THE GIFT OF ^to^)xu..A...pQCfcJd;vv. jg^cjoSSi \3|xr)i4 3777 m^wm^meemmmBm 5A}iER'5 Edition or PLAY3 THE ROMANCERS I OOPYRI6BT. 18Mi BY WALTER H. BAKBK * OOw Jl« W. Pinero's Plays Price, S0e response.) Good morning ! ! (M> response.) Good morning I ! 1 (Pasquinot /ooks lip.) Well, I'm waiting. Pas. Oh, my friend, but we see each other all the time. Ber. Eh ? . . . Oh, well I (Sees Blaise arranging the plants). Will you take in those plants! (The bewildered Blaise hastens back with them, one after anothir. Pasquinot lifts his eyes to heaven, shrugs his shoulders and reads. Ber- GAMiN comes and goes in desultory fashion, and ends by sitting down beside Pasquinot. Silence. Then suddenly and dis- mally^ Every day, at this hour, I used to slip out of my house — Pas. (musingly, dropping his paper). And I out of mine, stealthily, softly — it was very amusing I Ber. The secrecy ! ' Pas. The danger ! Ber. Percinet or Sylvette to evade each time we came to gossip 1 Pas. We risked breaking a rib or a thigh every time we climbed the wall. Ber. Our daily conversations cost us the cunning of an Indian ! Pas. We had to slip under the hedges ! — 'Twas very amusing ! Ber. Sometimes I crept along the grass, and at night my breeches were all green at the knees. Pas. Each must always be swearing death to the other. Ber. Or blackening his character I Pas. 'Twas very diverting. ( Vawns.) Bergamin. Ber. (yawning, too). Pasquinot ? Pas. We miss that now. Ber. Nol come', come! (After reflection^ We do though. Oh, it's ridiculous! Can this be the revenge of the Romantic? (Silence. He looks at Pasquinot, who is reading again.) His vest always lacks a button somewhere 1 It's irritating! (He gets up, moves away, comes and goes ^ Pas. (watching him over his paper, aside). He looks like a huge maybug swirling about, with his coat tails for wing- sheaths. ( When Bbrqamin passes in front of him he pretends to read.) . • _ . 2o THE ROMANCERS. Ber. {observing him, aside). He looks cross-eyed when he reads, like a jester eyeing his cap-peak. {Goes up the stage whistling.) Pas. {aside, nervous). He whistles I It's a trick of his I {Aloud.) Pray don't whistle all the time, like an adder ! Ber. {smiling). We distinguish the mote in the eyes of others, and are unconscious of the beam in our own. You have pet habits enough t Pas. I ? Ber. You rock yourself. You're all the time wheezing, king of the snufifiers ! Your nose is always black with some sneeze-provoking stuif. You tell the same story six -^ twenty times a day I Pas. {who sits with his legs crossed, balancing his foot). But — Ber. You can't sit an instant without swinging your foot like a great censer. At table you roll your bread crumbs up in little balls. A man of crotchets, my dear ? I should say sol Pas. Yes, now you're getting tired of vegetating, you have time to inventory me, to enumerate my faults, to draw up a list of them. But this life in common is a great oculist. It has opened my eyes, too. I see you avaricious, crafty, egotistic, and each of your little faults grows big, as the diverting little fly, under the lens, becomes a frightful monster. Ber. What I suspected, I'm sure of now. Pas. What's that ? Ber. The wall flattered you. Pas. You fall far short without the wall. Ber. My ardent longing to see you every day is cooling. Pas. {breaking forth). Sir I there's been no living for a month I Ber. {very dignified). Very well, sir, very well 1 But what we did was not for ourselves, you know. Pas. Indeed I Ber. It was for our children. Pas. {with conviction). Yes, certainly, for our children I Then let us suffer in silence, and bear our loss of liberty with no repining. Ber. To sacrifice themselves is the lot of parents THE ROMANCERS. 21 (Sylvktte and Percinet appear at the left, up the stage, among the trees, and slowly cross, with arms about each other's waists, and with exalted gesture's.) Pas. Sh 1 Here are the lovers 1 Ber. Look at those postures ! . . . They walk like the Olympians 1 Pas. Since all their dreams were reaUzed in that adven ture, they feel aureoles resting on their hair. Ber. Every day, at this hour, pensive, with the stately tread of love pilgrims in the gallant fetes of old, they come to pay their vows on the site of the coftibat. (Sylvette and Percinet, who have disappeared at the right, reappear there, in a nearer wing, and descend the stage.) Here are our pilgrims I Pas. If they rhapsodize on their usual theme, it will be worth hearing! (Bergamin and Pasquinot hide behind a clump of trees as Sylvette and Percinet come down.) Per. I love thee. Syl. I love you. {They stop.) Here we are, at the famous spot! Per. Yes, 'tis here the thing happened. 'Tis here the brute "fell lifeless, transfixed by my sword. Syl. Here I was Andromeda. Per. And here was I Perseus. Syl. How many were there against you 1 Per. Ten. Syl. Oh, twenty ! twenty at least, without counting that huge last one who turned on you, and whose stubborn humor you punished. Per. Yes, you are right, there were at least thirty. Syl. Oh 1 tell me once again, my victor, how, sword in hand, flame in your eyes, you struck them in the darkness ! Per. I know not if it were in sLxte or in quarte, but they fell like paper capuchins. Syl. Were your hair less blond, my friend, I should have thought I saw the Cid. Per. Yes, we resemble each other. Syl. Our romance lacks only to be immortalized in verse. Per. Sylvette, it shall be ! Syl. I love you ! 22 THE ROMANCERS, « Per. I love thee ! Stl. I have lived a dream 1 I had so often vowed to myself to marry a hero, whom I should meet in some extra- ordinary fashion, and not the humdrum little husband of everyday life. Per. Indeed ! Syl. No, no ! not such a one as they offer young girls, — the milk-and-water gentleman whom his sister or his worthy confessor is trying to betroth ! Per. Above all things, I trust, you would not have married the inevitable son of a friend of your father's. Syl. (laughing). Ah, no! . . . Have you noticed that for several days my father and yours are, well . . . in a mood — Per. Yes, beastly I Ber. (behind the shrubbery). Hum 1 Per. And I know why their good humor is failing. Ber. (behind the shrubbery). Ah ! Per. I do, indeed. Our exaltation frets their earth- drawn souls. I much respect my father . . . and the author of your being ; but they are simple bourgeois, of little eleva- tion. Our glory rather throws them in the shade. Pas. (behind the trees). Eh ! Syl. Passes fathers of famous lovers ! Per. (laughing). They find my plumes importunate. Syl. In your presence your father has the vague uneasi- ness of a — I don't know that I ought to say it . . . Per. Go on, you rogue ! Syl. Of a duck that has bred an eagle ! Ber. {behind the shrubbery). Ho ! ho I Syl. (laughing more gaily). Poor parents ! what tricks our secret love did play them I Pas. (behind the shrubbery). He ! he I Per. Yes, Destiny always brings lovers together by un- foreseen windings, and Chance makes itself a Scapin for Leanders ! Ber. (behind the shrubbery). Ha ! ha ! Syl. And so to-night we are to sign the contract ! Per. (going up the stage). I'm off to order the violins I Syl. Go quick ! Per. I'll run 1 THE ROMANCERS. 