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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..60734cb --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #69644 (https://www.gutenberg.org/ebooks/69644) diff --git a/old/69644-0.txt b/old/69644-0.txt deleted file mode 100644 index 106dcb1..0000000 --- a/old/69644-0.txt +++ /dev/null @@ -1,1287 +0,0 @@ -The Project Gutenberg eBook of Nazareth: a morality in one act, by -Laurence Housman - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Nazareth: a morality in one act - -Author: Laurence Housman - -Release Date: December 27, 2022 [eBook #69644] - -Language: English - -Produced by: Charlene Taylor, Carla Foust and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK NAZARETH: A MORALITY IN ONE -ACT *** - - - - - - Nazareth: a Morality in - One Act: by Laurence - Housman - - - - - Samuel French: Publisher - 28-30 West Thirty-eighth Street: New York - LONDON - Samuel French, Ltd. - 26 SOUTHAMPTON STREET, STRAND - - - - - Copyright, 1916 - By LAURENCE HOUSMAN - - - CAUTION.--Amateurs and Professionals are hereby warned that - “NAZARETH,” being fully protected under the copyright laws of the - United States, is subject to royalty, and any one presenting the play - without the consent of the author or his authorized agent, will be - liable to the penalties by law provided. Application for the right - to produce “NAZARETH” must be made to Samuel French, 28-30 West 38th - Street, New York City. - - - ALL RIGHTS RESERVED. - - - - -NAZARETH. - - - - -PROLOGUE. - - - Since Love first looked on life with human eyes, - Twixt him and us time like a curtain lies. - Of all the years while He made life His own - With dear familiar touch--how little’s known! - The gospels of His Birth, the tale make plain - Then two years till He died and rose again, - Naught else remains to us of all, save when - He, at Jerusalem, with learned men - Was by His parents found, and taken thence - Back to far Nazareth. And by no sense - Of mortal mind from where they now lie hid - Can we recover the fair things He did, - Growing to man’s estate, that He might die - For man’s salvation; hidden there they lie, - The days which mounted up to Calvary. - - Yet here on earth that lovely deed was done; - Love in man’s form took life from wind and sun, - Waked, slept, ate bread, and toiled, and without speed, - Patient, made test of each frail weak human need; - Found means on small frail feet men’s ways to go; - From mother tongue was taught man’s speech to know; - So, for man’s making, childhood, boyhood, youth, - Each he endowed in turn with deathless truth, - Himself the type and pattern for each stage - Of human growth. Oh! in what future age - Shall we who, seeking that lost Pattern, roam, - Find it again, and to that form come home? - - Ah, friends! this simple showing that ye see - Of Love at Nazareth, this is not He! - ’Tis but a thought, a fathering wish, a prayer - That with hearts knit we may come closelier there, - Where He lived lowly. Lo, He by your side - Lies hidden, a waiting guest, still multiplied - By man’s still growing needs,--with such intent - He made humanity His Sacrament; - The flesh and blood, which here we beat and bruise, - Is Christ’s. Ah, put it to some better use! - Be members all with all! Hear what Love saith, - And make your home with Him at Nazareth! - - - - -NAZARETH - - - SCENE:--_The Carpenter’s shop is a low, broad chamber built of wood. - At the back to the left-center a wide open doorway reveals a level - stretch of landscape. It is late afternoon, but the air is still - pale with the heat of day. To the right of the door is a small - square window with wooden shutters thrown wide; before it stands a - carpenter’s bench upon which lies a wooden door frame nearly - finished. The carpenter and his assistant are quietly at work - planing, and boring holes for the fitting in of the rivets; beneath - them the floor is strewn with shavings, saw-dust, and odds and ends - of wood. Away to the left, near a spinning wheel, sits an aged - woman combing flax. Against the wall to the same side of the - doorway sits_ MARY, _the carpenter’s wife, with a book upon her - knees; on the other side her son stands against the door-post, with - his back to the interior, looking out into the sunshine._ - - _After the scene has opened the carpenter raises himself from a - stooping position, and hands over to_ REUBEN, _his assistant, a - beam of wood, which the latter lays aside._ - -CARPENTER. ’Twill soon be done. Nay, we’ll not need that now. Yes, -speak on. If you read slowly enough, I can give heed. - -MARY. (_Reading_). “Because his visage was so marred, many did marvel -at him then, for more than most his form was scarred, yea, more than -all the sons of men. Yet him shall all the nations hear, and kings -shall shut their mouths for fear.” - -CARPENTER. (_To_ REUBEN) Be careful, now the cross-beam’s laid. - -OLD ANNA. What cause have kings to be afraid? - -MARY. (_Reading_) “Who hath believed our report? To whom is the Lord’s -arm revealed? He shall grow up in tender sort, and as a root from a dry -field, having no form nor comeliness, that men who see should scorn him -less.” - -CARPENTER. Hold it fast, now! Nay, don’t let go. - -MARY.-- - - “He is rejected and despised, - A man of sorrows, grief his lot, - He came to us unrecognized, - Despising, we esteemed him not. - Surely our sorrows he hath borne, - And for our sins hath felt the rod, - Wherefore he seemed a shape for scorn---- - One smitten by the hand of God. - But he was wounded for our sins, - For our iniquities was scourged, - By chastisement our peace he wins, - And with his stripes mankind is purged. - All we like sheep have gone astray, - Turned everyone to his own way. - And upon him the Lord doth lay - The iniquity of all.” - - (OLD ANNA _touches her daughter, and points toward the child_.) - -MARY. (_After a pause, watching him_) - - My son, what yonder dost thou see, - That holds thy gaze so steadfastly? - Come hither, child, and tell it me. - -CHILD.-- - - I see the land all parched and dry, - And sheep, without a shepherd nigh, - And surely some look like to die. - -ANNA. I see no sheep. - -MARY.-- - - Nay, dearest one. - Thine eyes are dazzled by the sun; - See, in the field thy playmates run, - Wilt thou not join them? - -CHILD.-- - - Mother, nay! - I will not go with them to-day. - -ANNA. He never was a child for play. - -CHILD. Mother, what were you reading then? - -MARY.-- - - Isaiah’s prophecy how men - Shall still be blind when God again - Comes to save Zion and redeem - His chosen ones. - -CHILD. Was it a dream? - Or did he see? How did he know? - -MARY. He heard God’s word, and told men so. - -CHILD. And was that many years ago? - -MARY. Seven hundred years. - -CHILD.-- - - But having here - His word to guide them, do men fear - They will not see Salvation near? - -ANNA. Aye! many fear it. I for one. - -CARPENTER. There, that’s right! Now, ’tis almost done. - - (_The child turns towards the carpenter’s bench._) - -MARY. Thou will not miss that sight, my son. - -CARPENTER.-- - - Come, little son, and hold the wood! - Brace hard the end, while I make good - The upright. See how crooked it stood! - -CHILD. What art thou making, father? - -CARPENTER.-- - - Nay, - See for thyself, my child, what way - One grows to wisdom day by day. - It is a door. - - (REUBEN _goes and takes a cup, dips it in a bowl of water near the door - and drinks_.) - -CHILD. Whose door? - -CARPENTER. - - Why, mine, - Till I’m paid for it! - -CHILD. How came it thine? - -CARPENTER. I made it. - -CHILD. How? - -CARPENTER.-- - - Well, first I bought - The timber; after that I wrought, - Rough hewed and shaped it, leaving nought - To chance--so that all parts agree - When joined together. Dost thou see? - Art satisfied? - -CHILD. (_After a pause_) Who made the tree? - -CARPENTER. (_After a pause_) God made the tree, my son. - -CHILD.-- - - And through - Long years it put forth leaf, and grew - In beauty till man came and slew. - - (_He caresses the wood, laying his face upon it_) - -CARPENTER. Strange fancies still! - -CHILD.-- - - And so the tree - Died, and gave up its life to be - A door through which man passes free, - To work God’s will. - -CARPENTER.-- - - Come, come, you waste - Your father’s time, my son! Make haste, - Reuben--we’ve got the lintel placed; - Bring me the nails. - -REUBEN. (_As he brings the nails and drives them in. Sings_) - - Oh, what is yon tree that stands so high - And stretches its arms in sorrow? - “Oh, that is the gallows where I must die, - Where I must die to-morrow.” - - Oh, what hast thou done, my only son, - That thou shouldst die to-morrow? - “My life I lend to a well-loved friend - Who health of me would borrow.” - - If so thou lend to a well-loved friend, - How heavy must be his sorrow! - “Ah, say not so, for well I know - I hang by his hand to-morrow.” - - (_The child has taken the bag of nails from_ REUBEN, _and hands them - to him, one by one, as he drives them in. One of the nails pierces - the child’s palm. He bows his head over it._) - -CARPENTER.-- - - Why, there, there, there! You’ve done it now! - Reuben, ’twas your fault to allow - A little child like him to play - With anything so sharp as they! - - (MARY _comes forward and kneels by the child’s side. She takes his - hand and tries to staunch the blood_) - - Has it gone far? - -MARY.