M l WI l lM li m i M i i l S MWlWi^Si0;^l^^^}'M'Mii^^'Mi^!*MW^'WS^^i^^^ ' HSm«Hl l !l ll l!i ! i i ! M!i ! l ii llB!l''"'' "" * '''* '--'■■ I y a JT a K .»' F.5! ; t ■ nSCHOOL tASELUS- m^r^ I H ii m i'iii' i II 111 I I • I E&UCraOSkU.FUBUSHm& COMlLAKlf: »■■■■■■■■■ r ■emiiiiiiiHHHiiiiiiHiiRmnRmnsR ^m fork HuU ffiolbg? of Agrirulturt At (ttorttpU llmupraitg |[jtbrarg Cornell University Library PN4271.L28 Dramatizations of school classics; a dram 3 1924 014 450 104 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014450104 DRAMATIZATIONS OF SCHOOL CLASSICS A DRAMATIC READER For Grammar and Secondary Schools BY MARY A. LASELLE Newton Technical High School, Newton, Mass. EDUCATIONAL PUBLISHING COMPANY BOSTON NEW YORK CHICAGO SAN FRANCISCO 0^ CopymcHT, 191 1 BY EDUCATIONAL PXJBLISHING COMPANY TO flftra. yranft "R. Jewett BUFFALO, N. Y. CONTENTS The Paradise of Children. Hawthorne . II King Midas. Hawthorne 19 The Miraculous Pitcher. Hawthorne . . . 25 The Pied Piper of Hamelin. Browning . , • 32 Rip Van Winkle. Irving 36 A Christmas Carol. Dickens 41 William Tell 50 The Courtship of Miles Standish. Longjellow . 57 The Talisman. Scott 63 Julius Cassar. Shakesi>eare 72 Moses at the Fair trom "The Vicar of Wakefield. " Goldsmith ... ... 8c Galeotti's Escape from Death from " Quentin Dur- ward." Scott 86 Nicholas Nickleby. Dickens 94 The Tempest. Shakespeare 97 The Spy. Cooper 108 The Old Curiosity Shop. Dickens . . . -115 Joan of Arc 124 The Archery Contest from" Ivanhoe." Scott . . 130 The Micawbers Decide to Emigrate. Dickens . 136 Master Skylark. Bennett 144 S PREFACE Several of these dramatizations have stood the test of representation before an audience of about six hundred children. They were given, practically as here represented, in the hall of the Mason School, Newton Centre, at the Mon- day morning exercises. The close attention given at the performances indicated the pleasure that work of this kind gives to pupils of all ages; and the increased love of good literature, resulting from each dramatic representation, leaves no doubt as to the value of this work in the school-room. If desired, these selections can be used in the ordinary reading lesson, without action or scenery. Every teacher knows that expressive, intelligent reading can be most easily taught by means of spirited dialogue. DRAMATIZATION IN THE SCHOOL-ROOM In order to secure the best results, these points should be kept in mind: 1 Only the best literature should be dramatized. 2 Scenes should be chosen in which several actors can appear. 3 There should be a good deal of action in the scenes represented. The play should move rapidly. 4 As far as possible the scenes should be beautiful and spectacular. Painful and disagreeable situations should not be represented. 5 It is much better to use home-made costumes and scenery than to hire elaborate finery and stage settings. 6 Do not attempt too much. A ten-minute exercise in which the action is swift and the interest weU-sustained is far more satisfactory than a longer one in which there are dull moments. 7 In any dramatization in which the entire narrative cannot be understood from the scenes represented, an essay, giving a summary of the story, should precede the performance. "f^^^ DRAMATIZATIONS OF SCHOOL CLASSICS THE PARADISE OF CHILDREN SCENE I Place: Home oj Epimetheus Characters Pandora Epimetheus {A large box should he in the centre of the room. This could be a trunk, covered with bright chintz or other drapery. It should be conspicuous and at- tractive in appearance.) Pandora O, Epimetheus, what have you in that lovely box? Epimetheus My dear little Pandora, that is a secret and you must be kind enough not to ask any questions about it. This box was left here to be kept safely, and I do not myself know what it con- tains. 12 DRAMATIZATIONS OF SCHOOL CLASSICS Pandora But who gave it to you? And where did it come from? Epimeiheus That is a secret, too. Pandora How provoking! I wish the great ugly box were out of the way! Epimetheus Oh, come, don't think of it any more. Let us run out of doors and have some nice play with the other children. (A group of children run across the stage, some having toy balloons, kites and other toys in their hands. Pandora and Epimetheus run out after them.) SCENE II Stage Setting as before Pandora Whence can the box have come? And what in the world can be inside of it? Epimetheus Always talking about this box! I wish, Pandora, you would try to talk of something else. Come, let us go and gather some ripe figs and eat them under the trees for our supper. And I know a vine that has the sweetest and juiciest grapes you ever tasted. Pandora Always talking about grapes and figs! Epimetheus Well, then, let us run out and have a merry time with our playmates. DRAMATIZATIONS OF SCHOOL CLASSICS I3 Pandora I am tired of merry times, and don't care if I never have any more. And, besides, I never do have any. This ugly box! I am so taken up with thinking about it all the time. I insist upon your telling me what is inside of it. Epimetheus As I have already said, fifty times over, I do not know! How, then, can I tell you what is insidfe? Pandora You might open it, and then we could see for ourselves. Epimetheus Pandora, what are you thinking of? Pandora At least, you can teU me how it came here. Epimetheus It was left at the door just before you came, by a person who looked very smiling and intelligent and who could hardly forbear laughing as he put it down. He was dressed in an odd kind of a cloak and had on a cap that seemed to be made partly of feathers, so -that it looked almost as if it had wings. Pandora What sort of a staff had he? Epimetheus Oh, the most curious staff you ever saw! It was like two serpents, twisting around a stick, and was carved so naturally that I, at first, thought the serpents were alive. Pandora I know him; nobody else has such a staff. It was Quicksilver; and he brought me hither, as well as the box. No doubt he intended 14 DRAMATIZATIONS OF SCHOOL CLASSICS it for me; and, most probably, it contains pretty dresses for me to wear, or toys for you and me to play with, or something very nice for us both to eat ! Epimetheus Perhaps so, but until Quicksilver comes back and tells us so, we have neither of us any right to lift the lid of the box. Pandora (as Epimetheus leaves the room) What a dull boy he is! I do wish he had a little more enterprise. {She tries to undo the large cord with which box is tied.) Pandora I really believe that I begin to see hoA^ it was done. Perhaps I could tie it up again after undoing it. There would be no harm in that, surely. Even Epimetheus would not blame me foi that. I need not open the box, and should not, oJ course, without the foolish boy's consent, even il the knot were untied.) (She walks around the box; tries to lift it; applies her ear to the cover, and listens; grasps the ends of the cord and unties the knot. She makes one or two attempts to tie the knot; listens again.) Pandora What can it be? Is there something aUve in the box? Well, yes! I am resolved to take just one peep! Only one peep, and then the lid shall be shut down as safely as ever! There can- not possibly be any harm in just one little peep! DRAMATIZATIONS OF SCHOOL CLASSICS 1 5 (Epimetheus, with a large bouquet of flowers in his hand, enters the room -just as Pandora opens the box.) Epimetheus {throwing down flowers and jump- ing about in great pain) Oh, I am stung! I am stung! Naughty Pandora! Why have you opened this wicked box? (Pandora, too, is stung and jumps about in af- fright and pain. A group of children rush in and they- begin to brush away the imaginary insects. Chil- dren rush out, followed by Pandora and Epimetheus.) SCENE III (Pandora sitting upon floor, with her head upon box, handkerchief at her eyes. Epimetheus seated with his back to Pandora. A little tap is heard.) Pandora What can that be? (Epimetheus does not answer.) Pandora You are very unkind not to speak to me! (Another tap is heard.) Pandora Who are you? Who are you inside this naughty box? 16 DRAMATIZATIONS OF SCHOOL CLASSICS Voice Only lift the lid and you shall see. Pandora No, no, I have had enough of lifting the lid! You are inside of the box, naughty creature, and there you shall stay! There are plenty of your ugly brothers and sisters already flying about the world. You need never think that I shall be so foolish as to let you out! Voice You had much better let me out, I am not like those naughty creatures that have stings in their tails. They are no brothers and sisters of mine. Come, come, my pretty Pandora! I am sure you will let me out! (Epimetheus turns about.) Pandora Epimetheus, have you heard this little voice ? Epimetheus Yes, to be sure, I have, and what of it? Pandora Shall I hft the lid again ? Epimetheus Just as you please. You have done so much mischief already, that perhaps you may as well do a little more. One other Trouble, iu such a swarm as you have set adrift about the world, can make no very great difference. Pandora You might speak a Httle more kindly. Voice Come, my dear Pandora, lift up the lid. I am in a great hurry to comfort you. Only let me DRAMATIZATIONS OF SCHOOL CLASSICS 1 7 have some fresh air, and you shall soon see that matters are not quite so dismal as you think them! Pandora Epimetheus, come what may, I am resolved to open the box! Epimetheus And, as the lid seems very heavy, I will help you. (Children lift the cover, out comes Hope, a small girl dressed in white. She has been concealed behind the trunk during the first of the scene. She lays her finger upon Epimetheus's forehead; kisses Pan- dora, and they immediately look cheerful and hover joyously about her.) Pandora Pray, who are you, beautiful creature? Hope I am to be called Hope! And because I am such a cheery little body, I was packed into the box to make amends to the human race for that swarm of ugly Troubles, which was let loose among them. Never fear! we shall do pretty well in spite of them all. Epimetheus And will you stay with us forever and ever? Hope As long as you need me. I promise never to desert you. There may come times and seasons, now and th^n, when you will think that I have utterly vanished. But again, and again, and again you shall see the glimmer from my wings on the 1 8 DRAMATIZATIONS OF SCHOOL CLASSICS ceiling of your cottage. Yes, my dear children, and I know something very good and beautiful that is to be given you hereafter! Children Oh, tell us, tell us what it is! Hops Do not ask me. But do not despair, even if it should never happen while you live on this earth. Trust in my promise, for it is true. Children We do trust you. (Hope grasps each by the hand and leaves stage with them.) KING MIDAS SCENE I Place: The treasure room of Midas Chakacters King Midas Stranger (Midas is bringing his bags of gold to the window in order to let the sunlight fall upon them. The Steanger enters smilingly, King Midas looks about in great surprise and hastily conceals the bags of gold.) Stranger You are. a wealthy man, friend Midas. I doubt whether any other four walls on earth con- tain so much gold as you have contrived to pile up in this room. Midas I have done pretty well, pretty well. If one could only live a thousand years, he might have time to grow rich. Stranger What! Then you are not satisfied? 19 20 DRAMATIZATIONS OF SCHOOL CLASSICS Pray what would satisfy you ? I should be glad to know. (Midas thinks for some moments.) Stranger Well, Midas, tell me your wish. Midas It is only this ; I wish everything I touch to be changed to gold. (Stranger smiles.) Stranger The Golden Touch! You certainly deserve credit, friend Midas. But are you quite sure that this will satisfy you? Midas How could it fail? Stranger And will you never regret the posses- sion of it? Midas What could induce me? I ask nothing else to make me perfectly happy. Stranger Be it as you wish, then. To-morrow, at sunrise, you will find yourself gifted with the Golden Touch. (Midas closes his eyes and Stranger departs.) DRAMATIZATIONS OF SCHOOL CLASSICS 21 SCENE II Breakfast-room in the palace Characters King Midas Marigold Stranger (Midas seated at the breakfast table. Marigold enters, crying bitterly. Midas touches Marigold's bowl and smiles joyously.) Midas How now, my little Lady? Pray what is the matter with you this bright morning? (Marigold shows him the golden rose.) Midas Beautiful! And what is there in this magnificent rose to make you cry? Marigold Ah! dear father! It is not beautiful, but the ugliest flower that ever grew! As soon as I was dressed I ran into the garden to gather some roses for you, because I know you like them. But, oh dear, dear me! What do you think has hap- pened? Such a misfortune! All the beautiful roses that smelled so sweetly and had so many lovely blushes are spoiled! They are grown quite yellow, as you see this one, and have no fragrance! What can have been the matter with them? 22 DRAMATIZATIONS OF SCHOOL CLASSICS Midas Poh! my dear little girl — pray don't cry about it! Sit down and eat your bread and milk. You will find it easy enough to exchange a golden rose like that, which will last hundreds of years, for an ordinary one which would wither in a day. Mangold I don't care for .such roses as that! It has no smell, and the hard petals prick my nose. {Throws away rose. Midas pours himself a cup of coffee, and tastes it.) Midas Ha! ( Marigold What is the matter, father? Midas Nothing, child, nothing! Eat your break- fast before it gets quite cold. (Picks up fish, cake, and egg and immediately drops them. Picks up potato, crams it into his mouth, and begins to dance in pain about the floor.) Marigold Father, dear father! Pray what is the matter? Have you burnt your mouth? Midas Ah! dear child! I don't know what is to become of your poor father! (Midas groans and Marigold runs to him. Midas takes her little hand and kisses it.) Midas My precious, precious Marigold! (Marigold, turned into a golden statue, stands im- DRAMATIZATIONS OF SCHOOL CLASSICS 23 movable. Midas wrings his hands. The Stran- ger enters.) Stranger Well, friend Midas, pray how do you succeed with the Golden Touch? Midas I am very miserable. Stranger Very miserable, indeed. Have you not ever3d:hing that your heart desired ? Midas Gold is not everything. And I have lost all that my heart really cared for. {Rubs Mari- gold's hands.) Stranger Ah! So you have made a discovery since yesterday. Which of these two things do you think is really worth the most — the gift of the Golden Touch or one cup of clear cold water? Midas O blessed water! It will never moisten my parched throat again! ' Stranger The Golden Touch or a crust of bread ? Midas A piece of bread is worth all the gold on earth! Stranger The Golden Touch, or your own little Marigold, warm, soft and loving as she was an hour ago? Midas Oh, my child, my dear child! I would not have given that one small dimple in her chin for the power of changing this whole big earth into a solid lump of gold! {Throws himself into a chair with his head upon table.) 24 DRAMATIZATIONS OF SCHOOL CLASSICS Stranger You are wiser than you were, King Midas. Tell me, now, do you sincerely desire to rid yourself of this Golden Touch? Midas It is hateful to me! Stranger Go, then, and plunge into the river that glides past the bottom of your garden. Take a vase of the same water and sprinkle it over any ob- ject that you may desire to change back again from gold into its former substance. (Midas hows low; the Stranger disappears, fol- lowed hastily by Midas. Marigold remains stand- ing motionless. Midas re-enters with pitcher of water, which he sprinkles by handfuls over Marigold. Marigold becomes her former self.) Marigold Pray do not, dear father! See how you have wet my nice frock, which I put on only this morning. Come, father, let us go out and see if my beautiful roses have not recovered their fra- grance and loveliness. (They go out hand in hand.) THE MIRACULOUS PITCHER SCENE I Place: Cottage of Philemon and Baucis Characters Philemon Baucis Quicksilver Elder Traveller Philemon Our garden is beautiful now, is it not ? See those lovely roses and the violets. What a happy home we have! Our good cow gives us all the milk we need and our bees furnish us this lovely honey; our grapevine is loaded with delicious grapes. We are wealthy, indeed, and caii help any- one who needs assistance. Hark! what is that voice ? (Shouts of children are heard.) Philemon Ah, wife! I fear some poor traveller is seeking hospitality among our neighbors yonder, and instead of giving him food and lodging, they have set their dogs at him, as their custom is ' 2S 26 DRAMATIZATIONS OF SCHOOL CLASSICS Baucis Well-a-day! I do wish our neighbors felt a little more kindness for their fellow-creatures. And only think of bringing up their children in this naughty way, and patting them on the head when they fling stones at strangers! Philemon Those children will never come to any good. To tell you the truth, wife, I should not wonder if some terrible thing were to happen to all the people in the village, unless they mend their manners. But, as for you and me, so long as Providence affords us a crust of bread, let us be ready to give half to any poor, homeless stranger that may come along and need it. Baucis That's right, husband. So we will! Philemon I never heard the dogs so loud! Baucis Nor the children so rude. {They stand at the door looking out.) Philemon There are two poorly clad strangers. I am afraid their poverty is the reason why the villagers allow the dogs and children to treat them so rudely. Come, wife, let us go and meet these poor people. No doubt, they feel almost too heavy-hearted to climb the hill. Baucis Go, you, and meet them, while I make haste within doors, and see whether we can get them anything for supper. A comfortable bowl of bread and milk would do wonders towards raising their spirits. DRAMATIZATIONS OF SCHOOL CLASSICS 27 (Philemon goes out, but soon enters with two strangers, poorly dressed.) Philemon Welcome, strangers, welcome! Quicksilver Thank you. This is quite another greeting than we have met with yonder in the village. Pray, why do you live in such a bad neighborhood ? Philemon Ah! Providence put me here, I hope, among other reasons, in order that I may make you what amends I can for the inhospitality of my neighbors. Quicksilver Well said, old father, and, if the truth must be told, my companion and myself need some amends. Those children, the little ras- cals, have bespattered us finely with their mud- balls; and one of the curs has torn my cloak, which was ragged enough already. But I took him across the muzzle with my staff, and I think you may have heard him yelp, even thus far off. There is nothing like a good staff to help one along, and I happen to have an excellent one, as you see. (Shows staff.) Philemon A curious piece of work, sure enough! A staff with wings! Friends, sit down and rest yourselves here on this bench. Baucis has gone to see what you can have for supper. We are poor folks; but you shall be welcome to whatever we have in the cupboard. 