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ONE DAY MORE
SCENE I.
CURTAIN RISES DISCLOSING CARVIL and Bessie moving away from sea-wall. Bessie about twenty-five. Black dress; black straw hat. A lot of mahogany-coloured hair loosely done up. Pale face. Full figure. Very quiet. Carvil, blind, unwieldy. Reddish whiskers; slow, deep voice produced without effort. Immovable, big face.
Carvil (Hanging heavily on Bessie's arm). Careful! Go slow! (Stops; Bessie waits patiently.) Want your... more...
ACT I.
Scene 1—Drawing room in 3. Trenchard Manor, C. D., backed by interior, discovering table with luncheon spread. Large French window, R. 3 E., through which a fine English park is seen. Open archway, L. 3 E. Set balcony behind. Table, R., books and papers on it. Work basket containing wools and embroidery frame. A fashionable arm chair and sofa, L. 2 E., small table near C. D. Stage handsomely set, costly furniture, carpet down,... more...
THE ALLEVIATIONS OF MONOGAMY.
This piece is not an argument for or against polygamy. It is a clinical study of how the thing actually occurs among quite ordinary people, innocent of all unconventional views concerning it. The enormous majority of cases in real life are those of people in that position. Those who deliberately and conscientiously profess what are oddly called advanced views by those others who believe them to be retrograde, are... more...
ACT I
SCENE FIRST(Setting is an attic and workshop of an artificial flower-maker. It ispoorly lighted by means of a candle placed on the work-table. Theceiling slopes abruptly at the back allowing space to conceal a man.On the right is a door, on the left a fireplace. Pamela is discoveredat work, and Joseph Binet is seated near her.)Pamela, Joseph Binet and later Jules Rousseau.
PamelaMonsieur Joseph Binet!JosephMademoiselle Pamela... more...
PARSIFAL. PART I
THE COMING OF PARSIFAL
Within a noble stretch of mountain woods,Primeval forest, deep and dark and grand,There rose a glorious castle towering high,—And at its foot a smiling, shimmering lakeLay in the still lap of a verdant glade.'T was daybreak, and the arrows of the dawnWere shot in golden glory through the trees,And from the castle came a trumpet blastTo waken life in all the slumbering host,—Warriors and yeomen... more...
SCENE: A farmyard, two slaves busy beside a dungheap; afterwards, in Olympus.
FIRST SERVANT Quick, quick, bring the dung-beetle his cake.
SECOND SERVANT Coming, coming.
FIRST SERVANT Give it to him, and may it kill him!
SECOND SERVANT May he never eat a better.
FIRST SERVANT Now give him this other one kneaded up with ass's dung.
SECOND SERVANT There! I've done that too.
FIRST SERVANT And where's what you gave him just now; surely he can't... more...
SCENE I.—The gate of the castle.
MAIDSERVANTS (within).
Open the gate! Open the gate!
PORTER (within).
Who is there? Why do you come and wake me up? Go out by the little gates; there are enough of them!…
A MAIDSERVANT (within).
We have come to wash the threshold, the gate, and the steps; open, then! open!
ANOTHER MAIDSERVANT (within).
There are going to be great happenings!
THIRD MAIDSERVANT (within).
There are going to be... more...
ACT THE FIRST.
SCENE I. A GOTHIC HALL.
Enter Edric and Birtha.
Bir. What may this mean? Earl Douglas has enjoin'd thee
To meet him here in private?
Edr. Yes, my sister,
And this injunction I have oft receiv'd;
But when he comes, big with some painful secret,
He starts, looks wild, then drops ambiguous hints,
Frowns, hesitates, turns pale, and says 'twas nothing;
Then feigns to smile, and by his anxious... more...
INTRODUCTORY NOTE
JEAN BAPTISTE RACINE, the younger contemporary of Corneille, and his rival for supremacy in French classical tragedy, was born at Ferte-Milon, December 21, 1639. He was educated at the College of Beauvais, at the great Jansenist school at Port Royal, and at the College d'Harcourt. He attracted notice by an ode written for the marriage of Louis XIV in 1660, and made his first really great dramatic success with his "Andromaque."... more...