-- - - The wound is deep. - Stay, I will bind it! See you keep - Your hand up, child. Quick, mother, bring - Yon water fresh-drawn from the spring - To wash it clean, for there was rust. - - (ANNA _brings the water bowl, while_ REUBEN _draws forward a low bench - at one end of which she sets it down_) - - Maybe, upon the iron, or dust - To cause a festering in the wound. - - (MARY _bathes his hand and binds it. The child closes his eyes and - sinks against her breast._) - -ANNA.-- - - Oh! See, he has already swooned - For loss of blood. - -MARY.-- - - Nay, nay, ’tis sleep! - Aye! saw you not how at the leap - Of first sharp pain his face lit up, - And how he bowed as to a cup - His lips, and drained it to the lees? - So to this spirit now comes ease - And rest; for surely here he tastes - Of that dark vintage of the wastes - Whereto, for mortal need, he hastes. - -CARPENTER. Strange words! - -MARY.-- - - But stranger than all words - The peace which holds him now and herds - My lamb’s life with the blessed dead. - - (_She moves to lay him along the bench._ ANNA _spreads a cloak across - it_) - - Lift off the bowl, and let his head - Rest so, even so. - -CARPENTER.-- - - There! Let him lie - Quiet awhile. Ah! he won’t die - Of that! - - (_He lays his hand kindly upon his wife, then turns away. Evening has - begun to close in_) - - Now, Reuben, you and I - Must stir while daylight yet allows! - This door is for the High-Priest’s house, - And should already be in its place - For now Passover comes apace; - And last night they sent word to say - ’Twas to be up before the day, - So that the lintel beam might bear - The blood-marks for the coming year. - -MARY. Look! There are stains already there! - -CARPENTER. I’ll wash them off! - -MARY.-- - - Nay, let them stay! - This blood, I trow, was shed to-day - To take some mortal’s guilt away. - - (_The two men have lifted the door and set it to stand against the - middle post of the doorway where it makes the form of three crosses - standing together._) - -CARPENTER.-- - - Soon through this door the holy feet - Of Caiaphas in service met - Shall pass each day to do God’s will. - -MARY.-- - - And, what he hath ordained, fulfill. - And some day they shall bring a Lamb - And slay, and lo, upon the jamb - And lintel of this self-same door, - Where blessed blood has been before, - More blessed blood shall then be spilt - To take from Caiaphas his guilt. - - (_The men having put away their tools lift the door and carry it - away._) - -ANNA. (_Reading_) “He was taken from prison and from judgment, and who -shall declare his generation? For he was cut off out of the land of the -living, for the transgression of my people was he smitten. And he made -his grave with the wicked, and with the rich in his death; because he -had done no violence, neither was any deceit in his mouth.” - - (_Voices of water-carriers heard without._) - -1ST ANTIPHON. The bows of the mighty men are broken. - -2ND ANTIPHON. And they that stumbled are girded with strength. - -1ST ANTIPHON. They that were full have hired themselves for bread. - -2ND ANTIPHON. And they that were hungry have ceased. - - (_The women pass by._) - -1ST ANTIPHON. So that the barren hath born seven. - -2ND ANTIPHON. And she that hath many children is waxed feeble. - -1ST ANTIPHON.-- - - The Lord killeth, and maketh alive. - He bringeth down to the grave and bringeth up. - -2ND ANTIPHON. The Lord maketh poor and maketh rich. He bringeth low and -lifteth up. - -MARY. It is the women going to the well. - -ANNA. What are they singing? - -MARY.-- - - Of the joy that fell, - To Anna for her first-born, Samuel. - -ANNA. And thy joy also! - -MARY. And the pain as well! - -1ST ANTIPHON. He raiseth the poor out of the dust. - -2ND ANTIPHON. And lifteth up the beggar from the dunghill. - -1ST ANTIPHON. To set them among the princes. - -2ND ANTIPHON. And to make them inherit the throne of glory. - -1ST ANTIPHON. He will keep the feet of his saints. - -2ND ANTIPHON. And the wicked shall be silent in darkness. - -1ST ANTIPHON. For by strength shall no man prevail. - -2ND ANTIPHON. The adversaries of the Lord shall be broken in pieces. - - (_The voices pass away. It begins to grow dark._) - -ANNA. (_Sings as she winds her flax_) - - Little child, lo, I spin - Flax to clothe thy body in; - Little child, do not grieve - Out of this a cloth I’ll weave, - Make of it a little shirt,---- - What man shall do thee hurt? - So while it lasts, wear it still, - What man shall wish thee ill? - Do not from thy body strip - This; ’tis human fellowship. - - (_She lays the cloth over the child_) - -MARY.-- - - When thou to death art bowed - This web shall be thy shroud. - So in fellowship with all - Thy soul shall meet God’s call, - Oh, then, may my soul, too, - Wake and see the darkness through - And my ears, no longer bound, - List, to the heavenly sound! - - (_A pause._ ANNA _lights a small lamp. As she goes to place it in the - window she stops. Its light falls on the sleeping child_) - -MARY.-- - - See, from his face has passed the pain. - And every sense of heart and brain - Is gathered unto rest again. - O son, O child, while round thy sleep - The peace of God lies folded deep, - Thou can’st not hear thy mother weep. - Oh, me, the anguish and the dread - Of that dark hour which lies ahead - When I shall see thee lying dead. - Clay, cold, and all my cares undone! - O perfect, pure, and stainless one, - My son, my own, my little son. - - (_A sound of sheep passing is heard. A shepherd stops at the door, and - looks in. He draws off his hat._) - -SHEPHERD. God’s peace be in this house. (_He goes on his way_) - -ANNA. Again! - -MARY. Who spoke? - -ANNA.-- - - The shepherd from the plain, - The stranger, so last night he came - And stayed to greet us in God’s name, - Then went. - -MARY.-- - - And there were others, too, - Who also stayed. - - (_A stranger passes the door._) - -STRANGER. Peace be with you! - -MARY. God give you peace. (_She rises and turns_) - -ANNA. Nay, he is gone. - -MARY.-- - - Oh, strange! And more will come anon, - And each one turning from his way, - Wilt halt here at the door to say - Some word, or show by look or sign - That here peace dwells! - - (_Enter an old man._) - -OLD MAN.-- - - Yes, peace is thine! - I would, I would to God, such peace were mine. - - (_Enter a little child, led by its mother. The little one kneels - beside the bench where the other child is laid._) - -LITTLE CHILD.-- - - Gentle Jesus, meek and mild, - Look upon a little child, - Pity my simplicity, - And suffer me to come to thee! - - (_The mother lifts the little one from its knees and carries it away._) - -OLD MAN. (_Weeping, he stands in the child’s place_) - - I’m an old sinner, oft have I gone the road - Of mine own will, so now I bear the load; - And in my body grief has come to pass! - Surely, the preacher saith, all flesh is grass, - And goodliness the flower of the field. - Lo, the wind passeth, and its day is o’er, - And in his place man’s name is known no more. - God give us peace. - - (_He kneels. While he speaks others have entered. The scene has grown - dark. One of the men carries a lantern_) - -1ST MAN. The grass withereth, the flower fadeth, but the word of our -God shall stand forever. - -2ND MAN. Son of God, shine on us! - - (_All kneel._) - -3RD MAN. Lamb of God, look on us! - -4TH MAN. Shepherd of men, set thy sign on us! - -5TH MAN. And lay thy yoke on us! - -1ST MAN. And we will be thankful. - - (_The moon rises. Outside the door, others are seen kneeling: men, - women and children._) - -ALL. Hail, Mary, full of Grace, the Lord is with thee! Blessed art thou -among women, and blessed is the fruit of thy womb: Jesus. Holy Mary, -Mother of God, pray for us sinners now, and at the hour of our death. -Amen. - - (_One by one the men rise and go out. The crowd outside also - disappears._ ANNA _goes and closes the doors, and the shutter of - the window. The house is flooded with moonlight._ MARY _kneels at - the head of the sleeping child. Voices are heard singing._) - -VOICES.-- - - Ave Maria, gratia plena, Dominus tecum! - Benedicta tu in mulieribus, et Benedictus - Fructus ventris tui, Jesus! - - -CURTAIN. - - - - -THE WORLD’S BEST PLAYS - -By Celebrated European Authors - -A NEW SERIES OF AMATEUR PLAYS BY THE BEST AUTHORS, ANCIENT AND MODERN, -ESPECIALLY TRANSLATED WITH HISTORICAL NOTES, SUGGESTIONS FOR STAGING, -Etc., FOR THE USE OF SCHOOLS, COLLEGES, AND DRAMATIC CLUBS - -BARRETT H. CLARK - -General Editor - - -With the immensely increased demand for new plays for purposes of -production by amateurs comes a correspondingly great demand for a -careful selection of those plays which can be easily and well presented -by clubs and colleges. The plays in the present series have been chosen -with regard to their intrinsic value as drama and literature, and at -the same time to their adaptability to the needs and limitations of -such organizations. - -The Series, under the personal supervision of Mr. Barrett H. Clark, -instructor in the department of Dramatic Literature at Chautauqua, -New York, assistant stage manager and actor with Mrs. Fiske (season -1912-1913), now comprises 44 titles, more will make their appearance -during the year. Eventually there will be plays from ancient Greece -and Rome, Italy, Spain, France, Russia, Germany, and the Scandinavian -countries, representative of some of the best drama of all ages and -lands. - -Each Play is prefaced by a concise historical note by Mr. Clark and -with a few suggestions for staging. - - -Plays Now Ready - -=INDIAN SUMMER=, a comedy in one act by MEILHAC and HALEVY. This little -play, by two of the most famous writers of comedy of the last century, -has been played at the Comédie Francaise at Paris for upwards of forty -years, and remains one of the brightest and most popular works of the -period. PRICE 25 CENTS. - -=ROSALIE=, by MAX MAUREY. A “Grand Guignol” comedy in one act, full -of verve and clever dialogue. Rosalie, the stubborn maid, leads her -none too amiable master and mistress into uncomfortable complications -by refusing to open the front door to a supposed guest of wealth and -influence. PRICE 25 CENTS. - -=MODESTY=, by PAUL HERVIEU. 