28 DRAMATIZATIONS OF SCHOOL CLASSICS Elder Traveller Was there not a lake in very ancient times covering the spot where now stands yonder village? Philemon Not in my day, friend, and yet I am an old man, as you see. There were always the fields and meadows, just as they are now, and the old trees, and the little stream murmuring through the midst of the valley. Doubtless it will be the same when old Philemon shall be gone and forgotten! Elder Traveller That is more than can be safely foretold. Since the inhabitants of yonder village have forgotten the affections and s)Tnpathies of their nature, it were better that the lake should be rippling over their dwellings again! Baucis Had we known you were coming, my good man and myself would have gone without a morsel, rather than you should lack a better supper. But I took the most part of to-day's milk to make cheese; and our last loaf is already eaten. Ah me! I never feel the sorrow of being poor, save when a poor traveller knocks at our door. Elder Traveller All will be well; do not trouble yourself, my good dame. An honest, hearty wel- come to a guest works miracles with the fare. Baucis A welcome you shall have, and likewise a little honey that we happen to have left, and a bunch of purple grapes, besides. Quicksilver (laughing) Why, Mother Baucis, it DRAMATIZATIONS OF SCHOOL CLASSICS 29 is a feast; an absolute feast! And you shall see how bravely I will play my part at it! I think I never felt hungrier in my life. Baucis {aside to Philemon) Mercy on us! If the young man has such a terrible appetite, I am afraid there will not be half enough supper. {They sit down to the table, Travellers drink -milk from howls at once.) Quicksilver A little more milk, kind Mother Baucis, if you please. The day has been hot, and I am very thirsty. Baucis Now, my dear people, I am so sorry and ashamed! But the truth is there is hardly a drop more milk in the pitcher. O husband! husband! why didn't we go without our supper ? Quicksilver {taking pitcher by handle) Why, it appears to me that matters are not so bad as you represent them to be. Here is certainly more milk in the pitcher. {Fills his bowl and his companion's.) Quicksilver What excellent milk! Excuse me, my kind hostess, but I must really ask you for a little more. (Baucis, in great surprise, pours out more milk from pitcher.) 30 DRAMATIZATIONS OF SCHOOL CLASSICS Quicksilver And now a slice of your brown loaf, Mother Baucis, and a little of that honey! (Baucis gives each guest bread, honey and a hunch of grapes. Baucis and Philemon whisper about these wonders that they witness.) Quicksilver Very admirable grapes these! Pray, my good host, whence did you gather them ? Philemon From my own vine. You may see one of its branches twisting across the window yonder. But wife and I never thought the grapes very fine ones. Quicksilver I never tasted better. Another cup of this delicious milk, if you please, and I shall then have supped better than a prince. (Philemon pours out milk in great amazement.) Philemon Who are ye, wonder-working stran- gers! Elder Traveller Your guests, my good Philemon, and your friends. Give me likewise a cup of the milk and may your pitcher never be empty for kind Baucis and yourself, any more than for the needy wayfarer. Philemon Ah me! Well-a-day! If our neigh- bors only knew what a blessed thing it is to show hospitality to strangers, they would tie up all their DRAMATIZATIONS OF SCHOOL CLASSICS 3 1 dogs, and never allow their children to throw another stone. Baucis It is a sin' and a shame for them to be- have so ■ — that it is ! And I mean to go this very- day, and tell some of them what naughty people they are! Quicksilver (smiling) I fear you will find none of them at home. Elder Traveller When men do not feel towards the humblest stranger as if he were a brother, they are unworthy to exist upon earth, which was created as the abode of a great human brotherhood. {All leave stage together.) THE PIED PIPER OF HAMELIN SCENE I Place: The Mayor's Office Characters Mayor Council People Pied Piper First Citizen 'Tis clear our Mayor's a noddy! Second Citizen 'Tis shocking that we have to buy gowns lined with ermine for these Councilmen who can't rid this town of vermin. Third Citizen Rouse up, Sirs. Give your brains a rocking, or, sure as fate, we'll send you packing! (Mayor and Councilmen are greatly disturbed and whisper and gesticulate violently. Citizens depart.) Mayor I wish I were a mile hence! Oh, for a trap, a trap, a trap! {A rap at the door.) Mayor Bless us, what's that? Anything like 33 I HE PlEI) I'lPliH DRAMATIZATIONS OF SCHOOL CLASSICS 33 the sound of a rat makes my heart go pit-a-pat Come in! * {The Pied Piper comes in attired as described in the poem.) Councilman It looks as if my great-grandsire had walked this way from his painted tombstone! Pied Piper Please, your honor, I'm able by means of a secret charm, to draw all things living beneath the sun, that creep or swim or fly or run, after me. I chiefly use my charm on creatures that do people harm; the mole, the toad, the newt and viper, and people call me the Pied Piper. If I can rid your town of rats, will you give me a thousand guilders ? Mayor and Council One ? We will give you fifty thousand! (Clap their hands in glee.) SCENE II Place: Street Characters Pied Piper and Little Children dressed in gray, black and brown cambric to represent rats. (Piper plays upon -flute or fife. Rats all run gaily across the stage and follow the Pied Piper through the door. This should be done very swiftly and silently on the part of the rats.) 34 JDJiAMATIZATIONS OF SCHOOL CLASSICS SCENE III Place : Market Place Characters Mayor and Council (Bells are heard in the distance) Mayor Go, get long poles and poke out the nests and block up the holes! Let us leave in our town not even a trace of the rats! (Piper enters.) Piper First, if you please, my thousand guilders ? (Mayor and Councilmen look aghast — then whisper together.) Mayor Our business was done at the river's brink; we saw with our eyes the vermin sink, and what's dead can't come to life, I think. Our losses have made us thrifty. A thousand guilders! Come, take fifty! Piper No trifling! I can't wait. Folks who put me in a passion may find me pipe in another fashion. Mayor You threaten us, fellow! Do your worst ! Blow your pipe there till you burst ! DRAMATIZATIONS OF SCHOOL CLASSICS 3$ SCENE IV Place: Street (Piper blows pipe and a long line of children skip and dance across the stage, clapping hands and chatter- ing gayly. One little boy, on crutches, following slowly. Mayor and Cotjtstcil wring their hands and follow in despair.) (The narrative that follows should be read by some pupil. A musical whistle, fife, or flute, well-played, adds greatly to this dramatization. ) RIP VAN WINKLE SCENE I (Rip Van Winkle, awaking from his long sleep. He lies on a bed of boughs. His gun in the corner near him. He wears a long gray beard. He raises himself; yawns; looks about in surprise, and finally whistles for his dog.) Rip Surely, I have not slept here all night! Oh, that flagon, that wicked flagon! What excuse shall I make to Dame Van Winkle ? (Rises to walk, but finds himself very lame and stiff.) Rip These mountain beds do not agree with me, and if this frolic should lay me up with a fit of the rheumatism, I shall have a blessed time with Dame Van Winkle. (He walks across platform and is met by a party of villagers. They stroke their faces whenever they glance at Rip, and he feels his beard in great surprise. 36 DRAMATIZATIONS OF SCHOOL CLASSICS 37 Rip That flagon last night has addled my poor head sadly. {Leaves stage with villagers.) SCENE II Place: The Village Street (Rip walks up and down in great perplexity. A number of people are in front of a house with a sign, "The Union Hotel by Jonathan Doolittle." Stars and Stripes in front of hotel. Picture of General Washington on the sign.) Orator When the heroes of '76 secured our liberty at Bunker Hill and the other battles of the Revolution, we began that system of free government which now allows us to select our members of Congress by the free voters of the country. (Orator ceases as all crowd around Rip, who now appears.) First Speaker What side do you vote on ? Second Speaker Are you a Federal or a Demo- crat ? Third Speaker What brings you to the election with a gun on your shoulder ? Rip Alas, Gentlemen! I am a poor, quiet man; 38 DRAMATIZATIONS OF SCHOOL CLASSICS a native of the place, and a loyal subject of the king, God bless him! All A Tory! a Tory! a spy! a refugee! hustle him! Away with him! Rip Gentlemen, I mean no harm. I have only come here in search of my neighbors. Speaker Well, who are they? Name them. Rip Where's Nicholas Vedder? Old Man Nicholas Vedder! Why! he is dead and gone these eighteen years! Rip Where's Brom Dutcher? Old Man Oh, he went off to the army. Some say he was killed at the storming of Stony Point — others say he was drowned. I don't know — he never came back again. Rip Where's Van Bummel, the schoolmaster? Old Man He went off to the wars, too, was a great general, and is now in Congress. Rip Does nobody here know Rip Van Winkle? Bystanders Oh, Rip Van Winkle! To be sure! That's Rip Van Winkle yonder, leaning against the tree. (Rip looks at Ms son in amazement.) Constable Who are you and what's your name? Rip God knows ! I'm not myself — I'm some- body else — that's me yonder — no — that's some- body else got into my shoes. I was myself last DRAMATIZATIONS OF SCHOOL CLASSICS 39 night, but I fell asleep on the mountain, and they've changed my gun, and ever34hing's changed, and I'm changed, and I can't tell what's my name or who I am. {Bystanders tap their foreheads. Rip's daughter comes through the crowd.) Rip What's your name, my good woman? Woman Judith Gardenier. Rip And your father's name? Woman Ah, poor man ! Rip Van Winkle was his name, but it's twenty years since he went away from home with his gun and never has been heard of since — his dog came home without him; I was then but a little girl. Rip Where's your mother? Woman Oh, she, too, died a short time since; she broke a blood vessel in a fit of passion at a New England pedler. Rip I am your father! Young Rip Van Winkle once — old Rip Van Winkle now! Does nobody know poor Rip Van Winkle? {An old woman comes forward and puts her hand to her brow, and peers under it into his face for a moment.) Woman Sure enough! it is Rip Van Winkle — it is himself! Welcome home again, old neighbor! 40 DRAMATIZATIONS OF SCHOOL CLASSICS Why, where have you been these twenty long years? Welcome home, Rip! Welcome home, old friend ! (All crowd around, shaking Rip's hand and giving him words oj welcome. All leave the stage together.) A CHRISTMAS CAROL SCENE I Place : Scrooge's Counting House Characters Scrooge Nephew Clerk (CLEiRK on high stool with comforter about his neck. Nephew enters.) Nephew A merry Christmas, uncle! (Jod save you! Scrooge Bah! Humbug! Nephew Christmas a humbug, uncle ? You don't mean that, I am sure. Scrooge I do. Merry Christmas! What right have you to be merry? You're poor enough! Nephew Come, then, what right have you to be dismal? You're rich enough. Don't be cross, uncle. Scrooge Whai else can I be when I live in such a world of fools as this? Merry Christmas! Out upon INlerry Christmas! What's Christmas time to 41 42 DRAMATIZATIONS OF SCHOOL CLASSICS you but a time for pa}dng bills without money; a time for finding yourself a year older, and not an hour richer? If I could work my will, every idiot who goes about with Merry Christmas on his lips should be boiled with his own pudding and buried with a stake of holly through his heart. Nephew Uncle ! Scrooge Keep Christmas in your own way and let me keep it in mine. Much good may it do you! Much good it has ever done you! Nephew I have always thought of Christmas as a good time; a kind, forgiving, charitable, pleasant time, and, therefore, uncle, though it has never put a scrap of gold or silver in my pocket, I believe that it has done me good and will do me good, and I say, God bless it! {The Clerk daps his hands.) Scrooge Let me hear another sound from you and you'll keep your Christmas by losing your situa- tion. Nephew Don't be angry, uncle. Dine with us to-morrow. Scrooge Good afternoon. Nephew A Merry Christmas and a Happy New Year, uncle. Scrooge Good afternoon. (Nephew leaves the room.) DRAMATIZATIONS OF SCHOOL CLASSICS 43 SCENE II Place: Scrooge's room Characters Scrooge {lying on couch) Ghost {Christmas Past) Little Fan and Others (Ghost dressed in white and carries a sprig of Christmas holly. Bell outside strikes twelve; an interval and then it strikes one. Ghost enters.) Scrooge Who and what are you? Ghost I am the Ghost of Christmas Past. Scrooge What business brings you here? Ghost Your welfare. Rise! and walk with me! (Ghost waves his hands, Scrooge rises and looks uncertainly about him, rubs his eyes.) Scrooge Good Heavens ! I was bom in this place. This is my old school. {A little girl runs in.) Girl I have come to bring you home, dear brother. To bring you home, home, home! Scrooge Home, httle Fan? Girl Yes! Home for good and all. Home for- ever and ever. Father is so much kiader than he 44 DRAMATIZATIONS OF SCHOOL CLASSICS used to be, that home's like Heaven! We're to be together all the Christmas long and have the merriest time in aU the world. (Ghost waves his hand. Fan goes out, and an old gentleman in a wig appears. He mounts a high stool and begins to write.) Scrooge Why, it's old Fezziwig! Bless his heart! It's Fezziwig alive again! Fezziwig Yo ho, there! Ebenezer! Dick! {Two young men enter.) Fezziwig No more work to-night! Christmas Eve, Dick! Christmas, Ebenezer! Clear away, my lads, and let's have lots of room here. (Enter fiddler with violin and music book, Mrs. Fezziwig, daughters, apprentices, etc. The Vir- ginia Reel or any country dance is danced. The clock strikes eleven, Mr. and Mrs. Fezziwig shake hands with all as they depart.) Scrooge Spirit! remove me from this place. I cannot bear it ! Leave me! Take me back! Haunt me no longer! DRAMATIZATIONS OF SCHOOL CLASSICS 45 SCENE III Place: Scrooge's Room Characters Ghost (Christmas Present) Scrooge The Cratchits (Clock strikes one. Ghost enters and waves his hand, Scrooge looks about and finds himself in Bob Cratchit's home. Cratchits all enter. Tiny Tim has a crutch. Scrooge in corner unseen.) Boh Why, where's our Martha? Mrs. Cratchit Not coming. Bob Not coming on Christmas Day? (Martha appears from behind the door. Great joy and clapping of hands.) Mrs. Cratchit And how did Tiny Tim behave ? Bob As good as gold and better. He told me, coming home, that he hoped the people saw him in the church, because he was a cripple and it might be pleasant to them to remember upon Christmas Day Who made lame beggars walk and blind men see. (The table is set, and the family gather around.) 46 DRAMATIZATIONS OF SCHOOL CLASSICS Bob A merry Christmas to us all, my dear! God bless us! Tiny Tim God bless us, every one! (Bob raises his glass.) Bob I'll give you a toast, dear ones. Here is to Mr. Scrooge, the Founder of the Feast! Mrs. Cratchit The Founder of the Feast, indeed! I wish I had him here! I'd give him a piece of my mind to feed upon, and I hope he'd have a good appetite for it! Bob My dear! The children! Christmas Day! Mrs. Cratchit It should be Christmas Day, I'm sure, on vsrhich one drinks the health of such an odious, stingy, hard, unfeeling man as Mr. Scrooge. You know he is, Robert. Nobody knows it better than you do, poor fellow! Bob My dear! Christmas Day! Mrs. Cratchit I'll drink his health for your sake and the Day's, not for his. Long life to him! A Merry Christmas and a Happy New Year! He'll be very merry and very happy, I have no doubt. {Bell strikes twelve and Ghost waves his hand. Ceatchits disappear and Ghost also.) DRAMATIZATIONS OF SCHOOL CLASSICS 47 SCENE III Place: Scrooge's Room (Scrooge on couch. He awakens with a scream. Sits up; rubs his eyes; feels of all the articles 0} furniture; looks out of the window or door.) Scrooge What's to-day? (Boy at the door.) Boy To-day? Why, Christmas Day! Scrooge (clapping his hands with glee) It's Christmas Day. I haven't missed it. The Spirits have done it all in one night. They can do any- thing they like. Of course they can. Hello, my fine fellow! Boy Hello! Scrooge Do you know the poulterer's in the next street but one, at the corner? Boy I should hope I did. Scrooge An intelligent boy! A remarkable boy! Do you know whether they've sold the prize turkey that was hanging up there? Not the little prize turkey; the big one? Boy What! the one as big as me? Scrooge What a delightful boy! It's a pleasure to talk to him. Yes, my boy! Boy It's hanging there now. 48 DRAMATIZATIONS OF SCHOOL CLASSICS Scrooge Go and buy it. Boy Walk — er. Scrooge No, no, I am in earnest. Go and buy it and tell 'em to bring it here, that I may give them the directions where to take it. Come back with the man in less than five minutes, and I'll give you half-a-crown ! (Boy runs off.) Scrooge I'll send it to Bob Cratchit. He shan't know who sends it. It's twice the size of Tiny Tim. Here's the turkey. Hello! Whooh! How are you? Merry Christmas! Why, it's impossible to carry that to Camden Town. You must have a cab. (Boy goes off with turkey in his arms.) SCENE IV Scrooge's Office Characters Scrooge Bob Cratchit (Bob Cratchit enters in great haste.) Scrooge Hello! What do you mean by coming here at this time of day? Bob I am very sorry, sir, I am behind my time. DRAMATIZATIONS OF SCHOOL CLASSICS 49 Scrooge You are! Yes, I think you are. Step this way, sir, if you please. Boh It is only once a year, sir. It shall not be repeated. I was making rather merry yesterday sir. Scrooge Now, I'll tell you what, my friend. I am not going to stand this sort of thing any longer. And, therefore, I am about to raise your