Part 1

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ONE-ACT PLAYS

BY MODERN AUTHORS

EDITED BY HELEN LOUISE COHEN, Ph.D. Chairman of the Department of English in the Washington Irving High School in the City of New York

Author of "The Ballade"

NEW YORK HARCOURT, BRACE AND COMPANY

COPYRIGHT, 1921, BY HARCOURT, BRACE AND COMPANY, INC.

_All rights reserved. No part of this book may be reproduced in any form, by mimeograph or any other means, without permission in writing from the publisher._

PRINTED IN THE U.S.A. BY QUINN & BODEN COMPANY, INC. RAHWAY, N. J.

To M. S. S.

ACKNOWLEDGMENTS

Had not both authors and publishers acted with the greatest generosity, this collection could not have been made. Though the editor cannot adequately express her sense of obligation, she wishes at least to record explicitly her indebtedness to Mr. Harold Brighouse, Lord Dunsany, Mr. John Galsworthy, Lady Gregory, Mr. Percy MacKaye, Miss Jeannette Marks, Miss Josephine Preston Peabody, Professor Robert Emmons Rogers, Mr. Booth Tarkington, and Professor Stark Young. The editor also desires to thank Chatto & Windus, Duffield & Company, Gowans & Gray, Ltd., Harper & Brothers, Little, Brown & Company, John W. Luce & Company, G. P. Putnam's Sons, Charles Scribner's Sons, and The Sunwise Turn, for permissions granted ungrudgingly.

Through the courtesy of Mr. T. M. Cleland, director of the Beechwood Players, the pictures of the Beechwood Theatre appear. Miss Mary W. Carter, chairman of the Department of English in the High School in Montclair, New Jersey, contributed the photographs of the Garden Theatre. Other illustrations appear through the kindness of _Theatre Arts Magazine_, and of The Neighborhood Playhouse.

The editor is grateful to Mrs. John W. Alexander, Mr. B. Iden Payne, and Mrs. T. Bernstein for the privilege of personal conferences on the subject of the book. To Mr. Robert Edmond Jones, who has allowed three of his designs to be reproduced and who has read and corrected that part of the Introduction that deals with The New Art of the Theatre, the editor takes this opportunity of expressing her warm appreciation. Finally, the editor wishes to thank her friend, Helen Hopkins Crandell for her indefatigable work on the proofs of this book.

PREFACE

Perhaps the student who is going to read the plays in this collection may have felt at some time or other a gap between the "classics" that he was working over in school and the contemporary literature that he heard commonly discussed, but he does not know that until recently few books were studied in the high school that were less than half a century old. Consciousness of the gap often drove him to trashy reading. He recognized Addison as respectable but remote, and yet he had no guide to the good literature which the writers of his own day were producing and which would be especially interesting to him, because its ideas and language would be more nearly contemporary with his own.

Even though the greatest literature has the quality of universality, it has been almost invariably my experience that, only as one grows older, is one quite ready to appreciate this quality. When one is young, it is easier to enjoy literature written from a point of view nearer to one's own life and times. Reading good contemporary literature is likely also to pave the way for a deeper appreciation of the great masterpieces of all time.

This is a collection of one-act plays, some of them less than five years old, chosen both because their appeal seems not to be limited to the adult audiences for which they were originally written, and because they may well serve the purpose of introducing the student to contemporary dramatists of standing. Some of them, it is true, make use of old stories and traditions, but the treatment is in all cases modern, if we except the literary fashion that we find in Josephine Preston Peabody's _Fortune and Men's Eyes_. This, though it is a one-act play, a modern development, is written more or less in the Shakespearian convention; but whether we are bookish or not, we can hardly help having a knowledge of Shakespeare's plays, because, popular with all kinds of people, they are continually being revived on the stage, and quoted in conversation.

The plays in this book, though intended for class-room study, may be acted as well as read. The general introduction will be found helpful to groups who produce plays, to those who live in cities and go to the theatre often, and to those who like to experiment with dramatic composition. For this book was planned to encourage an understanding attitude towards the theatre, to deepen the love that is latent in the majority of us for what is beautiful and uplifting in the drama, and to make playgoing a less expensive, more regular, and more intelligent diversion for the generation that is growing up.

H. L. C.

Washington Irving High School, New York, 1 February, 1921.