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A famous -comedy by the author of “Gil Blas,” concerned with the pranks of two -clever valets. 18th century costumes and settings. 4 men, 3 women. -PRICE 25 CENTS. - -=THE LEGACY=, a comedy in one act by MARIVAUX. A delicate high comedy -of intrigue. Marivaux one of the masters of old French comedy, and this -play is full of deft touches of characterization. 2 women, 4 men. PRICE -25 CENTS. - -=AFTER THE HONEYMOON=, a farce in one act by WOLFGANG GYALUI. A -Hungarian farce full of brilliant dialogue and movement. 1 man, 1 -woman. PRICE 25 CENTS. - -=A CHRISTMAS TALE=, a poetic play by MAURICE BOUCHOR. A beautiful -little miracle play of love and devotion, laid in 15th century Paris. 2 -men, 2 women. PRICE 25 CENTS. - -=CRAINQUEBILLE=, a play in three scenes by ANATOLE FRANCE. A delightful -series of pictures of Parisian street life, by the author of “The Man -Who Married a Dumb Wife.” 12 men, 6 women. PRICE 25 CENTS. - -=JEAN-MARIE=, a poetic play in one act by ANDRE THEURIET. 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A clever farce by one -of the most successful of French dramatists. It is concerned with the -difficulties of a bogus-interpreter who does not know a word of French. -PRICE 25 CENTS. - -=PATER NOSTER=, a poetic play in one act, by FRANCOIS COPPEE. A -pathetic incident of the time of the Paris Commune, in 1871. PRICE 25 -CENTS. - -=THE ROMANCERS=, a comedy in three acts, by EDMOND ROSTAND. New -translation of this celebrated and charming little romantic play by the -famous author of “Cyrano de Bergerac” and “Chantecler.” PRICE 25 CENTS. - -=THE MERCHANT GENTLEMAN= (Le Bourgeois Gentil-homme), by MOLIERE. New -translation of one of Moliere’s comic masterpieces, a play which is -peculiarly well adapted to amateur production. PRICE 50 CENTS. - -=THE HOUSE OF FOURCHAMBAULT=, by EMILE AUGIER. One of the greatest of -recent French family dramas. Although the play is serious in tone, it -contains touches which entitle it to a position among the best comedies -of manners of the times. PRICE 50 CENTS. - -=PANURGE’S SHEEP=, a comedy in one Act by MEILHAC and HALEVY. A famous -and often-acted little play based upon the obstinacy of a charming -woman, who is finally induced to marry. 1 man, 2 women. PRICE 25 CENTS. - -=THE LAW-SUIT=, (Der Prozess), a comedy in one act by RODERICH BENEDIX. -A famous comedy by the well-known German-dramatist--author of “The -Obstinate Family,” and “The Third Man.” The play is full of amusing -situations and bright lines. 5 men. PRICE 25 CENTS. - -=THE THIRD MAN= (Der Dritte), a comedy in one act by RODERICH BENEDIX. -A highly amusing little comedy based upon the obstinacy of human -beings, and proves the truth of the saying that “love finds a way.” 3 -women, 1 man. PRICE 25 CENTS. - -=THE GENTLEMAN TRADESMAN= (Le Bourgeois Gentil-homme), a comedy in -four acts by MOLIERE. One of the best-known comedies of the celebrated -master of comedy. “The Gentleman Tradesman” ridicules the affectations -of M. Jourdain, a rich parvenu. 9 men, 5 women. PRICE 50 CENTS. - -=THE SICILIAN= (Le Sicilien), a farce in two scenes by MOLIERE. One of -the lighter comedies of intrigue. This play is laid in Sicily, and has -to do with the capture of a beautiful Greek slave from her selfish and -tyrannical master. 4 men, 3 women. PRICE 25 CENTS. - -=DOCTOR LOVE= (L’Amour Medecin), a farce in three acts by MOLIERE. An -uproarious farce, satirizing the medical profession. Through it runs -the story of a young girl who pretends to be ill in order that she may -marry the man she loves. 5 men, 4 women. PRICE 25 CENTS. - -=THE AFFECTED YOUNG LADIES= (Les Precieuses Ridicules), a comedy in -one act by MOLIERE. The famous satire on intellectual and social -affectation. Like most of Moliere’s plays, the theme in this is ever -modern. 3 women, 6 men. PRICE 25 CENTS. - -=I’M GOING!= A comedy in one act by TRISTAN BERNARD. A delightful bit -of comedy of obstinacy and reconciliation. 1 man, 1 woman. PRICE 25 -CENTS. - -=THE FAIRY= (La Fee), a romantic comedy in one act by OCTAVE FEUILLET. -Laid in a hut in Normandy, this little comedy is full of poetic charm -and quiet humor. The element of the supernatural is introduced in order -to drive home a strong lesson. 1 woman, 3 men. PRICE 25 CENTS. - -=THE VILLAGE= (Le Village), a comedy in one act by OCTAVE FEUILLET. The -author here paints the picture of an elderly couple, and shows that -they have not realized their happiness until it is on the point of -being taken from them. 2 women, 2 men. PRICE 25 CENTS. - -=THE BENEFICENT BEAR=, a comedy in three acts, by GOLDONI. One of the -best-known comedies of the Father of Italian Comedy. A costume piece -laid in 18th century France, the principal character in which is a -good-hearted, though gruff, old uncle. 4 men, 3 women. PRICE 25 CENTS. - -=GRAMMAR= (La Grammaire), a farce in one act by LABICHE. An amusing -and charming comedy by one of the greatest of 19th century French -dramatists. 4 men, 1 woman. PRICE 25 CENTS. - -=THE TWO COWARDS= (Les Deux Timides), a comedy in one act by LABICHE. -A very amusing and human little comedy, in which a strong-willed girl -helps her father choose for her the man she wishes to marry. 2 women, 3 -men. PRICE 25 CENTS. - -=THE DOCTOR IN SPITE OF HIMSELF=, by MOLIERE. A famous farce by the -greatest of French dramatists. Sganarelle has to be beaten before he -will acknowledge that he is a doctor, which he is not. He then works -apparently miraculous cures. The play is a sharp satire on the medical -profession in the 17th Century. PRICE 25 CENTS. - -=BRIGNOL AND HIS DAUGHTER=, by CAPUS. The first comedy in English of -the most sprightly and satirical of present-day French dramatists. -PRICE 50 CENTS. - -=CHOOSING A CAREER=, by G. A. DE CAILLAVET. Written by one of the -authors of “Love Watches.” A farce of mistaken identity, full of -humorous situations and bright lines. PRICE 25 CENTS. - -=FRENCH WITHOUT A MASTER=, by TRISTAN BERNARD. A clever farce by one -of the most successful of French dramatists. It is concerned with the -difficulties of a bogus-interpreter who does not know a word of French. -PRICE 25 CENTS. - -=PATER NOSTER=, a poetic play in one act, by FRANCOIS COPPEE. A -pathetic incident of the time of the Paris Commune, in 1871. PRICE 25 -CENTS. - -=THE ROMANCERS=, a comedy in three acts, by EDMOND ROSTAND. New -translation of this celebrated and charming little romantic play by the -famous author of “Cyrano de Bergerac” and “Chantecler.” PRICE 25 CENTS. - -=THE MERCHANT GENTLEMAN=, (Le Bourgeois Gentil-homme), by MOLIERE. New -translation of one of Moliere’s comic masterpieces, a play which is -peculiarly well adapted to amateur production. PRICE 50 CENTS. - - * * * * * - - - - - Transcriber’s note - - Obvious typographical errors have been corrected. All other - inconsistencies are as in the original. - -*** END OF THE PROJECT GUTENBERG EBOOK NAZARETH: A MORALITY IN ONE -ACT *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Nazareth: a morality in one act</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Laurence Housman</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 27, 2022 [eBook #69644]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, Carla Foust and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK NAZARETH: A MORALITY IN ONE ACT ***</div> - -<h1> -Nazareth: a Morality in -One Act: by Laurence -Housman</h1> - -<p class="ph2 margin-bottom4">Samuel French: Publisher</p> - -<p class="ph3 margin-bottom4">28-30 West Thirty-eighth Street: New York</p> -<p class="ph4 margin-bottom4">LONDON</p> -<p class="ph3 margin-bottom4">Samuel French, Ltd.</p> -<p class="ph4 margin-bottom4"><span class="smcap">26 Southampton Street, Strand</span> -</p> - -<hr class="chap x-ebookmaker-drop"> - - - - -<p class="ph4 margin-bottom4">Copyright, 1916<br> -By LAURENCE HOUSMAN</p> - -<div class="blockquot"> - -<p class="hanging-indent1">CAUTION.—Amateurs and Professionals are hereby warned that -“NAZARETH,” being fully protected under the copyright laws -of the United States, is subject to royalty, and any one presenting the -play without the consent of the author or his authorized agent, will -be liable to the penalties by law provided. Application for the right -to produce “NAZARETH” must be made to Samuel French, -28-30 West 38th Street, New York City.</p> -</div> - -<p class="ph3 margin-bottom4">ALL RIGHTS RESERVED.</p> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_3">[Pg 3]</span></p> - -<h2 class="nobreak" id="NAZARETH">NAZARETH.</h2> -</div> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="PROLOGUE">PROLOGUE.</h2> -</div> - - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Since Love first looked on life with human eyes,</div> - <div class="verse indent0">Twixt him and us time like a curtain lies.