salary. A Merry Christmas, Bob! A merrier Christmas, Bob, my good fellow, than I have given you for many a year. I'll raise your salary, and endeavor to assist your struggling family. Make up the fires and buy another coal scuttle before you dot another i, Bob Cratchit! {Claps Bob upon the hack; puts his arm over his shoulder and they go out.) WILLIAM TELL SCENE I Place: A market place. Characters Gesler William Tell Albert Verner Others {Men and women are calling their wares. Signs are up advertising vegetables, fruits, etc. Gesler enters with attendant. In a few moments Tell is brought in by soldiers. He is in chains. Albert, also, is brought in) Gesler What is thy name ? Tell My name? It matters not to keep it from thee now! My name is Tell. Gesler Tell! William Tell? Tell The same. Gesler What ! He so famed 'fore all his country- men for guiding o'er the stormy lake the boat ? And so DRAMATIZATIONS OF SCHOOL CLASSICS 5 1 such a master of his bow, 'tis said his arrows never miss! Indeed, I'll take exquisite vengeance! I'll spare thy life, thy boy's too! Both of you are free on one condition. Tell Name it! Gesler I would see you make a trial of your skill with that same bow you shoot so well with. Tell Name the trial you would have me make. Gesler You look upon your boy as though in- stinctively you guessed it. Tell Look upon my boy! What mean you? Look upon my boy as though I guessed it ! Guessed the trial you'd have me make! You do not mean — no — no — ^you would not have me make a trial of my skill upon my child! Impossible! I do not guess your meaning. Gesler I would see thee hit an apple at the dis- tance of a hundred paces. Tell Is my boy to hold it? Gesler No. Tell No! I'll send the arrow through the core. Gesler It is to rest upon his head. Tell Great Heavens! you hear him? Gesler Thou dost hear the choice I give — such trial of the skill thou art master of, or death to both of you. Tell O monster! Gesler Wilt thou do it? 52 DRAMATIZATIONS OF SCHOOL CLASSICS Albert He will! He will! Tell Ferocious monster! Make a father murder his own child? Gesler Take off his chains if he consent. Tell With his own hand ! Gesler Does he consent? Albert He does. (Tell's chains are removed.) Tell What's that you've done to me ? Villains! put on my chains again. Here! Here! I'll not murder my boy for Gesler. Albert Father — father! You will not hit me, father! Gesler Dost thou consent? Tell Give me my bow and quiver. Gesler For what ? Tell To shoot my boy! Albert No, father — no! To save me! You'll be sure to hit the apple. Will you not save me, father? Tell Lead me forth. I'll make the trial. Albert Thank you! Tell Thank me! Do you know for what? I will not make the trial. Gesler Then he dies this moment — and you certainly do murder him whose life you have a chance to save, and will not use it. DRAMATIZATIONS OF SCHOOL CLASSICS 53 Tell Well, I'll do it; I'll make the trial. Albert Father — Tell Speak not to me. Let me not hear thy voice. Give me my bow and quiver. Gesler When all's ready. Tell Well! lead on. SCENE II (Soldiers enter bearing Tell's bow and quiver and a basket 0} apples. People gather about in dis- tress.) Gesler That is your ground. Now shall they measure thence a hundred paces. Take the dis- tance. Tell Is the line a true one ? Gesler True or not, what is't to thee? Tell What is't to me? A little thing, a very little thing — a yard or two is nothing here or there — were it a wolf I shot at ! Never mind. Gesler Be thankful, slave, our grace accords thee life on any terms. Tell I will be thankful, Gesler! Villain, stop! You measure to the sun! Gesler And what of that? Tell The sun should shine upon the mark. I 54 DRAMATIZATIONS OF SCHOOL CLASSICS cannot see to shoot against the sun — I will not shoot against the sun! Gesler Give him his way! Tell I'd like to see the apple I'm to shoot at. Gesler Stay! Show me the baskets — there! Tell You've picked the smallest one. Gesler I know I have. Tell The color on't is dark — I'd have it light to see it better. Give me some chance to save my boy! {Throws away apple.) I will not murder him. Gesler Well, choose thyself. Tell Have I a friend among the lookers on? Verner Here, Tell! Tell Verner! The boy! the boy! Thinkest thou he hath the courage to stand it ? Verner Yes. Tell How looks he? Verner Clear and smilingly. He bears himself so much above his years; and looks with such rely- ing love and reverence upon you — Tell Man! Man! Man! No more! I would be flint — flint — flint ! Take the boy and set him, Verner, with his back to me. Set him upon his knees — and place this apple upon his head so that the stem may front me. Charge him to keep steady — tell him I'll hit the apple! Verner Come, Albert. {Leads him out.) DRAMATIZATIONS OF SCHOOL CLASSICS 55 Albert May I not speak with him before I go? I would only kiss his hand. Verner You must not. It is his will you should not. Albert His will, is it? I am content, then — come. Tell Let me siee my quiver. Gesler Give him a single arrow. Tell Is it so you pick an arrow, friend? The point you see is bent: the feather fagged. That's all the use it's fit for. {Breaks it.) Gesler Let him have another. Tell Why, 'tis better than the first, but yet not good enough for such an aim as I'm to take — 'tis heavy in the shaft. I'll not shoot with it ! {Throws it away.) Let me see my quiver. Gesler Show him the quiver. Tell See if the boy is ready. {He hides an arrow under his vest.) Verner He is. Tell I'm ready too. Keep silent for heaven's sake and do not stir — and let me have your prayers. O friends, for mercy sake, keep motionless and silent! (Tell shoots. A cry of joy from spectators.) Verner The boy is safe — no hair of him is touched. (Tell falls in faint.) 56 DRAMATIZATIONS OF SCHOOL CLASSICS Albert Father, I'm safe! Your Albert's safe, dear father — speak to me! Speak to me! Verner He cannot, boy! Albert You grant him life? Gesler I do. Albert And we are free? Gesler You are. Albert Thank heaven! Thank heaven! Verner Open his vest and give him air. (As the vest is opened, the arrow drops.) Tell My boy! my boy! Gesler For what hid you that arrow in your breast? Speak, slave! Tell To kill thee, tyrant, had I slain my boy. (The scene in the Market Place can be made very spectacular, if desired, and gives opportunity for much action on the part of a large number of players.) PRISCILL.\ AXD JOHN ALDEN THE COURTSHIP OF MILES STANDISH SCENE I Place: A room in the home of Miles Standish. The room contains a bookcase, table, gun and a sword Costumes: As nearly as possible those suggested in the poem Characters John Alden {writing at table) Miles Standish {walking about the room) Standish Look at these warlike weapons. This is the sword of Damascus that I fought with in Flanders. This breast-plate once saved my life in a skirmish. You can see here the very dent of the buUet that was fired point blank at my heart by a Spaniard. See how brightly these weapons shine! That is because I have burnished them myself. I have not left it to others. "Serve- yourself, if you would be well served," is an excellent adage. I care for them and for my soldiers, my great invinci- ble army of twelve men! See, here they come, 57 58 DRAMATIZATIONS OF SCHOOL CLASSICS for their monthly pay, their eighteen pence and their bag of com. (Twelve soldiers dressed in tatters, with guns in hand, file into the room, and each is addressed by name, as Standish hands him his money and hag of corn, while John Alden keeps the record in a notebook.) (Note The introduction of the soldiers may be omitted if desired, but the scene is very effective. After they file out, Standish goes to the window. ) Standish Look, you can see from this window my brazen howitzer, high on the roof of the church. Let the Indians come, if they hke, and the sooner they try it the better. Alas! poor Rose lies buried beneath yonder fields of wheat; for we must hide from the Indian scouts the graves of our people lest they should count them and see how many already have perished. (Standish takes book from book-case and sits reading.) Standish Truly, this Caesar was a wonderful man! You can write, and I can fight, but here was a man who was equally skillful in writing and fight- ing. Alden Yes, I have read that he could dictate DRAMATIZATIONS OF SCHOOL CLASSICS 59 seven letters at once, and write his memoirs at the same time. Standish Indeed, Caesar was a most wonderful man. He said he would rather be first in a little village than be second in Rome ; and I think he was right. He conquered a thousand cities and fought in five hundred battles. He believed if you wish a thing well done, you must do it yourself; you must not leave it to others. (Standish arises and paces uneasily about the room.) Standish When you have finished your work, John, I have something important to tell you; but do not hurry, I can wait. Alden (folding the last of his letters.) Speak, now, my Captain, I am ready to hear you. (Standish continues walking about and finally takes a drink of water and clears his throat.) Standish John, since Rose Standish died, my fife has been weary and dreary, and, as I have seen the maiden Priscilla (John starts up from his chair), as she has worked for the sick, so patiently and courageously, through all these hard months, I have resolved to ask her to be my wife. Now, although I am brave enough in warfare, I am a coward in this matter and therefore, I am going to ask you 6o DRAMATIZATIONS OF SCHOOL CLASSICS to go to Priscilla for me and woo her in elegant language. (Alden moves about, greatly disturbed.) Alden But surely, you have just said Caesar was right in declaring that if you would have a thing well done you must do it yourself. I should only mangle and mar such a message as that. Standish {taking Alden' s hand) John, dear friend, I am not afraid of bullets, but I could not endure a "No" point-blank from the mouth of a woman. Surely, you cannot refuse what I ask in the name of our friendship? Alden The name of friendship is sacred. What you demand in that name I have not the power to deny you. (Alden goes out followed by Standish.) SCENE II Place: The Home of Priscilla Tune: "Old Hundred." Priscilla (singing as she spins) Praise God, from whom all blessings flow: Praise Him, all creatures here below; Praise Him above, ye heavenly host; Praise Father, Son and Holy Ghost. DRAMATIZATIONS OF SCHOOL CLASSICS 6 1 (Alden enters with flowers in his hands.) Priscilla I knew it was you, John, when I heard your step in the passage. I was thinking -"* you as I sat here, singing and spinning. (Alden hands her the flowers.) Priscilla Thank you, John, I have been thinking all day of the hedge-rows of England. They must be in blossom now, and the country must be like a garden. I almost wish myself back in Old Eng- land, I feel so lonely and wretched. Alden I cannot blame you, Priscilla. Stouter hearts than a woman's have quailed in this terrible winter. You need a stronger heart to lean upon. I have come to you with an offer of marriage from a good, true man — Miles Standish, the Captain of Plymouth. Priscilla {after a long silence) If Miles Standish is anxious to marry me, why does he not come him- self to woo me ? Alden He has no time for such things. He is too busy. Priscilla This is not right nor just. Surely a woman's affection does not respond at once to a love that she never suspected. Had he but waited awhile, had he only showed that he loved me, even this Captain of yours — who knows ? — at last might 62 DRAMATIZATIONS OF SCHOOL CLASSICS have won me, old and rough as he is, but now it can never happen. Alden But, Priscilla, our Captain is brave, generous, honorable and noble. He is a gentle- man bom, and can trace his pedigree back to Hugh Standish of Duxbury Hall. Any woman in Plymouth, nay, any woman in England, might be happy and proud to be called the vdfe of Miles Standish. Priscilla (rising and saying laughingly as she moves towards the door) "Why don't you speak for yourself, John?" (Exit Priscilla followed by John.) THE TALISMAN SCENE I Place: King Richard's Tent Characters King Richard Sir Kenneth De Vaux Sir Henry Neville The Queen Lady Edith The Monk Hakim (King on couch. De Vaxjx, watching at his side. Steps approach.) De Vaux Who comes? (Sir Kenneth enters tent.) Whence this bold intrusion, Sir Knight? Richard Hold! De Vaux, Sir Kenneth cometh like a good soldier to render an account of his guard ; to such the General's tent is ever accessible. Speak, Sir Scot, thou comest to tell of a vigilant, safe and honorable watch, dost thou not? The 63 64 DRAMATIZATIONS OF SCHOOL CLASSICS rustling of the folds of the banner of England were enough to guard it, even without the body of such a knight as men hold thee. Sir Kenneth As men will hold me no more. My watch hath been neither vigilant, safe, nor honorable. The banner of England has been carried off. Richard And thou alive to tell it? Away! it cannot be ! There is not even a scratch on thy face. Why dost thou stand there mute? Speak the truth; it is ill jesting with a king, yet I will forgive thee if thou hast lied. Sir Kenneth Lied, Sir King! But this also must be endured. I have spoken the truth. Richard De Vaux, go view the spot. This fever has disturbed his brain. This cannot be. The man's courage is proof. It cannot be. Go, speedily, or send, if thou wilt not go. Sir Henry Neville (bursting into the tent) The banner of England is gone and the knight who guarded it must have been murdered, as there is blood where the banner-spear lies shivered. But whom do I see here? {Looks in great surprise at Sir Kenneth.) Richard A traitor — a traitor whom thou shalt see die a traitor's death. {Seizes a battle-axe and moves towards Sir Kenneth, who stands immov- able.) But there was blood, Neville, there was blood upon the place! Hark thee, Sir Scot, brave DRAMATIZATIONS OF SCHOOL CLASSICS 65 thou wert once, for I have seen thee fight. Say thou hast slain two of the thieves in defence of the standard, say but one — say thou hast struck but a good blow in our behalf, and get thee out of the camp with thy life and thy infamy. Sir Kenneth You have called me har, my lord King, and therein at least, you have done me wrong. Know there was no blood shed in defence of the standard save that of a poor hound, which, more faithful than his master, defended the charge which he deserted. Richard Now, by St. George! (Moves towards Sir Kenneth. De Vaux intervenes.) De Vaux My liege, thig must not be — here — nor by your hand. It is enough of folly for one night and day to have entrusted your banner to a Scot; said I not they were ever fair and false? Richard Thou didst, De Vaux; thou wast right and I confess it and yet, De Vaux, it's strange to see the bearing of the man. Coward or traitor he must be, yet he abode the blow of Richard Plantagenet, as one arm had been raised to lay knighthood on his shoulder. Had he shown the slightest sign of fear, had but a joint trembled, or an eyelid quivered, I had shattered his head like a crystal goblet. But I cannot strike where there is neither fear nor re- istance. Kenneth My lord — 66 DRAMATIZATIONS OF SCHOOL CLASSICS Richard Ha! Hast thou found thy speech" Ask grace from Heaven, but none from me, for England is dishonored through thy fault; and wert thou mine own and only brother, there is no pardon for thy fault. Sir Kenneih I speak not to demand grace of mortal man. But whether I die in the instant or half an hour hence, I equally beseech your Grace for one moment's opportunity to speak that to your royal person which highly concerns your fame as a Christian king. Richard Say on. Sir Kenneth What I have to speak touches the royalty of England and must be said to no ears but thine own. Richard Begone with yourselves, sirs ! (Neville leaves the tent, but De Vaxjx stands immovable.) Richard How! De Vaux, darest thou not ven- ture our person with one traitor? De Vaux It is in vain you frown and stamp, my lord, I venture not a sick man with a sound one, a naked man with one armed in proof. Sir Kenneth It matters not, I will speak in presence of De Vaux. He is good lord and true. De Vaux But half an hour since and I had said as much for thee. Sir Kenneth There is treason around you. King of England. DRAMATIZATIONS OF SCHOOL CLASSICS 67 Richard It may well be as thou say'st, I have a pregnant example. Sir Kewneth Treason that will injure thee more deeply than the loss of a hundred banners in a pitched field. Richard He will drive me mad! {The arrival of the Queen is announced.) Richard Detain her, detain her, Neville, this is no sight for women. Away with him, De Vaux, through the back entrance of our tent; and hark ye, he is presently to die; and stay — we will not have him dishonored; he shall die knight-like in belt and spurs. De Vaux and Sir Kenneth leave the tent as the Queen and Lady Edith enter. The Queen jails upon her knees before Richard.) Queen Pardon, my most gracious liege, pardon. Richard Pardon, for what? Queen First for entering your royal presence too boldly and unadvisedly. Richard Thou — too boldly! The sun might as well ask pardon because his rays entered the win- dows of some wretch's dungeon. Queen Thou wilt not refuse me one boon — only one — only a poor life ? Richard Ha! Proceed! 68 DRAMATIZATIONS OF SCHOOL CLASSICS Queen This unhappy Scottish knight. Richard Speak not of him, madam, he dies — his doom is fixed. Queen Nay, my royal liege, 'tis but a silken banner neglected. Berengaria will give thee an- other broidered with her own hand, and rich as ever dallied with the wind. Every pearl I have shall go to bedeck it, and with every pearl I will drop a tear of thankfulness to my generous knight. Richard Thou know'st not what thou say'st. Pearls! can all the pearls of the East atone for a speck upon England's honor — all the tears that ever woman's eye wept wash away a stain on Rich- ard's fame? Go to, madam, know your place; at present, we have duties in which you cannot be our partner. (Queen whispers to Edith.) Edith My lord, this good knight whose blood you are about to spill hath done in his time, service to Christendom. He hath fallen from his duty through a snare set for him in mere folly and idleness of spirit. A message sent to him in the name — why should I not speak it — it was in my own — induced him for an instant to leave his post. (Richard starts up in great anger; a monk enters hastily and flings himself on his knees before the king.) Monk Stay the execution, O my King! DRA3VIATIZATIONS OF SCHOOL CLASSICS 69 Richard Now, the world is leagued to drive me mad. Fools, women and monks cross me at every step. How comes he to live still? Monk My gracious liege, I entreated of De Vaux to stay the execution until I had thrown my- self at your royal — Richard What is't thou hast to say? Speak, in the fiend's name! Monk My lord, there is a weighty secret. I dare not tell or even whisper it; but I swear to thee by my holy order that this youth hath divulged to me a secret, which, if I might confide it to thee would utterly turn thee from thy bloody purpose in regard to him. Richard Away! Away! the sun has risen on the dishonor of England and it is not yet avenged. Ladies and priest, withdraw, if ye would not hear or- ders which would displease you, for by St. George, I swear — (Hakim enters unperceived.) Hakim Swear not! Richard Ha! my learned Hakim! come, I hope to tax our generosity. Hakim I come to request instant speech with you, instant, and touching matters of deep interest. Richard Retire then, Berengaria; and Edith, do you retire, also. Nay, renew not your importunties. 