Chapter XXX: Part 30

LIZZIE [_still looking at the letter_]. How can it be interpreted otherwise? [_About to read the letter aloud._] Ahem! [_Reads with a certain solemnity._] "My drama has been accepted and will be produced this very winter. The conditions of the contract are first-rate, and the director promises me a great success, and incidentally a great reputation." [_Reads over some passages in an indistinct nasal monotone, then continues._] "My! You ought to see me now.--I've sung and danced so much that it'll be a wonder to me if I'm not asked to move. I feel so strong. And now to write, to create, to do things!" [_Reads again in a nasal monotone, and soon with greater solemnity than before, and a certain tenderness._] "And now, I hope, better days are in store for us, happiness of such a nature that you cannot be indifferent to it." [_Stops reading._] That's a bit veiled, but it's plain talk just the same. [_Gives Fanny the letter. Speaks lovingly._] Lucky woman! My darling Fanny! [_Embraces her._] You dear! [_Kisses her._]

FANNY. So that's the way you understand it, too? [_Speaks in gasps, trembling all over._] Oh! Oh!

[_Covers her face with the letter, takes it to her lips and
breathes with difficulty. She takes from her right sleeve a
handkerchief and wipes her eyes._]

LIZZIE [_moved, embracing her with both arms_]. My dear Fanny! How happy I am! You dear, you! [_Dreamily._] Now I know how I'll play at the Ginsbergs' to-night! I'll put my whole soul into the music, and it will be the merriest, cheeriest soul that ever lived in the world.

FANNY [_bends down and kisses her forehead_]. My faithful friend!

LIZZIE. At last! My dream's come true!

FANNY [_drops into the armchair_]. Your dream?

LIZZIE [_takes a piece of cloth from the table, spreads it out on the floor, and kneels before Fanny_]. Listen. I dreamed for you a hero before whom the world, even before seeing him, would bare its head. I dreamed for you a triumphal march of powerful harmonies, a genius, a superman, such as only you deserve.

FANNY. Sh! Sh! Don't talk like that!

LIZZIE. No, no. You can't take that away from me. As long as I shall live I'll never cease admiring you. There aren't many sisters in the world like you. Why, you never have given a thought to yourself, never a look, but have worked with might and main to make a somebody out of your sister. I'll tell you the truth. I've often had the most unfriendly feelings toward your sister Olga. She takes it so easy there in Petrograd, while you--

FANNY [_tenderly_]. You're a naughty girl.

LIZZIE. I simply couldn't see how things went on,--how you were working yourself to death.

FANNY. But that was my happiness, and now I am amply repaid for it, to see Olga placed upon an independent footing, with a great future before her as a painter.

LIZZIE. That kind of happiness did not appeal very much to me. I wanted, for you, a different kind of happiness,--the happiness of being a wife, of being a mother, of loving and being loved.

FANNY [_in a reverie_]. I had already weaned my thoughts away from love and family life as the only happiness.

LIZZIE. You poor soul!

FANNY. When my mother died, my road was clearly mapped out for me: to be to my sister, who is eight years younger than I, both a father and a mother. That purpose was great and holy to me. I never thought of anything else. Only in the early twenties, between twenty-two and twenty-five, a longing for something else came to me. Not that my sister became a burden to me, God forbid, but I wanted something more, a full life, happiness and--love. At that time I used to cry very much, and wet my pillow with my tears, and I was very unhappy. And I was easily angered then, too, so you see I was far from an angel.

LIZZIE [_draws Fanny nearer, and kisses her_]. You darling, you!

FANNY. But later the longing left me, as if it had been charmed away. Olga grew older, and her talents began to ripen. Then I forgot myself altogether, and she became again my sole concern.

LIZZIE. And is that all?

FANNY. What else can there be? Of course, when my sister went to Petrograd she was no longer under my immediate care and I was left all alone. The old longing re-awoke in my bosom but I told myself that one of my years had no right to expect happiness and love? So I determined to tear out, to uproot from my heart every longing. I tried to convince myself that my goal in life had already been attained--that I had placed a helpless child securely upon her feet--

LIZZIE. But you loved Berman all the time, didn't you?

FANNY. Yes, I loved him all the time, but I fought my feelings. Life had taught me to restrain and to suppress my desires. I argued: He is too far above me--

LIZZIE. Too far above you?

FANNY [_continuing_]. And I am too worn-out for him. And furthermore, I tried to make myself believe that his daily visits here were accidental, that they were not intended for me at all, but for his friend and nephew Hindes, who happens to board with me.

LIZZIE. But how could you help perceiving that he was something more than indifference to you? You must have been able to read it in his eyes.

FANNY [_smiling_]. Well, you see how it is! And perhaps for the very reason that I had abandoned all ideas of love, and had sought to deceive myself into believing that I was a dried-up twig on the tree of live--

LIZZIE [_jumping up_]. My! How you sinned against yourself!