</div> - <div class="verse indent0">Of all the years while He made life His own</div> - <div class="verse indent0">With dear familiar touch—how little’s known!</div> - <div class="verse indent0">The gospels of His Birth, the tale make plain</div> - <div class="verse indent0">Then two years till He died and rose again,</div> - <div class="verse indent0">Naught else remains to us of all, save when</div> - <div class="verse indent0">He, at Jerusalem, with learned men</div> - <div class="verse indent0">Was by His parents found, and taken thence</div> - <div class="verse indent0">Back to far Nazareth. And by no sense</div> - <div class="verse indent0">Of mortal mind from where they now lie hid</div> - <div class="verse indent0">Can we recover the fair things He did,</div> - <div class="verse indent0">Growing to man’s estate, that He might die</div> - <div class="verse indent0">For man’s salvation; hidden there they lie,</div> - <div class="verse indent0">The days which mounted up to Calvary.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Yet here on earth that lovely deed was done;</div> - <div class="verse indent0">Love in man’s form took life from wind and sun,</div> - <div class="verse indent0">Waked, slept, ate bread, and toiled, and without speed,</div> - <div class="verse indent0">Patient, made test of each frail weak human need;</div> - <div class="verse indent0">Found means on small frail feet men’s ways to go;</div> - <div class="verse indent0">From mother tongue was taught man’s speech to know;</div> - <div class="verse indent0">So, for man’s making, childhood, boyhood, youth,</div> - <div class="verse indent0">Each he endowed in turn with deathless truth,</div> - <div class="verse indent0">Himself the type and pattern for each stage</div> - <div class="verse indent0">Of human growth. Oh! in what future age</div> - <div class="verse indent0">Shall we who, seeking that lost Pattern, roam,</div> - <div class="verse indent0">Find it again, and to that form come home?</div><span class="pagenum" id="Page_4">[Pg 4]</span> - </div> - <div class="stanza"> - <div class="verse indent0">Ah, friends! this simple showing that ye see</div> - <div class="verse indent0">Of Love at Nazareth, this is not He!</div> - <div class="verse indent0">’Tis but a thought, a fathering wish, a prayer</div> - <div class="verse indent0">That with hearts knit we may come closelier there,</div> - <div class="verse indent0">Where He lived lowly. Lo, He by your side</div> - <div class="verse indent0">Lies hidden, a waiting guest, still multiplied</div> - <div class="verse indent0">By man’s still growing needs,—with such intent</div> - <div class="verse indent0">He made humanity His Sacrament;</div> - <div class="verse indent0">The flesh and blood, which here we beat and bruise,</div> - <div class="verse indent0">Is Christ’s. Ah, put it to some better use!</div> - <div class="verse indent0">Be members all with all! Hear what Love saith,</div> - <div class="verse indent0">And make your home with Him at Nazareth!</div> - </div> -</div> -</div> - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_5">[Pg 5]</span></p> -<p class="ph2">NAZARETH</p> -</div> - - -<p class="hanging-indent1"><span class="smcap">Scene</span>:—<i>The Carpenter’s shop -is a low, broad -chamber built of wood. At the back to the -left-center a wide open doorway reveals a level -stretch of landscape. It is late afternoon, but -the air is still pale with the heat of day. -To the right of the door is a small square -window with wooden shutters thrown wide; before -it stands a carpenter’s bench upon which -lies a wooden door frame nearly finished. The -carpenter and his assistant are quietly at work -planing, and boring holes for the fitting in of the -rivets; beneath them the floor is strewn with -shavings, saw-dust, and odds and ends of wood. -Away to the left, near a spinning wheel, sits an -aged woman combing flax. Against the wall -to the same side of the doorway sits</i> <span class="smcap">Mary</span>, <i>the -carpenter’s wife, with a book upon her knees; -on the other side her son stands against the -door-post, with his back to the interior, looking -out into the sunshine.</i></p> - -<p class="indent"><i>After the scene has opened the carpenter raises -himself from a stooping position, and hands -over to</i> <span class="smcap">Reuben</span>, <i>his assistant, a beam of wood, -which the latter lays aside.</i></p> - - -<p><span class="smcap">Carpenter.</span> ’Twill soon be done. Nay, we’ll not -need that now. Yes, speak on. If you read slowly -enough, I can give heed.</p> - -<p><span class="smcap">Mary.</span> (<i>Reading</i>). “Because his visage was so -marred, many did marvel at him then, for more<span class="pagenum" id="Page_6">[Pg 6]</span> -than most his form was scarred, yea, more than all -the sons of men. Yet him shall all the nations hear, -and kings shall shut their mouths for fear.”</p> - -<p><span class="smcap">Carpenter.</span> (<i>To</i> <span class="smcap">Reuben</span>) Be careful, now the -cross-beam’s laid.</p> - -<p><span class="smcap">Old Anna.</span> What cause have kings to be afraid?</p> - -<p><span class="smcap">Mary.</span> (<i>Reading</i>) “Who hath believed our report? -To whom is the Lord’s arm revealed? He -shall grow up in tender sort, and as a root from a -dry field, having no form nor comeliness, that men -who see should scorn him less.”</p> - -<p><span class="smcap">Carpenter.</span> Hold it fast, now! Nay, don’t let -go.</p> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“He is rejected and despised,</div> - <div class="verse indent0">A man of sorrows, grief his lot,</div> - <div class="verse indent0">He came to us unrecognized,</div> - <div class="verse indent0">Despising, we esteemed him not.</div> - <div class="verse indent0">Surely our sorrows he hath borne,</div> - <div class="verse indent0">And for our sins hath felt the rod,</div> - <div class="verse indent0">Wherefore he seemed a shape for scorn——</div> - <div class="verse indent0">One smitten by the hand of God.</div> - <div class="verse indent0">But he was wounded for our sins,</div> - <div class="verse indent0">For our iniquities was scourged,</div> - <div class="verse indent0">By chastisement our peace he wins,</div> - <div class="verse indent0">And with his stripes mankind is purged.</div> - <div class="verse indent0">All we like sheep have gone astray,</div> - <div class="verse indent0">Turned everyone to his own way.</div> - <div class="verse indent0">And upon him the Lord doth lay</div> - <div class="verse indent0">The iniquity of all.”</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<span class="smcap">Old Anna</span> <i>touches her daughter, and points toward -the child</i>.)</p> -</div> - -<p><span class="smcap">Mary.</span> (<i>After a pause, watching him</i>)</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">My son, what yonder dost thou see,</div> - <div class="verse indent0">That holds thy gaze so steadfastly?</div> - <div class="verse indent0">Come hither, child, and tell it me.</div> - </div> -</div> -</div> - -<p><span class="smcap">Child.</span>—</p> - -<p><span class="pagenum" id="Page_7">[Pg 7]</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">I see the land all parched and dry,</div> - <div class="verse indent0">And sheep, without a shepherd nigh,</div> - <div class="verse indent0">And surely some look like to die.</div> - </div> -</div> -</div> - -<p><span class="smcap">Anna.</span> I see no sheep.</p> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Nay, dearest one.</div> - <div class="verse indent0">Thine eyes are dazzled by the sun;</div> - <div class="verse indent0">See, in the field thy playmates run,</div> - <div class="verse indent0">Wilt thou not join them?</div> - </div> -</div> -</div> - -<p><span class="smcap">Child.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Mother, nay!</div> - <div class="verse indent0">I will not go with them to-day.</div> - </div> -</div> -</div> - -<p><span class="smcap">Anna.</span> He never was a child for play.</p> - -<p><span class="smcap">Child.</span> Mother, what were you reading then?</p> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Isaiah’s prophecy how men</div> - <div class="verse indent0">Shall still be blind when God again</div> - <div class="verse indent0">Comes to save Zion and redeem</div> - <div class="verse indent0">His chosen ones.</div> - </div> -</div> -</div> - -<p><span class="smcap">Child.</span> Was it a dream?</p> - -<p class="indent">Or did he see? How did he know?</p> - -<p><span class="smcap">Mary.</span> He heard God’s word, and told men so.</p> - -<p><span class="smcap">Child.</span> And was that many years ago?</p> - -<p><span class="smcap">Mary.</span> Seven hundred years.</p> - -<p><span class="smcap">Child.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">But having here</div> - <div class="verse indent0">His word to guide them, do men fear</div> - <div class="verse indent0">They will not see Salvation near?</div> - </div> -</div> -</div> - -<p><span class="smcap">Anna.</span> Aye! many fear it. I for one.</p> - -<p><span class="smcap">Carpenter.</span> There, that’s right! Now, ’tis almost -done.</p> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>The child turns towards the carpenter’s bench.</i>)</p> -</div> - -<p><span class="smcap">Mary.</span> Thou will not miss that sight, my son.</p> - -<p><span class="smcap">Carpenter.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Come, little son, and hold the wood!