjection
-of Kezia</p>
-
-<p>Hankin (St. John)—The Constant
-Lover</p>
-</div>
-
-<p>INDIA:</p>
-
-<div class="blockquot2">
-
-<p>Mukerji (Dhan Gopal)—The Judgment
-of Indra</p>
-</div>
-
-<p>IRELAND:</p>
-
-<div class="blockquot2">
-
-<p>Gregory (Lady)—The Workhouse Ward</p>
-</div>
-
-<p>HOLLAND:</p>
-
-<div class="blockquot2">
-
-<p>Speenhoff (J. H.)—Louise</p>
-</div>
-
-<p>HUNGARY:</p>
-
-<div class="blockquot2">
-
-<p>Biro (Lajos)—The Grandmother</p>
-</div>
-
-<p>ITALY:</p>
-
-<div class="blockquot2">
-
-<p>Giacosa (Giuseppe)—The Rights of the
-Soul</p>
-</div>
-
-<p>RUSSIA:</p>
-
-<div class="blockquot2">
-
-<p>Andreyev (Leonid)—Love of One’s
-Neighbor</p>
-
-<p>Tchekoff (Anton)—The Boor</p>
-</div>
-
-<p>SPAIN:</p>
-
-<div class="blockquot2">
-
-<p>Benevente (Jacinto)—His Widow’s
-Husband</p>
-
-<p>Quinteros (Serafina and Joaquin
-Alvarez)—A Sunny Morning</p>
-</div>
-
-<p>SWEDEN:</p>
-
-<div class="blockquot2">
-
-<p>Strindberg (August)—The Creditor</p>
-
-<p>Wied (Gustave)—Autumn Fires</p>
-</div>
-
-<p>UNITED STATES:</p>
-
-<div class="blockquot2">
-
-<p>Beach (Lewis)—Brothers</p>
-
-<p>Cowan (Sada)—In the Morgue</p>
-
-<p>Crocker (Bosworth)—The Baby Carriage</p>
-
-<p>Cronyn (George W.)—A Death in Fever
-Flat</p>
-
-<p>Davies (Mary Carolyn)—The Slave with
-Two Faces</p>
-
-<p>Day (Frederic L.)—The Slump</p>
-
-<p>Flanner (Hildegarde)—Mansions</p>
-
-<p>Glaspell (Susan)—Trifles</p>
-
-<p>Gerstenberg (Alice)—The Pot Boiler</p>
-
-<p>Helburn (Theresa)—Enter the Hero</p>
-
-<p>Hudson (Holland)—The Shepherd in
-the Distance</p>
-
-<p>Kemp (Harry)—Boccaccio’s Untold
-Tale</p>
-
-<p>Langner (Lawrence)—Another Way
-Out</p>
-
-<p>Millay (Edna St. Vincent)—Aro da
-Capo</p>
-
-<p>Moeller (Philip)—Helena’s Husband</p>
-
-<p>MacMillan (Mary)—The Shadowed
-Star</p>
-
-<p>O’Neill (Eugene)—Ile</p>
-
-<p>Stevens (Thomas Wood)—The Nursery
-Maid of Heaven</p>
-
-<p>Stevens (Wallace)—Three Travelers
-Watch a Sunrise</p>
-
-<p>Tompkins (Frank G.)—Sham</p>
-
-<p>Walker (Stuart)—The Medicine Show</p>
-
-<p>Wellman (Rita)—For All Time</p>
-
-<p>Wilde (Percival)—The Finger of God</p>
-</div>
-
-<p>YIDDISH:</p>
-
-<div class="blockquot2">
-
-<p>Ash (Sholom)—Night</p>
-
-<p>Pinski (David)—Forgotten Souls</p>
-</div></div></div>
-
-<p class="center"><i>Large 8vo. Cloth. Gilt top.</i> <b>NET $5.00</b> <i>¾ Turkey Morocco</i> <b>NET $12.00</b></p>
-<hr class="tb" />
-
-<p class="ph2">STEWART &amp; KIDD COMPANY</p>
-<p class="ph1">PUBLISHERS  <span class="gap">    :-: </span><span class="gap">     CINCINNATI, U.S.A.</span></p>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="center">STEWART KIDD MODERN PLAYS<br />
-Edited by Frank Shay</p>
-
-<h1>HEARTS TO MEND</h1>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p class="ph1">Stewart Kidd Modern Plays</p>
-
-<p class="ph1">Edited by Frank Shay</p>
-</div>
-
-<div class="blockquot">
-<p class="drop-cap">TO MEET the immensely increased demands
-of the play-reading public and those
-interested in the modern drama, Stewart &amp; Kidd
-Company are issuing under the general editorship
-of Frank Shay a series of plays from the
-pens of the world’s best contemporary writers.
-No effort is being spared to secure the best
-work available, and the plays are issued in a
-form that is at once attractive to readers and
-suited to the needs of the performer and
-producer.</p>
-
-<p>From time to time special announcements will
-be printed giving complete lists of the Plays.
