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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 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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