</div> - <div class="verse indent0">Brace hard the end, while I make good</div> - <div class="verse indent0">The upright. See how crooked it stood!</div> - </div> -</div> -</div> -<p><span class="pagenum" id="Page_8">[Pg 8]</span></p> -<p><span class="smcap">Child.</span> What art thou making, father?</p> - -<p><span class="smcap">Carpenter.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Nay,</div> - <div class="verse indent0">See for thyself, my child, what way</div> - <div class="verse indent0">One grows to wisdom day by day.</div> - <div class="verse indent0">It is a door.</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<span class="smcap">Reuben</span> <i>goes and takes a cup, dips it in a bowl of -water near the door and drinks</i>.)</p> -</div> - -<p><span class="smcap">Child.</span> Whose door?</p> - -<p><span class="smcap">Carpenter.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Why, mine,</div> - <div class="verse indent0">Till I’m paid for it!</div> - </div> -</div> -</div> - -<p><span class="smcap">Child.</span> How came it thine?</p> - -<p><span class="smcap">Carpenter.</span> I made it.</p> - -<p><span class="smcap">Child.</span> How?</p> - -<p><span class="smcap">Carpenter.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Well, first I bought</div> - <div class="verse indent0">The timber; after that I wrought,</div> - <div class="verse indent0">Rough hewed and shaped it, leaving nought</div> - <div class="verse indent0">To chance—so that all parts agree</div> - <div class="verse indent0">When joined together. Dost thou see?</div> - <div class="verse indent0">Art satisfied?</div> - </div> -</div> -</div> - -<p><span class="smcap">Child.</span> (<i>After a pause</i>) Who made the tree?</p> - -<p><span class="smcap">Carpenter.</span> (<i>After a pause</i>) God made the tree, -my son.</p> - -<p><span class="smcap">Child.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">And through</div> - <div class="verse indent0">Long years it put forth leaf, and grew</div> - <div class="verse indent0">In beauty till man came and slew.</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>He caresses the wood, laying his face upon it</i>)</p> -</div> - -<p><span class="smcap">Carpenter.</span> Strange fancies still!</p> - -<p><span class="smcap">Child.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">And so the tree</div> - <div class="verse indent0">Died, and gave up its life to be</div> - <div class="verse indent0">A door through which man passes free,</div><span class="pagenum" id="Page_9">[Pg 9]</span> - <div class="verse indent0">To work God’s will.</div> - </div> -</div> -</div> - -<p><span class="smcap">Carpenter.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Come, come, you waste</div> - <div class="verse indent0">Your father’s time, my son! Make haste,</div> - <div class="verse indent0">Reuben—we’ve got the lintel placed;</div> - <div class="verse indent0">Bring me the nails.</div> - </div> -</div> -</div> - -<p><span class="smcap">Reuben.</span> (<i>As he brings the nails and drives -them in. Sings</i>)</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Oh, what is yon tree that stands so high</div> - <div class="verse indent2">And stretches its arms in sorrow?</div> - <div class="verse indent0">“Oh, that is the gallows where I must die,</div> - <div class="verse indent2">Where I must die to-morrow.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">Oh, what hast thou done, my only son,</div> - <div class="verse indent2">That thou shouldst die to-morrow?</div> - <div class="verse indent0">“My life I lend to a well-loved friend</div> - <div class="verse indent2">Who health of me would borrow.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">If so thou lend to a well-loved friend,</div> - <div class="verse indent2">How heavy must be his sorrow!</div> - <div class="verse indent0">“Ah, say not so, for well I know</div> - <div class="verse indent2">I hang by his hand to-morrow.”</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>The child has taken the bag of nails from</i> <span class="smcap">Reuben</span>, -<i>and hands them to him, one by one, as he drives -them in. One of the nails pierces the child’s -palm. He bows his head over it.</i>)</p> -</div> - -<p><span class="smcap">Carpenter.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Why, there, there, there! You’ve done it now!</div> - <div class="verse indent0">Reuben, ’twas your fault to allow</div> - <div class="verse indent0">A little child like him to play</div> - <div class="verse indent0">With anything so sharp as they!</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<span class="smcap">Mary</span> <i>comes forward and kneels by the child’s side. -She takes his hand and tries to staunch the -blood</i>)</p> -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Has it gone far?</div> - </div> -</div> -</div> -<p><span class="pagenum" id="Page_10">[Pg 10]</span></p> -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">The wound is deep.</div> - <div class="verse indent0">Stay, I will bind it! See you keep</div> - <div class="verse indent0">Your hand up, child. Quick, mother, bring</div> - <div class="verse indent0">Yon water fresh-drawn from the spring</div> - <div class="verse indent0">To wash it clean, for there was rust.</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<span class="smcap">Anna</span> <i>brings the water bowl, while</i> <span class="smcap">Reuben</span> <i>draws -forward a low bench at one end of which she -sets it down</i>)</p> -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Maybe, upon the iron, or dust</div> - <div class="verse indent0">To cause a festering in the wound.</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<span class="smcap">Mary</span> <i>bathes his hand and binds it. The child -closes his eyes and sinks against her breast.</i>)</p> -</div> - -<p><span class="smcap">Anna.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Oh! See, he has already swooned</div> - <div class="verse indent0">For loss of blood.</div> - </div> -</div> -</div> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Nay, nay, ’tis sleep!</div> - <div class="verse indent0">Aye! saw you not how at the leap</div> - <div class="verse indent0">Of first sharp pain his face lit up,</div> - <div class="verse indent0">And how he bowed as to a cup</div> - <div class="verse indent0">His lips, and drained it to the lees?</div> - <div class="verse indent0">So to this spirit now comes ease</div> - <div class="verse indent0">And rest; for surely here he tastes</div> - <div class="verse indent0">Of that dark vintage of the wastes</div> - <div class="verse indent0">Whereto, for mortal need, he hastes.</div> - </div> -</div> -</div> - -<p><span class="smcap">Carpenter.</span> Strange words!</p> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">But stranger than all words</div> - <div class="verse indent0">The peace which holds him now and herds</div> - <div class="verse indent0">My lamb’s life with the blessed dead.</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>She moves to lay him along the bench.</i> <span class="smcap">Anna</span> -<i>spreads a cloak across it</i>)</p> -</div> - -<p><span class="pagenum" id="Page_11">[Pg 11]</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Lift off the bowl, and let his head</div> - <div class="verse indent0">Rest so, even so.</div> - </div> -</div> -</div> - -<p><span class="smcap">Carpenter.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">There! Let him lie</div> - <div class="verse indent0">Quiet awhile. Ah! he won’t die</div> - <div class="verse indent0">Of that!</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>He lays his hand kindly upon his wife, then turns -away. Evening has begun to close in</i>)</p> -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Now, Reuben, you and I</div> - <div class="verse indent0">Must stir while daylight yet allows!</div> - <div class="verse indent0">This door is for the High-Priest’s house,</div> - <div class="verse indent0">And should already be in its place</div> - <div class="verse indent0">For now Passover comes apace;</div> - <div class="verse indent0">And last night they sent word to say</div> - <div class="verse indent0">’Twas to be up before the day,</div> - <div class="verse indent0">So that the lintel beam might bear</div> - <div class="verse indent0">The blood-marks for the coming year.</div> - </div> -</div> -</div> - -<p><span class="smcap">Mary.</span> Look! There are stains already there!</p> - -<p><span class="smcap">Carpenter.</span> I’ll wash them off!</p> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Nay, let them stay!</div> - <div class="verse indent0">This blood, I trow, was shed to-day</div> - <div class="verse indent0">To take some mortal’s guilt away.</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>The two men have lifted the door and set it to -stand against the middle post of the doorway -where it makes the form of three crosses standing -together.</i>)</p> -</div> - -<p><span class="smcap">Carpenter.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Soon through this door the holy feet</div> - <div class="verse indent0">Of Caiaphas in service met</div> - <div class="verse indent0">Shall pass each day to do God’s will.</div> - </div> -</div> -</div> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">And, what he hath ordained, fulfill.