7o DRAMATIZATIONS OF SCHOOL CLASSICS This I give to them, that the execution shall not be till high noon. Go, if you are wise. (Edith, Berengaria and the Monk have the tent.) Richard To the matter. In what can I pleasure you, my learned physician? Hakim Such is my humble prayer to the great Moloch Ric, even the life of this good knight, who is doomed to die. Richard By St. George, it makes me laugh! Here is one poor life justly condemned to extinction, and I, a king, am to have no power over it, although the honor of my arms, of my house, of my very Queen, hath been attainted by the culprit. Ha! Ha! Ha! Hokim A doom of death should not issue from laughing lips. Let thy servant hope that thou hast granted this man's life. Richard Take the freedom of a thousand cap- tives instead. This man's life is forfeited. Hakim And is it thou the most renowned prince of Frangistan repays benefit done to his royal per- son? Know, then, that where'er honor is lived, and infamy detested — to every quarter of the world will I denounce thee as thankless and ungenerous. Richard Thankless and ungenerous! as well be termed coward and infidel. Hakim, thou hast chosen thy boon; and though I had rather thou hadst DRAMATIZATIONS OF SCHOOL CLASSICS 7I asked my crown jewels, yet, I may not, king- like, refuse thee. Take this Scot, therefore, to thy keeping. Hakim May thy days be multiplied. (Hakim leaves tent, followed by the king.) (This dramatization should be preceded by an essay describing the jest played upon Sir Kenneth, which drew him from his post ; and, also, the great debt of gratitude that Richard owed to Hakim.) JULIUS C^SAR ACT I (This act, though slight, gives the keynote of the play. The jealousy of the nobility, the credulity and vacilla- tion of the common people, are clearly portrayed. By introducing the scene of the decoration of the statue, very beautiful effects can be secured. An essay, giving a summary of the entire play, should precede the dramatization.) SCENE I Introductory Place: A Street in Rome (A bust or a picture of Cossar should be placed on a pedestal in centre of stage.) Characters Calpurnia Flower Girls (Enter four flower girls and Calptirnia to decorate the statue and throw flowers in the street. Each girl 72 PUPILS IMPKKSONATING FL.WU'S AND MARUM.I'S IN " J LILIUS C.ICSAR" DRAMATIZATIONS OF SCHOOL CLASSICS 73 should carry a basket of -flowers and have a wreath upon her head; also -flowers upon her dress. The girls walk in by twos. Calpurnia follows with stately step, wearing the costume of a Roman lady of the nobility. She carries a large wreath of laurels.) The girls sing as they enter. They march about the stage once, then decorate the statue, after which they strew flowers upon the platform as they sing. Calpurnia places her wreath over the statue after it has been decorated with flowers. Girls enter sing- ing.) i SS ?Ee3^^ H= •J— 1— J- :*=3t: M 3 — is — '^§» ~*~^~ tbs'- :**: r r M^BU i PEE3i^E3iJE^E^EgE33 I (Note The first two stanzas adapted from "Integer Vitffi.") Girls sing (soprano and alto) Caesar is upright, kind and free from error, Needs not the aid of arms or men to guard him; Safely he moves nor knows he guilty terror, Strong in his virtue. 74 DRAMATIZATIONS OF SCHOOL CLASSICS II Though Caesar journey o'er the burning desert, Or climb alone the dreadful, dangerous moun- tains. Or taste the waters of the famed Hydasper, Gods will attend him. Ill We deck with flowers Caesar's statue kingly. For he has fought and conquered nations for us, We give thee homage, O thou mighty Caesar ! Thou shalt Rome's Emperor be. IV We strew with flowers all the path for Caesar, For him the greatest of earth's heroes mighty; O may thy footsteps rest thee in these bowers, While we do sing of thee. (Note At the third stanza the girls place flowers upon base of statue, or before the picture. At the fourth stanza, they strew flowers as they walk about the plat- form. Girls and Calpurnia now leave the stage.) DRAMATIZATIONS OF SCHOOL CLASSICS 75 SCENE II Place: A Street in Rome Characters Flavius Marullus Commoners Flavius and Marullus are dressed as Roman Tribunes. The Commoners may wear capes, and carry banners and pennants. The Commoners enter and march about the stage, saluting the bust of Caesar. They form a group at side of stage and talk in low tones, pointing to the flowers and decorations. Flavius and Marullus enter. They step upon the flowers and, looking down, see that the street is strewn with them. They point to the decoration of the bust of Cccsar, Flavius starts to remove the decorations, but is restrained by Marullus, who points to the Common- ers. The dialogue that follows should be given with much life and energy. The second Commoner should present his awl at the moment of referring to it. The Common- ers show that they are greatly moved by Marullus' speech beginning, "Wherefore rejoice?" They look at each other, hang their heads, and, at last, leave the stage in meek and shamed silence. In the speech beginning, "It is no matter," Flavius and Marullus remove the flowers from Cassar's bust (or picture) and throw them upon the floor. Act I follows. It is given in the exact words of the text. 76 DRAMATIZATIONS OF SCHOOL CLASSICS Flavins Hence! home, you idle creatures, get you home: Is this a holiday? what! know you not, Being mechanical, you ought not walk Upon a laboring day without the sign Of your profession? Speak, what trade art thou? First Commoner Why, sir, a carpenter. Marullus Where is thy leather apron and thy rule? What dost thou with thy best apparel on ? You, sir, what trade are you? Second Commoner Truly, sir, in respect of a fine workman, I am but, as you would say, a cobbler. Marullus But what trade art thou? answer me directly. Second Commoner A trade, sir, that, I hope, I may use with a safe conscience; which is, indeed, sir, a mender of bad soles. Marullus What trade, thou knave ? thou naughty knave, what trade? Second Commoner Nay, I beseech you, sir, be not out with me : yet, if you be out, sir, I can mend you. Marullus What mean'st thou by that? mend me, thou saucy fellow! Second Commoner Why, sir, cobble you. Flavius Thou art a cobbler, art thou ? Second Commoner Truly, sir, aU that I live by DRAMATIZATIONS OF SCHOOL CLASSICS 77 is with the awl: I meddle with no tradesman's matters, nor women's matters, but with awl. I am, indeed, sir, a surgeon to old shoes; when they are in great danger, I recover them. As proper men as ever trod upon neat's leather have gone upon my handiwork. Flavins But wherefore art not in thy shop to- day? Why dost thou lead these men about the streets? Second Commoner Truly, sir, to wear out their shoes, to get myself into more work. But, indeed, sir, we make holiday, to see Caesar and to rejoice in his triumph. Marullus Wherefore rejoice? What conquest brings he home? What tributaries follow him to Rome, To grace in captive bonds his chariot -wheels ? You blocks, you stones, you worse than senseless things! O you hard hearts, you cruel men of Rome, Knew you not Pompey? Many a time and oft Have you climb'd up to walls and battlements, To towers and windows, yea, to chimney-tops, Your infants in your arms, and there have sat The live-long day, with patient expectation. To see great Pompey pass the streets of Rome: And when you saw his chariot but appear, Have you not made an universal shout, 78 DRAMATIZATIONS OF SCHOOL CLASSICS That Tiber trembled underneath her banks, To hear the replication of your sounds Made in her concave shores? And do you now put on your best attire? And do you now cull out a holiday? And do you now strew flowers in his way That comes in triumph over Pompey's blood ? Be gone! Run to your houses, fall upon your knees, Pray to the gods to intermit the plague That needs must light on this ingratitude. Flavins Go, go, good countrymen, and, for this fault. Assemble all the poor men of your sort ; Draw them to Tiber banks, and weep your tears Into the channel, till the lowest stream Do kiss the most exalted shores of all. \Exeunt all the Commoners. See, whe'er their basest metal be not mov'd; They vanish tongue-tied in their guiltiness. Go you down that way towards the Capitol; This way will I: disrobe the images. If you do find them deck'd with ceremony. Marullus May we do so? You know it is the feast of Lupercal. Flavins It is no matter; let no images Be hung with Caesar's trophies, I'll about, DRAMATIZATIONS OF SCHOOL CLASSICS 79 And drive away the vulgar from the streets: So do you too where you perceive them thick, These growing feathers plucked from Caesar's wing Will make him fly an ordinary pitch, Who else would soar above the view of men And keep us all in servile fearfulness. [Exeunt Flavius and Marullus.] THE VICAR OF WAKEFIELD Moses at the Fair SCENE I Place: Home of the Vicar Chaeiacters The Vicar His Wife and Daughter Wife Husband, we ought to sell our colt at the fair and buy us a horse that will carry single or double upon occasion, and make a pretty appearance at church or upon a visit. Vicar The colt, my dear! Sell the colt? Why, we could not afford to part with him! Daughters Yes, indeed, father, we must ride to church in style, and must make a better showing when we go to make visits in the neighborhood. Wife Yes, the colt must be sold. Vicar Well, my dears, if it must be, it must, I suppose; and I will go to the fair to-morrow and see to the sale myself. 80 DRAMATIZATIONS OF SCHOOL CLASSICS 8 1 Wif No, indeed, husband, you have too bad a cold. Nothing will prevail upon me to allow you to go from home. Our son Moses is a discreet boy, and can buy and sell to very good advantage; you know all our great bargains are of his pur- chasing. He always stands out and higgles, and actually tires them till he gets a bargain. i SCENE II The next morning Characters The Vicar His Wife and Daughter MoSES Footman Butler Mr. Burchell (Sisters are seen fitting out MosES for the fair, trimming his hair, brushing his buckles, cocking his hai with pins and tying his hair with black ribbon. He straps a box upon his back. All follow him to the door.) All Good luck! Good luck! (Butler knocks.) Butler Mr. Thomhill's compliments and he de- sires to congratulate you upon your good fortune. 82 DRAMATIZATIONS OF SCHOOL CLASSICS (Footman knocks and presents cards.) Wife (reads) "Such pleasing accounts have been given of the young ladies by Mr. Thomhill that we hope to be perfectly satisfied. Lady Blarney, Caroline Wilhelmtna Amelia Skeggs." Wife Ay, I now see it is no easy matter to get into the families of the great; but when one once gets in, then, as Moses says, one may go to sleep. (Girls laugh, Wife gives money to Messenger.) (Mr. Burchell enters. He gives gingerbread to the little ones, and a box to each daughter.) Wife Welcome, Mr. Burchell, would you not like to read this note that we have just received from Lady Blarney and Miss Caroline Wilhehnina Ameha Skeggs ? (Mr. Burchell reads note and shakes his head.) Mr. Burchell An affair of this sort demands the utmost circumspection. Wife (highly displeased) I never doubted, sir, your readiness to be against my daughters and me. You have more circumspection than is wanted. However, I fancy when we come to eisk advice, we DRAMATIZATIONS OF SCHOOL CLASSICS 83 will apply to persons who seem to have made use of it themselves. (Mr. Burchill leaves in anger.) Vicar I wonder what can keep Moses so long at the fair. It is almost dark. {Goes to the windows followed by others.) Wife Never mind our son; depend upon it he knows what he is about. I'll warrant we'll never see him sell his hen of a rainy day. I have seen him buy such bargains as would amaze one. I'll tell you a good story about that, that will make you split your sides with laughing. But, as I live, yonder comes Moses, without a horse and the box at his back. (Moses enters, very tired.) Wife Welcome, welcome Moses! Well, my boy, what have you brought me from the fair? Moses (putting box upon table) I have brought you myself. Wife Ah! Moses, that we know. But where is the horse? Moses I have sold him for three pounds, five shillings and two pence. Wife Well done, my good boy! I knew you would touch them off. Between ourselves, three 84 DRAMATIZATIONS OF SCHOOL CEASSICS pounds five shillings and two pence is no bad day's work. Come, let us have it then. Moses I have brought back no money. I have laid it all out in a bargain and here it is (pulls bundle jrom his breast) here they are, a gross of green spectacles with silver rims and shagreen cases. Wife A gross of green spectacles! And you have parted with the colt and brought us back noth- ing but a gross of paltry green spectacles! Moses Dear mother, why won't you listen to reason? I had them a dead bargain, or I should not have bought them. The silver rims alone will sell for double the money. Wife A fig for the silver rims! I dare say they won't sell for above half the money at the rate of broken silver, five shillings an ounce. Vicar {examining spectacles.) You need be under no uneasiness about selling the rims. They are not worth sixpence, for I perceive they are only copper varnished over. Wife What! not silver! the rims not silver! Vicar No, no more silver than your saucepan. Wife And so, we have parted with the colt and have only a gross of green spectacles with copper rims and shagreen cases ! The blockhead has been imposed upon and should have known his company better. (Wipe bustles about in great anger. Girls laughing in the corner.) DRAMATIZATIONS OF SCHOOL CLASSICS 85 Vicar There, my dear, you are wrong. He should not have known them at all. Wife The idiot! to bring me such stuff! If I had them I would throw them into the fire. Vicar There again you are wrong, my dear, for though they be copper we will keep them by us, as copper spectacles, you know, are better than nothing. (All leave stage, Girls laughing heartily; the Wife very angrily, Moses, with hanging head, and the Vicar carrying carefully the case of spectacles.) QUENTIN DURWARD Galeotti's Escape from Death SCENE I Place: A dungeon in Peronne Characters King Louis XI Le Balafre Tristan L'Hermite King Hear you! When Galeotti is admitted and the door shut on him, do you stand to your weapon and guard the entrance on the inside of the apartment. Let no one intrude. That is all I require of you. Go hence, and send the Provost-Marshal to me. (Baxafre leaves the apartment. Tristan enters.) King Welcome, gossip! What thinkest thou of our situation ? Tristan As of men sentenced to death unless there comes a reprieve from the Duke. 86 DRAMATIZATIONS OF SCHOOL CLASSICS 87 King Reprieved or not, he that decoyed us into this snare shall go out fourrier to the next world to take up lodgings for us. Tristan, thou hast done many an act of brave justice, thou must stand by me to the end. Tristan I will, my liege ! I am but a plain fellow, but I am grateful. While I live Your Majesty's sentence shall be as literally executed as when you sat on your own throne. They may deal with me the next hour for it if they will — I care not. King It is even what I expected of thee, my loving gossip. Have you men, think you, and means, to make sharp and sure work? Tristan I have Trois-Escheller and Petit-Andre with me, and we have all resolved to live or die with Your Majesty. But what is to be our present sub- ject, an it please Your Majesty? King Tristan, the condemned person is Martius Galeotti. You start, but it is even as I say. The villain hath trained us all hither by false and treacher- ous representations, that he might put us into the hands of the Duke of Burgundy without defence. I will see the villain here once more, just to observe how he bears himseK toward the master whom he has led into the toils. Begone, Tristan — thou wert not wont to be so slow when business was to be done. Tristan On the contrary. Your Majesty, you were ever wont to say that I was too fast and mis<;<>ok 88 DRAMATIZATIONS OF SCHOOL CLASSICS your purpose. Now, please Your Majesty, to give me a sign, just when you part with Galeotti for the night, whether the business goes on or no. I have known Your Majesty once or twice change your mind and blame me for over dispatch. King Thou suspicious creature, I tell thee I will not change my mind; but to silence thy re- monstrances, observe, if I say to the knave at parting, "There is a Heaven above us!" then let the business go on; but, if I say, "Go in peace," you will under- stand that my purpose is altered. Tristan My head is somewhat of the dullest out of my own department. Stay, let me rehearse — if you bid him depart in peace, I atn to have him dealt upon? King No, no idiot, no! In that case you let him pass free. But, if I say "There is a Heaven above us!" up with him a yard or two nearer the planets he is so conversant with. (Tristan leaves the apartment.