CONTENTS

INTRODUCTION Page

The Workmanship of the One-Act Play xiii

Theatres of To-day The Commercial Theatre and the Repertory Idea xx The Little Theatre xxiii The Irish National Theatre xxvi

The New Art of the Theatre xxix

Playmaking xxxiv

The Theatre in the School l

ROBERT EMMONS ROGERS THE BOY WILL xxxviii

BOOTH TARKINGTON Introduction 3 BEAUTY AND THE JACOBIN 5

ERNEST DOWSON Introduction 53 THE PIERROT OF THE MINUTE 55

OLIPHANT DOWN Introduction 77 THE MAKER OF DREAMS 79

PERCY MACKAYE Introduction 97 GETTYSBURG 99

A. A. MILNE Introduction 113 WURZEL-FLUMMERY 115

HAROLD BRIGHOUSE Introduction 139 MAID OF FRANCE 141

LADY GREGORY Introduction 157 SPREADING THE NEWS 159

JEANNETTE MARKS Introduction 179 WELSH HONEYMOON 181

JOHN MILLINGTON SYNGE Introduction 195 RIDERS TO THE SEA 198

LORD DUNSANY Introduction 211 A NIGHT AT AN INN 213

STARK YOUNG Introduction 226 THE TWILIGHT SAINT 227

LADY ALIX EGERTON Introduction 241 THE MASQUE OF THE TWO STRANGERS 244

MAURICE MAETERLINCK Introduction 265 THE INTRUDER 268

JOSEPHINE PRESTON PEABODY Introduction 287 FORTUNE AND MEN'S EYES 289

JOHN GALSWORTHY Introduction 323 THE LITTLE MAN 325

ILLUSTRATIONS Page

_Twelfth Night_ on the stage of the Theatre du Vieux Colombier in New York xxiv

Design for _The Merchant of Venice_ by Robert Edmond Jones xxx

Design for _Good Gracious Annabelle_ by Robert Edmond Jones xxxii

Design for _The Seven Princesses_ by Robert Edmond Jones xxxiv

The Beechwood Theatre. Exterior and Interior lviii

The Garden Theatre. The original site, and the theatre as it looks to-day lx

Setting for _The Maker of Dreams_ at The Neighborhood Playhouse designed by Aline Bernstein 79

Costumes for _The Masque of the Two Strangers_ designed at the Washington Irving High School. Plate 1 240 Plate 2 253

Setting for _The Intruder_ designed by Sam Hume 268

INTRODUCTION

THE WORKMANSHIP OF THE ONE-ACT PLAY

The one-act play is a new form of the drama and more emphatically a new form of literature. Its possibilities began to attract the attention of European and American writers in the last decade of the nineteenth century, those years when so many dramatic traditions lapsed and so many precedents were established. It is significant that the oldest play in the present collection is Maeterlinck's _The Intruder_, published in 1890.

The history of this new form is of necessity brief. Before its vogue became general, one-act plays were being presented in vaudeville houses in this country and were being used as curtain raisers in London theatres for the purpose of marking time until the late-dining audiences should arrive. With the exception of the famous Grand Guignol Theatre in Paris, where the entertainment for an evening might consist of several one-act plays, all of the hair-raising, blood-curdling variety, programs composed entirely of one-act plays were rare. Sir James Matthew Barrie is usually credited with being the first in England to write one-act plays intended to be grouped in a single production. A program of this character has been uncommon in the commercial theatre in America, but three of Barrie's one-act plays, constituting a single program, have met with enthusiastic response from American audiences.

There are two new developments in the history of the theatre that have encouraged and promoted the writing of one-act plays: the one is the Repertory Theatre abroad and the other is the Little Theatre movement on both sides of the Atlantic. The repertory of the Irish Players, for example, is composed largely of one-act plays, and American Little Theatres are given over almost exclusively to the one-act play.

The one-act play is in reality so new a phenomenon, in spite of the use that has been made of the form by playwrights like Pinero, Hauptmann, Chekov, Shaw, and others of the first rank, that it is still generally ignored in books on dramatic workmanship.[1] None the less, the status of the one-act play is established and a study of the plays of this length, which are rapidly increasing in number, discloses certain tendencies and laws which are exemplified in the form itself. Clayton Hamilton sums up the matter well when he says: "The one-act play is admirable in itself, as a medium of art. It shows the same relation to the full-length play as the short-story shows to the novel. It makes a virtue of economy of means. It aims to produce a single dramatic effect with the greatest economy of means that is consistent with the utmost emphasis. The method of the one-act play at its best is similar to the method employed by Browning in his dramatic monologues. The author must suggest the entire history of a soul by seizing it at some crisis of its career and forcing the spectator to look upon it from an unexpected and suggestive point of view. A one-act play in exhibiting the present should imply the past and intimate the future. The author has no leisure for laborious exposition; but his mere projection of a single situation should sum up in itself the accumulated results of many antecedent causes.... The form is complete, concise and self-sustaining; it requires an extraordinary force of imagination."[2]

[Footnote 1: See, however, Clayton Hamilton, _Studies in Stagecraft_, New York, 1914, and B. Roland Lewis, _The Technique of the One-Act Play_, Boston, 1918.]