</div> - <div class="verse indent0">And some day they shall bring a Lamb</div> - <div class="verse indent0">And slay, and lo, upon the jamb</div><span class="pagenum" id="Page_12">[Pg 12]</span> - <div class="verse indent0">And lintel of this self-same door,</div> - <div class="verse indent0">Where blessed blood has been before,</div> - <div class="verse indent0">More blessed blood shall then be spilt</div> - <div class="verse indent0">To take from Caiaphas his guilt.</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>The men having put away their tools lift the door -and carry it away.</i>)</p> -</div> - -<p><span class="smcap">Anna.</span> (<i>Reading</i>) “He was taken from prison -and from judgment, and who shall declare his generation? -For he was cut off out of the land of the -living, for the transgression of my people was he -smitten. And he made his grave with the wicked, -and with the rich in his death; because he had done -no violence, neither was any deceit in his mouth.”</p> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>Voices of water-carriers heard without.</i>)</p> -</div> - -<p><span class="smcap">1st Antiphon.</span> The bows of the mighty men -are broken.</p> - -<p><span class="smcap">2nd Antiphon.</span> And they that stumbled are -girded with strength.</p> - -<p><span class="smcap">1st Antiphon.</span> They that were full have hired -themselves for bread.</p> - -<p><span class="smcap">2nd Antiphon.</span> And they that were hungry have -ceased.</p> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>The women pass by.</i>)</p> -</div> - -<p><span class="smcap">1st Antiphon.</span> So that the barren hath born -seven.</p> - -<p><span class="smcap">2nd Antiphon.</span> And she that hath many children -is waxed feeble.</p> - -<p><span class="smcap">1st Antiphon.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">The Lord killeth, and maketh alive.</div> - <div class="verse indent0">He bringeth down to the grave and bringeth up.</div> - </div> -</div> -</div> - -<p><span class="smcap">2nd Antiphon.</span> The Lord maketh poor and -maketh rich. He bringeth low and lifteth up.</p> - -<p><span class="smcap">Mary.</span> It is the women going to the well.</p> - -<p><span class="pagenum" id="Page_13">[Pg 13]</span></p> - -<p><span class="smcap">Anna.</span> What are they singing?</p> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Of the joy that fell,</div> - <div class="verse indent0">To Anna for her first-born, Samuel.</div> - </div> -</div> -</div> - -<p><span class="smcap">Anna.</span> And thy joy also!</p> - -<p><span class="smcap">Mary.</span> And the pain as well!</p> - -<p><span class="smcap">1st Antiphon.</span> He raiseth the poor out of the -dust.</p> - -<p><span class="smcap">2nd Antiphon.</span> And lifteth up the beggar from -the dunghill.</p> - -<p><span class="smcap">1st Antiphon.</span> To set them among the princes.</p> - -<p><span class="smcap">2nd Antiphon.</span> And to make them inherit the -throne of glory.</p> - -<p><span class="smcap">1st Antiphon.</span> He will keep the feet of his -saints.</p> - -<p><span class="smcap">2nd Antiphon.</span> And the wicked shall be silent -in darkness.</p> - -<p><span class="smcap">1st Antiphon.</span> For by strength shall no man -prevail.</p> - -<p><span class="smcap">2nd Antiphon.</span> The adversaries of the Lord -shall be broken in pieces.</p> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>The voices pass away. It begins to grow dark.</i>)</p> -</div> - -<p><span class="smcap">Anna.</span> (<i>Sings as she winds her flax</i>)</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Little child, lo, I spin</div> - <div class="verse indent0">Flax to clothe thy body in;</div> - <div class="verse indent0">Little child, do not grieve</div> - <div class="verse indent0">Out of this a cloth I’ll weave,</div> - <div class="verse indent0">Make of it a little shirt,——</div> - <div class="verse indent0">What man shall do thee hurt?</div> - <div class="verse indent0">So while it lasts, wear it still,</div> - <div class="verse indent0">What man shall wish thee ill?</div> - <div class="verse indent0">Do not from thy body strip</div> - <div class="verse indent0">This; ’tis human fellowship.</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>She lays the cloth over the child</i>)</p> -</div> - -<p><span class="smcap">Mary.</span>—</p> - -<p><span class="pagenum" id="Page_14">[Pg 14]</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">When thou to death art bowed</div> - <div class="verse indent0">This web shall be thy shroud.</div> - <div class="verse indent0">So in fellowship with all</div> - <div class="verse indent0">Thy soul shall meet God’s call,</div> - <div class="verse indent0">Oh, then, may my soul, too,</div> - <div class="verse indent0">Wake and see the darkness through</div> - <div class="verse indent0">And my ears, no longer bound,</div> - <div class="verse indent0">List, to the heavenly sound!</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>A pause.</i> <span class="smcap">Anna</span> <i>lights a small lamp. As she goes -to place it in the window she stops. Its light -falls on the sleeping child</i>)</p> -</div> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">See, from his face has passed the pain.</div> - <div class="verse indent0">And every sense of heart and brain</div> - <div class="verse indent0">Is gathered unto rest again.</div> - <div class="verse indent0">O son, O child, while round thy sleep</div> - <div class="verse indent0">The peace of God lies folded deep,</div> - <div class="verse indent0">Thou can’st not hear thy mother weep.</div> - <div class="verse indent0">Oh, me, the anguish and the dread</div> - <div class="verse indent0">Of that dark hour which lies ahead</div> - <div class="verse indent0">When I shall see thee lying dead.</div> - <div class="verse indent0">Clay, cold, and all my cares undone!</div> - <div class="verse indent0">O perfect, pure, and stainless one,</div> - <div class="verse indent0">My son, my own, my little son.</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>A sound of sheep passing is heard. A shepherd -stops at the door, and looks in. He draws off -his hat.</i>)</p> -</div> - -<p><span class="smcap">Shepherd.</span> God’s peace be in this house. (<i>He -goes on his way</i>)</p> - -<p><span class="smcap">Anna.</span> Again!</p> - -<p><span class="smcap">Mary.</span> Who spoke?</p> - -<p><span class="smcap">Anna.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">The shepherd from the plain,</div> - <div class="verse indent0">The stranger, so last night he came</div> - <div class="verse indent0">And stayed to greet us in God’s name,</div><span class="pagenum" id="Page_15">[Pg 15]</span> - <div class="verse indent0">Then went.</div> - </div> -</div> -</div> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">And there were others, too,</div> - <div class="verse indent0">Who also stayed.</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>A stranger passes the door.</i>)</p> -</div> - -<p><span class="smcap">Stranger.</span> Peace be with you!</p> - -<p><span class="smcap">Mary.</span> God give you peace. (<i>She rises and -turns</i>)</p> - -<p><span class="smcap">Anna.</span> Nay, he is gone.</p> - -<p><span class="smcap">Mary.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Oh, strange! And more will come anon,</div> - <div class="verse indent0">And each one turning from his way,</div> - <div class="verse indent0">Wilt halt here at the door to say</div> - <div class="verse indent0">Some word, or show by look or sign</div> - <div class="verse indent0">That here peace dwells!</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>Enter an old man.</i>)</p> -</div> - -<p><span class="smcap">Old Man.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Yes, peace is thine!</div> - <div class="verse indent0">I would, I would to God, such peace were mine.</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>Enter a little child, led by its mother. The little -one kneels beside the bench where the other -child is laid.</i>)</p> -</div> - -<p><span class="smcap">Little Child.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Gentle Jesus, meek and mild,</div> - <div class="verse indent0">Look upon a little child,</div> - <div class="verse indent0">Pity my simplicity,</div> - <div class="verse indent0">And suffer me to come to thee!</div> - </div> -</div> -</div> - -<div class="blockquot"> -<p class="hanging-indent1">(<i>The mother lifts the little one from its knees and -carries it away.</i>)</p> -</div> - -<p><span class="smcap">Old Man.</span> (<i>Weeping, he stands in the child’s -place</i>)</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">I’m an old sinner, oft have I gone the road</div><span class="pagenum" id="Page_16">[Pg 16]</span> - <div class="verse indent0">Of mine own will, so now I bear the load;</div> - <div class="verse indent0">And in my body grief has come to pass!</div> - <div class="verse indent0">Surely, the preacher saith, all flesh is grass,</div> - <div class="verse indent0">And goodliness the flower of the field.</div> - <div class="verse indent0">Lo, the wind passeth, and its day is o’er,</div> - <div class="verse indent0">And in his place man’s name is known no more.</div> - <div class="verse indent0">God give us peace.</div> - </div> -</div> -</div> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>He kneels. While he speaks others have entered. -The scene has grown dark. One of the men -carries a lantern</i>)</p> -</div> - -<p><span class="smcap">1st Man.