^ DRAMATIZATIONS OF SCHOOL CLASSICS 89 SCENE II Characters The King Martius Galeotti (Galeotti enters and salutes king.) Galeotti Every good planet be gracious to Your Majesty! Every evil constellation withhold their- influences from my royal master! King Methinks that when you look around this apartment, when you think where it is situated and how guarded; your wisdom might consider that my propitious stars had proved faithless, and that each evil conjunction had already done its worst. Art thou not ashamed, Martius Galeotti, to see me here and a prisoner, when you recollect by what assur- ances I was lured hither? i , Galeotti And art not thou ashamed, my royal Sire? Thou, whose step in science was so forward, art thou not ashamed to turn from the first frown of fortune, like a craven from the first clash of arms ? Dost thou shrink from the first pressure of adversity, and forfeit the glorious prize for which thou didst start as a competitor, frightened out of the course, like a scared racer, by shadowy and unreal evils? King Shadowy and unreal! is this dungeon un- 90 DRAMATIZATIONS OF SCHOOL CLASSICS real? The weapons of the guards of my detested enemy, Burgundy! Are those shadows? What, traitor, are real evils, if imprisonment, dethrone- ment and danger of life, are not so! Galeotti Ignorance, ignorance, my brother, and prejudice, are the only real evils! Believe me that kings, in the plentitude of power, if immersed in ignorance and prejudice, are less free than sages in a dungeon. Towards this true happiness it is mine to guide you. King And it is to such philosophical freedom that your lessons would have guided me? I might surely have attained this mental ascendancy at a more moderate price than that of forfeiting the fairest crown in Christendom, and becoming a tenant of a dungeon in Peronne! Go, sir, and think not to escape condign punishment — There is a Heaven above us! Galeotti Louis of Valois, confess, art thou not like the foolish passenger, who becomes wroth with his pilot because he cannot bring the vessel into har- bor without experiencing occasionally the adverse force of winds and currents ? Where is thy wisdom of yesterday, which taught thee so truly to discern that the ways of destiny are often ruled to our ad- vantage, though in opposition to our wishes? King You remind me — you' remind me of one specific falsehood. You foretold yonder Scot DRAMATIZATIONS OF SCHOOL CLASSICS QI should accomplish his enterprise fortunately for my interest and honor. Here thy craft deceived thee. Thou wert weak enough to make a specific predic- tion, which has proved directly false. Galeotti Which will prove most firm and true. I told thee he would be faithful in any honorable commission. Hath he not been so ? I told thee he would be scrupulous in aiding any evil enterprise. Hath he not proved so? I told thee that the con- junction of planets, under which he set forth, augured danger to the person, and hath not his path been beset by danger? I told thee that it augured an advantage to the sender, and of that thou wilt soon have the benefit. King Soon have the benefit! Have I not the result already, in disgrace and imprisonment ? Galeotti No, the end is not as yet — thine own tongue shaU ere long confer the benefit which thou hast received, from the manner in which the messen- ger bore himself in discharging thy commission. King This is too — too insolent — at once to deceive and insult. But hence! think not that my wrongs shall be unavenged. There is a Heaven above us! (Galeotti turns to depart.) King Yet stop! Let me hear your answer to one question, and think ere you speak. Can thy 92 DRAMATIZATIONS OF SCHOOL CLASSICS pretended skill ascertain the hour of thine own death ? Galeotti Only by referring to the fate of an- other. King I understand not thine answer. Galeotti Know then, O King, that this only I can tell with certainty concerning my own death that it shall take place exactly twenty-four hours before that of Your Majesty. King Ha! sayest thou? Hold — hold — go not — wait one moment. Said'st thou my death should follow thine so closely? Galeotti Within the space of twenty-four hours, if there be one sparkle of true divination in those bright and mysterious intelligences, which speak each on their courses, though without a tongue, I wish Your Majesty good rest. King Hold — hold — go not. {Takes him by the arm and leads him from the door.) Martius Galeotti, I have been a kind master to thee, enriched thee, made thee my friend, my companion, the in- structor of my studies. Be open with me, I entreat you. Shall this Scot's mission be, in fact, propitious to me? And is the measure of our lives so very nearly matched? To one in my condition, truth is worth kingdoms, and it is from thee, dearest Martius, that I must look for this inestimable jewel. Galeotti And I have laid it before Your Majesty, DRAMATIZATIONS OF SCHOOL CLASSICS 93 at the risk that, in brutal passion, you might turn upon me and rend me. King Who? I, Galeotti? Alas! thou mistakest me! Am I not a captive? And should not I be patient, especially since my anger can only show my impotence. Tell me then, in sincerity, have you fooled me? Or is your science true, and do you truly report it? Galeotti Your Majesty will forgive me if I reply to you that time and time only will convince incredu- lity. A day or two days' patience will prove or dis- prove what I have averred concerning the young Scot; and I will be contented to die on the wheel, and have my limbs broken joint by joint, if your Majesty have not advantage: and that in a most important degree, from the dauntless conduct of Quentin Durward. But if I were to die under such tortures, it would be well Your Majesty should seek a ghostly father, for from the moment my last groan is dravm, only twenty-four hours will remain to you for confession and penitence. (The King keeps hold of Galeotti's robe as he leads him through the door and the halls.) King (in a loud voice) To-morrow we'll talk more of this. Go in peace, my learned father — go in peace! go in peace! NICHOLAS NICKLEBY SCENE I Place: Dotheboys Hall Characters Mr. Squeers Mrs. Squeers Boys Nicholas Nickleby (A room set with desks and benches. Mrs. Squeers stands at one of the desks with an immense pan before her. She gives a spoonful of the mixture from a huge wooden spoon, to each one of a half dozen boys, as they file before her. Another row of boys awaits the infliction. The boys make wry faces as they are given the con- coction, and as they await their turn.) Squeers Now, is that business over? {He raps upon the desk with a huge cane. The little boys all jump.) Mrs. Squeers Just over. Here you, Smike, take away now, look sharp! 94 DRAMATIZATIONS OF SCHOOL CLASSICS 95 (In her haste she chokes the last boy and taps him upon the head with the wooden spoon.) (Smike shuffles out with the basin, and Mrs. Squeers calls up a boy with curly hair, upon which she wipes her hands. Mrs. Squeers then goes to the other side of the room where a large tea-kettle and a number of little bowls are arranged upon a board. Mrs. Squeers and the servant pour out a com- pound and place a minute wedge of bread in each bowl. Boys eat their ^breakfast, fold their hands, and Mr. Squeers says in a solemn voice {"For what we have received, may the Lord make us truly thankful.") (Mr. Squeers leaves room, returning in a few moments. Boys take their places at their desks.) Mr. Squeers First class, attention. This is the first class in English spelling and philosophy, Nickleby. We'll get up a Latin one, and hand that over to you. Now, then, where's the first boy? Boy Please, sir, he's cleaning the back parlor windows. Squeers So he is, to be sure, we go upon the practical mode of teaching, Nickleby — the regular education system: C-1-e-a-n, clean; verb active; to make bright; to scour. W-i-n, win; d-e-r, der, winder; a casenient. When the boy knows this out of the book he goes and does it. It's just the same principle as the use of the globes. Where's the second boy? 96 DltAMATIZATlONS OF SCHOOL CLASSICS Small Boy Please, sir, he's weeding the garden. Sqtieers To be sure, so he is! B-o-t, bot, t-i-n, tin, bottin, n-e-y, ney, bottinney; noun substantive; a knowledge of plants. When he has learned that bottinney means a knowledge of plants, he goes and knows 'em. That's our system, Nickleby; what do you think of it? Nicholas It's a very useful one, at any rate. S queers I believe you. Third Boy What's a horse ? Boy A beast, sir. Sqtieers So it is, ain't it, Nickleby? Nicholas I believe there is no doubt of that, sir. Squeers Of course there isn't. A horse is a quadruped, and a quadruped's Latin for beast, as everybody that's gone through grammar knows, or else where's the use of having grammars at all? Nicholas Where, indeed? Squeers As you are perfect in that, go and look after mine, and rub him down well, or I'll rub you down. The rest of the class go and draw water up, 'till somebody tells you to leave off; for it's washing day to-morrow, and they want the coppers filled. (Squeers dismisses the class.) Squeers That's the way we teach school here, Nickleby. (Squeers leers at Nickleby, who sadly drops his head as they leave the stage.) THE TEMPEST SCENE I Place: An Characters Prospero Miranda Ariel Ferdinand (The stage may be sprinkled with sand and have upon it representations of rocks, and palms and ferns may be used in making the scene more realistic. Prospero seems to be pointing to a ship in distress.) Miranda O my dear father, if by your art you have raised this dreadful storm, have pity on their sad distress. See! the vessel will be dashed to pieces. Poor souls! they will aU perish. If I had power, I would sink the sea beneath the earth, rather than the good ship should be destroyed with all the precious souls within her. Prospero Be not so amazed, daughter Miranda, there is no harm done. I have so ordered it, that 97 98 DRAMATIZATIONS OF SCHOOL CLASSICS no person in the ship shall receive any hurt. What I have done has been 'in care of you, my dear child. You are ignorant who you are, or w^here you came from, and you know no more of me, but that I am your father, and live in this poor cave. Can you remember a time before you came to this cell? I think you cannot, for you were not then three years of age. Miranda Certainly I can, sir. Prospero By what ? By any other house or per- son? Tell me what you can remember, my child? Miranda It seems to me like the recollection of a dream. But had I not once four or five women who attended upon me? Prospero You had and more. How is it that this still lives in your mind ? Do you remember how you came here? Miranda No, sir, I remember nothing more. Prospero Twelve years ago, Miranda, I was Duke of Milan and you were a princess and my only heir. I had a younger brother whose name was Antonio, to whom I trusted everytinug, and as I was fond of retirement and deep study, I "commonly left the management of my state affairs to your uncle, my false brother (for so indeed he proved). I, neglect- ing all worldly ends, buried among my books, did dedicate my whole time to the bettering of my mind. My brother Antonio being thus in possession of my DRAMATIZATIONS OF SCHOOL CLASSICS 99 power began to think himself the duke indeed. The opportunity I gave him of making himself popular among my subjects awakened in his bad nature a proud ambition to deprive me of my dukedom; this he soon effected with the aid of the king of Naples, a powerful prince, who was my enemy. Miranda Wherefore did they not that hour destroy us? Prospero My child, they durst not, so dear was the love that my people bore me. Antonio carried us on board a ship, and when we were some leagues out at sea, he forced us into a small boat, without either tackle, sail or mast, where he left us, as he thought, to perish. But a kind lord of my court, one Gonzalo, who loved me, had privately placed in the boat, water, provisions, apparel and some books, which I prize above my dukedom. Miranda O my father, what a trouble must I have been to you then! Prospero No, my love, you were a little cherub that did preserve me. Our food lasted till v/e landed on this desert island. Since then my chief delight has been in teaching you, Miranda, and well have you profited by my instructions. Miranda Heaven thank you, my dear father! Now pray tell me, sir, your reason for raising this sea-storm ? Prospero Know then that by means of this storm. lOO DRAMATIZATIONS OF SCHOOL CLASSICS my enemies, the King of Naples and my cruel brother, are cast ashore upon this island. (Prospero touches his daughter with his magic wand and she falls fast asleep. Ariel appears.) Prospero Well, my brave spirit, how nave you performed your task ? Hast thou raised the tempest that I bade thee? Ariel I boarded the king's ship now on the beak, now in the waist, the deck, in every cabin, I flamed amazement. Prospero My brave spirit! Who was so firm, so constant, that his reason was not infected by this great tempest? Ariel None, my master. The king's son, Ferdi- nand, was the first man that leaped into the flood. Prospero Was not this nigh shore ? Ariel Close by, my master. Prospero But are they safe, Ariel? Ariel Not a hair perished. The king's son I have landed by himself; but he is safe, in a corner of the isle, sitting with his arms folded, sadly lament- ing the loss of the king, his father, whom he con- cludes drowned. Not a hair of his head is injured and his princely garments, though drenched in the sea waves, look fresher than before. Prospero That's my delicate Ariel; bring him DRAMATIZATIONS OF SCHOOL CLASSICS lOI hither; my daughter must see this young prince. Where is the king and my brother? Ariel I left them searching for Ferdinand, whom they have little hopes of finding, thinking they saw him perish. Of the ship's crew not one is miss- ing; though each one thinks himself the only one saved; and the ship, though invisible to them, is safe in the harbor. Prospero Ariel, thy charge is faithfully performed ; but there is more work yet. Ariel Is there more work? Let me remind you, master, you have promised me my Hberty. I pray, remember, I have done you worthy service, told you no hes, made no mistakes, served you without grudge or grumbling. Prospero How now? You do not recollect what a torment I freed you from. Have you forgotten the wicked witch Sycorax, who with age and envy was almost bent double ? Where was she bom ? Speak! tell me! Ariel Sir, in Algiers. Prospero Oh, was she so ? I' must recount what you have been, which I find you do not remember. This bad witch, Sycorax, for her witchcrafts, too terrible to enter human hearing, was banished from Algiers, and here left by the sailors; and because you were a spirit too delicate to execute her wicked commands, she shut you up in a tree, where I found I02 DRAMATIZATIONS OF SCHOOL CLASSICS you howling. This torment, remember, I did free you from. Ariel Pardon me, dear master, I will obey your commands. Prospero Do so, and I will set you free. Ariel That's my noble master! What shall I do? Say what? What shall I do? Prospero Go make thyself like a nymph of the sea; be subject to no sight but thine and mine; go hence with diligence! (Ariel leaves the stage and soon is heard singing outside. Ferdinand's voice is heard.) Ferdinand Where should this music be ? I' the air or earth? It sounds no more; and, sure, it waits upon some god o' the island. Sitting on a bank, weeping at the loss of my dear father, this music crept by me upon the waters, allaying both their fury and my passion with its sweet air, thence I have followed it, or it hath draAvn me rather. But 'tis gone. No, it begins again. SCENE II (Ariel enters singing and is followed by Ferdi- nand.) Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes; DRAMATIZATIONS OF SCHOOL CLASSICS 103 Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange; Sea-nymphs hourly ring his knell; Hark! I hear them — Ding-dong, bell. i * w^ tt=P: ^ tz* ifc::* PF^ #--f-^f— N-N -*— *-T^ ^^^^^m * — # i =P=F -w—t ^= P=i: ■»H-^- ^aa^j ii^ 5 iji^r i Prospero Miranda, tell me what you are looking at yonder? Miranda O father, surely that is a spirit! How it looks about ! Is it not a spirit ? Prospero No, girl. It eats and sleeps and has senses such as we have. This young man you see was in the ship. He has lost his companions and is wandering about to find them. Miranda I might call him a thing divine for nothing natural I ever saw so noble. Ferdinand May I know if you remain upon this island and can you tell me how to bear me here ? I04 DRAMATIZATIONS OF SCHOOL CLASSICS Prospero A word, good sir; I fear you have done yourself some wrong; a word. Miranda Why speaks my father so ungently? This is the third man that e'er I saw. May pity move my father! Prospero (advancing sternly) Follow me, I will tie you neck and feet together. You shall drink sea-water; shell-fish, withered roots, and husks of acorns shall be your food. Ferdinand No, I will resist such entertainment, till I see a more powerful enemy. (Ferdinand draws his sword, but Prospero, waving his wand, Ferdinand remains fixed to the spot.) Miranda Why are you so ungentle? Have pity, sir; I wiU be his surety. This is the second man I ever saw, and to me he seems to be a true one. Prospero Silence, one word more will make me chide you, girl. What! an advocate for an im- postor! You think there are no more such fine men, having seen only him and Caliban. I tell you, foolish girl, most men as far excel this as he does Caliban. Come on, young man, you have no power to disobey me. Ferdinand I have not, indeed. (Ferdinand follows Prospero from the stage.) DRAMATIZATIONS OF SCHOOL CLASSICS 105 SCENE III (Prospee.0 calls Ariel.) Prospero Tell me, Ariel, where are my brother nd the King of Naples and how do they fare ? Ariel They are almost out of their senses with fear at the strange things they have seen and heard. When they were almost famished for want of food, I suddenly set before them a dehcious banquet, and then, just as they were going to eat, I appeared be- fore them in the shape of a harpy and the feast vanished away. I told them of their cruelty in driving you from your dukedom, and leaving you and your infant daughter to perish in the sea. I am sure they repent of the injustice they have done you, and I can but pity them, my master. Prospero Then briag them hither, Ariel, if you, who are but a spirit, feel for their distress, shall not I who am a human being like themselves, have compassion on them? Bring them, quickly, my dainty Ariel. (Ariel goes out and returns quickly with the king, Antonio, and old Gonzalo. Ariel is play- ing on a -fife or flute. They do not recognize Pros- pero.) Io6 DRAMATIZATIONS OF SCHOOL CLASSICS Prospero Gonzalo, good Gonzalo, preserver of my life, do you not know Prospero? (Antonio falls upon his knees and breaks forth into sobs.) Antonio My brother, forgive me for my wicked conduct. I do truly repent of my conduct. King Prospero, forgive me for my part in this wicked work. Prospero I forgive you both and I have a gift in store for you, too. (Prospero