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diff --git a/old/68761-0.txt b/old/68761-0.txt deleted file mode 100644 index c108b74..0000000 --- a/old/68761-0.txt +++ /dev/null @@ -1,1652 +0,0 @@ -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. 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