Transcriber’s Notes

Obvious typographical errors have been silently corrected. Variations
in hyphenation and accents have been standardised but all other
spelling and punctuation remains unchanged.

Italics are represented thus _italic_.




  The Snow Man: a Metrical
  Play in One Act:
  by Laurence Housman


  Samuel French: Publisher

  28-30 West Thirty-eighth Street: New York

  LONDON

  Samuel French, Ltd.

  26 SOUTHAMPON STREET STRAND


  _PRICE TWENTY-FIVE CENTS_




  Copyright, 1916,
  by LAURENCE HOUSMAN


    CAUTION.--Amateurs and Professionals are hereby warned that
    “THE SNOW MAN”, 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 “THE SNOW MAN”
    must be made to Samuel French, 28-30 West 38th Street, New York
    City.

ALL RIGHTS RESERVED.




THE SNOW MAN.




CHARACTERS.


  JOAN               _A peasant woman_
  MARY ANN      }
  MATTHEW MARK  }       _Her children_
  JASPAR                 _Her husband_
  THE SNOW MAN




THE SNOW MAN


    SCENE:--_A poor peasant dwelling, barely furnished with
    articles of the roughest description, a tressle-table, two
    benches,--a large one serving as a window-seat, and a smaller
    one standing by the hearth,--a wooden chair, a spinning wheel,
    a large bread pan, a shelf containing household crockery, and
    on the inner wall of the ingle a few pots and pans hanging
    on the wall. The room is wide and low; to the left is a deep
    hooded fireplace with containing walls on either side of
    it,--to one side a bread oven, to the other a cubby-bed with
    doors; opposite to the fireplace is a door leading to the
    woodshed. The house door is at the back rather to the right;
    in its left a long low window extends almost to a line with
    the fireplace. In the right hand corner stands a large chest.
    The roof is of heavy beams gray with smoke, and between them
    shows an inner surface of thatch, the walls are of blue plaster
    marked by mildew, with patches here and there where the plaster
    has peeled off. It is winter and daylight is drawing in.
    Outside the world is white with snow. A peasant-woman moves
    to and fro with quick dogged pace. The pace of a hard worker
    tired but always pushed for time. She takes black bread out of
    the oven, lays it out on the table, cuts off two pieces, and
    puts the remainder into the bread-pan. Then she takes down the
    garments from before the fire, presses them with a heavy iron,
    and puts them away in the chest. While crossing the room to
    and fro she economizes her time, never going empty-handed.
    She puts milk to warm on the fire, and gets down two small
    mugs from a shelf. She also gets from the cubby-bed two night
    garments, and hangs them to warm over the bench by the hearth.
    While she is thus engaged, children’s voices are heard outside,
    laughing and shouting. The woman, absorbed in her work, pays
    no attention. Two small romping figures occasionally pass the
    window. Presently they begin to sing._

CHILDREN.--

  Here we have a snowman, a snowman, a snowman!
  Oh, where does he come from, and what shall be his name?
  He says his name is no man, no man, no man!
  And nowhere and nowhere the land from which he came.

    (_Now again_)

  Oh, why did you come here, oh, snowman, oh, snowman?
  And will you now a friend be, or will you be a foe?
  “Oh, whether I a friend am, or whether I’m a foe-man,
  It’s here I mean to stay now, until I have to go!”

    (_Now again_)

  But what should you go for, oh, snowman, oh, snowman?
  And why would you leave us, when home lies at hand?
  “Oh, when the sun calls me, then I can wait for no man,
  But back I must go again, to my own land!”
  And now we’ve made him, he’ll have to stay,
  Ha! Ha! Ha! He can’t get away.

    (_The door bursts open, the two children run in_: MATTHEW MARK
    _and_ MARY ANN.)

MARY.--

  Oh, mother, come and look at our snowman.

MATTHEW.--

  Mother, do look at him.

MARY.--

  When we began
  A-building him, we didn’t ever know
  How big he’d get to be--he seemed to grow
  All by himself!

MATTHEW.--

  Mother, do look!

JOAN.--

  There, there!
  It’s “look,” “look,” “look,” all day!

    (_She speaks in a good-humored scolding tone which the children
    seem not in the least afraid of. She goes and looks out_)

  Well, I declare,
  You’ve done a silly thing--made ’im to stand
  Right in the door!--with no room either ’and
  For folks to get by.