23 Syl. {calling him back). Wait, I'm good. I'm going to the gate with you. {They go up the stage, arms entwined^ Syl. (languishing tone). We equal, I think, the most famous lovers. Per. Yes, we shall be numbered among those charming immortals, Romeo and Juliet, Alda and Roland. Syl. Aminta and her shepherd. Per. Pyramus and Thisbe 1 Syl. Many and many more ! {They go out. Their voices are heard, always more faintly, from among the trees ^ The Voice of Per. Francesca da Rimini, you know, and Paolo. The Voice of Syl. Petrarch and Laura. Ber. {coming out from his hiding place). Have you fin- ished ? Pas. {following him; railing). The issue of your plan. Sir Wiseman, equals your hope, and even outstrips it. Re- sult without doubt foreseen by you, dear master of strategy T- our children are completely mad 1 Ber. Your daughter is certainly irritating enough with her endless chant of the famous abduction. Pas. And your son, with his vaunted heroism, takes on airs that don't set at all well on my nerves. Ber. But the most exasperating thing of all is their representing us as two simple, ordinary dupes, and joking about our wilful blindness and our never surprising one of their rendezvous. It's stupid, if you like, but I must confess it roils me. Pas. Did you foresee that, Sir Wiseman ? Thanks to youj your small boy talks like a lunatic, and thinks himself first purveyor of mustard to the Pope. Ber. a purveyor whose mustard mounts my nostrils ! Pas. I'm going to tell them everything, at once ! Ber. No, wait I It won't do to speak freely yet. When once they are married, we will talk. Up to the last strains of the nuptial violins, let us hold ourselves as mute as carps. Pas. So be it then. But here we are, caught in our own trap, thanks to your famous scheme 1 Ber. You admired it, my dear. Pas. Ah, 'twas a beautiful scheme I Ber. {aside). He exasperates me 1 24 THE ROMANCERS. (Sylvette enters gaily, in her hand a flowery branch, which \ she luaves at Percinet now behind the scenes : then she comes down the stage between the two fathers^ Syl. Good morning, dear papa! Good morning, my father to be I Ber. Good morning, my daughter to be ! Syl. {imitating hini). " Good morning, my daughter to be 1 " Why, what a crusty air you have this morning 1 Ber. It's Pasquinot who — who — Syl. (shaking her branch under his nose). Hush 1 hush ! be calm ! I come like Peace, waving a palm branch. There are still Itttle discords between you ? Why, that's permitted. Could you love each other like old friends ? Pas. {aside). What irony ! Ber. {aloud, mockingly). Yes, that is true. Our hatred was such that we could not . . . Syl. Just think of it / A mortal hatred ! Oh ! when I remember what you said of papa, there among your rose trees, without suspecting that I was sitting behind the good wall, hearing everjrthing ! . . . Ber. {aside). Her stupidity is — Syl. {to Pasquinot). For I came here every day, you know, to meet Percinet. To think that you never had a suspicion ! Pas. {ironically). Oh 1 as to that, may I die if — Syl. And yet we always came at the same hour. {To Bergamin.) Ha 1 ha 1 I hear Percinet yet, crying out to you, the very day of the abduction. " I will marry in a fashion the most extravagantly romantic ! " Tell me, hasn't he kept his word ! Ber. {vexed). Really ? And you think if I had wished — Syl. There ! there 1 I know from having read it a hun- dred times. The dreams of lovers are always realized, and the fathers always relent, sooner or later. Some strange and romantic event forces them to soften in the nick of time 1 Pas. Forces them! ... in the nick of time! Oh, no! let me laugh 1 Syl. But we have proved it ! ^ ; Ber. And if I were to tell you — Syl, What? ' Bek. Nothing. THE ROMANCERS. 2S Syl. Then why is your manner so msinuating ? Ber. Why, because . . . (Aside.') Ho ! it 's exasperating at the end 1 Pas. When with a word one might — (Goes up the stage). But we will preserve the mystery ! Syl. When one has nothing to say, one may well keep silent. Pas. {breaking forth). Nothing to say I The little fool! Then you believe all that ? You think things go on as that did ? that parks are invaded in spite of grilles ? . . . Ber. That young girls are still carried off by force ? Syl. Do I believe it ? What is he saying ? Ber. (his temper rising). I ? I say there's been enough of it — that it's time the whole thing were unmasked. Yes, since the world was a world among worlds, success has been for the bl'ondheads. Bartholo, nursing his hatred in secret, must always incline before Almaviva. But the hour of triumph and just requital has finally sounded for the grayheads. Syl. But — Pas. Once we papas were Cassandre, Orgon, G^ronte, weren't we ? You thought no further than those old fogies. Well, you don't find them among modern fathers. The deceived of other days are deceivers in their turn. Had we asked you to love one another, neither you nor Percinet would have heard a word of it. To forbid it was excellent play ! Syl. But perhaps then you knew — Pas. Assuredly ! Syl. Our duos ? Ber. I heard their sweet murmurings ! Syl. The benches where we climbed ? Pas. Put there expressly. Syl. The duel ? Ber. Mere .feint I Syl. The swordsmen ? Pas. Counterfeit ! Syl. My abduction ? — oh, no I This is false ! Ber. (fumbling in his pocket). False, when I have right here the bill of it 1 Syl. (snatching it away from him). Oh 1 give it to me ! (She reads.) " Straforel, Confidential Business House. One 2 6 THE ROMANCERS. simulated abduction, to bring about engagement of marriage " I . . . OhI . . . "Eight dark mantles, at five francs each; eight masks "... Ber. (to Pasquinot). I fear me we have spoken too soon. Syl. {reading). " One sedan chair, decorated, new design, pink upholstery " — ( With irony) The thing was well done I {She laughs and throws the bill on the table.') Pas. {surprised). She is not angry? Syl. {pleasantly). Ah, it was a charming conceit, but a great waste of brilliancy. Do you think. Monsieur Berga- min, that if I love my Percinet, it is thanks to your strat- agem? Pas. She takes it well. Ber. {to Sylvette). You take it well. Pas. One may say, then, to Percinet — Syl. Oh, nothing 1 — No, say nothing to him . . . Men 1 — they're so stupid 1 Ber. What good sense 1 just look at that little head I and I who thought — {Drawing out his watch.) But the contract — we forget ; we must make ready for that. {Offering his hand to Sylvette.) Good friends ? Syl. Do you ask it ? Ber. {turning again before leaving the stage). You're not at all angry with me ? Syl. {all honey). I assure you 1 (Pasquinot and Berga- MiN go out. Sylvette, with frigid rage.) That Monsieur Bergamin — how I detest him I Per. (enters, radiant). Ah ! you are here yet ? But I understand. You cannot quit the site of our matchless adventure 1 Syl. (seated on the bench at the left). Matchless, in truth I Per. It is here that you, half lifeless, saw me, like an Amadis, combat the thirty swordsmen I Syl. But no ; there were ten. Per. (drawing nearer). Dear, what is the matter ? What has made you sad? Those eyes where sapphire melts in amethyst seem clouded with some grief. Syl. (asitie). His language is at times rather pretentious. Per. Never mind, I understand the tender regret this adorable spot must awaken in you. You lament the old wall with its creeping greenery, witness of our first hopes and THE ROMANCERS. 