</span> The grass withereth, the flower -fadeth, but the word of our God shall stand forever.</p> - -<p><span class="smcap">2nd Man.</span> Son of God, shine on us!</p> - -<p>(<i>All kneel.</i>)</p> - -<p><span class="smcap">3rd Man.</span> Lamb of God, look on us!</p> - -<p><span class="smcap">4th Man.</span> Shepherd of men, set thy sign on us!</p> - -<p><span class="smcap">5th Man.</span> And lay thy yoke on us!</p> - -<p><span class="smcap">1st Man.</span> And we will be thankful.</p> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>The moon rises. Outside the door, others are seen -kneeling: men, women and children.</i>)</p> -</div> - -<p><span class="smcap">All.</span> Hail, Mary, full of Grace, the Lord is with -thee! Blessed art thou among women, and blessed -is the fruit of thy womb: Jesus. Holy Mary, Mother -of God, pray for us sinners now, and at the hour of -our death. Amen.</p> - -<div class="blockquot"> - -<p class="hanging-indent1">(<i>One by one the men rise and go out. The crowd -outside also disappears.</i> <span class="smcap">Anna</span> <i>goes and closes -the doors, and the shutter of the window. The -house is flooded with moonlight.</i> <span class="smcap">Mary</span> <i>kneels -at the head of the sleeping child. Voices are -heard singing.</i>)</p> -</div> - -<p><span class="pagenum" id="Page_17">[Pg 17]</span></p> - -<p><span class="smcap">Voices.</span>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Ave Maria, gratia plena, Dominus tecum!</div> - <div class="verse indent0">Benedicta tu in mulieribus, et Benedictus</div> - <div class="verse indent0">Fructus ventris tui, Jesus!</div> - </div> -</div> -</div> - - -<p class="center">CURTAIN.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="THE_WORLDS_BEST_PLAYS">THE WORLD’S BEST PLAYS</h2> -</div> - -<p class="ph2 margin-bottom4">By Celebrated European Authors</p> - -<p class="ph3 margin-bottom4">A NEW SERIES OF AMATEUR PLAYS BY THE BEST -AUTHORS, ANCIENT AND MODERN, ESPECIALLY -TRANSLATED WITH HISTORICAL NOTES, SUGGESTIONS -FOR STAGING, Etc., FOR THE -USE OF SCHOOLS, COLLEGES, AND -DRAMATIC CLUBS</p> - -<p class="ph2 margin-bottom4"><span class="smcap">Barrett H. Clark</span></p> - -<p class="ph2 margin-bottom4">General Editor</p> - -<div> - <img class="drop-cap" src="images/i_dec_w.png" width="75" height="79" alt=""> -</div> - -<p class="drop-cap"> -With the immensely increased demand for new -plays for purposes of production by amateurs -comes a correspondingly great demand for a careful -selection of those plays which can be easily -and well presented by clubs and colleges. The -plays in the present series have been chosen with -regard to their intrinsic value as drama and literature, -and at the same time to their adaptability to the needs and -limitations of such organizations.</p> - -<p>The Series, under the personal supervision of Mr. Barrett H. -Clark, instructor in the department of Dramatic Literature at -Chautauqua, New York, assistant stage manager and actor with -Mrs. Fiske (season 1912-1913), now comprises 44 titles, more will make -their appearance during the year. Eventually there will be plays from -ancient Greece and Rome, Italy, Spain, France, Russia, Germany, and -the Scandinavian countries, representative of some of the best drama -of all ages and lands.</p> - -<p>Each Play is prefaced by a concise historical note by Mr. Clark and -with a few suggestions for staging.</p> - - -<p class="ph2 margin-bottom4">Plays Now Ready</p> - -<p><b>INDIAN SUMMER</b>, a comedy in one act by <span class="smcap">Meilhac</span> and -<span class="smcap">Halevy</span>. This little play, by two of the most famous writers of -comedy of the last century, has been played at the Comédie Francaise -at Paris for upwards of forty years, and remains one of the -brightest and most popular works of the period. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>ROSALIE</b>, by <span class="smcap">Max Maurey</span>. A “Grand Guignol” comedy in -one act, full of verve and clever dialogue. Rosalie, the stubborn maid, -leads her none too amiable master and mistress into uncomfortable -complications by refusing to open the front door to a supposed guest -of wealth and influence. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>MODESTY</b>, by <span class="smcap">Paul Hervieu</span>. A delightful trifle by one of the -most celebrated of living dramatists. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE ART OF BEING BORED</b>, (<i>Le Monde où l’on s’Ennuie</i>), a -comedy in three acts by <span class="smcap">Edouard Pailleron</span>. Probably the best-known -and most frequently acted comedy of manners in the realm -of nineteenth century French drama. It is replete with wit and -comic situations. For nearly forty years it has held the stage, -while countless imitators have endeavored to reproduce its freshness -and charm. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>A MARRIAGE PROPOSAL</b>, by <span class="smcap">Anton Tchekhoff</span>, a comedy -in one act, by one of the greatest of modern Russian writers. This -little farce is very popular in Russia, and satirizes the peasants of -that country in an amusing manner. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE GREEN COAT</b>, by <span class="smcap">Alfred De Musset</span> and <span class="smcap">Emile Augier</span>. -A slight and comic character sketch of the life of Bohemian artists -In Paris, written by one of France’s greatest poets and one of her -best-known dramatists. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE WAGER</b>, by <span class="smcap">Giuseppe Giacosa</span>. This one act poetic -comedy, written by the most celebrated dramatist of modern Italy, -was the author’s first work. It treats of a wager made by a proud -young page, who risks his life on the outcome of a game of chess. -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE LITTLE SHEPHERDESS</b>, a poetic comedy in one act, -by <span class="smcap">Andre Rivoire</span>. A charming pastoral sketch by a well-known -French poet and dramatist. Played with success at the Comédie -Francaise. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>PHORMIO</b>, a Latin comedy by <span class="smcap">Terence</span>. An up-to-date version -of the famous comedy. One of the masterpieces of Latin drama: -the story of a father who returns to find that his son has married -a slave girl. Phormio, the parasite-villain who causes the numerous -comic complications, succeeds in unraveling the difficulties, and -all ends happily. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE TWINS</b>, a Latin farce by <span class="smcap">Plautus</span>, upon which Shakespeare -founded his Comedy of Errors. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE BOOR</b>, by <span class="smcap">Anton Tchekhoff</span>. A well-known farce by the -celebrated Russian master; it is concerned with Russian peasants, -and portrays with masterly skill the comic side of country life. -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE BLACK PEARL</b>, by <span class="smcap">Victorien Sardou</span>. One of Sardou’s -most famous comedies of intrigue. A house has, it is thought, -been robbed. But through skilful investigation it is found that the -havoc wrought has been done by lightning. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>CHARMING LEANDRE</b>, by <span class="smcap">Theodore de Banville</span>. The -author of “Gringoire” is here seen in a poetic vein, yet the Frenchman’s -innate sense of humor recalls, in this satirical little play, the -genius of Moliere. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE POST-SCRIPTUM</b>, by <span class="smcap">Emile Augier</span>. Of this one-act -comedy Professor Brander Matthews writes: “... one -of the brightest and most brilliant little one-act comedies in any -language, and to be warmly recommended to American readers.” -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE HOUSE OF FOURCHAMBAULT</b>, by <span class="smcap">Emile Augier</span>. -One of the greatest of recent French family dramas. Although the -play is serious in tone, it contains touches which entitle it to a -position among the best comedies of manners of the times. <span class="smcap">Price -50 Cents</span>.</p> - -<p><b>MASTER PATELIN, SOLICITOR</b>, a comedy in three acts. Special version -by <span class="smcap">Brueys</span>. One of the most famous of early French farces. The setting -and character belong to the late Middle Ages. The play is concerned with -the crooked dealings of a clever lawyer. 7 men, 2 women. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>CRISPIN, HIS MASTER’S RIVAL</b>, a comedy in one act by <span class="smcap">Le Sage</span>. A -famous comedy by the author of “Gil Blas,” concerned with the pranks of -two clever valets. 18th century costumes and settings. 4 men, 3 women. -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE LEGACY</b>, a comedy in one act by <span class="smcap">Marivaux</span>. A delicate high comedy -of intrigue. Marivaux one of the masters of old French comedy, and this -play is full of deft touches of characterization. 2 women, 4 men. <span class="smcap">Price -25 Cents</span>.</p> - -<p><b>AFTER THE HONEYMOON</b>, a farce in one act by <span class="smcap">Wolfgang Gyalui</span>. -A Hungarian farce full of brilliant dialogue and movement. 