-Those announced thus far are:</p>
-
-<div class="blockquot">
-
-<p>SHAM, a Social Satire in One Act.</p>
-
-<div class="blockquot2">
-
-<p>By Frank G. Tompkins.</p>
-
-<p>Originally produced by Sam Hume, at the
-Arts and Crafts Theatre, Detroit.</p>
-</div>
-
-<p>THE SHEPHERD IN THE DISTANCE,
-a Pantomime in One Act. By Holland Hudson.</p>
-
-<div class="blockquot2">
-
-<p>Originally produced by the Washington Square
-Players.</p>
-</div>
-
-<p>MANSIONS, a Play in One Act.</p>
-
-<div class="blockquot2">
-
-<p>By Hildegarde Flanner.</p>
-
-<p>Originally produced by the Indiana Little
-Theatre Society.</p>
-</div>
-
-<p>HEARTS TO MEND, a Fantasy in One Act.</p>
-
-<div class="blockquot2">
-
-<p>By H. A. Overstreet.</p>
-
-<p>Originally produced by the Fireside Players,
-White Plains, N. Y.</p>
-</div>
-
-<p class="center">
-<i>Others to follow.</i><br />
-<i>Bound in Art Paper. Each net 50 cents.</i></p>
-</div></div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<div class="figcenter"><img src="images/titlepage.jpg" alt="" /></div>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="titlepage">
-<p class="ph2">HEARTS TO MEND</p>
-
-<p class="ph1">A FANTASY IN ONE ACT</p>
-
-<p class="center">By<br />
-HARRY A. OVERSTREET</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<p>HEARTS TO MEND was first produced by the FIRESIDE<br />
-PLAYERS, White Plains, N. Y., in April, 1919, with<br />
-the following cast:</p>
-</div></div>
-
-<table>
-<tr><td><b><span class="smcap">Pierrot</span>,</b></td><td>                     <i><b>James H. Wallace</b></i></td></tr>
-<tr><td><b><span class="smcap">Pierrette</span>,</b></td><td>                   <i><b>Millicent Ives</b></i></td></tr>
-<tr><td><b><span class="smcap">Tins-to-mend Man</span>,</b> &#160; &#160; &#160; &#160;</td><td> <i><b>G. W. Michelbacker</b></i></td></tr>
-</table>
-
-<div class="figcenter"><img src="images/titlepagelogo.jpg" alt="" /></div>
-
-<p class="center">CINCINNATI<br />
-STEWART &amp; KIDD COMPANY<br />
-PUBLISHERS</p>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="center">
-<span class="smcap">Copyright, 1920</span><br />
-<br />
-STEWART &amp; KIDD COMPANY</p>
-
-<hr class="tiny" />
-<p class="center"><i>All Rights Reserved</i><br />
-<br />
-<span class="smcap">Copyrighted in England</span></p>
-
-<div class="blockquot">
-<p>This play is fully protected by the copyright law, all requirements of
-which have been complied with. No performance, either professional or
-amateur, may be given without the written permission of the author or
-his representative, who may be addressed in care of the publishers,
-Stewart &amp; Kidd Company, Cincinnati, Ohio.</p>
-</div></div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak">HEARTS TO MEND</h2>
-</div>
-
-<div class="blockquot">
-<div class="hangingindent">
-
-<p><i>The Scene is the living room, dining room and
-kitchen—all in one—of Pierrot and Pierrette.
-It has the diminutive look of a toy house, and
-the immaculate spick-and-spanness. There are
-copper kettles and pots on shelves and blue and
-white plates and cups and saucers. There is a
-crib in the corner, left, with a screen that can
-be drawn about it. A table is at the right, front,
-by the side of which sits Pierrot, head in hands,
-elbows on knees, very gloomy. A door, left,
-leads to an inner room; a door, right, to the
-street.</i></p>
-</div></div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<span class="pagenum" id="Page_7">[7]</span>
-
-<p class="ph3">HEARTS TO MEND</p>
-</div>
-
-<div class="blockquot">
-<div class="blockquot2">
-<p>(<i>Pierrette is heard singing a lullaby in the next
-room.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Old Mister Moon is sinking to rest—</div>
-<div class="indent">Sleep, kittikins, sleep!</div>
-<div class="verse">The whispery winds have died in the west—</div>
-<div class="indent">Sleep—kittikins—sleep!</div>
-</div></div>
-
-<p>(<i>She comes in, holding a babe in her arms;
-sings—very softly.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Up in the sky are the firefly stars—</div>
-<div class="indent">Sleep, kittikins, sleep!</div>
-<div class="verse">Father will catch them in crystal jars—</div>
-<div class="indent">Sleep—kittikins—sleep!</div>
-</div></div>
-
-<p>(<i>She lays the babe in its crib, the while softly
-humming the tune. Then she draws the screen
-about the bed. Meantime she casts anxious
-glances at the moody Pierrot. The babe asleep,
-she runs to Pierrot, kneeling at his side.</i>)</p>
-</div>
-
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Tired, sweetheart?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>indifferently</i>)</p>
-<div class="blockquot2">
-<p>Oh—I guess so.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>And famished, isn’t that it?</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Kettle not boiling,</div>
-<div class="indent">And table unset;</div>
-<div class="verse">And hungry man waiting</div>
-<div class="indent">For slow Pierrette!</div>
-</div></div>
-
-<p><span class="pagenum" id="Page_8">[8]</span>It’ll all be on the table, dear, in just the littlest
-minute.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Oh, it’s not supper.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Not supper?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>No.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>solicitously</i>)</p>
-<div class="blockquot2">
-<p>You haven’t caught cold, Pierrot? You know
-I told you to wear your woolen muffler and put
-on your rain shoes. For a man of your superior
-intelligence, you are <i>so</i> careless!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>(<i>getting up with irritation and walking away</i>)</p>
-
-<p>Oh, let me alone, Pierrette! You wouldn’t understand.