27 fears. Yet it is not destroyed, but crowned with glory. Is the balcony of Verona no more ? I Syl. (impatiently). Ahl Per. Does not that ever-white balcony let tremble end- lessly beside the never-flowerless pomegranate, in a wind forever fresh, its imperishable ladder gilded by an immortal dawn ? Syl. Oh ! Per. (^ore and more lyric). The eternal duo makes the eternal scene ; and so, though demolished, it rises yet — that wall on which, a wild proprietor, our marvellous love pushed forth itsimarvellous shoots 1 Syl. (aside). He will never end 1 Per. (with a smile full of promise). But you just now ex- pressed the wish to see our story in a poem. That poem — Syl. (disquieted). Well? Per. I am rhyming it myself. Syl. You know how to make verses ? Per. Bah ! do I know how to fence ? Listen to the beginning. * I made it as I came. " The Hostile Fathers." Poem. Syl. Oh I Per. (^posing to declaim). Canto First. Syl. Oh 1 Per. What ails you ? Syl. Happiness — my nerves — a sudden faintness ! (She dissolves in tears.) Let me compose myself. (She turns her back to him, and hides her face in her handkerchief^ Per. (stupefied). I will leave you. (Then, aside, with a superior smile.) On a day like this, such distress is natural. (He goes to the right, sees the paper on the table, and quickly drawing a pencil from his pocket, seats himself saying^ I'll jot down the verses, nevertheless. (He takes the paper, gets ready to write, but stops, pencil in air, and reads.) " I, Straforel, pretending to fall, pierced by a skilless blade ; — costume injured, ten francs; dignity, forty." (Smiling.) What is this ? (Continuous reading, low. His smile dies out, his eyes grow wide.) Syl. (still on the bench, wiping away her tears). If he only knew, he would fall from his heights 1 I nearly betrayed myself. I must be careful. 28 THE ROMANCERS. Per. Ho! ... ho! ... hoi Syl. What did you say ? Per. {hiding the bill with despatch). I ? Nothing, nothing I Syl. (aside). His error tortures me ! Per. (aside). That is why the body was not found. Syl. (aside, rising). He seems piqued. I must make up with him. (She turns around, then, seeing he does not stir, eoguettishly.) You haven't said anything about my dress to-day. Per. (indifferent). Blue does not become you. I prefer you in pink. Syl. (aside, alarmed). Blue does not become me ! Can he know anything ? (Looking at the table.) The account . . . I must indeed have put it there ! Per. (seeing her look about). What's the matter with you that you turn round and round like that ? Syl. • Nothing. (Aside.) A paper — the wind sometimes blows it away. (Aloud, shaking out her skirt.) I was turn- ing to see how my dress goes. (Aside.) I shall very soon know if he has found it. (Aloud.) Hml You were just going to recite some verses on our love. (Percinet starts. She takes his arm, and, very sweetly) Say them I Per. Oh, no I Syl. (ironically). On our adventure ! Per. They are only just begun, you know ; I've not arrived at — Syl. The detailed account ? Per. Yes, the — ( Whirling around and looking at her.) Pardon, but — Syl. But, pardon — Per. (aside). Ah, she knows, then ? Syl. He knows, then ? Both. You know, then? (A moment passes : they break into laughter.) Ha 1 ha I ha ! Per. Isn't it comical ? Syl. Very comical 1 Per. In truth, they maae us play a role ! Syl. a r61e I Per. So our fathers were good neighbors ? Syl. Good friends ! Pw.T?, TTnnn rnvwrnrH flipvQVtnnlH ^ir^^n Koita Koan #^r\iic.inc I THE ROMANCERS. 29 Syl. {with a courtesy). I'm to marry my CQUsinl Per. I'm to marry my cousinJ Syl. It's charming! Pkr. It's classic I Syl. True, one can imagine a marriage more — but it's so good to see love accord with duty ! Per. And with interest I For these two parks — their dependency — Syl. In short, excellent marriage of convenience. We are far from our poor idyl on the wall 1 Per. There's nothing to be said of idyls, that is very sure. Syl. I go back to the rank and file of young girls. Per. I am the prosaic fiancd of every-day life I And 'twas as Romeo, Sylvette, that I pleased you ! Syl. Ah I Romeo I 'tis <;lear that you are he no longer. Per. And do you still think to be Juliet ? Syl. You become bitter. Per. And you, in truth, a trifle cutting. Syl. If you have been ridiculous, pray, is the fault mine ? Per. If I was a little so, I was not alone. Syl. Very well, so be it : we were ridiculous. Ah, my poor blue bird, how your plumes have fad,ed 1 Per. {jeeringly). Ha ! a simili-assault I Syl. And pseudo-sword-thrusts ! Per. Fie, the false abduction I Syl. Ho ! the tinsel hero 1 Alas, our poor poesy was mockery ! In bursting thus before our wondering eyes, fair iridescent bubble, you are no more than a little soapsuds spattering on one's nose 1 Per. Then lover whose sorriest counterfeit I was, and mistress in whose shoes she stood unmeetly — O pale and noble Shakespearean couple, we had nothing in common with you, nothing! Syl. Nothing ! Per. Then instead of playing the divine and beloved drama, we have played an infamous parody ! Syl. So our nightingale was a canary ! Per. So the immortal wall was a stage for marionettes, and when each day we appeared there in half length, instead of two paragons of Love's eternal types, we were no more 30 THE ROMANCERS. than two puppets set dancing by the rude paternal fingers I Syl. True; But we should be still more ridiculous if we loved each other less. Per. We will love each other madly 1 In the first place, we are obliged to love 1 Syl. But we adore each other 1 Per. The word is not too strong. Syl. Love can well solace a like disaster — is it not so, my treasure ? Per. Assuredly, my star ! Syl. Good day, then, my dear love ! Per. Good night, my beauty I Syl. I go to dream of you, dear soul, for my part. Per. And I of you, for mine. Good day ! Syl. Good