MATTHEW.--

  Yah!

MARY.--

  Yah! Ah, ha! That’s why.

MATTHEW.--

  We didn’t want to let no folk get by
  To steal our muvver!

    (_He rubs against her_)

JOAN.--

  Here, and what d’yer mean
  Getting yourself all wet like this? You’ve been
  And clammed yourself,--you too. Now off you go!
  Take all those things off! One can’t ever know
  What children will be up to next. Come here!

    (_Catches hold of_ MATTHEW)

  Now you undress yourself.

    (_To_ MARY)

  You get in there
  Into the warm. Stand still, stand still, I say,
  And put this round yer. Oh, so that’s the way
  You do when I ain’t looking? All day long
  You’re up to mischief. Always something wrong
  Soon as my back is turned. That heap o’ snow
  How long’s that to stay there, I’d like to know?
  Here, take your milk, and there’s a bit o’ bread
  For both on yer. Don’t want it? Ah, it’s bed
  You’d best be off to! There, put your mug down!
  Now come and get into your nighty-gown.
  Ah, you sweet thing! Well, kiss your mother then!
  But you mind what I say--no more snowmen
  To-morrow!

    (_Crosses the room_)

MARY.--

  Mother--Mother--will there be
  Anyone here to-morrow? Shan’t we see
  Someone?

JOAN.--

  See someone?

MARY.--

  I mean, won’t there no
  Man come with a spade and clear away the snow?
  Last year one come.

JOAN.--

  That was your father,--he
  Haven’t been near us since, and where he be
  God alone knows. Here! Don’t fill your ’ead
  With silly fancies! You get on to bed.

    (_She goes out into the woodshed_)

MATTHEW.--

  Say! Say! She’s gone! come along, Mary Ann
  And have another look at our snowman.

    (_They run across to the window_)

  Snowman! Snowman!

MARY. It’s no good, he don’t hear, he’s gone to sleep.

    (_Re-enter_ JOAN.)

JOAN. Ah, what are you up to there? Back you go, quick. Or else you’ll
get the rod! (_They skip back to the fireplace_) Now you kneel down and
say your prayers. “Pray God”----

    (_The two children kneel at bench with their backs to the
    fire._)

CHILDREN. “Pray God”----

JOAN. (_As she moves about folding up clothes, etc._) “Pray God make
Baba good”----

CHILDREN. Pray God make Baba good.

JOAN. “Give Baba bread.”

CHILDREN. Give Baba bread.

JOAN. “Give all the hungry food”----

CHILDREN. Give all the hungry food.

JOAN. “Peace to the dead.” (_Crosses herself_)

CHILDREN. Peace to the dead.

    (JOAN _stands lost in reverie and speaks unconsciously by
    rote_.)

JOAN. “God bless”--(_She turns and looks out_)

CHILDREN. God bless--(_They wait to be prompted_)

MATTHEW. Say, muvver, shall we pray for the snowman too? Shall us?
Shall us?

JOAN. (_Still musing_) Nay, nay! You leave the snowman out! He knows
his way--he knows his way.

CHILDREN.--

                { sister  }
  Bless mother, { brother } kind friends all about,
  Bring Dada home, and leave the snowman out.
      Amen.

    (JOAN _stands lost in her own thoughts. The children creep
    behind her toward the window._)

MARY. Good-night, snowman!

MATTHEW. Good-night!

    (_They approach_ JOAN.)

MARY. Good-night, mother!

JOAN. Good-night, darling!

MATTHEW. Night, mother.

JOAN. Night-night, my dear,--night-night!

    (MARY ANN _goes and opens cubby-bed and begins to climb in_.
    MATTHEW _stops outside_.)

MATTHEW.--

  Matthew, Mark, Luke and John,
  Guard the bed that I lie on;
  Four corners to my bed,
  Four angels at my head,
  One to watch, and one to pray,
  And two to----

JOAN. There, you get in! you’ve prayed enough to-night. (_She goes to
close doors_)

MARY. Don’t shut it up yet, mother, leave a light.

JOAN.--

  Just you be quiet. Be thankful you lie warm,
  There’s some as won’t to-night. I can hear storm
  A-coming on.

    (_She leaves door of cubby-bed half open._)

MATTHEW. Sing, mother, will ye sing?