-Get some supper for yourself. I
-don’t want any.</p>
-
-<p>(<i>She looks at him troubled for a moment. Then
-she runs to him, puts her hands on his breast.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Pierrot.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Well?</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>(<i>pointing an accusing finger at him slowly</i>)</p>
-
-<p>You—haven’t—been—to—see—your—bank—account—again?</p>
-
-<p>(<i>Pierrot shakes his head gloomily.</i>)</p>
-</div>
-<p><span class="pagenum" id="Page_9">[9]</span><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Oh yes you have! Don’t deny it! And worrying
-yourself to death about expenses. But
-Pierrot—things aren’t nearly as bad as you
-think they are. I’m doing all my own work—even
-the washing and the ironing—and Pierrot!—I’ve
-got a scheme! We’ll take a
-boarder!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>disgusted</i>)</p>
-<div class="blockquot2">
-<p>Boarder! Ugh!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Why not, sweetheart? Of course, we’d have
-to talk to him at mealtimes, I suppose. And
-you couldn’t kiss me across the table as you
-used to.... (<i>Suddenly, with a catch</i>) Do
-you know, Pierrot, you haven’t kissed me across
-the table for—oh—ever so long!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>struggling with himself</i>)</p>
-<div class="blockquot2">
-<p>Pierrette....</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Yes, dear.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>trying to get it out—then in despair</i>)</p>
-<div class="blockquot2">
-<p>Oh, what’s the use. I can’t tell it to you.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>troubled</i>)</p>
-<div class="blockquot2">
-<p>Why, what is it, Pierrot? You’ve lost something?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>quickly</i>)</p>
-<div class="blockquot2">
-<p>Yes—that’s it. I’ve lost something—the only
-thing I had, Pierrette—my song!</p>
-</div>
-<p><span class="pagenum" id="Page_10">[10]</span><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Ah, the silly people didn’t laugh to-day—that’s
-it?</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Silly, silly people,</div>
-<div class="verse">Staring at a steeple;—</div>
-</div></div>
-
-<p>And you’re all in the dumps, Pierrot? Isn’t
-that the trouble?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>They didn’t laugh to-day, Pierrette; and they
-didn’t laugh yesterday. They haven’t laughed
-for a long time—not as they used to. (<i>Most
-gloomily</i>) And three of my songs have come
-back from the editors!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>defending him</i>)</p>
-<div class="blockquot2">
-<p>But who cares for editors, Pierrot? They’re
-such stupid creatures! Some day you’ll write
-a great song that everybody’ll love; and then
-you’ll see all the foolish little editors bringing
-you velvets and gold.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>in gloom</i>)</p>
-<div class="blockquot2">
-<p>No. The editors are right. The people are
-right. Something’s gone out of me. I’m not
-the same as I was before—before—How long
-have we been married, Pierrette?</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Just three tiny years!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>sighing</i>)</p>
-<div class="blockquot2">
-<p>Only three years! (<i>Then bitterly—to Pierrette</i>)
-Here!—I’ll give you a sign. Look!</p>
-
-<p>(<i>He walks with flat, listless feet up and down<span class="pagenum" id="Page_11">[11]</span>
-the room; then speaks, with a hopeless sob in
-his voice</i>) I no longer walk on my toes! See!
-Flat—like that! No songs ever walked that
-way! Songs? No—here’s the way—</p>
-
-<p>(<i>He rises momentarily to his toes and sings.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Oh, a merry, merry fellow,</div>
-<div class="verse">And a sweet, fair maid,</div>
-<div class="verse">Danced on the meadow in the gypsy time—</div>
-<div class="verse">Said the merry, merry fellow</div>
-<div class="verse">To the sweet, fair maid—</div>
-</div></div>
-
-<p>(<i>He breaks off.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>hopeless</i>)</p>
-<div class="blockquot2">
-<p>No—I can’t do it. It’s gone out of me. (<i>Desperately</i>)
-Pierrette—I’ve come to a conclusion.
-I ought never to have married!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>suddenly stabbed</i>)</p>
-<div class="blockquot2">
-<p>Oh, Pierrot, it’s been the most beautiful thing
-in all the world!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>That’s because you’re a woman, Pierrette, and
-not an artist.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>But <i>you</i> said it was the most beautiful thing in
-all the world, Pierrot.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>vaguely</i>)</p>
-<div class="blockquot2">
-<p>Did I? That was long ago. You don’t understand,
-Pierrette. Women never do. Life to
-them is a little cage in which they sit all day<span class="pagenum" id="Page_12">[12]</span>
-long and sing tiny songs about tea and muffins.
-Men are different. Put them in a cage
-and they sing for a day. Then they begin to
-droop.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>hurt</i>)</p>
-<div class="blockquot2">
-<p>So you want to go away, Pierrot?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>passionately</i>)</p>
-<div class="blockquot2">
-<p>I want to capture it again—the power, the
-thrill, the fire of song!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>And you would capture it if—if I—(<i>looking
-toward the screen which hides the crib</i>) if we—were
-not here?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>flinging out his arms in despair</i>)</p>
-<div class="blockquot2">
-<p>Oh, I’m a brute, Pierrette! I don’t know. I’m
-gone stale—that’s the trouble. I’m done for—all
-these worries and things. I’ll sit at home,
-I guess, and darn socks!</p>
-
-<p>(<i>He flings himself into his chair. Pierrette
-moves quietly about, putting his tea on the
-table. She sets tea only for one.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>handing him his cup</i>)</p>
-<div class="blockquot2">
-<p>There, sweetheart. Your tea.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>stirring himself</i>)</p>
-<div class="blockquot2">
-<p>Aren’t you going to have some, too?</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>controlling her voice and with her
-back half turned to him as she goes to the other
-room</i>)</p>
-<div class="blockquot2">
-<p><span class="pagenum" id="Page_13">[13]</span>Oh no, dear; I’ve had lots of tea this afternoon.
-I’m not hungry. Besides, I’m late with
-the cleaning up. I’ll be gone only a minute.</p>
-
-<p>(<i>She goes out quickly. Pierrot makes to rise
-and follow her; then, with a hopeless wave of
-the hand, sinks back into the chair. He drinks
-his tea moodily. There is a voice outside</i>)—</p>
-
-<p class="center">“Tins to mend! Tins to mend!”</p>
-
-<p>(<i>A knock at the door and the Tins-to-mend
-man enters.</i>)</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>taking off his cap, half humorously, half
-apologetically</i>)</p>
-<div class="blockquot2">
-<p>Any tins to mend, sir?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>grimly</i>)</p>
-<div class="blockquot2">
-<p>Nothing as easy as that in this house. It’s
-hearts to mend here!</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>slinging off his pack</i>)</p>
-<div class="blockquot2">
-<p>Hearts to mend?—oho—I
-do that, too! Truth is (<i>confidentially</i>),
-it’s come to be my main business. For if you’d
-believe it, there’s more hearts to mend and
-souls to mend than pots and kettles to mend
-in this old world of ours. Fact, my dear sir,
-fact! (<i>Sits down</i>) And you can’t throw hearts
-away when they begin to show wear—now
-can you?—like you throw away an old pot?
-No siree! (<i>Impressively</i>) You got to mend
-’em. And there’s tricks about mendin’ them,
-sir—tricks in all trades, say I. You can mend
-’em so’s they’s worse’n they was in the beginning.