night I (She goes out.') Per. Oh, what a farce ! Oh ! to be treated like this 1 . . . But who is that be-mustached gentleman, showing so strange a doublet beneath his ample cloak ? I do not know him. (Straforel, entering as these words are spoken, pompously descends the stage.) Per. What is it ? Straf. (smiling). It is to get a little sum. Per. a caterer ? Straf. Precisely. Go, then, good young man, and tell your papa I am waiting for him. Per. Your name ? Straf. My name is Straforel. Per. (staggered). He? Oh, no, oh, no ! This becomes too intolerable I Straf. (smiling). What, whatl You know, then, young man ? Per. (throwing him the bill, which he draws in bits from his pocket). Wretch ! it was you 1 Straf. Tut, tut ! Yes, it was I, by Bacchus 1 Per. Oh I to encounter this man 1 ... I would fly to the ends of the earth I . . . Straf. (with satisfied air). And I am so plump and rosy that the quotation, it seems to me, imposes itself : Les gens que vous tuez se portent — Per. (rushing on him, sword in hand). You shall see ! THE ROMANCERS. 31 giving a lesson). Hand high 1 foot forward 1 Not to be more expert at your age, monsieur, is a crime ! (^By a dexterous movement, he relieves him of his sword, and returns it to him with a bow.) What 1 you end your fencing lesson so soon ? Per. (exasperated, taking back his sword). Oh, I'm going away ! They treat me like a child : good 1 I will take my revenge ! I will have romance, reality, adventures and duels to scandalize the shade of Don Juan 1 (He goes off running, brandishing his sword.) Straf. Very good I very good 1 but now shall I be paid ? {Looking into the wings.) Hey I stop there ! ... If here isn't another fracas I (Enter Bergamin and Pasquinot, dis- ordered as after a scuffle^ Pas. (readjusting himself aud handing Bergamin his peruke). Here's your peruke I Ber. Humph I and here's yours ! Pas. You understand that after such proceedings . . . Here's your frill I Ber. And you will admit that to live with you longer ■would be too great a sacrifice to the happiness of my son. Pas. (sees Sylvette coming). My daughter 1 Of all things, let us hide this from her ! Sylvette (entering and throwing herself on her father's necH). Papa, I don't want to marry Percinet 1 {Enter the Notary and Four Bourgeois in gala dress, the witnesses^ Ber. The witnesses 1 The notary I . . . The devil take them I The Witnesses (astonished). Eh ? The Notary (with dignity). These words — Straf. (in the midst of the tumult, picking up the bill Per- cinet has thrown down). My account — pay it ! Ninety pis- toles I (Enter guests, and three violins playing a minuet^ Ber. (beside himself, striking out in all directions). To the devil with the violins 1 (The violins continue automatically their minuet!) Straf. (impatiently, to Bergamin). Well, sir, my hand is open 1 Ber. Talk to Pasquinot I Pas. Talk to Bergamin I ^2 THE ROMANCERS. Strap, {emphasizing the words of the bill). " Simulated abduction to bring about engagement of marriage." Bbr. The engagement is broken ; that removes the obli- gation. Straf. (fo Pas.). But, monsieur — Pas. Give you a sou, now that everything is ended? You are mad I (Enter Blaise.) Ber. (to whom Blaise has just spoken in a low tone). My son I . . . gone I Syl. (bewildered). Gone I Strap, (^ho is going up the stage, stops and observes her). Ahal Ber. After him I Fly 1 (He runs off, followed by the notary and guests^ Syl. (greatly moved). Gone ! Strap, (coming back to observe her tnore closely). If I could heel the breach between these pretties — hm 1 perhaps — Syl. (suddenly furious). Gone 1 Oh, it is too much ! (Exit, followed by Pasquinot.) Strap, (triumphant). Straf orel, my dear, to get your ninety pistoles, you have to patch up this marriage ! (He goes off. The three violins, left alone in the middle of the stage, con- tinue their minuet.) Curtain. ACT III. SCENE. — The same. Material has been brought for recon stucting the wall, which is going up in the rear. Sacks of plas- ter, mason's tools. (Bergamin and Pasquinot are discovered, each from his side inspecting the work. A Mason is trowelling, sitting on his heels, his back to the audience.) The Mason (singing as he works). Tra lai delurio . . . Ber. These workmen are slow. The Mason. Delurio, deluro . . . Pas. {Jbllowing his motion with satisfaction). That's it I some rubble I Ber. (same action). Ouf ! a dab of mortar ! Pas. P£ I a trowel pat 1 The Mason (making cadenzas). Delurio, delu-ri-i-i-el-le ! Pas. (coming down the stage). Fine voice, but uncommonly- slow work I Ber. (also coming down, in boisterous good humor). Ha ! ha I Here's one panel begun I Good I Pas. (tapping with his foot ground yet to be covered). By to-morrow, the wall will be two feet high here 1 . . . Oh, joy 1 TiESi.' (becoming lyrical). May I soon see thy towering form again, beloved wall I Pas. What did you say, sir ? Ber. I was not spealang to you. (Some moments pass.) What do you do in the evening, after dinner ? Pas. Nothing. And you ? Ber. Nor I either. (A time passes. They salute and promenade.) Pas. (stopping). TJiere'§ no news, then, from your son ? Ber. None. He's .still abroad. Pas. He will soon be relieved of his money, and then he'll come back sure enough. 33 34 THE ROMANCERS. Ber. Thanks. {They bow and promenade. Time passes?) Pas. {stopping once more). Now that the wall is going up again, monsieur, I'm quite wiUing to have you come in some- times — as a neighbor. Ber. Very well. I may do you the honor. {They salute.) Pas. {brusquely). Good 1 Then come have a game of piquet I Ber. {gruffly). Ha ! . . . ho I . . . pardon ! I don't know whether I can — Pas. Since I invite you. Ber. Hm 1 ... I should prefer bazique. Pas. Come on then. Ber. {following him out). You owe me ten sous from the last time. {Turns around?) Work well. Mason ! The Mason {at the top of his voice). Tralai 1 . . . Pas. Fine voice 1 {They go off) {As soon as they are gone, The Mason turns, takes qff his hat: it is Straforel.) Straf. Yes, mason I am, since under this smirch I've come here to plaster. '{Sits down on the bit of wall begun^ The young man is still on the chase for the Romantic, but without being a seer, one may predict that he'll come back without game, and broken to harness. Since Life, then, has charged herself with giving him a salutary bath in reality, and will open the eyes of the chicken and in time send him winging this way, I, by a wise and like course of action, seek to cure Sylvette of her taste for adventure. Straforel, man of many talents, you often played the marquis- or the prince, those days when you were catcalled in the provinces 1 That is going to serve us. {He draws a letter from his smock, and puts it in the mossy hollow of a tree trunk?) Ah, fathers, what thanks you will owe me ! {Catching sight of Sylvette.) There she is 1 To my cement ! {He returns to his troweling and disappears behind the wall.) Syl. {advances furtively, looks to see if she is observed, then). No I no one 1 {She throws her muslin scarf over the bench at the left?) To-day shall I find the letter ? {Goes toward the tree.) Every day a gallant unknown comes to put one here, in THE ROMANCERS. 