opens a door and shows Ferdinand playing at chess with Miranda.) Miranda O wonder, what noble creatures these are! It must surely be a brave world that has such people in it. King Who is this maid ? She seems the goddess that has parted us, and brought us together. Ferdinand No, sir, she is a mortal, but by im- mortal Providence she is the daughter to this Pros- pero, of whose renovm I have heard so much, but never saw till now; of him I have received a new life; he has made himself to me a second father. King Then I must be her father, but, oh! how oddly it will sound, that I must ask my child forgive- ness. DRAMATIZATIONS OF SCHOOL CLESSICS 1 07 Pros per No more of that, let us not remember our troubles past, since they so happily have ended. Your ship is safe in the harbor, and the sailors all on board her, and my daughter and I will accompany you home the next morning. In the meantime, partake of such refreshments as my poor cave affords. My quaint Ariel, I shall miss you, yet you shall have your freedom. Ariel Thank you, my dear master, but give me leave to attend your ship home with prosperous gales, before you bid farewell to the assistance of your faithful spirit, and then, master, when I am free, how merrily I shall live. (Ariel sings) Merrily, merrily shall I live now Under the blossom that hangs on the bough; Under the blossom that hangs on the bough. i ^^ m I =tit THE SPY (Harvey Birch was a man who rendered great service to Washington as a spy during the Revolution. In performing this difficult and dangerous work he incurred the suspicion and hatred of both the Patriots and the Tories.) SCENE I Place: A Room in Washington's Headquarters Characters Washington Ahj-de-Camp Harvey Birch (Washington enters, followed by his Aid-de-Camp, and, seating himself, remains for some time in a thoughtful attitude. The Aid-de-Camp stands await- ing his orders.) Washington Has the man whom I wished to see arrived, sir? Aid-de-Camp He awaits the pleasure of your excellency. Washington I will receive him here, and alone, if you please. loS DRAMATIZATIONS OF SCHOOL CLASSICS lOQ (Aid-de-Camp hows and retires. Harvey Birch enters unobserved by Washington.) Washington (to himself) To-morrow we must raise the curtain, and expose our plans. May heaven prosper them! (Washington discovers the presence of Birch. He points towards the fire, and then motions his visitor towards a chair. Birch refuses the chair. Washington slowly arises and takes from a desk a small but heavy bag.) Washington Harvey Birch, the time has arrived when our connection must cease; henceforth and forever we must be strangers. (Birch gazes earnestly upon Washington and then drops his head.) Birch If it be your excellency's pleasure. Washington It is necessary. Since I have filled the station that I now hold, it has become my duty to know many men, who, like yourself, have been my instruments in procuring intelligence. You I have trusted more than all; I early saw in you a regard to truth and principle, that, I am pleased to say, has never deceived me — you alone know my secret agents in the city, and on your fidelity depends, not only their fortunes, but their lives. (Washington pauses and then resumes.) Washington I believe you are one of the very no DRAMATIZATIONS OF SCHOOL CLASSICS few that I have employed, who have acted faithfully to our cause; and, while you have passed as a spy of the enemy, have never given intelligence that you were not permitted to divulge. To me, and to me only of all the world, you seem to have acted with a strong attachment to the liberties of America. (Birch gradually raises his head during this ad- dress until he stands proudly erect.) Washington It is now my duty to pay you for these services: hitherto, you have postponed re- ceiving your reward, and the debt has become a heavy one — I wish not to undervalue your dangers ; here are a hundred doubloons; you will remember the poverty of our country, and attribute to it the smallness of your pay. (Washington holds forth the money, but Birch steps back and refuses to take it.) Washington It is not much for your services and risks, I acknowledge, but it is all that I have to offer; at the end of the campaign, it may be in my power to increase it. Birch Does your excellency think I have ex- posed my life and blasted my character for money? Washington If not for money, what then ? Birch What has brought your excellency into the field? For what do you daily and hourly expose DRAMATIZATIONS OF SCHOOL CLASSICS III your precious life to battle and the halter? What is there about me to mourn, when such men as you risk their all for our country ? No — no — no — not a dollar of your gold will I touch! Poor America has need of it all! {The hag drops from Washington's hand.) Washington There are many motives which might govern me, that to you are unknown. Our situations are dififerent; I am known as the leader of armies — but you must descend into the grave with the reputation of a foe to your native land. Remember that the veil which conceals your true character cannot be raised in years — perhaps never. (Birch lowers his head.) Washington You will soon be old; the prime of your days is already passed. What have you to subsist upon? Birch These! {He throws out his hands.) Washington But those may fail you; take enough to secure a support to your age. Remem- ber your risks and cares. I have told you that the character of men who are much esteemed in life depend upon your secrecy; what pledge can I give them of your fidelity? Birch Tell them {he advances and sets one foot upon the bag), tell them that I would not take the 112 DRAMATIZATIONS OF SCHOOL CLASSICS gold. (Washington smiles and grasps the hand of Birch.) Washington Now, indeed, I know you; and al- though the same reasons which have hitherto com- pelled me to expose your valuable life will still exist, and prevent my openly asserting your character, in private I can always be your friend; fail not to apply to me when in want or suffering, and, so long as God giveth to me, so long will I freely share with a man who feels so nobly and acts so well. If sick- ness or want should ever assail you, and peace once more smile upon our effort, seek the gate of him whom you have so often met as Harper, and he will not blush to acknowledge you in his true character. Birch It is little that I need in this life, so long as God gives me health and honest industry, I can never want in this country; but to know that your excellency is my friend, is a blessing that I prize more than all the gold of England's treasury. (Washington stands for a moment in the attitude of intense thought. He then goes to the desk, writes a few lines on a piece of paper, and gives it to the peddler.) Washington That Providence destines this coun- try to some great and glorious fate I must believe, while I witness the patriotism that pervades the bosoms of her lowest citizens. It must be dreadful DRAMATIZATIONS Of SCHOOL CLASSICS II 3 to a mind like yours to descend into the grave, branded as a foe to liberty; but you already know the lives that would be sacrificed, should your real character be revealed. It is impossible to do you justice now, but I fearlessly entrust you with this certificate; should we never meet again, it may be serviceable to your children. Birch Children! Can I give to a family the infamy of my name? (Washington again motions towards the gold, hut Birch shakes his head.) Birch It is, indeed, a treasure that your Excel- lency gives me; it is safe too. There are men liv- ing who could say that my life was nothing to me, compared to your secrets. The paper that I told you was lost, I swallowed when taken last by the Virginians. It was the only time I ever deceived your Excellency, and it shall be the last; yes, this is in- deed a treasure to me; perhaps, it may be kno^vn after my death who was my friends, but if it should not, there are none to grieve for me. Washington [grasping Birch's hand) Remem- ber that in me you will always have a secret friend ; but openly I cannot know you. Birch I know it, I know it. I knew it when I took the service. 'Tis probably the last time that 114 DRAMATIZATIONS OK SCHOOL CLASSICS I shall ever see your Excellency. May God pour down his choicest blessings on your head! (Birch bows with deep reverence to Washington and leaves the room.) ("The Spy" was the first successful novel by an Ameri- can author. James Fenimore Cooper was always thor- oughly American. "He stirred the hearts of his country- men with vivid pictures of colonial, revolutionary, and emigrant life, with the vast ocean and forests for its scenes." It has been said that Cooper was to America what Scott was to Scotland, though Cooper's works do not, of course, take the high rank of those of the great "Wizard of the North.") THE OLD CURIOSITY SHOP SCENE I Characters Miss Monflather Nell Teachers Girls Stage set to represent Miss Monflather's Board- ing and Day Establishment. Little Nell, with a bundle of handbills, advertising Mrs. Jarley^s wax works, in her hand, approaches the door just as it opens and out comes a long file of young ladies, two and two, all with open books in their hands, and some with parasols. Miss Monflather and two teachers come at the end of the line. The girls pass Nell; Miss Monflather approaches her; Nell courtesies and presents her the package of handbills. Miss Monflather's commands the procession to halt. Miss Monflather You're the wax-work child, are you not ? Nell Yes, ma'am. Miss Monflather And don't you think you must Il6 DRAMATIZATIONS OF SCHOOL CLASSICS be a very wicked little child, to be a wax-work child at all ? Don't you know that it's very naughty and unfeminine, and a perversion of the properties wisely and benignantly transmitted to us with expansive powers to be roused from their dormant state through the medium of cultivation? (Teachers smile at Miss Monflather and then glare angrily at each other.) Miss Monflather Don't you feel how naughty it is of you to be a wax-work child, when you might have the proud consciousness of assisting to the extent of your infant powers, the manufactures of your country, of improving your mind, by the constant contemplation of the steam-engine; and of earning a comfortable and independent subsistence of from two-and-nine-pence to three shillings . per week ? Don't you know that the harder you are at work, the happier you are? Teacher How doth the little busy — Miss Monflathen Eh! Who said that? (One teacher points to the other.) Miss Monflathen Hold your peace. The little busy bee is applicable only to genteel children. "In books, or work, or healthful play," is quite right as far as they are concerned; and the work means painting on velvet, fancy needle-work, or embroidery. In such cases as these {she points DRAMATIZATIONS OF SCHOOL CLASSICS II7 with parasol to Nell) and in the case of all poor people's children, we should read it thus: "In work, work, work — in work alway Let my first years be past. That I may give for every day. Some good account at last." {Hum of applause jollovjs from pupils and Teachers. Nell begins to weep. She drops her handkerchief, which is picked up by one of the pupils.) Miss Monflather It was Miss Edwards who did that, I know. Now I am sure that was Miss Ed- wards. (All the girls say "It was Miss Edwards.''^) Miss Monflather {puts down parasol) Is it not a most remarkable thing, Miss Edwards, that you have an attachment to the lower classes which al- ways draws you to their sides; or rather, is it not a most extraordinary thing that all I say and do will not wean you from propensities which your original station in life have unhappily rendered habitual to you, you extremely vulgar-minded girl? Miss Edwards I really intended no harm, ma'am. It was a momentary impulse, indeed. Miss Monflathen An impulse! I wonder that Il8 DRAMATIZATIONS OF SCHOOL CLASSICS you presume to speak of impulses to me. I am as- tonished! I suppose it is an impulse which induces you to take the part of every grovelling and debased person that comes in your way. But I would have you know, Miss Edwards, that you cannot be per- mitted — if it be only for the sake of preserving a proper example and decorum in this establishment that you cannot be permitted to fly in the face of your superiors in this exceedingly gross manner. If you have no reason to feel a becoming pride be- fore wax work children, there are young ladies here who have, and you must either defer to those young ladies or leave the establishment. Miss Edwards, you will not take the air to-day. Miss Edwards, have the goodness to retire to your room, and not leave it without permission. (Miss Edwards passes Miss Monflather, with- out saluting her.) Miss Monflather She has passed me without any salute! She has actually passed me without the slightest acknowledgment of my presence! (Miss Edwards turns and courtesies.) Miss Monflathen (turning to Nell) As for you, you wicked child, tell your mistress that if she pre- sumes to take the liberty of sending to me any more, I will write to the legislative authorities and have her DRAMATIZATIONS OF SCHOOL CLASSICS IIQ put in the stocks, or compelled to do penance in a white sheet; and you may depend upon it that you will certainly experience the treadmill if you dare to come here again; now ladies, on. {Procession of pupils and teachers file off the stage.) SCENE II Place: Room in which are the Clergyman, the School- master, Nell, and the Grandfather Characters The Clergyman The Schoolmaster Little Nell The Grandfather The Bachelor The Boys Clergyman Well, well. Let it be as you desire. She is very young. Schoolmaster Old in adversity and trial, sir. Clergyman God help her! Let her rest, and forget them. But an old church is a dull and gloomy place for one so young as you, my child. {Takes Nell by the hand.) Nell Oh, no, sir! I have no such thoughts, in- deed. ISO DRAMATIZATIONS OF SCHOOL CLASSICS Clergyman I would rather see her dancing on the green at night than have her sitting in the shadow of our rnouldering arches. You must look to this, and see that her heart does not grow heavy among these solemn ruins. Your request is granted, friend. (Clergyman leaves. The Bachelor enters) Bachelor You are Mr. Morton, the new school- master ? Schoolmaster I am, sir. Bachelor You come well recommended, and I am glad to see you. I should have been in the way yesterday, expecting you, but I rode across the coun- try to carry a message from a sick mother to her daughter in service some miles off, and have but just now returned. This is our young church-keeper. You are not the less welcome, friend, for her sake, or for this old man's; nor the worse teacher for having learned humanity. Schoolmaster She has been ill, sir, very lately. Bachelor Yes, yes. I know she has. There have been suffering and heartache here. Schoolmaster Indeed there have, sir. (Bachelor takes Nell's hand.) Bachelor You will be happier here; we will try, at least, to make you so. You have made great DRAMATIZATIONS OF SCHOOL CLASSICS 121 improvements here already. Are they the work of your hands? Nell Yes, sir. Bachelor We may make some others — not better in themselves, but with better means, perhaps. Let us see now, let us see. {They go about the house, and then the. Bachelor goes out; to return in a jew moments accompanied by a boy bearing all kinds 0} objects needed in a house: rugs, shelves, blankets, etc. These are all properly placed about the room.) Bachelor {to boy) Run off and bring your school- mates now to meet their new master. Bachelor They are as good a set of fellows. Master, as you would wish to see, but I don't let 'em know I think so. That wouldn't do, at all. {A number of urchins enter, clutching their hats and caps, and making all manner of bows and scrapes. The Bachelor seems greatly pleased with them.) Bachelor {aside) This first boy, schoohnaster, is John Owen; a lad of good parts, sir, and frank, honest temper; but too thoughtless, too playful, too light-headed by far. That boy, my good sir, would break his neck with pleasure and deprive 122 DRAMATIZATIONS OF SCHOOL CLASSICS his parents of their chief comfort; and between our- selves, when you come to see him at hare and hounds, taking the fence and ditch by the finger-post, and shding down the face of the Uttle quarry, you'll never forget it. It's beautiful. Bachelor {pointing to another boy) Now, look at that lad, sir. You see that fellow ? Richard Evans, his name, sir. An amazing boy to learn, blessed with a good memory, and a ready understanding, and, moreover, with a good voice and ear for psalm-singing in which he is the best among us. Yet, sir, that boy will come to a bad end; he'll never die in his bed; he's always falling asleep in church in sermon-time, and to tell you the truth, Mr. Martin, I always did the same at his age, and feel quite certain that it was natural to my constitution, and I couldn't help it. Bachelor {pointing to another hoy) But if we talk of examples to be shunned, if we come to boys that should be a warning and a beacon to all their fellows, here's the one, and I hope you won't spare him. This is the lad, sir; this one with the blue eyes and light hair. This is a swimmer, sir, this fellow — a diver — Lord save us ! This is a boy, sir, who had a fancy for plunging into eighteen feet of water, with his clothes on, and bringing up a blind man's dog, who was being drowned by the weight of his chain and collar, while his master DRAMATIZATIONS OF SCHOOL CLASSICS Stood wringing his hands upon the bank, bewailing the loss of his guide and friend. I sent the boy two guineas, anonymously, sir, directly I heard of it; but never mention it on any account, for he hasn't the least idea that it came from me. (Bachelor gives them all a small sum of money.) Bachelor Now, walk home quietly without any leapings, scufflings, or turning out of the way. Bachelor {aside to Schoolmaster) I couldn't have done that at their age, to save my life. (Boys steal out, with awkward bows, and immedi- ately a great noise is heard outside, as they run shout- ing towards home.) JOAN OF ARC SCENE I (A group of children dancing around the Fairy Tree, singing the Tree Smtg. Joan should be dressed in white. Children have garlands of flowers which they hang upon tree.) The Tree Song i =i=i= m ^ lE^E ix^it i m ta: ii^ -^-»- fe± -*— i< -Jl-l-,. This beauteous tree with leaves so green, Wondrous tree of Fairy-Land. The children come to you each day, You shield them in their happy play, And guard them on their homeward way, Their love, and joy and pride. 