FANNY [_rising_]. But now the sap and the strength flow again within me,--now I am young once more.--Ah! Life, life!--To enjoy it, to drink it down in copious draughts, to feel it in every pulse-beat--Oh, Lizzie, play me a triumphal march, a song of joy, of jubilation....

LIZZIE. So that the very walls will dance and the heavens join in the chorus. [_Goes to the door at the left, singing._] "Joy, thou goddess, fair, immortal, daughter of Elysium, Mad with rapture--" [_Suddenly stops._] Sh! Hindes is coming!

[_Listens._]

FANNY [_she has been standing as if entranced; her whole body trembles as she awakens to her surroundings. She puts her finger to her nose, warningly._] Don't say a word to him about it.

LIZZIE. I will! He must know it, he must be happy over it, too. And if he truly loves you, he will be happy to learn it. And then, once for all he'll get rid of his notions about winning you.

FANNY. Don't be so inconsiderate.

LIZZIE. Leave it to me!... Hindes! Hindes!

FANNY. It's high time you left for the Ginsbergs'.

LIZZIE. I've a few minutes yet.... Hindes! Hindes!

HINDES [_appears at the rear door. He wears spectacles; under his left arm a crutch, under his right arm books, and in his hands various bags of food_].

FANNY [_steals out through the door at the left_].

HINDES. Good evening. What's the news?

LIZZIE. Come here! Quick! Fa--

HINDES. Won't you give me time to carry my parcels into my room?

LIZZIE. Not even a second! Fanny has--

HINDES [_taking an apple from a bag_]. Have an apple.

LIZZIE [_refusing it_]. Let me speak, won't you! Fa--

HINDES. May I at least sit down?

LIZZIE [_loudly_]. Fanny has received a letter from Berman!

HINDES [_taking a seat_]. Saying that his drama has been accepted. I, too, have received a letter from Berman.

LIZZIE. That's nothing. The point is that he is seeking to make a match with her. He has practically proposed to her.

HINDES [_astonished_]. Practically proposed? To Fanny?

LIZZIE. Yes, and when Fanny comes back you just see to it that you wish her a right friendly congratulation, and that you make no--[_Stops suddenly._] Hm! I came near saying something silly.--Oh, I'm so happy, and I'd just have the whole world happy with me. Do you hear? You must help her celebrate, do you hear? And now, good night to you, for I must run along to the Ginsbergs'.

[_Turns to the door at the left singing: "Joy, thou goddess, fair,
immortal...."_]

HINDES [_calling after her_]. But--the devil. Miss Ehrlich!

LIZZIE [_at the door_]. I haven't a single moment to spare for the devil.

[_She disappears._]

HINDES [_grunts angrily, throws his crutch to the ground, places his books and his packages on a chair, and mumbles_]. What mockery is this!

[_Takes out a letter from his inside pocket and reads it over
several times. Grunts again. Rests his head heavily upon his
hands, and looks vacantly forward, as if deeply puzzled._]

FANNY [_enters, embarrassed_]. Good evening, Hindes!

HINDES [_mumbles, without changing his position_]. Good evening!

FANNY [_looks at him in embarrassment, and begins to busy herself with the cloaks on the forms._]

HINDES [_still in the same position. He taps his foot nervously. He soon ceases this, and speaks without looking at Fanny_]. Miss Segal, will you permit me to see Berman's letter?

FANNY [_with a nervous laugh_]. That's a bit indiscreet--not at all like a cavalier.

HINDES [_same position and same tone_]. Will you permit me to see Berman's letter?

FANNY [_with a laugh of embarrassment, throws him the letter, which she has been holding in her sleeve_]. Read it, if that's how you feel.

HINDES [_bends slowly down, gets the letter, commences to read it, and then to grumble_]. H'm! So! [_He lets the letter fall to his knee, and stares vacantly before him. He shakes his foot nervously and mumbles as if to himself._] To be such an idiot!

FANNY [_regards him with astonishment_].

HINDES [_somewhat more softly_]. To be such an idiot!

FANNY [_laughing, still embarrassed_]. Who?

HINDES. Not I.

[_Picks up his crutch, the books and the parcels, arises, and
gives the letter to Fanny._]

FANNY [_beseechingly_]. Hindes, don't take it so badly. You make me very sad.

HINDES. I'm going to my room, so you won't see me.

FANNY [_as before_]. Don't speak to me like that, Hindes. Be my good friend, as you always were. [_In a lower tone, embarrassed._] And be good to Berman. For you know, between us, between you and me, there could never have been anything more than friendship.

HINDES. There is no need of your telling me that. I know what I know and have no fault to find with you.

FANNY. Then why are you so upset, and why do you reproach yourself?

HINDES. Because....