35 box. (JSke thrusts her hand into the hollow of the tree.) Yes, this is my good courier 1 (She reads.) — " Sylvette, heart of marble, you hold here the final letter from out this heart of green. Why, tigress, have you not replied to the magic fruit this tree has so long daily borne for you ? '' — Ah I what a style 1 — " The love which in my soul mutters like distant thunder " — {She tears the letter nervously?) Ah 1 Monsieur Percinet is running the world over I He is right, and I will do the same 1 Do they think I'm going to stay here to die of dulness ! Whoever wrote these words, let him come 1 let him rise out of these green shrubs with their nests and their chants, and just as I am, without even going for a hat, I will follow him. I am ready now for Romance at any cost. Let the gentleman come — I already almost love him. How I would stretch out my hands to him, if he came, and how — Straf. (in a ringing voice). He is here. Syl. Help 1 Percinet ! (Retreating as Straforel ad- vances^ Man, do not approach me I Straf. (amorously). Why this hostile air ? I am he whose style you were just now admiring, the too highly favored mortal whose missive pleased you, and on whose love you were relying — if one may trust your words — to be seized and borne far beyond pursuit 1 Syl. (not knowing what to do). Man I Straf. You take me for a mason ! — That's delicious ! Know, then, that I am the Marquis of Astafiorquercita, fevered mind, cankered heart, who, seeking to spice a too tasteless existence, wander in the fashion of an errant knight with whose soul a poet dreamer's mingles. It was to pene- trate your park, O cruel beauty, — it was for love of you that I toolc up the trowel ! ( With an elegant gesture he throws aside his trowel., divests himself of his smock, takes off his hat, white with plaster, and appears in the glittering costume of an Almaviva, hlond peruke, fetching mustachios.) Syl. Monsieur 1 Straf. From a certain Straforel I learned your story. A blind, unreasoning love for the poor victim, dreamy inno- cent, o'ercame me 1 Syl. Marquis 1 Straf. Do not look so bewildered. The scoundrel hav- ing boasted of the role he'd played, I killed him 1 36 THE ROMANCERS. Syl. Killed him I . . . Straf. With a single sword thrust ! — To be an avenger was ever my mania I Syl. Monsieur ! Straf. I understand you, O dear heart misconstrued 1 You want — am I not right ? — Romance at any cost. Syl. Marquis 1 . . . indeed . . . Straf. 'Tis settled then. To-night I will abduct you ! Syl. Monsieur — Straf. And for good ! Syl. Monsieur 1 Straf Ah, what a lovely dream 1 You gave consent ! I heard you I Yes, to-day we will take our mad flight, and if your papa go distracted from grief, so much the worse ! Syl. Monsieur . . . Straf. And if they close in on our track — for abductors are rigorously pursued — so much the better I Syl. O monsieur 1 Straf. So much the better, in truth 1 We can fly on foot, in a tempestuous night, our brows bared to the rain and the raging wind I Syl. Monsieur . . . Straf. And to gain some far-off continent, madam, we will embark headlong I Syl. Monsieur . . . Straf. And far, far away, on a soU as yet untrod, where we shall live happy in our homespun. Syl. Ah ! but . . . Straf. For I have nothing I You wouldn't wish it other- wise, would you ? Syl. Indeed I Straf. Our sole refreshment shall be bread, — bread moistened with tender tears I Syl. And yet . Straf. Exile for us shall blossom with delights I Syl. Monsieur . . . Straf. And misery for us shall be but bliss! Not even a rude hut 1 ... A tent I — thy heart I Syl. a tent ? Straf. Yes, indeed, yes 1 Four pickets, two flaps 1 Or ;f «mii7^ *-n4-UA.. ««*!,: — u.-j. j.i.„ ~i. I TUE ROMANCERS. ^y Syl. Oh, but . . . Straf. What ! do I see you seized with trembling ? You would perhaps not go so far away ? Pe it so ! We will live in hiding, O my blond deity, alone, having incurred the vengeance of the world I — Oh, rapture ! . . . Syl. But, monsieur, you mistake . . . Straf. Men will hold aloof from us in scorn ! Syl. Ah, me 1 Straf. Prejudice is made to trample under foot. The world's contempt will be felicity ! Syl. Monsieur . . , Straf. I shall have no other occupation than to play upon the gamut of my passion 1 Syl. Monsieur . . . Straf. In brief, we will live in lush poesy ... I shall have outbursts of jealous frenzy — Syl. Monsieur . . . Straf. And when I'm jealous, you know, I've the ferocity of jackals and of wolves 1 Syl. (overcome, falls fainting on the bench). Monsieur ! Straf. If you should break our hallowed bonds, you would be butchered straight 1 Syl. Monsieur . Straf. You shudder? Syl. Ah, Heaven, what a lesson ! Straf. Body of Bacchus ! Is it blood or froth runs through your arterial tubes ? By thunder ! You have an air a bit school-girlish for daring such precarious fortunes. .Let's see, do I go alone, or do we go together ? Syl. Monsieur . . . Straf. Yes, I understand ; my voice reassures you. Ah, well, we will set out, now that I see you strong. I will abduct you at once, on horseback, across my saddle. Oh, you will be on the rack 1 but sedan chairs, easy and aesthetic, are in the mode for false abductions only I Syl. But, monsieur . . . Straf. (goes up the stage). Till I return 1 Syl. But, monsieur I Straf. Till I return I The time to go in search of a horse — a cloak — Syl. (beside herself y Monsieur 1 38 THE ROMANCERS. Strap, {^vith a magnificent gesture). And we will flee from land to land 1 Oh, the long-time dreamt-of and at last en- countered I — the soul to whom my soul may say : " My sister ! " Till I return, and then for ever 1 Syl. {/aintiy). For ever I Straf. Oh, nectar 1 You are to live beside the beloved being for whom you yearned before you knew him, and who, not knowing you, for you was parching ! (JSees her fainting on the bench.) And now, Percinet, you may come back ! (lie goes out.) Syl. (alone, opening her eyes). Monsieur 1 . . . Marquis 1 No, not across the saddle ! Have pity on me ! — No, I am not the one — not at all 1 Let me go in ! — ,A school-girl 1 Yes, you are right ! . . . He's no longer there ? . . . Mar- quis I . . . Alone ? . . . Ah, Heaven ! what a frightful dream 1 (A little time. She recovers herself^ I like better being ab- ducted in play 1 Well, well, Sylvette ! how is this, my dear 1 A little while ago you were beckoning the Romantic, with great cries, and the Romantic come, you are not satisfied ? Oh, homespun, exile, the tent, the stars ! — no, that is too much ! A little romance, yeS, like a little parsley in one's soup, but this is too much ! I cannot endure these shocks. I would content myself with gentler emotions. . . . {Twilight falling veils the park. She takes up her scarf, dropped on the bench, covers with it her head and shoulders, and, pensive^ Who knows if ? . . . ■ (Percinet appears, in rags, his arm in a sling, scarcely able to move. A felt hat, from which droops a bed- raggled plume, conceals his face.) Per. {not yet seen by Sylvette). I've eaten nothing since yesterday. I am ready to fall from fatigue, and my pride is gone. Oh, the mad prank! I've seen hard things, and found little amusement in adventure ! {He sinks on the wallT His hat falls off, uncovering his face. Sylvette sees him.) Syl. You 1 {He gets up, overcome by emotion.) And in what a state 1 Is it possible 1 Per. {piteously). It is possible. Syl. {clasping her hands). Kind Heaven I Per. Don't you think I have somewhat the profile paint- ers give the Prodigal Son ? {He reels.) Syl. He cannot stand I THE ROMANCERS. 39 Stl. (seeing his arm ; with a cry). Wounded. Per. Could you then be pitiful to ingrates ? Syl. {severely, moving away). Only fathers, monsieur, kill the fatted calf. (Percinet makes a movement, and his wounded arm forces from him a grimace. SrvLwwrcTS,, frightened in spite of herself) — But this wound ? Per. Let me reassure you ; the wound is by no means grave. Syl. And what, sir vagabond, have you been doing all this time ? Per. Nothing good, Sylvette. {He coughs!) Syl. You cough now ? Per. Ah, yes ! we tramped the highways, at night . . . Syl. And there one catches cold. . . . What strange clothes you wear ! Per. Robbers took mine, Sylvette, and gave me theirs. Syl. {with irony"). And how have you fared as a gallant ? Per. Don't ask such inopportune questions, Sylvette. Syl. You have cUmbed many balconies, no doubt ? Per. {aside). I just missed breaking my neckl Syl. Guitar in hand, have chanted many a nocturne ? Per. {aside). And brought more than one little water-jar to empty on my head ! Syl. At last, it seems, scratched in a real duel ? Per. {aside). Which cost me an almost mortal thrust. Syl. And you come back to us ? . . . Per. Humble, pitiful ! Syl. Yes, but you at least found the Poetic. Per. No, I went far to seek what was very near. Ah, mock me no longer ! . . . I adore you I Syl. After the disillusion that we had ? Per. What does that matter I Syl. But our fathers deceived us horribly. Per. What does that matter 1 All is clear now in my heart — Syl. But they feigned their hatred. Per. Did we feign our love ? Syl. The wall was a puppet stage, — you said it yourself 1 Per. Sylvette, I said it, but 'twas blasphemy I — Or if 'twas true, what puppet stage, old wall, you offered us ! — It had for flies, the great fresh branches, for perspective, the 40 THE ROMANCERS. out-stretching park, and azure space for frieze ; for orchestra, unseen and sensible, the four winds ; for properties, the borders and bright flowers ; for lamp, the sun, and Shake- speare for the prompter 1 Yes, as one makes those puppets gesture in whose blouse one gloves his hand, so our fathers did with us ; but remember, Sylvette, on our mimic stage, it was love that made the puppets speak ! Syl. True, but we thbught we were loving culpably. Per. {earnestly). And we were. Keep that pleasant com- punction. The "intention counts as much as the deed. In thinking ourselves criminal we were so r Syl. {weakening. Is that quite sure ? Per. Quite sure, dear little friend. We have committed an infamy, pure and simple. I call to witness your balmy breath and your beauty. To loye each other was very wrong — very wrong. . . . Syl. {seating herself near him). Very wrong ? {Changing her mood and moving away again.) Yes, but I regret a little, for the sake of our renown, that the danger run was only imaginary 1 Per. It was real for us who believed it so. Syl. No, my abduction was false, and so was your duel I Per. Was your fear, madam ? and since you have passed through the state of mind of a person abducted, 'tis exactly as if you had been really. Syl. No, the dear remembrance is no more. . . . Those gay lights, those masks and mantles, the soft music, the com- bat, — it's too cruel to think that it was all made by Straforel 1 Per. Arid the vernal night, is it he who made that ? Is it he who ordered that gala time which friendly April gave us ? Was it he who starred the starry sky ? he who with shadow so blotted out the slender rose trees, that the roses seemed in some unearthly way to stand spell-stopped in the mysterious air ? Did he dispense the trembling grays, the play of blue light? Was it he who poured the languors round about ? Did he count in the appearing of the star of silvery rose ? Syl. No, surely. Per. And did he make it that in that night of spring we were two children of twenty years, and that we loved each other? — For the charm was there — all the charm, Sylvette. THE ROMANCERS. * 41 *-^ Syl. All the ... yes .. . but ... ' Per. a tear ? He is pardoned, then, the wayward fellow who went abroad in the world ? Syl. I have always loved you, — fie ! my poor dear 1 Per. And I have found again your forehead with its childish fringe. {He plays with Sylvette's scatf>) ^Oh, let me kiss the te nuous border of the filmy veil that flgi^sJtiacE from your brow i~" How it" refreshes 'my lips, this tissue, this tissue fine and pure, for which I did not know how to dis- dain satins and velvets that compromise ! Syl. What satins ? What velvets ? Per. {ardently). Nothing, nothing 1 — rags 1 Oh, young girl, child, mtislin is thy nariie ! How I love this fresh veil ! Syl. It's lawn. Per. {on his knees). I love it, and tremble lest my kiss do it ill ; for this veil to which I kneel, This filmy lawn That muffles you, But in the way The zephjrrs do ; This lawn of film, This frail, pure thing, That rides the ether Like a wing ; This filmy lawn A ray has power — So subtile is it — ■ To deflower ; This lawn of film Like gossamer The Virgin floats On summer air ; This filmy lawn, It is thy thought, Uncrushed as yet By what life's wrought I 4a» THE ROMANCERS. This lawn of film, This flame of snow A mere naught stirs — Thy soul, I trow ! This filmy lawn Beloved of me, 'Tis naught at all ^^, Unless 'tis thee ! Syl. {in his arms). Poetry, you see, is in the hearts of lovers ; it comes not solely from adventures. Per. That is true. Those from which I return, though very real, were not at all poetical, Sylvette. Syl. And those arranged by our Machiavelic papas were poetical though false. Per. For when the soul loves, she can embroider true flowers on a^lfalse woof. Syl. Poetry, love — why, we were fools to seek it el^- where when it was within us ! Strap, {enters, leading in the fathers, and shows them Sylvette and Percinet in each others arms). Betrothed once more 1 Ber. My son ! {He embraces Percinet.) Straf. Will you pay my bill ? Pas. {to his daughter). You love him again ? Syl. Yes. Pas. Linnet I Straf. {fo Bergamin). Shall I have my gold ? Ber. You shall have your gold ! Syl. {trembling). But, in truth . . . that voice ! . . . The Marquis of As-ta-fi-or ^- Straf. — quercita. 