124 JOAN OF ARC DRAMATIZATIONS OF SCHOOL CLASSICS 1 25 We love you for your dancing leaves, Wondrous tree of Fairy-Land, And neath your boughs, we know, perchance, We'll see the merry fairies dance In gladsome, jovial, elfish pranks, When moonbeams light the green. Point ever toward blue skies above, Wondrous tree of Fairy-Land, May joy and peace and naught of strife. Come to us as we go through Hfe, And may we freed from war-cries rife. Thy children ever be. {Children run merrily from stage at conclusion of song.) SCENE II Characters Joan (dressed to look older than in Scene I) Philippe De Revelle (a hoy of the nobility) {Stage setting as before) Philippe I have been pondering upon this thing for many days. Poor France has been in a desperate case ever since the battle of Agincourt. Joan France in desperate case? What is your reason for thinking that ? Philippe What is our King? A mere figure- 126 DRAMATIZATIONS OF SCHOOL CLASSICS head! A puppet! A man without a spine! The tool of favorites! He a King! Poh! He would show the white feather at the least provocation. Is that not so ? Joan Yes, it is so. Philippe Then, can you not see where we stand ? France can never rise above her King's foolish deeds. Joan France will rise! She must rise! Philippe It is impossible. France is even now nothing but a province of England. Is it not so? Joan Yes, it is too true. Philippe French armies have won no victories. Our courage has been paralyzed since Agincourt. Two English soldiers can put twenty French soldiers to flight. Joan Alas! These things are too true. But France will rise again. She will yet trample England under her feet. Philippe Joan, how can this be done, when we have no soldiers, no king ? Joan The king will yet be a king. He will be crowned. Philippe This is past belief. Joan The king will be crowned before two years shall have rolled by. Philippe There are no Frenchmen who could bring this about. Joan There is God. DRAMATIZATIONS OF SCHOOL CLASSICS 1 27 (Points to sky. Philippe walks away, as if to leave the stage. He looks back at Joan and conceals himself behind a tree. Joan seats herself under the Fairy Tree and looks off into space; then she rises, lifts her clasped hands high above her and speaks pleadingly.) Joan Oh, can I, who am so young, leave my mother and go out to lead these wild soldiers to victory ? I do not even know how to ride a horse — and the life in the camp, the rudeness, the danger Oh, I cannot — yet if God commands it, I must go, (Philippe approaches in great amazement) Philippe Why Joan, I could not help but over- hear you. Of what are you talking? To whom are you speaking ? You acted as if you heard voices. Yet I saw no one here. (Looks all about) Joan Sit down, Philhpe, and I will tell you to whom I spoke. The saints come and speak to me. I hear their voices, although no one else does, and I call them, my voices. Philippe But of what do they talk to you? Joan They talk of France and her troubles and of how she is to be freed from them. They have told me of all the disaster that were to come to these French armies before they came. Now, they tell me how France is to be freed and made a great nation 128 DRAMATIZATIONS OF SCHOOL CLASSICS again. Philippe, they tell me that / am to be the leader of the French armies. / am to win back glory to France. Philippe Incredible! Joan, you are dreaming, or your poor brain is turned. You lead armies? You win victories for France? My poor, poor girl! Joan Yes, God has chosen m.e, the humblest of his creatures, to do this great work. I have fought against the command, but I must }aeld. I must go to Robert de Baudricourt, and he will give me soldiers who will escort me to the king. I know not when or how the victory is to be won, but my voices have said that in one year from now the King wiU be crowned. God's will be done. SCENE III The Coronation {The King enters with Joan hy his side. They advance to the dais. The King is anointed with oil and presented with a crown upon a cushion. He places the crown upon his head and seats himself upon the dais. Courtiers stand about. Joan sinks upon her knees at his feet.) Joan Now, O king, the crown of France is on the head of her rightful ruler. My work is done. Let me go home to my mother. She is poor and aged, and needs her Joaji. DRAMATIZATIONS OF SCHOOL CLASSICS 1 29 King Speak, Joan, what is it that you wish? Any request of yours shall be granted to the half of my kingdom. Joan If it please you, my king, I would wish that the taxes of my poor Domremy be remitted. King They shall be so, noble maid of Orleans, and what else wouldst thou have? Joan Nothing more, my King. King Surely, noble maid, who hast led our armies to victory and restored France to her rightful place, there is something more that thou desirest. Speak, fair girl, and fear not. Joan There is nothing else, my king. King Joan, you have conquered great armies and placed the crown on my brow, and now you demand naught but this one little boon. Be it so. From this day Domremy is freed from all taxation as long as France is a nation. Noble girl! Forever shall these humble peasants of Domremy bless the name of the Maid of Orleans! (The bugle sounds, and all leave the stage) THE ARCHERY CONTEST From Ivanhoe SCENE I Characters Prince John locksley Hubert Yeomen (A number of archers, yeomen, soldiers, and attend- ants are standing about; Prince John is seated upon a chair. Locksley is distinguished from the other archers by wearing a suit of Lincoln green. A target has been placed for the archery contest. The archers all carry bows and arrows. A bugle sounds. Prince John steps from his seat and addresses Locksley.) Prince John Fellow, I guessed from thine in- solent bravado thou wert no true lover of the long bow, and I see thou darest not adventure thy skill among such merry men as stand yonder. Locksley Under favor, sir, I have another reason 130 DRAMATIZATIONS OF SCHOOL CLASSICS 131 for refusing to shoot besides the fearing discomfiture and disgrace. Prince John And what is thy other reason? Locksley Because I know not if these yeomen and i are used to shoot at the same marks; and be- cause, moreover, I know not how your grace might relish the winning of a third prize by one who has unwittingly fallen under your displeasure. Prince John What is thy name? Locksley My name is Locksley. Prince John Then, Locksley, thou shalt shoot in thy turn when these yeomen have displayed their skill. If thou earnest off the prize, I will add to it twenty nobles; but, if thou losest it, thou shalt be stripped of thy suit of Lincoln green, and scourged out of the lists with bow-strings, for a wordy and insolent braggart. Locksley And how if I refuse to shoot on such a wager? Your Grace's power, supported as it is, by so many men-at-arms, may, indeed, easily strip and scourge me, but cannot compel me to bend or to draw my bow. Prince John If thou refuse my offer, the Provost of the Lists shalt cut thy bow-string, break thy bow and arrow and expel thee from the presence as a faint-hearted craven. Locksley This is no fair chance you put on me, proud Prince, to compel me to peril myself against 132 DRAMATIZATIONS OF SCHOOL CLASSICS the best archers of Leicester and Staffordshire, under the penalty of infamy if they should overshoot me. Nevertheless, I will obey your pleasure. Prince John Look to him close, men-at-arms; his heart is sinking. I am jealous lest he attempt to escape the trial. And do you, good fellows, shoot boldly round; a bird and a butt of wind are ready for your refreshment in yonder tent when the prize is won. (Several archers shoot at the target. Hubert's arrow comes nearest the center 0} the target each time. All the archers shout Hubert's name.) Prince John Now, Locksley, wilt thou try con- clusions with Hubert, or wilt thou yield up bow, baldric, and quiver to the Provost of the sports? Locksley Sith it be so bidden. I am quite con- tent to try my fortune on condition that when I have shot two shafts at yonder mark of Hubert's he shall be bound to shoot one at that which I shall propose. Prince John That is but fair, and it shall not be refused thee. If thou dost beat this braggart, Hubert, I will fill the bugle with silver pennies for thee. Hubert A man can but do his best, but my grandsire drew a good long bow at the battle of Hastings, and I trust not to dishonor his memory. DRAMATIZATIONS OF SCHOOL CLASSICS 1 33 (Hubert shoots, and his arrow comes near the centre of the target.) Locksley You have not allowed for the wind, Hubert, or that had been a better shot. (Locksley shoots and hits the target in the center.) Prince John By the light of heaven, an thou suffer that braggart knave to overcome thee thou art worthy of the gallows. Hubert An your Highness were to hang me, a man can but do his best. Nevertheless, my grandsire drew a good bow — Prince John The foul fiend on thy grandsire and all his generation: shoot, knave, and shoot thy best, or it shalt be the worse for thee. (Hubert shoots.) All A Hubert! A Hubert! In the clout! In the clout! A Hubert forever! Thou canst not mend that shot, Locksley. Locksley I will notch his shaft for him, however. (Locksley shoots and hits Hubert's arrow, which is in the center of the target. Yeomen whisper together in amazement.) Yeoman This must be the Evil One and no man of flesh and blood. Such archery was never seen since a bow was first bent in Britain. 134 DEAMATIZATIONS OF SCHOOL CLASSICS Locksley And, now, I will crave your Grace's permission to plant such a mark as is used in the North country, and welcome every brave yeoman, who shall try a shot at it to win a smile from the bonny lass he loves best. Let your guards attend me if you please. I go but to cut a rod from the next willow-bush. (Prince John looks about as if he were going to have Locksley attended by guards.) All Shame! Shame! (Locksley goes away for a moment, returning with a willow wand about six feet long.) Locksley To ask a good woodsman to shoot at a target so broad as has hitherto been used was to put shame upon his skill. For my own part, I would as soon take for my mark King Arthur's Round Table, which held sixty knights around it. A child of seven years old might hit yonder target, but he that hits yonder rod at five score yards, I call him an archer fit to bend both bow and arrow before a king, an it were the stout King Richard himself. Hubert My grandsire drew a good bow at the Battle of Hastings, and never shot at such a mark in his life, and neither will I. If this yeoman can cleave that rod, I give him the bucklers. A man can but do his best, and I will not shoot where I am sure to miss. DRAMATIZATIONS OF SCHOOL CLASSICS 135 I might as well shoot at the edge of our parson's whittle, or at a wheat straw, or at a sunbeam, as at a twinkling white streak, which I can hardly see. Prince John Cowardly dog! Sirrah Locksley, dost thou shoot, but if thou hittest the mark, I wilt swear thou art the first that ever didst so. Howe'er, thou shalt not merely crow over us with a mere show of superior skill. Locksley I will do my best; as Hubert says, no one can do more. (Locksley shoots and hits the willow wand. An attendant runs forward bearing the wand, which has been cleft in two pieces by the arrow.) Prince John These twenty nobles, which, with the bugle, thou hast fairly won are thine own. {Hands Locksley bugle and nobles.) We will make them fifty, if thou wilt take living with us as a yeo- man of the body guard and be near to our person; for never did so strong a hand bend a bow, or so true an eye direct a shaft. Locksley Pardon me, noble Prince, but I have vowed that ever I take service it should be with your noble brother. King Richard. These twenty nobles I leave to Hubert, who has this day drawn as bold a bow as did his grandsire at Hastings. (Locksley hands the gold and the bugle to Hubert and escapes through the crowd.) THE MICAWBERS DECIDE TO EMIGRATE SCENE I Characters Mr. and Mrs. Micawber and Six Children Miss Betsey Trotwood David Copperfield Mr. Dick {Enter Miss Trotwood, David Copperfield, and Mr. Dick. General greetings.) Miss Trotwood Is this all your family? Mr. Micawber Madam, it is a true bill. Miss Trotwood And that eldest young gentle- man, now, what has he been brought up to ? Mr. Micawber It was my hope when I came here to have got Wilkins into the church ; or perhaps I shall express my meaning more clearly if I say into the choir. But there was no vacancy for a tenor in the venerable pile for which this city is so justly eminent; and he has, in short, contracted a habit of singing in public houses rather than in sacred edifices. Mrs. Micawber But he means well. 136 DRAMATIZATIONS OF SCHOOL CLASSICS 137 Mr. Micawher I dare say, my love, that he means particularly well; but I have not yet found that he carries out his meaning in any particular line whatsoever. Master Micawher What am I to do ? Was I bom a carpenter or a coach painter any more than I was bom a bird? Can I go into the next street and open a chemist's shop? Can I rush into the next assizes and proclaim myself a lawyer? Can I come out by force at the opera and succeed by violence ? Can I do anything without being brought up to something? Miss Trotwood Mr. Micawber, I wonder you have never turned your thoughts to emigration ? Mr. Micawher Madam, it was the dream of my youth, and the fallacious aspiration of my riper years. Miss Trotwood Ay ? Why, what a thing it would be for yourselves and your family, Mr. and Mrs. Micawber, if you were to emigrate now. Mr. Micawber Capital, Madam, capital! Mrs. Micawher That is the principal, I may say, the only, difficulty, my dear Mr. Copperfield. Miss Trotwood Capital! But you are doing me a great service — have done me a great service, I may say, for surely much will come out of the fire — and what could we do for you, that would be half so good as to find the capital ? 138 DRAMATIZATIONS OF SCHOOL CLASSICS Mr. Micawher I could not receive it as a gift, but if a sufficient sum could be advanced, say at five per cent interest per annum upon my personal liability ^ say my notes of hand at twelve, eighteen, and twenty-four months, respectively, to allow time for something to turn up. Miss Trotwood Could be? Can be and shall be, on your own terms, if you say the word. Think of this, now, both of you. Here are some people David knows, going out to Australia shortly. If you decide to go, why shouldn't you go on the same ship ? Think of this now, Mr. and Mrs. Micawber. Take your time and weigh it well. Mrs. Micawber There is but one question, my dear Madam, I could wish to ask. The climate, I believe, is healthy? Miss Trotwood Finest in the world! Mrs. Micawher Just so. Then my question arises: Now, are the circumstances of the country such, that a man of Mr. Micawber's abilities would have a fair chance of rising in the social scale? I will not say, at present, might he aspire to be Gov- ernor, or anji:hing of that sort ; but would there be a reasonable opening for his talents to develop themselves that would be amply sufficient — and find their own expansion ? Miss Trotwood No better opening anjrwhere for a man who conducts himself well, and is industrious. DRAMATIZATIONS OF SCHOOL CLASSICS 1 39 Mrs. Micawber For-a-man-who-conducts-himself- well-and-is-industrious. Precisely. It is evident to me that Australia is the legitimate sphere of action for Mr. Micawber. Mr. Micawber I entertain the conviction, my dear Madam, that it is, under existing circumstances, the land, the only land, for myself and family; and that something of an extraordinary nature will turn up on that shore. It is no distance — comparatively speaking; and though consideration is due to the kindness of your proposal, I assure you that it is a mere matter of form. {Exit visitors.) {During this scene Mr. Dick seems to be taking copious notes. Whenever Mr. Micawber speaks of something turning up, Ms.. Dick does so.) SCENE II Place: Traddles' room in Mr. Micawber's Apartments {Enter Miss Betsey Trotwood, David Copper- field, and Traddles. Traddles constantly runs his -finger through his hair, making it stand straight. General greetings with Mr. and Mrs. Micawber.) Miss Trotwood Well, Mr. and Mrs. Micawber, pray have you thought about that emigration pro- posal of mine? I40 DliAMATIZATlONS OF SCHOOL CLASSICS Mr. Micawber My dear madam, perhaps I cannot better express the conclusion at which Mrs. Micawber, your humble servant, and, I may add, our children, have jointly and severally arrived, than by borrowing the language of an illustrious poet, to reply that our boat is on the shore, and our bark is on the sea. Miss Trotwood That's right. I augur all sorts of good from your sensible decision. Mr. Micawber Madam, you do us a great deal of honor. With respect to the pecuniary assistance enabling us to launch our frail canoe on the ocean of enterprise: I have reconsidered the important business-point. I am apprehensive that such an arrangement might not allow sufficient time for the requisite amount of — something — to turn up. We might not on the first responsibility becoming due, have been successful in our harvests, or we might not have got our harvest in. Labor, I believe, is somewhat difficult to obtain in that portion of our colonial possessions where it will be our lot to com- bat with the teeming soil. Miss Trotwood Arrange it in any way you please, sir. Mr. Micawber Madam, Mrs. Micawber and my- self are deeply sensible of the very considerate kind- ness of our friends and patrons. What I wish is to be perfectly business-hke and perfectly punctual. Turn- ing over, as we are about to turn over, an entirely DRAMATIZATIONS OF SCHOOL CLASSICS 141 new leaf; and falling back, as we are now in the act of falling back, for a Spring of no common magni- tude; it is important to my sense of self-respect, besides being an example to my son, that these ar- rangements should be concluded as between man and man. In reference to our domestic preparations, madam, I beg to report them. My eldest daughter attends at five every morning in a neighboring establishment, to acquire the process, if process it may be called, of milking cows. My younger children are instructed to observe, as closely as circumstances will permit, the habits of the pigs and poultry maintained in the poorer parts of this city; a pursuit from which they have, on two occa- sions been brought home, within an inch of being