[Footnote 2: Clayton Hamilton, _Studies in Stagecraft_, New York, 1914, pp. 254-255.]

To follow for a moment a train of thought suggested by Mr. Hamilton's timely and appreciative comment on the technique of the one-act play: All writers on the short-story agree that, to use Poe's phrase, "the vastly important artistic element, totality, or unity of effect" is indispensable to the successful short-story. This singleness of effect is an equally important consideration in the structure of the one-act play. A short-story is not a condensed novel any more than a one-act play is a condensed full-length play. There is no fixed length for the one-act play any more than there is for the short-story. The one-act play must have its "dominant incident" and "dominant character" like the short-story. The effect of the one-act play, as of the short-story, is measured by the way it makes its readers and spectators feel. Neither the short-story nor the one-act play need necessarily "be founded on one of the passionate _cruces_ of life, where duty and inclination come nobly to the grapple." One has but to consider the short-stories of Henry James or the one-act plays of Galsworthy or of Maeterlinck to be convinced that a _violent_ struggle is not necessary to the art of either form.

This point is further illustrated in what Galsworthy himself says in general about drama in his famous essay, _Some Platitudes Concerning the Drama_, which should be read in connection with his satirical comedy, _The Little Man_. In that essay Galsworthy writes: "The plot! A good plot is that sure edifice which slowly rises out of the interplay of circumstance on temperament, and temperament on circumstance, within the enclosing atmosphere of an idea. A human being is the best plot there is.... Now true dramatic action is what characters do, at once contrary, as it were, to expectation, and yet because they have already done other things.... Good dialogue again is character, marshaled so as continually to stimulate interest or excitement." This commentary of Galsworthy's on dramatic technique offers to the student of _The Little Man_ an unusual opportunity to verify a great critic's theory by a great playwright's practice. It is indeed the _character_ of the Little Man that is the plot in this case; the plot may be said to begin when, according to stage direction, the hapless Baby wails, and to be well launched with the Little Man's deprecatory, "Herr Ober! Might I have a glass of beer?" These words distinguish him immediately from his bullying companions in the buffet. The highest point of interest, like the beginning of the plot, is to be found in the play of the Little Man's personality, at the point where he is left alone with the Baby, now a typhus suspect, and after an instant's wavering, bends all his puny energies to pacifying its uneasy cry. Again, the end of the plot comes with the tribute of the bewildered but adoring mother to the ineffably gentle Little Man.

But a one-act play that has any pretensions to literature must be looked upon as a law unto itself and should not be expected to conform to any set of arbitrary requirements. As a matter of fact, there are only a very few generalizations that can be made with regard to the structure or to the classification of the one-act play. Even this book contains plays that are not susceptible of any hard and fast classification. _The Intruder_ and _Riders to the Sea_ are indubitably tragedies, but _Fortune and Men's Eyes_, dealing, as it does, with the tragic theme of love's disillusionment, belongs not at all with the plays of Maeterlinck and Synge, shadowed, as they are, by death. And though the deaths are many and bloody in _A Night at an Inn_, the unreality of the romance is so strong that there is no such wrenching of the human sympathies as we associate with tragedy. _The Pierrot of the Minute_ is superficially a Harlequinade, but Dowson's insistence on the theme of satiety brings it narrowly within the range of satire. _Beauty and the Jacobin_ is rich in comedy; so is Lady Gregory's _Spreading the News_, and in both, the situations change imperceptibly from comedy to farce and from farce back to comedy.

The laws of the structure of the one-act play are in the nature of dramatic art no less flexible. It can be said that in order to secure that singleness of impression that is as essential to the one-act play as to the short-story, a single well sustained theme is necessary, a theme announced in some fashion early in the play. Indeed since the one-act play is a short dramatic form, it may be said in regard to the announcing of the theme that, "'Twere well it were done quickly." In _Spreading the News_, the curtain is barely up before Mrs. Tarpey is telling the magistrate: "Business, is it? What business would the people here have but to be minding one another's business?" And at approximately the same moment in the action of _The Intruder_, the uncle, foreshadowing the theme of the mysterious coming of death, says: "When once illness has come into a house, it is as though a stranger had forced himself into the family circle."