-And you can mend ’em so careful and<span class="pagenum" id="Page_14">[14]</span>
-so clever, you can’t tell they was ever mended
-at all. In fact, I’ve mended some of them so
-they was better that way than they was in the
-beginning. Seems curious, but it’s true. If there
-was a kettle now you wanted me to work on
-while I was talkin’, it’d keep me busy.</p>
-
-<p>(<i>Pierrot looks about; gets up and tosses him
-a kettle.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>There! Bang away at that!</p>
-
-<p>(<i>He sits down again. The Tins-to-mend man
-hammers away for awhile, Pierrot watching
-him gloomily.</i>)</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>You see—pots and kettles is curious things.
-Y’ can’t just let ’em set there and be. They
-rust. That’s what they do. Y’ got t’ keep
-shinin’ ’em—keep polishin’ ’em up. And they
-like it, sir—oh, they do! They kinda get a
-hold on life. And when they hang in your
-kitchen all bright and happy like, they just seem
-to sing away like birds. Now you’re a singer,
-sir—why don’t you make a song about that?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>I can’t sing any more.</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>Lost your voice, sir?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>No—worse than that—I’m married!</p>
-</div>
-<p><span class="pagenum" id="Page_15">[15]</span><span class="allsmcap">MAN</span> (<i>solicitously</i>)</p>
-<div class="blockquot2">
-<p>That’s bad, sir; that’s bad—if you’re not married
-right. They take it out of a man, them
-wicked ones!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>firing up</i>)</p>
-<div class="blockquot2">
-<p>Who said she was a wicked one?</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>But if she’s good—</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>hopelessly</i>)</p>
-<div class="blockquot2">
-<p>Ah, that’s the trouble. She’s good. A man
-can’t live on goodness alone. It gets on his
-nerves.</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>And what else should he live on?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>passionately</i>)</p>
-<div class="blockquot2">
-<p>Thrills—passions—longings! The kisses that
-make dreams—the touches of hands that make
-the songs come tumbling out of you—</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>laughing</i>)</p>
-<div class="blockquot2">
-<p>Oho, but it ought to be easy enough for a handsome
-young master like you to get those things!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>It’d break her heart.</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>lifting his eyes</i>)</p>
-<div class="blockquot2">
-<p>Then you’re fond of her, sir?</p>
-</div>
-<p><span class="pagenum" id="Page_16">[16]</span><span class="allsmcap">PIERROT</span> (<i>roughly</i>)</p>
-<div class="blockquot2">
-<p>Of course I’m fond of her. That’s just the
-trouble! (<i>pause</i>) But I’m tired to death of
-her—and that’s the trouble, too. First, when I
-loved her, just a peep of her out of a window
-would set my heart dancing. Now, when I
-see her—it’s just like seeing—the butcher boy—or
-the bakeshop woman. (<i>Rises excitedly</i>)
-I tell you when things are like that, something’s
-got to be done. An artist can’t live that way.
-Ordinary men can. All they want of their
-wives is to be cushions—soft—so’s they can go
-to sleep. Artists are different. They want the
-sky and all the quivering stars in the sky. When
-they marry (<i>he makes a grimace</i>)—it’s good-bye
-to the stars!</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>looking at him quizzically</i>)</p>
-<div class="blockquot2">
-<p>Did you ever think, sir, why the night was made—with
-them stars you talk of?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Why was the night made?</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>Or why there’s settin’ o’ the sun and risin’ o’
-the sun?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Why is there setting of the sun and rising of
-the sun?</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>Well—I don’t exactly know myself. But I
-seem to figger it out this way. Think of what<span class="pagenum" id="Page_17">[17]</span>
-it’d be, I says to myself, if there was all just
-one long day. Always day and day and day.
-Always the same glary light starin’ y’ in the eye—borin’
-into your brain—so’s y’ couldn’t shut
-it out from y’; so’s y’ couldn’t get away from
-it; so’s y’ couldn’t watch the shadders come
-stealin’ along, the sun a-settin’ and the twinklin’
-stars a-comin’ out—and so’s y’ couldn’t stretch
-yourself out and sleep—and so’s y’ couldn’t all
-of a sudden wake and hear the birds chirpin’
-and a new day come! Ah, it’s that, sir—it’s the
-comin’ of the new day that makes life the grand
-thing it is—the comin’ of the new day <i>every</i>
-day!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>wonderingly</i>)</p>
-<div class="blockquot2">
-<p>The coming of the new day every day?</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>Just that. It’s a grand plan, sir! Keeps the
-world young. You try it.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Try it? What do you mean? I’m not the sun.</p>
-</div>
-<p><span class="allsmcap">MAN</span></p>
-<div class="blockquot2">
-<p>Ah, but you can be—and starlight and moonlight!
-How long was it—now tell me—since
-the thought came to you in the morning—I’ll
-bring her—I’ll bring her a vi’let? Oho—I
-know—(<i>sings</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Sweet was the honeymoon,</div>
-<div class="indent">Swift it passed away—</div>
-<div class="verse">Now we’re steady married folk—</div>
-<div class="indent">Day after day.</div>
-</div></div>
-
-<p><span class="pagenum" id="Page_18">[18]</span>It’s only for a short time—in the beginning—that
-every day’s a new day. After that it’s just
-always the same—always the same—and no
-risin’ o’ the sun in the mornin’—no chirp of
-birds—and no singin’ in the heart.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>You mean—</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>roguishly, bending to his task</i>)</p>
-<div class="blockquot2">
-<p>I mean there’s a good way to mend kettles and
-a bad way, sir; and when the kettles are singin’
-and the fires are burnin’ under them—Oho—but
-there’s more hearts than kettles!</p>
-
-<p>(<i>Pierrot stands thinking.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>to himself</i>)</p>
-<div class="blockquot2">
-<p>I used to bring her things—a little red cloak
-I once brought her. Oh, she was happy! I
-remember that day. I made a song about it.</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>hammering away—sings</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Tins to mend,</div>
-<div class="verse">And hearts to tend;</div>
-<div class="verse">Hearts and tins</div>
-<div class="verse">Have outs and ins!</div>
-</div></div>
-
-<p><span class="allsmcap">PIERROT</span> (<i>continuing—to himself</i>)</p>
-<div class="blockquot2">
-<p>It was one of my very best songs. And she was
-so happy! (<i>Suddenly</i>) Why—I’ve forgotten
-all about her lately! Even her birthday! She
-had to remind me of it! Poor Pierrette!</p>
-</div>
-<p><span class="pagenum" id="Page_19">[19]</span><span class="allsmcap">MAN</span> (<i>sings</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Outs and ins;</div>
-<div class="verse">Outs and ins;</div>
-<div class="verse">That’s where the trouble</div>
-<div class="verse">Of life begins!</div>
-</div></div>
-<div class="blockquot2">
-<p>(<i>Pierrot looks up. His eyes suddenly grow
-bright with an idea.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>rising to his toes—running to the Tins-to-Mend
-Man</i>)</p>
-<div class="blockquot2">
-<p>I have it, old fellow—I have it! There’s a
-shop—just a step away. I know something she
-wants there. I’m going to get it for her!</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">My purse it is lean;</div>
-<div class="indent">My purse it is lank;</div>
-<div class="verse">But who cares a flip</div>
-<div class="indent">For the state of my bank!</div>
-</div></div>
-
-<p>(<i>He dances delighted.</i>)</p>
-
-<p>Come—are you finished? I’ve got to hurry.