JOAN. (_Putting away the bread and the milk-mugs and folding up the
strewn garments; starts to sing in a dull toneless voice with little
tune_)

  There come a man to a maid, and said,
    All in a year and a day----
  “So thou be mine now let us be wed
    Out of the world and away.”

  Said the maid to the man, “If I thee wed
    Out of the world and away,
  Bide ’e at home, and find me bread----
    Just for a year and a day.”

  They hadn’t been wed, the maid and the man,
    For a year, for a year and a day,
  Before a want in his heart began,
    To be out to the world and away.

  “Oh, wife, there’s come a call to my blood,
    To be out in the world and away,
  By road and river, by field and flood,
    Just for a year and a day.”

  Out and away to the world he went,
    By road and river and sea.
  Oh, man of the road, is your heart content?
    Will ’e never come back to me?

    (_She goes and looks at the children and sees that they are
    asleep_)

  Oh, man of the road, is your heart content?
    Will ’e never come back to me?

    (_While she sings, the firelight dies down and the light of the
    candle loses its warmth. Outside is a sound of rising wind, and
    the soft lash of snow against the pane. She goes and looks out
    of window_)

  Ah, there be storm, black blasts with icy breath!
  The night’s gone colder now, aye cold like death,
  Cold!

    (_She shivers--three knocks are struck on the door_)

  Who be there? Who is it? Whence do’e come?

    (_Another knock, very faint_)

  Have you no word? What, are ye deaf and dumb?
    Or--dead?

    (_Knock. The light burns blue. She opens the door. Pause.
    Slowly the snowman enters and moves across the room toward the
    bed_)

  No, stop! Not there, not there!

    (_She interposes and lays hold of him. A cold rigour seizes
    her_)

SNOWMAN. Why do you touch me?

JOAN. Why do you come here? Who are you? Answer! (_He again moves
forward_) No, you don’t go there! You shan’t, you shan’t come nigh of
’em.

SNOWMAN. Take care! My touch is--cold!

JOAN.--

  You think I’m feard o’ that?
  You think them eyes as I be looking at
  Have any fear for me, or shape of dread?
  Worse that what life ’ave?

    (_With a sort of exultation_)

  Why, if I were dead!

    (_Pause. The snowman lifts his hand and points toward the bed._
    JOAN _sees his meaning_.)

SNOWMAN. If you were dead?

JOAN.--

  No, no, I say you lie!
  My little ’uns? God wouldn’t let ’em die.
  ’A wouldn’t have the heart, ’a wouldn’t have the heart.

SNOWMAN.--

  Yet there’s a heart,
    Now quick to beat,
  Which, this same night,
    Must lose its heat.
  To give strength to a lame man’s feet.

JOAN.--

  A lame man?

SNOWMAN.--

  Gray-headed, bent,
  He scarce can go,
  His strength is spent
  In drifts of snow,
  And all the icy blasts that blow.

JOAN.--

  I don’t know who you mean.

SNOWMAN.--

  Give me your hand,
  And you shall see,
  Here, close at hand, snow-bound goes he.
  Give me your hand,
  And come with me.

JOAN.--

  With you? Why do you think I’d come with you?
  I’ve got my children, I’ve a husband, too,
  One as I love.

SNOWMAN.--

  And he--does he love you?

JOAN.--

  That’s no concern o’ yourn!
  Aye, ’a did once, Aye! and ’a will again,
  Some day, perhaps. When he first married me,
  ’A did,--’a did! We’ve sat here in this room
  A-kissing by the hour! That were before
  The children come. Children do make a house
  No comfort to a man. He had his right
  To go. He didn’t want ’em, but I did!
  I did!
  Aye! and I’ve ’ad ’em now a whole seven years,
  Worked for ’em, I lived for ’em, starved for ’em,
  And I’d die
  So it could better ’em.

SNOWMAN.--

  And what--for him?

JOAN.--

  I’ve broke my ’eart for ’im; it’s past its work,
  And now it ain’t no use--no use--to ’im.

SNOWMAN.--

  Its use has come. Oh, woman give
  Your heart to me, I’ll make it live.
  And what you lend he shall receive.

JOAN.--

  You can’t. You can’t do that----
  You can’t raise up the sun when once it’s set;
  You can’t put new roots in us, when we’re old,
  Dried up, and withered.

SNOWMAN.--

  Yet within kind earth
  Dry seed goes sown
  And springs again to birth.