The single dominant theme for its dramatic expression calls also for a single situation developing to a single climax. In the case of _Fortune and Men's Eyes_, it is the ballad-monger, who in crying his wares,

"Plays, Play not Fair, Or how a _gentlewoman's_ heart was took By a player, that was King in a stage-play,"

gives us in the first few minutes of the play his ironical clue to the theme. And this theme is worked out in Mary Fytton's shallow intrigue with William Herbert, which culminates in the shattering of the Player's dream on that autumn day in South London at "The Bear and the Angel."

The single situation exemplifying the theme of _The Intruder_ is found in the repeatedly expressed premonitions of the blind Grandfather, stationary in his armchair, whose heightened senses detect the presence of the Mysterious Stranger. The unity of effect secured in this play is only rivaled, not surpassed, by the wonderful totality of impression experienced by the reader of _The Fall of the House of Usher_. The unity of effect in _The Intruder_ is secured also by Maeterlinck's description of the setting, which reminds the playgoer or the reader inevitably of Stevenson's familiar words: "Certain dark gardens cry aloud for murder; certain old houses demand to be haunted."

In general, as has been said, the plot of the one-act play, because of the time limitations, admits of no distracting incidents. For the same reason the characterization must be swift and direct. By Bartley Fallon's first speech in _Spreading the News_, Lady Gregory characterizes him completely. He needs but say: "Indeed it's a poor country and a scarce country to be living in. But I'm thinking if I went to America it's long ago the day I'd be dead," and the fundamental part of his character is fixed in the minds of the audience. From that moment it is just a question of filling in the picture with pantomime and further dialogue.

The characterization of the Player in _Fortune and Men's Eyes_ begins at the moment that he enters the tavern, when Wat, the bear-ward, calls out:

"I say, I've played.... There's not one man Of all the gang--save one.... Ay, there be one I grant you, now!... He used me in right sort; A man worth better trades."

Wat's verdict on the fair-mindedness of Master William Shakespeare of the Lord Chamberlain's company is borne out by the Player's own,

"High fortune, man! Commend me to thy bear." [_Drinks and passes him the cup._]

The entrance of the ballad-monger gives Master Will an opening for a punning jest and, the action continuing, shows him sympathetic to the strayed lady-in-waiting, tender to the tavern boy, magnanimous to the false friend and falser love.

One method of characterization which the author allows herself to use in this play, no doubt to heighten the Elizabethan illusion, is rare in the contemporary drama: when this "dark lady of the sonnets" flees "The Bear and the Angel," the Player breaks forth into the self-revealing soliloquy, found so frequently in his own plays, and continuing as a dramatic convention until the last quarter of the nineteenth century.[3]

[Footnote 3: The Elizabethan platform stage survived until then in the shape of the long "apron," projecting in front of the proscenium. The characters were constantly stepping out of the frame of the picture; and while this visual convention maintained itself, there was nothing inconsistent or jarring in the auditory convention of the soliloquy. See William Archer, _Play-Making_, Boston, 1912, pp. 397-405.]

Characterization rests in part on pantomime. In _The Little Man_, the Dutch Youth is dumb throughout the play, but he is sufficiently characterized by his foolish demeanor and his recurrent laugh. The part of the Little Man himself is one long gesture of humility and dedication. In those one-act plays in which the old characters of the Harlequinade reappear, like _The Maker of Dreams_ and _The Pierrot of the Minute_, pantomime transcends dialogue as a method of characterization. In the plays of the Irish dramatists, Synge, Yeats, and Lady Gregory, pantomime and dialogue contribute equally to the characterization, which is of a very high order, since all these dramatists were close observers of the Irish peasant characters of their plays.

Synge, especially, illustrates the following critical theory of Galsworthy: "The art of writing true dramatic dialogue is an austere art, denying itself all license, grudging every sentence devoted to the mere machinery of the play, suppressing all jokes and epigrams severed from character, relying for fun and pathos on the fun and tears of life. From start to finish good dialogue is hand-made, like good lace; clear, of fine texture, furthering with each thread the harmony and strength of a design to which all must be subordinated." A study of the dialogue of _Riders to the Sea_ reveals just this harmony between the dialogue and the inevitability of the plot, the dialogue and the simplicity of the characters.

The dialogue in _The Little Man_ is the very idiom one would expect to issue from the mouth of the German colonel, the Englishman with the Oxford voice, or the intensely national American, as the case may be. The characters, though they have type names, are, as Mr. Galsworthy would probably be the first to explain, highly individualized. The author does not intend us to think that all Americans are like this loud-voiced traveler, or all Englishmen like the pharisaical gentleman who gives his wife the advertisements to read while he secures the news sheet for himself.