run over. I have myself directed some attention, during the past week, to the art of baking; and my son Wilkins has issued forth with a walking stick and driven cattle when permitted, which I regret to say was not often; he being generally warned with unprecation to desist. Miss Trotwood All very right, indeed. Mrs. Micawber has been busy, too, I have no doubt. Mrs. Micawber My dear madam, I am free to confess that I have not been actively engaged in pur- suits immediately connected with cultivation or with stock, though well aware that both will claim my attention on a foreign shore. Such opportunities as 142 DRAMATIZATIONS OF SCHOOL CLASSICS I have been enabled to alienate from my domestic duties, I have donated to corresponding at some length with my family. For I own, it seems to me, my dear Mr. Copperfield, that the time is come when the past should be buried in oblivion; when my family should take Mr. Micawber by the hand, and Mr. Micawber should take my family by the hand ; when the lion should lie down with the lamb, and my family be on terms with Mr. Micawber. David Copperjield I thoroughly agree with you. Madam. Mrs. Micawber Precisely so. Now I may be wrong in my conclusions; it is very likely that I am, but my individual impression is, that the gulf be- tween my family and Mr. Micawber may be traced to an apprehension, on the part of my family, that Mr. Micawber would require pecuniary accommo- dation. I cannot help thinking that there are members of my family who have been apprehensive that Mr. Micawber would solicit them for their names. I do not mean to be conferred in Baptism upon our children, but to be inscribed on Bills of Exchange, and negotiated in the Money Market. Miss Trotwood Well, ma'am, upon the whole, I shouldn't wonder if you were right. Mrs. Micawber Mr. Micawber being now on the eve of casting off the pecuniary shackles that have so long enthralled him, and of commencing anew DRAMATIZATIONS OF SCHOOL CLASSICS 143 career in a new country where there is a sufficient range for his abilities, it seems to me that my family should signalize the occasion by coming forward at a festive entertainment to be given at my family's expense, where Mr. Micawber might have an oppor- tunity of developing his views. Mr. Micawber My dear, it may be better for me to state distinctly, at once, that if I were to develop my views to that assembled group they would possi- bly be found of an offensive nature; my impression being that your family are, in the aggregate, imperti- nent snobs; and, in detail, unmitigated ruffians. I can go abroad without your family's coming for- ward to favor me; in short, with a parting shove of their cold shoulder. I would rather leave England with such impetus as I possess than to derive any acceleration of it from that quarter. And now, my dear, we must take our leave of our kind friends. {General adieus. Mr. and Mrs. Micawber leave the room 0} Traddles, where this interview occurs.) (In these scenes Mr. Dick and Traddles should do much acting. Mr. Dick, by taking notes, "turning things up," agreeing vehemently with all that Miss Trotwood says, and Traddles by incessantly thrusting his finger through his hair. Master Micawber should act very sullen. Mr. Micawber should be very pompous in tone and manner. Mrs. Micawber should wear brown gloves. Her other garments should be shabby.) MASTER SKYLARK (Adapted from " Master Skylark, " by John Bennett.*) (The story of "Master Skylark," is one of the sweetest and best stories ever written of the time of Shakespeare, or of any time; for the love of a boy for his mother always appeals to the truest and finest qualities in human nature. Nick Atwood, Master Skylark, who possesses a beautiful voice, is stolen from his home by Master Player Carew and the story of his efforts to find his way home to his dearly beloved mother in Stratford form the plot of the story. Master Will Shakespeare befriends the poor lad and is the means of bringing Master Skylark to his home and to prosperity.) SCENE I Christmas with Queen Bess (Stage set with benches as if for a play. Lords and Ladies enter with much laughing and take their seats. A hush follows the words, " The Queen is Coming." Elizabeth enters. All arise and bow. The Queen motions them to their seats and takes her seat upon the chair.) Prompter Rafe FuUerton! * Used by permission of The Century Company, New York. 144 DRAMATIZATIONS OF SCHOOL CLASSICS 145 (Rafe advances across the stage, making a deef obeisance to the Queen.) Raje It is a masque of summer-time and spring, wherein both claim to be best-loved, and have their say of wit and humor, and each her part of songs and dances, suited to her time: the sprightly galliard and the nimble jig for spring; the slow pavone, the stately peacock dance for summer-time. And win who may, fair spring-time or stately summer, the winner is but that beside our Queen. {Snaps his -fingers.) God save Queen Bess! (Queen hows and all clap their hands. A group oj children decked with flowers run on the stage.) (The children dance merrily about one who stands in the center holding a May-pole. A children's dance in quick time should be played on the piano durms; the dance about the pole. A merry song of Springtime could be used here also. Some larger girls now enter and dance a stately minuet. "Mozart's Minuet from Don Juan," may be played during this scene. Then the stage is cleared and Nick (the Skylark) and Cicely run on, deco- rated with garlands of flowers. If a flute can be played very softly during this scene, it will make it more effective.) Nick {sings) 146 dramatizations of school classics The Mekry Spring-time. -*-# i^ -:^ ^ 5 i ^^ — &— it ^ ii^=fc 1. Hey I lad - die.hark.to the mer - ry.mer -ry lark, 2. God save us all, my jol - ly gen - tie men I i ?:?-«- *- ■^1-^ ^^SJ ^■ "^f t -S.— A — =t ^ ±zzt IT. 4: .0- .0.. w How high he ring - eth clear. We'll mer - ry be to day | O a morn in For thecuck - 00 m «S=^3 iSEmsm ^ ^ i W $ mm$^ -•-^•- Spring is thesweetesttbingThat cometh in all the year, sings till the green- wood ring5,And it is the month of May { DRAMATIZATIONS OF SCHOOL CLASSICS 147 ^ ^«=* s* SI -•- -•- i 3= t fe^i^l ^ S= -V — ?■ O a morn i> spring is the »weet- est thing That For the cuck-00 sings till the greenwood rings.And fajL-t^^ 3E ;assE^^^ t i E^ =?=«= i com eth in all the year, it is the month of May. 4- ^1 W=^ i ^ "f 148 DRAMATIZATIONS OF SCHOOL CLASSICS m Refrain vicace E£ i^ Ring I ting I it is the mer ry ii ? i=iF ^t—^ Ti= "^- --*- c t^^^^^^^PpTJV^ T:^ Springtime here, full of heart a bod - y feels 1 Sing h., I H- i f^ =3= T^ ^ ^ ^"~^> ^ /C-|«-=-l*- ^ — &• iurt 5t-^ Hey trol-ley lol - lyl O to live is to be jol - ly.When ^S ^ DRAMATIZATIONS OF SCHOOL CLASSICS 1 49 Repeat Refrain ^^^^^^i Spring-time com -eth With the Sum-mer at her heels. :± f ^ ? J i ij^he children leave the stage amid a profound hush, which is followed by loud applause. The Queen turns to an Italian nobleman.) The Queen It is a good song, my lord. Is it not so? There are no songs like English songs. There is no spring like an English spring. There is no land like England — my England. (She claps her hands.) I will speak with these children. (Pages bring in Nick and Cicely. They kneel before the Queen.) Queen Stand, dear ones, be lifted up by thine own singing as our hearts have been uplifted by thy song. And name the price of that same song; 'twas sweeter than the sweetest song we ever heard before. (To Cicely) Come, what wilt thou have of me, fair maid? 150 DRAMATIZATIONS OF SCHOOL CLASSICS Cicely That I might stay in the palace forever and sing for your Majesty. Queen Now, that is right prettily asked. Thou •shalt, indeed, stay for a singing page in our house- hold — a voice and a face like thine are merry things upon a rainy Monday. And thou, Master Skylark, thou that comest up out of the fields with a song like the angel's song, what wilt thou have ? That thou may'st sing in our choir and play upon the lute for us ? What wilt thou have. Boy ? Speak ! Nick Let me go home. Queen Surely, boy, that is an ill-mannered speech, or thou dost deem us very poor or most exceeding stingy. (Nick hangs his head, Courtiers titter.) Nick I would rather be there than here. Queen Thou art more curt than courteous. Is it not good enough for thee to be here ? Nick I could na' live in such a place. Queen In such a place? Marry, art thou so choice? Others find no fault with this life. Nick Then they be bom in it, or they could no more abide it than I. They would na' fit. Lord High Constable How! how! Queen Old pegs can be made to fit new holes before to-day, and the trick can be turned again. DRAMATIZATIONS Oi' SCHOOL CLASSICS 151 But come, boy, speak up; what hath put thee so out of conceit with our best beloved palace ? Nick I can na' bide in a place so fine for there's na' so much as a comer in it feels hke home. I could na' sleep in the bed last night. Queen What? How? We commanded good beds. This shall be seen to. Nick Oh, it was a good bed, a very good bed, indeed, your Majesty. But the mattress puffed up like a cloud in a bag, and almost smothered me; and it was so soft and so hot that it gave me a fever. (Everyone laughs.) Queen Upon my word it is an odd skylark that cannot sleep in feathers. What dids't thou do, forsooth ? Nick I slept in the coverlet on the floor. It was na' hurt, I dusted the place well, and I slept like a top. Queen Now, verily, if it be floors that thou dost desire, we have acres to spare. Come then, thou wilt stay? (Nick shakes his head.) Queen It is a queer fancy that makes a face at such a pleasant dwelling. What is it sticks in thy throat ? (Nick stands silent.) 152 DRAMATIZATIONS OF SCHOOL CLASSICS Queen Thou art bedazzled like. Think twice, preferment does not gooseberry on the hedgerow everyday; and this is a rare chance which hangs ripening on the tongue. Consider well, come, thou wilt accept? (Nick shakes his head.) Queen Go, then, if thou wilt. {She turns and draws Cicely towards her.) Queen Thy comrade hath more wit. Nick She hath no mother. I would rather have my mother than her wit. Queen Thou art no fool; or if thou art, upon my word, I like the breed. It is a stubborn, forward dog, but Hold-Fast is his name, Ay, sirs. Brag is a good dog, but Hold-Fast is better. A lad who loves his mother thus maketh a son who loveth his native land, and it's no bad streak in the blood. Master Skylark, thou shalt have thy wish; to London thou shalt go this very night. Nick I do. not live in London. Queen What matter the place? Live wherever thine heart dost please. It is enough so. Thou mayest kiss our hand. (Nick kneels and kisses her hand. A page comes to him, and the children back jrom the stage.) DRAMATIZATIONS OF SCHOOL CLASSICS 1 53 SCENE II Place: The Garden of Shakespeare's Home, New Place, Stratford (If stage is set with palms, fern, etc., "the garden" will be sufhciently suggested.) (William Shakespeare, Ben Jonson, John Coomb, Michael Drayton, and others, walking about. Nick and Cicely come up the path. The men all clap their hands.) Ben Jonson Upon my word, Will, the lad is a credit to this old town of thine. A plucky fellow, I say, a right plucky fellow. Found the lass and brought her home all safe and sound — why, 'tis done like a true knight-errant. (Shakespeare goes towards the children with outstretched hands.) Shakespeare Thou young rogue, how thou hast forestalled us! Why, here we have been weeping for thee as lost, strayed or stolen; and all the while thou wert nestling in the bosom of thine own sweet home. How is the beloved little mother? Nick I ha' na' seen my mother. Father will na' let me in. Shakespeare What ? How ? 154 DRAMATIZATIONS OF SCHOOL CLASSICS Nick My father wilt not have me any more, sir; saith I shall never be his son again. Oh, Master Shakespeare, why did they steal me from home ? {All crowd around the children.) Shakespeare Why, what doth this mean ? What on earth has happened ? Cicely Please, sir, his father — Nick's father — sir, said he would set the constables on us, if we did not begone. Nick He told me ne'er to call him father more, and he said he was na' father to stage-playing, vagabond rogues. Shakespeare Why, this is a sorry tale! Does the man not know that thou wert stolen, that thou wert kept against thy will, that thou hast trudged half-way from London for thy mother's sake ? Nick He wiU na' leave me tell him, sir. He would not listen to me. Ben Jonson The muckle shrew! Why, I'll have this out with him! By Jupiter! I'll read him reason with a vengeance! {He clinks his rapier and starts off.) Shakespeare Nay, Ben, cool thy blood. A quarrel will not serve. This tanner is a bitter-minded, heavy-handed man; he'd only throw thee in a pickling vat. DRAMATIZATIONS OF SCHOOL CLASSICS 155 Jonson What! then he'd never tan another hide! Shakespeare And would that serve the purpose? The cure should suit the disease — the children must be thought about. Jonson The children! Why, as for them, I'll think thee a thought off-hand to serve the turn. What? Why! This tanner calls us vagabonds. Vagabonds, forsooth! Yet vagabonds are gallows- birds, and gallows-birds are ravens, and ravens, men say, do foster forlorn children. Take my point? Good, then! let us ravenous vagabonds take these two children for our own. Will, thou one, I, t'other, and by praiseworthy fostering singe this fellow's very brain with shame. Barbage Why, here, here, Ben Jonson, this is all very well, for WiU and thee; but pray, where do the rest of us come upon the bill? Come, man, 'tis a pity if we cannot all stand together in this real play as well as in all the make-believe. Hemynge That's my sort; why, what? Here is a player's daughter who has no father and a player whose facher will not have him; or- phaned by fate, and disinherited by folly, common stock with us all; marry, 'tis a sort of stock I want some of. Kind hearts are trumps, my honest Ben; make it a stock company, and let us all be in. Condell That's no bad fancy. There's merit in the lad beside this voice — that cannot keep its 156 DRAMATIZATIONS OF SCHOOL CLASSICS freshness long; but his figure's good, his wit is quick, and he has a very taking style. It would be worth while, Dick and Will, he'll make a better Rosalind than Roger Prynne, for thy new play. Shakespeare So he would, but before we put him into "As You Like It, " suppose we ask him how he does like it? Nick, thou hast heard what all these gentlemen have said — what hast thou to say, my lad ? Nick Why, sirs, you are all kind — very very kind, indeed, sirs; but — I — want my mother — Oh, masters — I do want my mother! (John Coombe sets his cane down very hard and trudges off down the path.) SCENE III Supper at Shakespeare^ s House Characters as in Scene II. Little Cicely sits on one side of the table with a wreath of red roses in her hair. She is being made much of by Ben Jonson. Nick sits beside Shakespeare on the other side of the table. John Coombe's chair is vacant. Shakespeare Welcome, friends, welcome to New Place ! Who should be so welcome to my new home as my old friends, tried and true ? DRAMATIZATIONS OF SCHOOL CLASSICS 1 57 (The door is thrown open and Simon Attwood, the tanner, stands there. Simon steps into the room and Shakespeare goes to meet him.) Simon I ha' come, Master Shakespeare, about a matter. Shakespeare Out with it, sir. There is much here to be said. (The Tanner is greatly contused and cannot speak.) Shakespeare Come, say what thou hast to say, and say it quickly that we may have done. Simon There's naught that I can say, but that I be sorry, and I want my son! Nick! Nick! I be wrong for thee; will ye na' come home? Just for thy mother's sake, Nick, if ye will na' come for mine." (Nick starts up with a glad cry and then suddenly stops.) Nick But Cicely, father? (Attwood looks troubled and hesitates.) Attwood Bring her along! I ha' little enough, but I will do the best I can. Maybe 'twill somehow right the wrong I ha' done. Bring the lass with 158 DRAMATIZATIONS OF SCHOOL CLASSICS thee, Nick — we'll make out, lad, we'll make out. God will na' let it all go wrong. (JONSON and Shakespeahe have been talking in the corner. They seem greatly pleased. Shakes- peare now leaves the room.) Simon Wilt thou come, lad ? {He holds out his hand.) Nick Oh, father! {He grasps his father's hand, and looks curiously in his face.) Simon Well, lad, what be it ? Nick Nothing; only mother will be glad to have Cicely, won't she ? (Shakespeare comes into the room with a heavy bag tied tightly and sealed with large red seals. He breaks the seals and opening the large bag takes out two small bags also sealed.) Jonson Come, come Will, don't be all day about it. Shakespeare The more haste the less speed. I have a little story to tell ye all. When Gaston DRAMATIZATIONS OF SCHOOL CLASSICS 159 Carew, lately Master Player of the Lord High Admiral's company, was arraigned for the killing of that rascal, Fulk Sandells, all Carew asked for was a friend to speak with a little aside. This the court allowed, so he sent for me. We played to- gether, he and I, ye know. He had not much to say, but he sent his love forever to his only daughter. Cicely He also begged Nicholas Attwood to forgive him the wrong he did him. Nick Why, that I will, sir. He was always kind to me, except that he would na' let me go. Shakespeare After that he made known to me a sliding panel in his house, wherein was hidden all he had on earth to leave to those he loved the best, and who he hoped loved him. Cicely Everybody loved my father. Shakespeare The bags were found within the wall, and were sealed by Ben Jonson and myself for the legatees, who had dropped as completely out of sight as if the earth had opened and swallowed them up. But by the father's grace, we have found them safe and sound at last, and all's well that ends well! {Here he turns the bags around and reads) "For mine only beloved daughter. Cicely Carew. For Nicholas Attwood, whom I stole away from Stratford town. Anno Domini, 1596." Shakespeare There are one hundred and fifty gold rose nobles. In the other bag are just three l6o DRAMATIZATIONS af SCHOOL CLASSICS hundred more. Neighbot Attwood, we shall have no paupers here. (All dap their hands.) Shakespeare Come, Ben, a toast to fit the cue. Jonson Why, then, here's to all kind hearts. Shakespeare Wherever they may be. It is a good toast, and we will all drink it together. {AU stand and drink the toast, after which they sing) The Merry Spring-time. -=3® ■•.^3