JOAN.--

  I’ve ’ad enough of earth. I’ve sowed, I’ve reaped,
  I’ve gathered, and I’ve strawed. But me and ’im
  We won’t meet any more. He ’aven’t come,
  Nigh me--not for a year.
  And when he did come back--he went again
  Next day.

SNOWMAN. Went? Where?

JOAN. Nowhere. He roves about. Seeing the world, ’e calls it. Roving
blood. That’s been ’is curse; and mind, ’is roving blood, it haven’t
always roved. He liked his ease, he liked the victuals I give him well
enough, he liked his fireside, and he liked his bed when I was by ’im.
Ah! And then one day he’d ’ad enough of comfort, and was off,--looking
for what? ’Ardship? He might have ’ad that ’ere if he’d but stayed.
Aye, that ’e could--for it’s been ’ard enough--with they two there. Ah,
you may look at ’em, they ’aven’t known trouble--yet they was with me
all the time. Why, there’ve been days when I’ve not ’ad enough to eat
myself. And what ’ave fed me? Just to ’ear ’em laugh and think they
’aven’t known. What do you look at me like that for? What do you know?
What did you come for? Say!

SNOWMAN. To bring you comfort.

JOAN. Comfort? I’ve got no place for comfort in me now. It isn’t that I
want--it’s rest.

SNOWMAN. ’Tis rest I bring.

JOAN. Where’s ’e?

SNOWMAN. Here--near at hand. Come, come and do not be afraid. (_He
takes her hand_)

JOAN. Oh, dearie me. This feels like death. Like death!

    (_As they touch hands a mist draws over the stage, the walls
    of the house seem to fade away, the sound of the storm grows
    loud around them. They stand in a white world full of obscure
    movement and pale drifting forms._)

SNOWMAN. What do you see?

JOAN. A waste of snow.

SNOWMAN. Anyone there?

JOAN. No one I know. No--only you. What? You say you saw him on the
road, coming? How do you know that it was ’im? Yes--yes--’e was like
that. But younger, ’andsomer than that,--not lame----

  No, he was never lame--a young, young man,
  And strong!----
  Oh, lost his way? You say ’e’d lost his way?
  Well, maybe that might tire ’im just a bit,
  But oh, he’d find it! Oh, trust him for that!
  He’s been all round the world--and lost his way
  Through coming ’ome. Yes, yes, he’s coming ’ome.
  Ah! Now I see ’im. Yes, I’m ’ere, I’m ’ere!
  Waiting for yer,--waiting--expecting yer.
  Ah, never mind. Though yer don’t love me, still
  It’s back to me you come! Yer can’t ’elp that
  That’s ’ow God made yer. That’s why He made me.
  No! I can’t reach yer. No, he’s got my hand,
  Holding it, holding it,--and won’t leave go!
  I’d ’elp yer, if I could. I’d die for yer!
  But he won’t let me go.
  ----I’m cold, I’m cold!
  Can’t see!--I’ve lost my way,
  And I shan’t--never--any more come home!

    (_The snowman looses her hand, and she falls. The mist clears
    from a dark stage, the walls close in again, the chamber
    remains in darkness. A figure stumbles past the window, the
    door is thrown open, the Snowman stands aside. Enter_ JASPAR.)

JASPAR.--

  Home! Home, at last! Who’s there? Anyone there?
  What? Nobody? No fire? Oh, bitter cold----
  It feels like death!

    (_Fumbles for match-box_)

  Here, fool, give me a light!
  Light, can’t yer? Ah, what’s that, what’s that, what’s that?
  Who are yer? What for are you lying there?
  Get up! Get up! What makes ’e be so cold?
  So clammed?

    (_Strikes a light_)

  What the,--! My wife! It be my wife!
  Wife! Don’t ’e hear me? It be I, come back,
  Jaspar come back--Jaspar come home again----
  Jaspar--why don’t ’e answer? There, now there!
  Have that to warm yer. Oh, ye’ll soon come round,
  Ye’ve starved yerself, ye--! Ah--she’s dead, she’s dead!