FANNY. Because what?

HINDES [_after an inner struggle, stormily_]. Because I am in a rage! To think of a chap writing such a veiled, ambiguous, absolutely botched sentence, and cooking up such a mess!

FANNY. What do you mean by all this?

HINDES. You know, Miss Segal, what my feelings are toward you, and you know that I wish you all happiness. I assure you that I would bury deep within me all my grief and all my longing, and would rejoice with a full heart--if things were as you understood them from Berman's letter.

FANNY. As I understood them from Berman's letter?

HINDES. --And what rouses my anger and makes me hesitate is that it should have had to happen to you and that I must be the surgeon to cut the cataract from your eye.

FANNY [_astounded_]. Drop your rhetorical figures. End your work. Cut away, since you've begun the cutting.

HINDES [_without looking at her, deeply stirred_]. Berman did not mean you.

FANNY. Not me?

HINDES. Not you, but your sister.

FANNY [_with an outcry_]. Oh!--

HINDES. He writes me that his first meeting with her was as if the splendor of God had suddenly shone down upon him,--that gradually he was inflamed by a fiery passion, and that he hopes his love is returned, that....

FANNY [_falls upon a chair, her face turned toward the table. She breaks into moaning_]. She has taken from me everything!

[_In deepest despair, with cries from her innermost being, she
tears at her hair._]

HINDES [_drops his books and packages to the floor. Limps over to Fanny, and removes her hands from her head_]. You have good reason to weep, but not to harm yourself.

FANNY [_hysterically_]. She has taken from me everything! My ambition to study, my youth, my fondest hopes, and now....

HINDES. And now?--Nothing. As you see, Berman never loved you. If it hadn't been for that unfortunate, ambiguous, absolutely botched, simply idiotic sentence....

FANNY [_softly_]. Hindes, I feel that I no longer care to live.

HINDES. Folly!

FANNY. I feel as if my heart had been torn in two. My soul is empty, desolate ... as if an abyss had opened before me.... What have I now in life for? I can live no longer!

HINDES. Folly! Nonsense!

FANNY. I have already lived my life....

HINDES. Absurd!

FANNY [_resolutely_]. I know what I'm talking about, and I know what to do.

[_Silence._]

HINDES [_regarding her closely. With blunt emphasis_]. You're thinking now over what death you shall choose.

FANNY [_motionless_].

HINDES [_taking a seat_]. Let me tell you a story. There was once upon a time a man who--not through doubt and misfortune, but rather through good times and pleasures, came to the conclusion that life wasn't worth living. So he went off to buy a revolver. On his way a great clamor arose in the street. A house had caught fire and in a moment was in flames. Suddenly, at one of the windows in the top story there appeared a woman. The firemen had placed their highest ladders against the building and a man began to climb up. That man was none other than our candidate for suicide. He took the woman out of the window, gave her to the firemen who had followed him up, and then went through the window into the house. The surrounding crowd trembled with fear lest the house should cave in at the very last moment. Flames already appeared at the window, and people were sure that the hero had been burned to death inside. But he had not been burned; he soon appeared on the roof, with a small child in his arms. The ladders could not reach to this height, so the firemen threw him a rope. He tied the rope about the child and lowered it to the firemen. But he himself was beyond rescue. He folded his hands over his heart, and tears trickled from his eyes. He, who but a moment before had sought death, now desired not to die. No, he wanted to live, for in that moment he had found a purpose: to live and to do good.

FANNY [_angrily_]. To do good! I'm tired of doing good!

HINDES. Don't sin against yourself, Fanny!

FANNY. Do good! I have done good; I have lived for others, not myself; and now you can see for yourself that I have not fulfilled my life. I feel as wretched as the most miserable, as the most wicked, and I long for death even as the most unhappy!

HINDES [_looking at her from under his spectacles_]. Does Olga know of your feelings toward Berman?

FANNY [_angrily_]. I don't know what she knows.

HINDES. Can't you give me any better reply than that?

FANNY. What can I know? I used to write her letters just full of Berman.

HINDES. Could Olga have gathered from them that you were not indifferently disposed toward him?

FANNY. What do you mean by this cross-examination?

HINDES. I have a notion that if you were to do what you have in your mind at present,--a thing I cannot bring myself to name,--then Olga would not accept Berman's love. Rather she would take her own life, since she would look upon herself as the cause of your death.

FANNY. What's this you've thought up?

HINDES. Just what you heard.

FANNY. And you mean--?

HINDES. --That you know your sister and ought to realize what she's liable to do.

FANNY [_in a fit of anger_]. First she takes away my life, and now she will not let me die!

[_Her head sinks to the table._]

HINDES. There spoke the true Fanny, the Fanny of yore.

FANNY [_weeps bitterly_].

HINDES. Well may you weep. Weep, Fanny, weep until the tears come no more. But when that is over, then dry your eyes and never weep again. Dry forever the source of all your tears. That's exactly what I did, do you understand? Such people as you and I, robbed of personal happiness, must either weep forever, or never weep at all. I chose the latter course. Harden yourself, Fanny, and then fold your arms on your breast and look fearlessly forward into life, fulfilling it as your heart dictates.

FANNY [_continues weeping_].

HINDES [_noticing Berman's letter on the table, takes it up and throws it down angrily_]. Such a botched, idiotic sentence! And he's a poet!

FANNY [_raising her head_]. If things are as you say, then Olga will in any case reject Berman. She will imagine that she is taking him away from me, and such a thing she would never do.

HINDES. Perhaps. [_Suddenly, bluntly._] And what will be the effect of all this upon you?

FANNY [_brokenly_]. Who's thinking of self? I mean that I want her to have him.

HINDES. There's the old Fanny again!

FANNY. Ah! Enough of that! Better help me with some suggestion.

HINDES. Some suggestion? Be her matchmaker.

FANNY. And suppose she should turn the tables and want to be my matchmaker?

HINDES. We've got to think that over.

[_Silence._]

FANNY [_brokenly_]. Hindes!

HINDES. What?

FANNY. I have an idea.

HINDES. Good.

FANNY. But I need your aid.

HINDES. Count on me, if I'm able.

FANNY. Do you promise?

HINDES. Blindly?

FANNY. Blindly.

HINDES [_looks at her_]. Why must I promise you blindly? If I'm able, you may be sure I'll help.

FANNY [_brokenly, yet in embarrassment_]. Take me.... Marry me.

HINDES [_for a moment he looks at her, then picks up his crutch, his books and the packages_].

FANNY [_beseechingly_]. Hindes! If I should marry, Olga wouldn't have any obstacle in her way.

HINDES. Miss Segal, I have loved you, and still do. But I refuse to be the altar upon which you shall sacrifice yourself.

FANNY. But a moment ago you dissuaded me from death. Will you now drive me back to it?

HINDES. Your sister will be able to find happiness without Berman.

FANNY. But if she loves him?--

HINDES. Then she'll suffer, just as we do.

FANNY. No! Olga must not suffer! Do you hear! I'll not have it!

HINDES. That is very nice of you.

FANNY [_through her tears_]. Hindes, I no longer know you.

HINDES [_turns toward the door_]. Good night.

FANNY [_is overcome by sobbing_].

HINDES [_limps to the door, then stops. Looks downwards, then raises his eyes toward Fanny_]. Miss Segal, why is it that during all the time that I have boarded with you I have made no declaration of love, that I have never proposed marriage?

FANNY [_weeps_].

HINDES. I'll tell you. Wasn't it because I knew that you didn't love me, and because I wanted your love, not merely your respect?

FANNY [_firmly_]. No. You didn't do it simply because you knew that I would refuse you.

HINDES. And suppose I expected "Yes" from you?

FANNY. Then you would have proposed.

HINDES. And married you without your love?

FANNY. Yes.

HINDES. But then I didn't know that you loved another.

FANNY [_brokenly_]. The other no longer exists for me.

HINDES [_looks again at the floor. Silence_].

FANNY. Hindes!

HINDES. Yes?

FANNY. Come nearer to me.

HINDES. I am lame.

FANNY. Put all your bundles aside.

HINDES [_hesitates for a moment, then puts down his books and packages_].

FANNY [_as if in embarrassment_]. Everything.... Everything....

HINDES [_bluntly_]. Don't be ashamed. Say just what you mean: Lay aside the crutch, too.

[_He lays aside the crutch._]

FANNY [_arises, takes his hand_]. Hindes, you know my attitude toward you. You know how highly I esteem you, how happy I've always been to possess in you a good, true friend.... [_Nestles her head against him, coyly._] Embrace me, and give me a kiss, a hot, passionate kiss. Put into it your whole love, make it express your whole true soul. [_Brokenly, and in tears._] I tell you, our life will be--happy. We souls, forgotten by happiness, will yet find it--in our own way--as best we can. [_Less tearfully._] You'll see how it'll soon be. Lizzie will come home and she'll play us a march of jubilation, a march of joy.... [_Brokenly._] She owes it to me!... I'll dance, I tell you; I'll dance for two. You'll see. And I'll sing. I'll turn things upside down. Hindes, kiss me, hotly, hotly.

HINDES [_passionately, through tears_]. You.... You....

[_He gives her a long kiss, as if entranced._]

[_Slow Curtain._]

* * * * *

BIBLIOGRAPHY

OF THE LITTLE THEATRE

FOREWORD

What is wanting in this list the reader will only too soon discover for himself. I do not, however, wish to offer a faltering apology for the incompleteness of the work. In truth, it needs none. Nevertheless, a brief word of explanation may not be amiss.

The duties of the bibliographer are more or less mechanical. He merely collects his data from the most available sources or from arcana known only to a few, arranges his material alphabetically and sends his copy to the printer.

The present list is an exception to the general practice. It will be noted that the bibliographer has broken his traces, forsaken his accustomed field and intruded, in some measure, upon the province of the critic. From the great mass of plays accessible in English I have sought to select only those which I hold best adapted to the little theater as it is to-day constituted. On the whole, they are plays which have encountered a certain measure of success or that I felt to be worthy of production. Rigid care has been taken to exclude such dramatic pieces which are fittingly described as "side-splitting farces." The latter contribute nothing to the art theater. Box and Cox, I doubt not, may be excruciatingly funny, but few would care to hear that Sam Hume, for instance, was about to produce it. Not that genuine laughter hasn't its place in the modern theater; but we cannot laugh to-day at the archaic drolleries of yesterday. We cannot abandon ourselves to papier-mache characterization in the theater. And this is what the art theater accomplished in its brief stay with us.

F. S.

THE BOOKS OF THE LITTLE THEATRE

ANTHONY, Luther B.
DRAMATOLOGY. A Manual of Craftsmanship

APPIA, Adolphe
DIE MUSIK UND DIE INSCENIERUNG

ARCHER, William
PLAY MAKING. A Manual of Craftsmanship
ABOUT THE THEATRE

ARCHER, William, and BARKER, Granville
A NATIONAL THEATRE. Schemes and Estimates

ARNOLD, Robert S.
DAS MODERNE DRAMA

AUSTIN, Stephen F.
THE PRINCIPLES OF DRAMA-THERAPY

BAKER, George Pierce
THE TECHNIQUE OF THE DRAMA
DRAMATIC TECHNIQUE

BAKSHY, Alexander
THE PATH OF THE MODERN RUSSIAN STAGE

BICKLEY, Francis
J. M. SYNGE AND THE IRISH DRAMATIC MOVEMENT

BLEACKLEY, J. Arthur
THE ART OF MIMICRY

BOOTH, William Stone
A PRACTICAL GUIDE FOR AUTHORS AND PLAYWRIGHTS

BOURGEOIS, Maurice
JOHN MILLINGTON SYNGE AND THE IRISH THEATRE

BOYD, Ernest A.
THE CONTEMPORARY DRAMA OF IRELAND

BROADBENT, R. J.
A HISTORY OF PANTOMIME

BROWNE, Maurice
THE TEMPLE OF A LIVING ART

BROWNE, Van Dyke
SECRETS OF SCENE PAINTING AND STAGE EFFECTS

BRUNETIERE, Ferdinand
THE LAW OF THE DRAMA, with an introduction by Henry Arthur Jones.
Translated by P. M. Hayden

BURLEIGH, Louise
THE COMMUNITY THEATRE

BURTON, Richard
HOW TO SEE A PLAY

CALTHROP, Dion Clayton
ENGLISH COSTUME. Four volumes

CALVERT, Louis
PROBLEMS OF THE ACTOR

CANNAN, Gilbert
THE JOY OF THE THEATRE

CANNON, Fanny
WRITING AND SELLING A PLAY

CARTER, Huntley
THE NEW SPIRIT IN DRAMA AND ART
THE THEATRE OF MAX REINHARDT

CHENEY, Sheldon
THE OPEN AIR THEATRE
THE THEATRE ARTS MAGAZINE
THE NEW MOVEMENT IN THE THEATRE
THE ART THEATRE

CLARK, Barrett H.
HOW TO PRODUCE AMATEUR PLAYS
CONTINENTAL DRAMA OF TO-DAY
BRITISH AND AMERICAN DRAMA OF TO-DAY
EUROPEAN THEORIES OF THE DRAMA

COLLES, W. M., and HARDY, H.
PLAYWRIGHT AND COPYRIGHT IN ALL COUNTRIES

COQUELIN, Constant
ART AND THE ACTOR. Translated by A. L. Alger

CRAIG, Gordon
THE ART OF THE THEATRE
ON THE ART OF THE THEATRE
A LIVING THEATRE
TOWARDS A NEW THEATRE
THE THEATRE--ADVANCING

DEAN, Basil
THE REPERTORY THEATRE, 1911

DICKINSON, Thomas H.
THE CONTEMPORARY DRAMA OF ENGLAND
THE INSURGENT THEATRE

EDWARDS, O.
JAPANESE PLAYS AND PLAYFELLOWS

FENELLOSA, Ernest, and POUND, Ezra
"NO"; or ACCOMPLISHMENT

FRY, Emma Sheridan
EDUCATIONAL DRAMATICS

GILLETTE, William
THE ILLUSION OF THE FIRST TIME IN ACTING

GOLDMAN, Emma
THE SOCIAL SIGNIFICANCE OF THE MODERN DRAMA

GREGORY, Lady
OUR IRISH THEATRE

HAMILTON, Clayton
THEORY OF THE THEATRE
STUDIES IN STAGECRAFT
PROBLEMS OF THE PLAYWRIGHT

HASTINGS, Charles
THE THEATRE. Its Development in France and England and a History
of Its Greek and Latin Origins

HENDERSON, Archibald
THE CHANGING DRAMA
EUROPEAN DRAMATISTS

HENNEQUIN, Alfred
THE ART OF PLAYWRITING

HILLIARD, E., McCORMICK, T., and OGLEBAY, K.
AMATEUR AND EDUCATIONAL DRAMATICS

HORNBLOW, Arthur
TRAINING FOR THE STAGE. Some Hints for Those About to Choose
the Player's Career

HORRWITZ, Ernest P.
THE INDIAN THEATRE. A Brief Survey of the Sanskrit Drama

HOWE, P. P.
THE REPERTORY THEATRE

HUBERT, Philip G.
THE STAGE AS A CAREER

HUNT, Elizabeth R.
THE PLAY OF TO-DAY

IZUMO, Takeda. Translated by M. C. Marcus
THE PINE TREE. With an Introductory Causerie on the Japanese Theatre

JONES, Henry Arthur
RENASCENCE OF THE ENGLISH DRAMA
FOUNDATIONS OF A NATIONAL DRAMA
THE THEATRE OF IDEAS

KROWS, Arthur Edwin
PLAY PRODUCTION IN AMERICA

LAWRENCE, W. J.
THE ELIZABETHAN PLAYHOUSE

LEWES, G. H.
ON ACTORS AND THE ART OF ACTING

LEWIS, B. Roland
THE TECHNIQUE OF THE ONE-ACT PLAY: A Study in Dramatic Construction

LEWISOHN, Ludwig
THE MODERN DRAMA

MACCARTHY, Desmond
THE COURT THEATRE

MACCLINTOCK, Lander
THE CONTEMPORARY DRAMA OF ITALY

MACKAY, Constance D'Arcy
COSTUMES AND SCENERY FOR AMATEURS; A Practical Working Handbook
THE LITTLE THEATRE IN THE UNITED STATES

MACKAY, F. F.
THE ART OF ACTING

MACKAYE, Percy
COMMUNITY DRAMA
THE CIVIL THEATRE
THE PLAYHOUSE AND THE PLAY
PATRIOTIC DRAMA IN YOUR TOWN

MACKINNON, Alan
THE OXFORD AMATEURS

MANTIZIUS, Karl
HISTORY OF THEATRICAL ART IN ANCIENT AND MODERN TIMES. Five volumes

McCLEOD, Addison
PLAYS AND PLAYERS IN MODERN ITALY

McEWEN, E. J.
FREYTAG'S TECHNIQUE OF THE DRAMA

MATTHEWS, Brander
ON ACTING

MODERWELL, Hiram Kelly
THE THEATRE OF TO-DAY

MONTAGUE, C. E.
DRAMATIC VALUES

MORSE, Elizabeth
PRINCIPLES OF EXPRESSION: A Guide for Developing Readers, Speakers
and Dramatic Artists

NICHOLSON, Watson
THE STRUGGLE FOR A FREE STAGE IN LONDON

PALMER, John
THE FUTURE OF THE THEATRE COMEDY
THE CENSOR AND THE THEATRE

PHELPS, William Lyon
THE TWENTIETH CENTURY THEATRE

POLLAK, Gustav
FRANZ GRILLPARZAR AND THE AUSTRIAN DRAMA

POLTI, George. Translated by Lucille Ray
THE THIRTY-SIX DRAMATIC SITUATIONS

PRICE, W. T.
TECHNIQUE OF THE DRAMA
ANALYSIS OF PLAY CONSTRUCTION AND DRAMATIC PRINCIPLE
THE PHILOSOPHY OF DRAMATIC PRINCIPLE AND METHOD

RENNERT, Hugo A.
THE SPANISH STAGE

RILEY, Alice C. D.
THE ONE-ACT PLAY. A Study Course in Three Parts

ROUCHE, Jacques
L'ART THEATRAL MODERNE

SACHS, Edward O.
STAGE CONSTRUCTION

SAYLER, Oliver M.
THE RUSSIAN THEATRE UNDER THE REVOLUTION

SEPET, Marius
ORIGINES CATHOLIQUES DE THEATRE MODERNE

SHAW, George Bernard
DRAMATIC OPINIONS AND ESSAYS

SHAY, Frank
THE PLAYS AND BOOKS OF THE LITTLE THEATRE. A Listing of Over 1000
One-Act Plays Available in Printed Form

SMITH, Winifred
THE COMMEDIA DELL'ARTE. A Study of Italian Popular Comedy

STOPES, Marie C.
THE PLAYS OF OLD JAPAN. The No.

TAYLOR, Emerson
PRACTICAL STAGE DIRECTING FOR AMATEURS

THEATRICAL SCENE PAINTING: A Thorough and Complete Work on How to
Sketch, Paint and Install Theatrical Scenery

THE TRUTH ABOUT THE THEATRE

TURRELL, Charles A.
CONTEMPORARY SPANISH DRAMATISTS

WAUGH, Frank A.
OUTDOOR THEATRES

WITKOWSKI, George. Translated by L. E. Horning
THE GERMAN DRAMA OF THE NINETEENTH CENTURY

WOODBRIDGE, Elizabeth
THE DRAMA. Its Law and Technique

* * * * *

THE PLAYS OF THE LITTLE THEATRE

ABBREVIATIONS

a--Allegory
c--Comedy
d--Drama
m--Masque
p--Play
s--Satire
m--Men, or Male Characters
w--Women, or Female Characters
j--Juvenile
i--Characters played by either sex

ABERCROMBIE, Lascelles
THE ADDER

AKINS, Zoe
DID IT REALLY HAPPEN?
THE MAGICAL CITY
SUCH A CHARMING YOUNG MAN

ALDRICH, Thos. Bailey
SISTERS' TRAGEDY
CORYDON, a Pastoral. 2m
PAULINE PAVLOVNA. p. 1m 1w supers _Houghton_

ALDIS, Mary
PLAYS FOR SMALL STAGES
MRS. PAT AND THE LAW. p 2m 2w 1j
THE DRAMA CLASS AT TANKAHA, NEV. c 2m 9w
EXTREME UNCTION. d 1m 4w
THE LETTER. p 2m 1j
TEMPERAMENT. t 1m 2w
Five plays in one volume _Duffield_

ANCEY, Georges.
See "Four Plays for the Free Theatre."

ANDREWS, K.
AMERICA PASSES BY. p 2m 2w _Baker_

ANDREYEV, Leonid
LOVE OF ONE'S NEIGHBOR. s 15m 7w 1j _Shay_

D'ANNUNZIO, Gabriele
DREAM OF AN AUTUMN SUNSET. p 2m 4w _Poet Lore_
DREAM OF A SPRING MORNING. p 3m 4w _Poet Lore_

ARISTOPHANES
LYSISTRATA. s 4m 5w 1j _French_

ARKELL, Reginald
COLUMBINE, a fantasy. 4m 1w _S. & J._

AUGIER, Emile
THE POSTSCRIPT. c 1m 2w _French_

AUGIER, Emile, and de MUSSET, Alfred
THE GREEN COAT. c 3m 1w _French_

AUSTEN, Alfred
A LESSON IN HARMONY. p 3m 1w _French_

BACON, Mrs. Josephine Dodge
THE TWILIGHT OF THE GODS. p 2 scenes _Kennerley_

BAKER, Elizabeth
MISS TASSY. p _Sidgwick_

BALLARD, J. Fred
THE GOOD NEWS. d 3m 1w 1j _Harvard_

BANGS, John Kendrick
THE REAL THING, etc.
THE REAL THING. c 2m 5w
THE BARRINGTONS' "AT HOME." c 2m 3w
THE RETURN OF CHRISTMAS. c 4m 3w
THE SIDE SHOW. c 8m 3w
Four plays in one volume _Harpers_
THE BICYCLERS, etc.
THE BICYCLERS. c 4m 3w
A DRAMATIC EVENING. c 4m 3w
THE FATAL MESSAGE. c 5m 4w
A PROPOSAL UNDER DIFFICULTIES. c 3m 2w
Four plays in one volume _Harpers_

BANNING, Kendall
"Copy." p 7m _Clinic_

DE BANVILLE, Theodore
GRINGOIRE. c 4m 2w supers _Poet Lore_
GRINGOIRE. c 4m 2w _Dramatic_
CHARMING LEANDRE. c 2m 1w _French_

BARBER, M. E.
MECHANICAL JANE. c 3W _French_

BARGATE, John
THE PRIZE. p 4m 3w _French_

BARKER, Granville
ROCOCO. f m w
VOTE BY BALLOT. p m w
FAREWELL TO THE THEATRE. p m w
Three plays in one volume _Little_
ANATOL. (_See_ Schnitzler.)

BARRIE, James M.
HALF HOURS
PANTALOON. p 3m
THE TWELVE POUND LOOK. c 2m 2w
ROSALIND. p 1m 2w
THE WILL. p 6m 1w
Four plays in one vol. _Scribner's_
THE TRAGIC MAN _Scribner's_
ECHOES OF WAR
OLD LADY SHOWS HER MEDALS. p 1m 5w
THE NEW WORLD. p 2m 2w
BARBARA'S WEDDING. p 3m 1w
A WELL-REMEMBERED VOICE. p 2m 2w
Four plays in one vol. _Scribner's_

BATES, W. O.
POLLY OF POGUE'S RUN. p 6m 2w _Shay_

BEACH, Lewis
THE CLOD. p 4m 1w _Shay_
BROTHERS. p 3m _Shay_
A GUEST FOR DINNER _Shay_

BECHHOFER, C. E.
FIVE RUSSIAN PLAYS, etc.
EVREINOV, N. A MERRY DEATH. c 5m
EVREINOV, N. THE BEAUTIFUL DESPOT. c 5m 3w 1j
VON VIZIN, D. THE CHOICE OF A TUTOR. c 5m 3w
CHEKOV, A. THE WEDDING. c 9m 3w
CHEKOV, A. THE JUBILEE. c 5m 1w
UKRAINKA, L. THE BABYLONIAN CAPTIVITY. d 1m 7i
Six plays in one vol. _Dutton_

BECQUE, Henri
THE VULTURES, etc.
THE MERRY-GO-ROUND. c 4m 1w _Little_

BELL, Mrs. Hugh, and CECIL, A.
TIME IS MONEY. c 1m 2w _French_

BELMONT, Mrs. O. H. P., and MAXWELL, Elsa
MELINDA AND HER SISTERS. p 6m 12w _Shores_

BEITH, Ian Hay
THE CRIMSON COCOANUT, etc.
THE CRIMSON COCOANUT. c 4m 2w
A LATE DELIVERY. p 3m 2w
THE MISSING CARD. c 2m 2w
Three plays in one vol. _Baker_
QUEEN OF HEARTS. c 2m 2w _Penn_

BENEDIX, Roderich
THE LAW OF SUIT. c 5m _French_
THE THIRD MAN. c 1m 3w _French_

BENEVENTE, Jacinto. PLAYS
HIS WIDOW'S HUSBAND. c 2m 5w
With other plays in one vol. _Scribner_
THE SMILE OF THE MONA LISA. p 5m 1i _Badger_
NO SMOKING. c 2m 2w _Drama_, _Feb._, 1917
IN THE PLACE OF DON JUAN. p 3m 2w _Poet Lore_

BENNETT, Arnold. POLITE FARCES
THE STEPMOTHER. c 2m 1w
A GOOD WOMAN. 3 cm 1w
A QUESTION OF SEX. c 2m 2w
Three plays in one volume _Doran_

BERINGER, Mrs. Oscar
HOLLY TREE INN. p 4m 3w _French_

BERNARD, Tristan
FRENCH WITHOUT A MASTER. c 5m 2w _French_
I'M GOING! c 1m 1w _French_

BIRO, Lajos
THE BRIDEGROOM. p 5m 6w
THE GRANDMOTHER. p 3m 8w
Two plays in one number _Drama_, _May_, 1918

BLOCH, Bertram
THE MAIDEN OVER THE WALL. f 2m 1w _Drama_, _Aug._, 1918
MORALS AND CIRCUMSTANCES. p 2m 3w _Smart Set_, _April_, 1919

BODENHEIM, Maxwell
THE WANDERER. p 4m 2w _Seven Arts_
THE MASTER POISONER.
"In Minna and Myself" _Pagan_

BONE, F. D.
A DAUGHTER OF JAPAN. d _French_
PRIDE OF THE REGIMENT. p 2m 1w _French_

BOTTOMLEY, Gordon
LAODICE AND DANAE. p 1m 5w _Four_
KING LEAR'S WIFE. p _Reynolds_

BOUCHOR, Maurice
A CHRISTMAS TALE. p 2m 2w _French_

BOUCICAULT, Dion
MY LITTLE GIRL. d 3m 2w _French_
LOVER BY PROXY. c 6m 4w _French_

BOYCE, Neith, and HAPGOOD, Hutchins
ENEMIES. p 1m 1w _Shay_

BOYCE, Neith
THE TWO SONS. p 2m 2w _Shay_

BRAGDON, Claude
THE GIFT OF ASIA. p 2m _Forum_, _March_, 1913

BRANCH, Anna Hempstead
THE ROSE OF THE WIND. p 2m 2w _Houghton_
SHOES THAT DANCED. p 3m 5w 1j _Houghton_

BRETHERTON, Evangeline
THE MINISTER'S MESSENGER. p 14w _French_

BRIDGHAM, G. R.
EXCUSE ME! c Two acts. 4m 6w _Baker_
A MODERN CINDERELLA. Two acts. p 16w _Baker_

BRIEUX, Eugene
SCHOOL FOR MOTHERS-IN-LAW. p 2m 4w _Smart Set_, _Sept._, 1913

BRIGHOUSE, