Drama Books

SCENE I A room in the Ministry of War in the capital of Iberia. Evening. The minister of war, a tall, stern, bearded man with deep-set eyes and many furrows, is sitting at a large, mahogany desk-table, Left. The chief of staff, silent, motionless and watchful, stands beside him with his hands resting on the table-top. He is thin, old and emaciated, clean-shaven, firm-lipped, and looks startlingly like... more...

Scene: A plantation of thin young trees, in a misty and rainy twilight; some woodland blossom showing the patches on the earth between the stems. The Stranger is discovered, a cloaked figure with a pointed hood. His costume might belong to modern or any other time, and the conical hood is so drawn over the head that little can be seen of the face. A distant voice, a woman's, is heard,... more...

Actus PrimusScena PrimaEnter Juan de Castro, and Michael Perez. Michael PerezAre your Companies full, Colonel? Juan de CastroNo, not yet, Sir:Nor will not be this month yet, as I reckon;How rises your Command? Michael PerezWe pick up still, and as our monies hold out,We have men come, about that time I thinkWe shall be full too, many young Gallants go. Juan de CastroAnd unexperienced,The Wars are dainty... more...

ACT I SCENE: The stage is divided by an old wall, covered with vines and flowers. At the right, a corner of BERGAMIN's private park; at the left, a corner of PASQUINOT's. On each side of the wall, and against it, is a rustic bench. As the curtain rises, PERCINET is seated on the top of the wall. On his knee is a book, out of which he is reading to SYLVETTE, who stands attentively listening on... more...

ACT I. Scene I. Witch bends over fire in middle of orchard, brewing a charm in her caldron. Ogre stalks in, grinning frightfully, swinging his bludgeon in triumph. Ogre Ha, old witch, it is done at last! I have broken the King's stronghold! I have stolen away his children twain From the clutch of their guardsmen bold. I have dragged them here to my castle tower. Prince Hero is strong and fair. But... more...

STEELE MACKAYE (1844-1894) When one realizes the sociological purpose behind Steele Mackaye's "Paul Kauvar; or, Anarchy," it is interesting to note how inefficient the old form of drama was to carry anything more than the formal romantic fervour. Compared with John Galsworthy's treatment in "Strife" and "Justice," it makes one glad that realism came and washed away all... more...

GEORGE HENRY BOKER (1823-1890) The name of George Henry Boker suggests a coterie of friendships—a group of men pledged to the pursuit of letters, and worshippers at the shrine of poetry. These men, in the pages of whose published letters and impressions are embedded many pleasing aspects of Boker's temperament and character, were Bayard Taylor, Richard Henry Stoddard, and Charles Godfrey Leland,... more...

AUGUSTUS THOMAS (Born, St. Louis, Mo., January 8, 1859) It is not a new thing for a dramatic author to write prefaces to his plays. We are fortunate in possessing a series of personal opinions in this form that constitute a valuable asset in determining individual attitude and technical purpose. Read Schiller's opening remarks to "The Robbers," Victor Hugo's famous opinions affixed to... more...

INTRODUCTION* Koerlighedens Komedie was published at Christiania in 1862. The polite world—so far as such a thing existed at the time in the Northern capital—received it with an outburst of indignation now entirely easy to understand. It has indeed faults enough. The character-drawing is often crude, the action, though full of effective by-play, extremely slight, and the sensational climax has... more...

THE RECKONING The scene is a barber shop. At the center is the chair, facing a mirror and washstand at the right. The tiled walls are sprinkled with the usual advertisements. At the rear, a door leads up to the street by a flight of two or three steps. A dock on the left wall indicates three. At the rise of curtain, THE BARBER, a man of fifty, is discovered sharpening a razor, and whistling softly to... more...