    (_He lifts her onto the chair by the hearth and now holds the
    candle to her face, then draws away with a growing fear of what
    other deaths may be there. He advances to the crib, and looks
    in on the sleeping children. He assures himself that they are
    alive. It startles him to fresh hope; he turns back to his
    wife_)

  No, she ain’t dead, she can’t be, they’re alive!
  She wouldn’t leave ’em. No, she can’t be dead.
  Wife, do ’e hear? The children be alive.
  You wouldn’t go and leave ’em, no, not you----
  ’Twouldn’t be like yer. There, my--there, come, come!
  Take warmth o’ me,--out of my ’eart and soul!
  I’ll make ye warm.

    (_He takes her to his heart_)

  Why, I was coming ’ome.
  I’d ’a been yere before, but I lost my way,
  Got buried in the snow. Then I ’eard you
  A-callin’ me! I thought I saw your face,
  Then it all went, and then, my feet grew strong,
  Life come to me, and warmth, and here I be!
  Can’t ’e speak to me? Be ye gone so far
  As ’e can’t ’ear me? Not the word I’d say
  To tell ’e how I loved ’e?
  Ah, now I be in ’ell, I be in ’ell!
  And ’a won’t never know.

    (_Her hand falls out across chair, pointing toward the crib_)

  What’s that to say?
  Oh, the dear hand. Yes, I’ll look after ’em.
  They shan’t know want--and I won’t go away----
  The way I’d wish to go. I’ll bear my life
  And all the burden of it. There, there, my lass,
  Rest ye in peace, I’ll do my best by ’em!
  I’ll do my best.

    (_He bends and kisses her on the lips. The Snowman makes a pass
    toward her with his hand. She moves, and opens her eyes, all
    dazed and dreaming_)

JOAN. Who’s that, who’s that got hold o’ me? Let go! I must go to ’im.

JASPAR. No, no, bide ’e still. Here’s Jaspar!

JOAN. Jaspar!

JASPAR. Oh, you be alive! (_He sinks down broken, with his head on
her breast. She takes his head in her hands stroking it softly. The
Snowman moves slowly to the door, fades through it, and disappears_)

JOAN. So you’ve come back, I knew you’d come--some day. What’s this?
(_She touches the coat_)

JASPAR. My coat. I found you lyin’ there cold, so I put it round yer.
But you made no sign--until I thought as yer was dead.

JOAN. Dead? Would I leave ’em? Leave my little ’uns?

JASPAR. Ah, there you do get home. It’s a true charge. It’s what I done.

JOAN. You ’ad the roving blood. You couldn’t ’elp it.

JASPAR. It ain’t brought me no joy.

JOAN.--

  Jaspar, I think you’ve come here in a dream.
  Put your arms round me and ’old me. Don’t let go.
  Help me to dream, I’d like for it to last
  Just one more hour--put your ’ead on my heart.
  And don’t you speak--don’t speak--I want to dream,
  You be come back again! I want to dream.

    (_They lie still in each other’s arms. Dawn light begins to
    creep in. A sound of sliding snow is heard on the roof, a sharp
    twittering of birds; down across the window masses of snow fall
    in soft thunder. There follows a sound of dropping water: the
    thaw has begun. The outer world grows radiant with light. The
    doors of the cubby-bed fly open, the two children peep out. A
    soft but heavy crash of falling snow is heard. It strikes the
    door._)

MARY. Mother, what’s that? Get up, get up, it’s light! (_Jumps out
of bed, followed by_ MATTHEW) Oh, come and look! The snow’s all
falling--right down off the roof. Look how it’s letting go!

MATTHEW. Oh, the snowman. Look at the snowman! Oh! (_Opens door_)

MARY. Mother, the snowman’s tumbled in the night.

    (JOAN _opens her eyes_.)

JOAN. Hush, hush, don’t wake ’im. Come ’e and look ’ere.

    (_The children approach softly, curious and surprised._)

MARY. Who is it, mother?

JOAN. The snowman, my dear. He’s come to stay.


CURTAIN.




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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 Medecine), 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 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.

=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 Gentile-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 Medecine), 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.

=MASTER PATELIN, SOLICITOR=, a comedy in three acts. Special version by
BRUEYS. 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. PRICE 25 CENTS.

=CRISPIN, HIS MASTER’S RIVAL=, a comedy in one act by LE SAGE. 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 dialog 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. A pathetic
play of Norman peasant life. 2 men, 1 woman. PRICE 25 CENTS.

=THE REBOUND=, a comedy in one act by L. B. PICARD. A clever comedy of
intrigue, and a satire of social position. 2 women, 5 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.