1 man, 1 woman. -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>A CHRISTMAS TALE</b>, a poetic play by <span class="smcap">Maurice Bouchor</span>. A beautiful -little miracle play of love and devotion, laid in 15th century Paris. 2 men, -2 women. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>CRAINQUEBILLE</b>, a play in three scenes by <span class="smcap">Anatole France</span>. A delightful -series of pictures of Parisian street life, by the author of “The Man Who -Married a Dumb Wife.” 12 men, 6 women. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>JEAN-MARIE</b>, a poetic play in one act by <span class="smcap">Andre Theuriet</span>. A pathetic -play of Norman peasant life. 2 men, 1 woman. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE REBOUND</b>, a comedy in one act by <span class="smcap">L. B. Picard</span>. A clever comedy -of intrigue, and a satire of social position. 2 women, 5 men. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE DOCTOR IN SPITE OF HIMSELF</b>, by <span class="smcap">Moliere</span>. A famous farce -by the greatest of French dramatists. Sganarelle has to be beaten before he -will acknowledge that he is a doctor, which he is not. He then works apparently -miraculous cures. The play is a sharp satire on the medical profession in -the 17th Century. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>BRIGNOL AND HIS DAUGHTER</b>, by <span class="smcap">Capus</span>. The first comedy in English -of the most sprightly and satirical of present-day French dramatists. <span class="smcap">Price -50 Cents</span>.</p> - -<p><b>CHOOSING A CAREER</b>, by <span class="smcap">G. A. de Caillavet</span>. Written by one of the -authors of “Love Watches.” A farce of mistaken identity, full of humorous -situations and bright lines. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>FRENCH WITHOUT A MASTER</b>, by <span class="smcap">Tristan Bernard</span>. A clever farce -by one of the most successful of French dramatists. It is concerned with the -difficulties of a bogus-interpreter who does not know a word of French. <span class="smcap">Price -25 Cents</span>.</p> - -<p><b>PATER NOSTER</b>, a poetic play in one act, by <span class="smcap">Francois Coppee</span>. A pathetic -incident of the time of the Paris Commune, in 1871. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE ROMANCERS</b>, a comedy in three acts, by <span class="smcap">Edmond Rostand</span>. New -translation of this celebrated and charming little romantic play by the famous -author of “Cyrano de Bergerac” and “Chantecler.” <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE MERCHANT GENTLEMAN</b> (Le Bourgeois Gentil-homme), by -<span class="smcap">Moliere</span>. New translation of one of Moliere’s comic masterpieces, a play -which is peculiarly well adapted to amateur production. <span class="smcap">Price 50 Cents</span>.</p> - -<p><b>THE HOUSE OF FOURCHAMBAULT</b>, by <span class="smcap">Emile Augier</span>. One of the -greatest of recent French family dramas. Although the play is serious in -tone, it contains touches which entitle it to a position among the best comedies -of manners of the times. <span class="smcap">Price 50 Cents</span>.</p> - -<p><b>PANURGE’S SHEEP</b>, a comedy in one Act by <span class="smcap">Meilhac</span> and <span class="smcap">Halevy</span>. A -famous and often-acted little play based upon the obstinacy of a charming -woman, who is finally induced to marry. 1 man, 2 women. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE LAW-SUIT</b>, (Der Prozess), a comedy in one act by <span class="smcap">Roderich Benedix</span>. -A famous comedy by the well-known German-dramatist—author of “The -Obstinate Family,” and “The Third Man.” The play is full of amusing -situations and bright lines. 5 men. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE THIRD MAN</b> (Der Dritte), a comedy in one act by <span class="smcap">Roderich Benedix</span>. -A highly amusing little comedy based upon the obstinacy of human beings, -and proves the truth of the saying that “love finds a way.” 3 women, 1 man. -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE GENTLEMAN TRADESMAN</b> (Le Bourgeois Gentil-homme), a -comedy in four acts by <span class="smcap">Moliere</span>. One of the best-known comedies of the -celebrated master of comedy. “The Gentleman Tradesman” ridicules the -affectations of M. Jourdain, a rich parvenu. 9 men, 5 women. <span class="smcap">Price -50 Cents</span>.</p> - -<p><b>THE SICILIAN</b> (Le Sicilien), a farce in two scenes by <span class="smcap">Moliere</span>. One of -the lighter comedies of intrigue. This play is laid in Sicily, and has to do -with the capture of a beautiful Greek slave from her selfish and tyrannical -master. 4 men, 3 women. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>DOCTOR LOVE</b> (L’Amour Medecin), a farce in three acts by <span class="smcap">Moliere</span>. -An uproarious farce, satirizing the medical profession. Through it runs the -story of a young girl who pretends to be ill in order that she may marry the -man she loves. 5 men, 4 women. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE AFFECTED YOUNG LADIES</b> (Les Precieuses Ridicules), a comedy -in one act by <span class="smcap">Moliere</span>. The famous satire on intellectual and social affectation. -Like most of Moliere’s plays, the theme in this is ever modern. 3 -women, 6 men. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>I’M GOING!</b> A comedy in one act by <span class="smcap">Tristan Bernard</span>. A delightful -bit of comedy of obstinacy and reconciliation. 1 man, 1 woman. <span class="smcap">Price -25 Cents</span>.</p> - -<p><b>THE FAIRY</b> (La Fee), a romantic comedy in one act by <span class="smcap">Octave Feuillet</span>. -Laid in a hut in Normandy, this little comedy is full of poetic charm and quiet -humor. The element of the supernatural is introduced in order to drive -home a strong lesson. 1 woman, 3 men. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE VILLAGE</b> (Le Village), a comedy in one act by <span class="smcap">Octave Feuillet</span>. -The author here paints the picture of an elderly couple, and shows that they -have not realized their happiness until it is on the point of being taken from -them. 2 women, 2 men. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE BENEFICENT BEAR</b>, a comedy in three acts, by <span class="smcap">Goldoni</span>. One of -the best-known comedies of the Father of Italian Comedy. A costume piece -laid in 18th century France, the principal character in which is a good-hearted, -though gruff, old uncle. 4 men, 3 women. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>GRAMMAR</b> (La Grammaire), a farce in one act by <span class="smcap">Labiche</span>. An amusing -and charming comedy by one of the greatest of 19th century French dramatists. -4 men, 1 woman. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE TWO COWARDS</b> (Les Deux Timides), a comedy in one act by <span class="smcap">Labiche</span>. -A very amusing and human little comedy, in which a strong-willed girl helps -her father choose for her the man she wishes to marry. 2 women, 3 men. -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE DOCTOR IN SPITE OF HIMSELF</b>, by <span class="smcap">Moliere</span>. A -famous farce by the greatest of French dramatists. Sganarelle has -to be beaten before he will acknowledge that he is a doctor, which -he is not. He then works apparently miraculous cures. The play -is a sharp satire on the medical profession in the 17th Century. -<span class="smcap">Price 25 Cents</span>.</p> - -<p><b>BRIGNOL AND HIS DAUGHTER</b>, by <span class="smcap">Capus</span>. The first -comedy in English of the most sprightly and satirical of present-day -French dramatists. <span class="smcap">Price 50 Cents</span>.</p> - -<p><b>CHOOSING A CAREER</b>, by <span class="smcap">G. A. de Caillavet</span>. Written by -one of the authors of “Love Watches.” A farce of mistaken -identity, full of humorous situations and bright lines. <span class="smcap">Price 25 -Cents</span>.</p> - -<p><b>FRENCH WITHOUT A MASTER</b>, by <span class="smcap">Tristan Bernard</span>. A -clever farce by one of the most successful of French dramatists. -It is concerned with the difficulties of a bogus-interpreter who -does not know a word of French. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>PATER NOSTER</b>, a poetic play in one act, by <span class="smcap">Francois -Coppee</span>. A pathetic incident of the time of the Paris Commune, -in 1871. <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE ROMANCERS</b>, a comedy in three acts, by <span class="smcap">Edmond Rostand</span>. -New translation of this celebrated and charming little -romantic play by the famous author of “Cyrano de Bergerac” and -“Chantecler.” <span class="smcap">Price 25 Cents</span>.</p> - -<p><b>THE MERCHANT GENTLEMAN</b>, (Le Bourgeois Gentil-homme), -by <span class="smcap">Moliere</span>. New translation of one of Moliere’s comic -masterpieces, a play which is peculiarly well adapted to amateur -production. <span class="smcap">Price 50 Cents</span>.</p> - -<hr class="chap x-ebookmaker-drop" > - -<div class="transnote"> -<h2>Transcriber’s note</h2> - -<p>Obvious typographical errors have been corrected. All other -inconsistencies are as in the original.</p> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK NAZARETH: A MORALITY IN ONE ACT ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. 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