-She’s gone off into that room to clear up. She’ll
-be coming back any minute.</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>looking up smiling—handing him the kettle</i>)</p>
-<div class="blockquot2">
-<p>It’s mended. Better than it ever was!</p>
-
-<p>(<i>Pierrot takes the kettle—runs to the shelf and
-puts it away. To the Man—</i></p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Come now, come!</p>
-</div>
-<p><span class="allsmcap">MAN</span> (<i>gathering up pack</i>)</p>
-<div class="blockquot2">
-<p>I’m coming. (<i>Sings</i>)—</p>
-</div>
-<p><span class="pagenum" id="Page_20">[20]</span></p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Life’s a joy</div>
-<div class="indent">When turned about;</div>
-<div class="verse">In to in</div>
-<div class="indent">And out to out.</div>
-</div></div>
-
-<p><span class="allsmcap">PIERROT</span> (<i>putting on cloak</i>)</p>
-<div class="blockquot2">
-<p>If I hurry now, I’ll have it here before she’s
-through with her work; it’s a beauty—it’s a
-beauty (<i>dances exultant</i>).</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">My pockets are slimpsy as pockets can be;</div>
-<div class="verse">And short is the space twixt the poorhouse and me;</div>
-<div class="verse">But while there’s a copper that hasn’t been spent,</div>
-<div class="verse">I’ll mortgage my shoes for the price of the rent!</div>
-</div></div>
-
-<p>(<i>They both make their exit as Pierrot sings.</i>)</p>
-
-<p><i>After a moment, Pierrette opens the inner door
-softly, and seeing that no one is there, steps in.
-She has on a cloak and a hood over her head.
-She is very sad.</i></p>
-
-<p><i>She first takes the tea things from the table.
-Then, hesitating, she goes to the screen, pulling
-it softly aside. She leans over the crib for a
-merest moment. Then she pulls the screen to
-again, whispering:</i></p>
-</div>
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Up in the sky are the firefly stars;</div>
-<div class="indent">Sleep, Kittikins, sleep!</div>
-<div class="verse">Father will catch them in crystal jars—</div>
-</div></div>
-
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Yes, Kittikins, we must let father. Father can
-make such beautiful songs. We must not stand in
-his way, Kittikins—we love him so.</p>
-
-<p><span class="pagenum" id="Page_21">[21]</span>(<i>She goes to the shelf and gets down a sheet of
-paper, the ink horn and a quill pen—takes them
-to the table, sits and writes.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>We’ll just write this: “Mother Merle—will—take—Kittikins.—She—loves—her.—Good-bye—Sweetheart.”
-We’ll leave it here.</p>
-
-<p>(<i>She folds it and lays it on the table. She half
-goes once more to the crib; but she controls herself.
-Then, as she goes to the door, she half
-turns, looks at Pierrot’s chair, and sings
-softly</i>)—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="stanza">
-<div class="verse">Love comes in, a-tip-toe, laughing;</div>
-<div class="indent">Love trails out with leaden feet—</div>
-<div class="verse">Love that’s here to-day may leave us,</div>
-<div class="indent">Banished in a windy street.</div>
-</div>
-<div class="stanza">
-<div class="verse">I shall love you always, always—</div>
-<div class="indent">Sweetheart, through the endless years;</div>
-<div class="verse">I shall love you with my heartaches;</div>
-<div class="indent">I shall love you with my tears.</div>
-</div></div></div>
-
-<p>(<i>She goes out into the night.</i>)</p>
-
-<p>(<i>After a time Pierrot comes hurrying in. His
-eyes are dancing. His toes are dancing. He
-peeks about to see if she is there. Then he
-makes to hide his package under the stool, but
-thinks better of it. He runs to the screen, but
-again decides against the place. He looks about
-and considers. An idea strikes him and he
-takes off his peaked hat and drops the package
-into that. But again he decides against it. At
-last, with a sudden inspiration, he runs to the
-pewter pot.</i>)</p>
-</div>
-<p><span class="pagenum" id="Page_22">[22]</span><span class="allsmcap">PIERROT</span> (<i>gleeful</i>)</p>
-<div class="blockquot2">
-<p>She’ll use that to-night when she warms Kittikins’
-milk. A great idea! Oh, she’ll be surprised!
-And I’ll just pretend I know nothing
-about it! I’ll be reading in my book—or writing—making
-faces at my paper—and I’ll see
-her out of the corner of my eye—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Hi, hi—</div>
-<div class="indent">Pierrette, hot!—</div>
-<div class="verse">Peep behind</div>
-<div class="indent">The pewter pot!</div>
-</div></div>
-
-<p>She’ll take the pot away. She’ll find the package!