'Twas I, dear lady, I, Straforel. Par- don my ardor, I beseech you. The method that I took was good in this, that it left you here, and still made you know all the weariness of those adventures which, once experienced, so soon bring disillusion. Without doubt you might, {point- ing to Percinet) like this citizen, run through them for your- self ; but that method, forsooth I being somewhat rough for a young girl, I showed you them in a magic lantern. Per. What is this ? THE ROMANCERS. 43 Ber. (^pointing to the rising wall ). To-morrow, rap 1 a pickax stroke, and this panel of the wall is down ! Pas. To-morrow, away with cement, sand and rubble 1 Strap. No, rebuild the wall ; it is indispensable. Syl. (bringing all the actors around her). And now we four, and Monsieur Straforel, crave indulgence for the piece, in a rondel. Syl. Costumes light and easy rhymes. Love in a garden, piping on the oboe . . . Ber. a Florianesque and blithe quintetto. Pas. Discord, yes, but passed betimes. Strap. Rays of the sun, and moonbeam chimes ; A swordsman dight in a gay mantello. Syl. Costumes light and easy rhymes. Love in a garden, piping on the oboe . . , Per. An artless change from ranting mimes, Some music here, a bit of Watteau, A decent play and short libretto. Old wall, lovers, scented thymes. Syl. Costumes light and easy rhymes ! Curtain. THE DISTRICT ATTORNEY A Comedy Drama in Three Acts By Orrin E. Wilkins Ten males, six females. Costumes, modern ; scenery, two easy inte- riors. Flays a full evening. Bob Kendrick, college athlete and popular man, is in love with Dorothy Seabury, but she will not hear him until he has made a start in life. He runs for the office of District Attorney as part of a political trick of the " boss," Sullivan, but turns the trick and wins the election. His first official act is the prosecution of the Packing Company of which Dorothy's father is the head, which leads to his suicide and Dorothy's alienation. Later, when she knows that his strict pursuit of duty has not spared his own father's name, which was involved in the same scandal, she understands and forgives him. The political thread on which is strung a strong and varied story, introducing lots of comedy and a strong college flavor. Good enough for any purpose ; strongly recom- mended. Price, S5 cents CHARACTERS Mr. Wm. Seabury, Pres. of Seabury Packing Co. Mr. Herbert Brownell, reporter of the " Tribune" Richard Seabury, senior at college. Bob Kendrick, a fixture at the university. Billy Reynolds, />-«Awfl« at college. P. Homer Sullivan, politician. John J. Crosby, district attorney, running for reelection. JiMMiE, office boy. Howard Calvert, Beverly's little brother. Sam, Calvert's butler. Aunt Hattie, Wm. Seabury' s sister. Dorothy Seabury, Wm. Seabury s daughter. Beverly Calvert, ] Peggy Marshall, \ Dorothy's chums. Polly Whitney, j Marsaret, servant. SYNOPSIS Act I. Drawing-room of the Seabury residence. Act n. The district attorney's office, a few months later. Act hi. Same as Act I, one year later. A SUFFRAGETTE TOWN MEETING An Entertainment in One Act By Lilian Clisby Bridgham Twenty female characters. Costumes, modern ; scenery, an ordinary room or hall — unimportant. Plays one hour. Presents a town meeting as it will be conducted by and by when the ladies have taken full charge of the public business. A shrewd and good-natured satire of present feminine peculiarities applied to this problem written for laughing purposes only. Just the thing for women's clubs. Price, 2S cents THE BEWILDERING MISS FELiaA A Comedy in Three Acts By Granville Forbes Sturgis ( Written expressly for and presented by The Drama Club cf the Denver Grade Teachers' Association, Colorado.') Fourteen females. Scenery, one interior and one exterior ; costumes period of 1830, but may be modern, if desired. Miss Felicia comes to th sleepy town of Lilac and occupies her grandfather's mansion. By he radiant personality she transforms the characters of all the old maids o the village, making them drop all their petty shams and jealousiei French dialect, negro and country girl comedy characters ; all the part first-class. A strong piece and not difficult. Plays two and a quarter hour: Price, 2j cents CHARACTERS Felicia Freeman, the newcomer. Miss Adeline Paisley, an old maid. Mrs. Captain Hippolytus Biddle. Mrs. Frederick Addison, divorced. Mrs. Robert Douglas, honeymooning alone. Mrs. Marcia Murray, a widow. Norma Murray, her daughter. Miss Mehitable Oggsby, a landlady. Hannah Jane, a drudge for Miss Oggsby. Miss Lucretia Long, inclined to be frivolous, Mrs. John Jose, who sells butter and eggs. Sally Johnson, a laundress. Freedom, colored, but free. Mamselle, maid to Felicia. SYNOPSIS Act I. — The vacant house. Exterior. — Late afternoon. Act IL — Miss Felicia's. Interior. — One year later. Act III. — Miss Felicia says "Good-bye." Exterior. — Six week later, afternoon. THREE OF A KIND A Comedy Sketch in One Act By Gladys Ruth Bridgham One male, six female characters. Scene, a simple interior ; costume! modern. Written expressly for the author's High School pupils firbi fourteen to seventeen years of age ; one adult and one child of sever Miss Carrington, the new governess, is expected to arrive, and it occur to both Bob and Eloise to disguise themselves like her and have a littl COLLEGE DAYS A College Comedy in Three Acts By George M. Rosener Ten males, four females. Costumes, modern ; scenery, tiro interiors and an exterior. Plays two hours. Quincy Jordan, the son of a tyrannical farmer, wins a scholarship offered by a prominent newspaper and throws off the paternal yoke. At Westward College, which he has chosen be- cause the girl he loves is there, he is at first disadvantaged by his circum- stances, but he soon makes good both with head and fists and not only defeats the plot for his downfall that his rivals lay for him, but comes out a victor in college, wins the girl he loves, and carries all before him. A fine piece with many fine parts ; strongly recommended. Lots of comedy. Professional rights reserved. Price, 35 cents CHARACTERS Quincy Jordan, a farmer. Quincy, Jr., his son. Squire Drake, a rich farmer. Jerome, his son. Ui^CLE Hez, a town character. Poor House Onnie, another. Paul, Prye, the bully. Professor Rex, a teacher. Hal Dexter, a student. Harry C. Graham, a politician. Jim Brady, a reporter. Jersey, Quincy Jordan's -wife. Violet, Squire brake's daughter. Aunt Sally, « town character. Any number of students. SYNOPSIS Act I — Exterior of Quincy Jordan's farm, near the summer school of Westward College. Act II.— Exterior of Westward College, The home of Professor Rex. Act in,— Quincy, Jr,'s, law office out West four years later. THE COLLEGE POLITICIAN A College Farce Comedy in Three Acts By H. W. Weis and D. T. Howard Sixteen males, five females. Costumes, modern ; scenery, three inte- riors. Plays two hours. Ted Kingsley, an outsider, applies the political methods of the outside world to the problem of winning the election for football manager in his college and, after an exciting campaign in which he shows great ability in this line and sets the college on end, he wins the office and the sister of his rival at one blow. An exciting play, with the true college atmosphere. Lots of good parts; not difficult; well recom- mended. Price, ij cents THE VOICE OF AUTHORITY A Farce in Three Acts For Female Characters Only By Bertha Currier Porter Seven females. Costumes, modern ; scenery, a. plain interior. Plays two hours. Seven girls go camping all by themselves so as to have no ^ men bothering around. After a week of it they decide to send for their ■•. brothers and fiancfes, but they have no sooner done so than they are noti- 6ed that their camp has been quarantined by the authorities because one of them the day before has been seen holding a baby that has the scarlet fever. The men arrive, but are not allowed to enter, and the girls can- not come out. Trouble follows, ended by the discovery that the baby did , not have scarlet fever after all. Full of life and laughs; strongly recom-;^ mended. Price, ss cents CHARACTERS Jean Campbell, the stenographer, engaged to Bert. Priscilla Carter, the newspaper woman, engaged to Ralph. Martha Stearns, the cooking teacher, engaged to Mai^f*' Gladys Gushing, the butterfly, engaged to Charlie. Margery Whitin6, the bride-to-be, engaged to Billy. \ Elizabeth Kennedy, independent, not engaged at all. ^ Dr. £. T. Simpson, the physician. And The Voice of Authority, unseen but all-powetful. THE COMING OF ANNABEL A Comedy in One Act By Alice C, Thompson Six females. Costumes, modern ; scene, an interior. Plays thirty minutes. A group of village gossips, bent on the slaughter of the char- actertof a visitor to the town, are routed and reformed by the example of Annabel's charity and amiability. Good character. Clever and effective. /W«, IS cents THE MISSES PRINGLES' LEAP YEAR A Comedy in Two Acts By Amaryllis V. Lord Ten females and the apparition of a man. Costumes, modem ; scenery, unimportant. Plays half an hour. The Misses Barbara, Priscilla and Betsy Pringle, while scorning matrimony in public, have a secret inclina- tion (.toward it, and taking advantage of leap year, each, without the knowledge of the others, proposes by letter to Deacon Smith with sur- prising results. Very easy and amusing, requiring no scenery and but little rehearsing. JI. 01. Pinero's Plays Price, 50 £;ent$ €acb MfnrUiMMrf PUy in Four Aots. Six malea, five females. iniLr^llAililEiLt Oostuxneo, modern; eoeuery, three Interiors. Plaja two and a haU hoorg, THE NOTORIOUS MRS. EBBSMITH ^^^'iF^^t males, fire females. Costumes, modem; sesnerj, all Inteiiors. inays a full erening. THF PDfVPIIPATF Play in Four Acts. Seven males, five inCi lIWrLilUAlCi females. Scenery, three interiors, rather elaborate ; costumes, modern. Plays a full evening. " iI7 CrUnm MICTDITCC Faroe in Three Acts. Kinemales, UL i3\,n\J\JL,ailOlRIaJO seven females. Costumes, mod- scenery, three Interiors. Plays a full evening. T .E SECOND Mrs. TANQUERAY g?Jt'"IX.^S^e •.ales. Costumes, modern; scenery, three Interiors. Plays a . evening. CWPFT I AVFNnFR Comedy in Three Acts, Seven males, onttul Lil\l unULilx four females. Scene, a single Interior, eostomes, modern. Flays a full evening. * TUI7 TUITMnCDHni T Comedy in Four Acts. Ten males, lIlEi inUnLFCKOULl ninefemales. Scenery, three Interl- on; costumes, modern. Plays a full evening. , THP TIMF^ Comedy In Four Acts. Six males, seven females. inb lllHuJ Scene.asingle interior; costumes, modern. Plays a full evening. TUr WTAWR CFY Comedy in Three Acts. Bight tnales, inEi nEi/Ml£in OCiA eight females. Costumes, modern; ■cenery, two interiors. Plays a full evening. ' A WIFE WITHOUT A SMILE ^Te'SliiJfS^'flmi?^: Oostnines, modern ; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by Salter ^. leaker & Company No. 5 Hamilton Place, Boston, Massachusetts 3^mnt 3^opular Pa^s THR IWtPPNIItfA Play 1" ^o^ ■'^"ts. Br C. H. Chahbbss. lUG AnA&SnU^U Four, males, bIx (emale*. Boenery, not dlffi- CQlt, chiefly Interiors ; ooctumes, modem. Flays a Xull eTenlag. Frioe, 60 Cents. ' TBE FRUITS OF ENLIfiflTENMENT ^X^^^l^rJ^^- one males, eleven females. Boenery, oluuracteristlo Interiors ; oo«- tames, modem. Flays a full ayenlng. Becommended for reading olubs. Prloe, 85 Cents. IDS EXCELENCY TBE fiOVEBNOR If'S'i°Bil!^i:%?2 males, three females. Costumes, modem ; scenery, one Interior. Acting rights reserved. Time, a full evening. Price, 60 Gents. AN inPlf HITCRIND Comedy in Foiir Acts. ByOsoABWiUJK. ATI Un&Li UV30 AttU Nine males, six females. Costumes, mod^ - em ; seenery, three Interiors. Flays a full evening. Acting rlgbte reserved. Sold for reading. Prloe, 60 Cents. THE IMPORTANCE OP BEING EARNEST SL? i^ ^21 WHjDB. Five males, four females. Costumes, modem ; scenes, two Interiors and an exterior. Flays a full evenings Acting rights re- served. Prloe, 60 Centa. LADY WINDERMERE'S FAN ^JS^'%!^S^es,^^i?:'^ males. Costumes, modem ; scenery, three Interiors. Plays a foil evening. Acting rights reserved. Price, GO Gentk NITHAN Hlf V Play in Four Acts; By Cltdb Fitoh. Fifteen HalUAM UAI4I1 males, four females. Costumes of the eighteenth century in America. Scenery, four Interiors and two exteriors. Act- ing rights reserved. Flays a full evening, price, 60 Centa. TBE OTHER EEUOW fff^it^uTftSfSi.S'fcL?^.'?^ interiors ; costumes, modem. Professional stage righta reserved. Flays a full evening. Price, 60 Cents. THE TYRANNY OF TEARS 8°^/,S.^^tfa*£,.Sre*a £ males. Scenery, an Interior and an Exterior; costumes, modem. Acting rights reserved. Flays a full evening.^ Price, 60 Cents. A WOMAN OF NO IMPORTANCE ^^V^r^^ seven f ezuales. Costumes, modem ; scenery, three interiors and an exterior. Flays a full evening. Stage rights reserved. Offered tor reading only. Price, 60 Cents. Sent prepaid on receipt of price bj Salter l^» "Bafeet d Compani? ITo. 5 Hamilton Place, Boston, Massachusetts PQ 2635!08|r7" W '""'""^ Romancers : DATE DUE 1 :CV3*Mt^ VWf'.A \^ \^r - tiMt ,l.Mrt|AA^Mi£^ H— ~ HOTi^ - ^ wIrT ''■^ -S s ^WW^'"!^ ■S F ^ ,1 '3 iq7q 4* I'O- GAYLORD PRINTED INU.S.A.