-She’ll open it! Then she’ll just go all
-red and white—I can see her in my mind’s eye—and
-she’ll run over to me—</p>
-
-<p>(<i>He sees the paper on the table; reads it.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Pierrette! (<i>He runs to the door of the inner
-room</i>) Pierrette! (<i>He runs to the street door</i>)
-Pierrette! (<i>Then he runs back for his hat;
-but just as he makes to follow her, the meaning
-of it comes over him. He drops his hat. He
-goes slowly to the table, dropping into his chair</i>)
-It’s right. It’s what ought to be. She was a
-wisp of sunlight—a night of stars—she was
-birds singing and summer winds. She was
-Pierrette!—(<i>With a sob</i>) And I drove her
-away!</p>
-
-<p>(<i>He sinks into the chair, his head on his arms.
-There is a pause. The door opens softly.
-Pierrette peeps in. Seeing Pierrot all crumpled<span class="pagenum" id="Page_23">[23]</span>
-up, she tiptoes toward him a few steps, stretching
-out her arms yearningly. But she controls
-herself, tiptoes a few steps towards the crib,
-blows a kiss to the baby and turns to go out
-again. Pierrot lifts his head suddenly, sees her
-and jumps up. Pierrette tries to escape him.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>catching her in his arms</i>)</p>
-<div class="blockquot2">
-<p>Pierrette!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Oh, Pierrot, I just came back for the littlest
-look. I couldn’t help it. I’ll go now.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>But Pierrette, look! <i>(He dances about)</i> It’s
-all come back again! I’ve got a new song singing
-in me, Pierrette! It’s the best song yet.
-It’ll make me famous!</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">The editors will flock to me,</div>
-<div class="indent">Exactly as you said—</div>
-<div class="verse">A-bringing gold and velvets</div>
-<div class="indent">And a-swelling of my head!</div>
-</div></div>
-
-<p>(<i>He tries to take her cloak off.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>coaxingly</i>)</p>
-<div class="blockquot2">
-<p>Pierrette, please stay!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>No, no—it was <i>because</i> I went away, don’t you
-see? That’s how you found your song. You’re
-right, Pierrot—wives <i>ought</i> to go away.</p>
-</div>
-<p><span class="pagenum" id="Page_24">[24]</span><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>But they ought to come back again, too,
-Pierrette!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Only for a tiny look, Pierrot. They’d like—oh
-yes, they’d like to stay. But if they’re wise—ah
-no—Good-bye!</p>
-
-<p>(<i>She starts to go. Pierrot runs after her.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Pierrette—if you <i>must</i> go—wait—(<i>mysteriously</i>)—there’s
-something here for you.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Something for me?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Something for you.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Where is it?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>teasingly</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Perhaps it’s on the ceiling,</div>
-<div class="indent">Perhaps it’s on the floor;</div>
-<div class="verse">Perhaps it’s gone to visit the moon,</div>
-<div class="indent">And won’t be back till four!</div>
-</div></div>
-
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Oh, Pierrot, don’t tease! Where is it?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>more teasingly</i>)</p>
-<div class="blockquot2">
-<p>Guess!</p>
-</div>
-<p><span class="pagenum" id="Page_25">[25]</span><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Is it—is it—behind the screen?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Guess again.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Is it—is it—under the clock?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Guess again.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Is it—is it—under your hat?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Guess again.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Is it—is it—ah—I know where it is. It’s behind
-the pewter pot!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Right!</p>
-
-<p>(<i>She runs up and gets the package, opens it and
-discovers a necklace of gay, red beads.</i>)</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Why—Pierrot—for me?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>making believe to consider</i>)</p>
-<div class="blockquot2">
-<p>Well, that depends. I thought it was for you.
-But if you’re going away—</p>
-</div>
-<p><span class="pagenum" id="Page_26">[26]</span><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>But why did you get it for me?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Do you want to know, sweetheart?</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Yes.</p>
-
-<p>Pierrot (<i>dances</i>)</p>
-</div>
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Old Mister Pierrot</div>
-<div class="indent">Went to a shop;</div>
-<div class="verse">Then he came back again—</div>
-<div class="indent">Hop—skip—hop!</div>
-</div></div>
-
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>But that isn’t the <i>reason</i>, Pierrot. Be sensible.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>continues</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-<div class="verse">Old Mister Pierrot</div>
-<div class="indent">Was blue, blue, blue—</div>
-<div class="verse">Along came a tinker-man</div>
-<div class="indent">And showed him what to do!</div>
-</div></div>
-
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Pierrette, I’ve come to a conclusion!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span> (<i>apprehensively</i>)</p>
-<div class="blockquot2">
-<p>Not another conclusion, Pierrot?</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Yes. I’m great on conclusions. It’s this: that
-most husbands, with adorable wives, are donkeys!</p>
-</div>
-<p><span class="pagenum" id="Page_27">[27]</span><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Oh, but I knew that long ago—ever since I
-married you.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>You knew it all that time?</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Of course.</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Then how were you able to put up with me?</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Oh, I knew you’d discover it some day; and
-when you did discover it, you’d be such a <i>nice</i>
-donkey. Pierrot, I’ve come to a conclusion
-myself!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>apprehensively</i>)</p>
-<div class="blockquot2">
-<p>You, too, Pierrette? What is it?</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>That most wives, with clever husbands, are silly
-geese!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span> (<i>heartily</i>)</p>
-<div class="blockquot2">
-<p>Why, I’ve known that, Pierrette, ever since I
-married <i>you</i>. I didn’t think I ought to tell you,
-though.</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>And I don’t blame you, Pierrot—not for a minute—for
-wanting me to go away.</p>
-</div>
-<p><span class="pagenum" id="Page_28">[28]</span><span class="allsmcap">PIERROT</span> (<i>fervently</i>)</p>
-<div class="blockquot2">
-<p>I want you back, now!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>But I <i>am</i> going away, Pierrot!</p>
-</div>
-<p><span class="allsmcap">PIERROT</span></p>
-<div class="blockquot2">
-<p>Pierrette!</p>
-</div>
-<p><span class="allsmcap">PIERRETTE</span></p>
-<div class="blockquot2">
-<p>Not now, Pierrot—but some time!</p>
-
-<p>(<i>As the curtain falls, they bend quickly toward
-each other, their hands stretched out behind,
-and kiss.</i>)</p>
-</div>
-</div>
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="ph2">Four Plays of the Free Theater:</p>
-</div>
-
-<p class="ph1">“The Fossils,” “The Serenade,”<br />
-“Francoise’ Luck,” “The Dupe.”</p>
-
-<p class="center">Authorized Translation with Introduction by<br />
-<span class="smcap">Barrett H. Clark</span></p>
-
-<div class="blockquot">
-<p><span class="large"><b><i>The Contents of this Volume are</i>:</b></span></p>
-
-<div class="blockquot2">
-<p>Preface by——Brieux<br />
-Antoine and the Free Theater, by Barrett H. Clark.</p>
-</div>
-
-<p><i>The Fossils</i>, by Francois de Curel. Rather short three-act
-play, first produced in 1892. Time, the present. A problem
-play of family pride and desire to perpetuate itself. Characters:
-The Duke de Chartmelle, Robert de Chartmelle, Nicolas,
-a Farmer, a Country Neighbor, a Servant, Claire de Chartmelle,
-Helen Vatrin, a Nun.</p>
-
-<p><i>The Serenade</i>, by Jean Jullien, a Bourgeois Study in three
-rather short acts; first produced in 1887. Characters: Theodore
-Cottin, Calixte Poujade, Maxine Champanet, Prosper
-Poujade, Dumoulin, Fournier, Nathelie Cottin, Genevieve
-Cottin, Celina Roulard, Leocadie, Dumoulin, Clemma, Dodo.</p>
-
-<p><i>Francoise’ Luck</i>, by Georges de Porto-Riche. Medium length,
-one-act comedy; first produced in 1888. Characters: Marcel
-Desroches, Guerin, Jean, Francois, Maseleine.</p>
-
-<p><i>The Dupe</i>, by Georges Ancey, a comedy in five short acts;
-first produced in 1891. Characters: Albert, Madame Viot,
-Adele, Marie.</p>
-
-<p class="center"><i>Handsomely bound and uniform with S. &amp; K. Dramatic Series,<br />
-Net, $2.50. ¾ Turkey Morocco, Net, $8.50.</i></p>
-
-<hr class="tb" />
-
-<p class="center"><span class="xlarge">STEWART &amp; KIDD COMPANY</span><br />
-Publishers  <span class="gap">    Cincinnati, U. S. A.</span></p>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="ph2">SHORT PLAYS</p>
-
-<p class="ph1"><span class="smcap">By MARY MacMILLAN</span></p>
-</div>
-
-<div class="blockquot">
-<p>To fill a long-felt want. All have been successfully presented.
-Suitable for Women’s Clubs, Girls’ Schools, etc.
-While elaborate enough for big presentation, they may be
-given very simply.</p>
-
-<p>This volume contains ten Plays:</p>
-
-<p><i>The Shadowed Star</i> has six women, one boy; may all be taken
-by women. Time, present. Scene, in a tenement Christmas
-Eve. One act, 45 minutes.</p>
-
-<p><i>The Ring.</i> Costume play. Time, days of Shakespeare. Three
-women, seven men. Scene, interior. One act, 45 minutes.</p>
-
-<p><i>The Rose.</i> One woman, two men. Time, Elizabethan. Scene,
-castle interior. One act, 30 minutes. Song introduced.</p>
-
-<p><i>Luck.</i> Four short acts. Time, present. Interior scene.
-Seven women, six men. Comedy.</p>
-
-<p><i>Entre’ Acte.</i> Costume play. Time, present. Scene, interior.
-Two women, one man. Contains a song. One act.</p>
-
-<p><i>A Woman’s a Woman for A’ That.</i> Time, present. Interior
-scene. One act, 45 minutes. Three women, two men. Comedy.</p>
-
-<p><i>A Fan and Two Candlesticks.</i> Costume play, Colonial times.
-Scene, interior. Two men, one woman. One act, 20 to 30
-minutes. Written in rhymed couplets.</p>
-
-<p><i>A Modern Masque.</i> Time, present. Scene, outdoors. Fantastic,
-written in prose and verse. Costume play in one act,
-30 minutes or more. Four women, three men.</p>
-
-<p><i>The Futurists.</i> One-act farce, of the first woman’s club of the
-early eighties. Interior. Forty-five minutes. Eight women.</p>
-
-<p><i>The Gate of Wishes.</i> One-act fantasy. Outdoors. Half hour.
-One girl, one man. Singing voices of fairies.</p>
-
-<p class="center"><i>Handsomely bound and uniform with S. &amp; K. Dramatic Series.<br />
-12mo. Cloth, Net, $2.50; ¾ Turkey Morocco, Net, $8.50.</i></p>
-</div>
-
-<p class="center"><span class="xlarge">STEWART &amp; KIDD COMPANY</span><br />
-Publishers  <span class="gap">    Cincinnati, U. S. A.</span></p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="ph2">MORE SHORT PLAYS</p>
-</div>
-
-<p class="ph1"><span class="smcap">By MARY MacMILLAN</span></p>
-
-<div class="blockquot">
-<p>Plays that act well may read well. Miss MacMillan’s
-Plays are good reading. Nor is literary excellence a detriment
-to dramatic performance.</p>
-
-<p>This volume contains eight Plays:</p>
-
-<p><i>His Second Girl</i>. One-act comedy, just before the Civil War.
-Interior, 45 minutes. Three women, three men.</p>
-
-<p><i>At the Church Door</i>. Fantastic farce, one act, 20 to 30 minutes.
-Interior. Present. Two women, two men.</p>
-
-<p><i>Honey</i>. Four short acts. Present, in the southern mountains.
-Same interior cabin scene throughout. Three women, one
-man, two girls.</p>
-
-<p><i>The Dress Rehearsal of Hamlet</i>. One-act costume farce.
-Present. Interior. Forty-five minutes. Ten women taking
-men’s parts.</p>
-
-<p><i>The Pioneers</i>. Five very short acts. 1791 in Middle-West.
-Interior. Four men, five women, five children, five Indians.</p>
-
-<p><i>In Mendelesia, Part I</i>. Costume play, Middle Ages. Interior.
-Thirty minutes or more. Four women, one man-servant.</p>
-
-<p><i>In Mendelesia, Part II</i>. Modern realism of same plot. One
-act. Present. Interior. Thirty minutes. Four women, one
-maid-servant.</p>
-
-<p><i>The Dryad</i>. Fantasy in free verse, one act. Thirty minutes.
-Outdoors. Two women, one man. Present.</p>
-
-<p>These plays, as well as SHORT PLAYS, have been presented
-by clubs and schools in Boston, New York, Buffalo,
-Detroit, Cleveland, New Orleans, San Francisco, etc., and by
-the Portmanteau Theatre, the Chicago Art Institute Theatre,
-the Denver Little Art Theatre, at Carmel-by-the-Sea in
-California, etc.</p>
-
-<p class="center"><i>Handsomely bound and uniform with S. &amp; K. Dramatic Series.<br />
-12mo. Cloth. Net, $2.50; ¾ Turkey Morocco, Net, $8.50.</i></p>
-</div>
-
-<p class="center"><span class="xlarge">STEWART &amp; KIDD COMPANY</span><br />
-Publishers  <span class="gap">    Cincinnati, U. S. A.</span></p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="ph1"><i>A Notable Achievement</i></p>
-
-<p class="ph2">European Theories of the Drama</p>
-</div>
-
-<p class="center"><span class="smcap">An Anthology of Dramatic Theory and Criticism from<br />
-Aristotle to the Present Day, In a Series of<br />
-Selected Texts, With Commentaries,<br />
-Biographies and Bibliographies</span></p>
-
-<p class="ph1"><span class="smcap">By BARRETT H. CLARK</span></p>
-
-<p class="center">AUTHOR OF</p>
-
-<p class="center"><span class="smcap">“Contemporary French Dramatists,” “The Continental
-Drama of Today,” “British and
-American Drama of Today,” etc., etc.</span></p>
-
-<div class="blockquot">
-<p>A book of paramount importance. This monumental anthology
-brings together for the first time the epoch-making theories and criticisms
-of the drama which have affected our civilization from the beginnings
-in Greece down to the present day. Beginning with Aristotle,
-each utterance on the subject has been chosen with reference to its
-importance, and its effect on subsequent dramatic writing. The texts
-alone would be of great interest and value, but the author, Barrett
-H. Clark, has so connected each period by means of inter-chapters
-that his comments taken as a whole constitute a veritable history of
-dramatic criticism, in which each text bears out his statements.</p>
-
-<p>Nowhere else is so important a body of doctrine on the subject of
-the drama to be obtained. It cannot fail to appeal to anyone who is
-interested in the theater, and will be indispensable to students.</p>
-
-<p>The introduction to each section of the book is followed by an
-exhaustive bibliography; each writer whose work is represented is made
-the subject of a brief biography, and the entire volume is rendered
-doubly valuable by the index, which is worked out in great detail.</p>
-
-<p><i>Prof. Brander Matthews</i>, of Columbia University, says: “Mr.
-Clark deserves high praise for the careful thoroughness with which
-he has performed the task he set for himself. He has done well what
-was well worth doing. In these five hundred pages he has extracted
-the essence of several five-foot shelves. His anthology will be invaluable
-to all students of the principles of playmaking; and it ought
-to be welcomed by all those whose curiosity has been aroused by the
-frequent references of our latter-day theorists of the theater to their
-predecessors Aristotle and Horace, Castelvetro and Scaliger, Sidney
-and Jonson, d’Aubignac and Boileau, Lessing and Schlegel, Goethe
-and Coleridge.”</p>
-
-<p><i>Wm. Lyon Phelps</i>, of Yale University, writes: “Mr. Clark’s book,
-‘European Theories of the Drama,’ is an exceedingly valuable work
-and ought to be widely useful.”</p>
-
-<p class="center"><i>Large 8vo, 500 pages. Net, $5.00; ¾ Turkey Morocco, Net, $12.</i></p>
-</div>
-
-<p class="center"><span class="xlarge">STEWART &amp; KIDD COMPANY</span><br />
-Publishers  <span class="gap">    Cincinnati, U. S. A.</span></p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<p class="ph2">The Portmanteau Plays</p>
-</div>
-
-<p class="ph1">BY STUART WALKER</p>
-
-<p class="center">Edited and with an introduction by Edward Hale Bierstadt</p>
-
-<div class="blockquot">
-<p><i><b>Brooklyn Eagle</b></i>: “All of the plays in these attractive maroon
-volumes are literary without being pedantic, and dramatic without
-being noisy. They are a genuine addition to the steadily growing list of
-worthwhile plays by American dramatists. Stewart &amp; Kidd are to be congratulated
-on presenting them to the public in such attractive format.”</p>
-
-<hr class="tb" />
-
-<div class="poetry-container">
-<div class="poetry">
-<p><span class="large"><b>Vol. 1—Portmanteau Plays</b></span></p>
-<div class="blockquot2">
-<p>Introduction<br />
-The Trimplet<br />
-Nevertheless<br />
-Six Who Pass While the Lentils Boil<br />
-Medicine Show</p>
-</div>
-
-<p><span class="large"><b>Vol. 2—More Portmanteau Plays</b></span></p>
-<div class="blockquot2">
-<p>Introduction<br />
-The Lady of the Weeping Willow Tree<br />
-The Very Naked Boy<br />
-Jonathan Makes a Wish</p>
-</div>
-
-<p class="center">To be issued shortly</p>
-
-<p><span class="large"><b>Vol. 3—Portmanteau Adaptations</b></span></p>
-<div class="blockquot2">
-<p>Introduction<br />
-Gammer Gurton’s Needle<br />
-The Birthday of the Infanta<br />
-“Seventeen”</p>
-</div></div></div>
-
-<p class="center"><i>Each of the above volumes handsomely bound and illustrated.<br />
-Per volume net, in Silk Cloth $2.50; ¾ Turkey Morocco $8.50</i></p>
-</div>
-
-<hr class="tb" />
-
-<p class="center"><span class="xlarge">STEWART &amp; KIDD COMPANY</span><br />
-Publishers  <span class="gap">    Cincinnati, U. S. A.</span></p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<div class="transnote">
-<p class="ph1">TRANSCRIBER’S NOTE:</p>
-
-<p>Obvious typographical errors have been corrected.</p>
-</div></div>
-
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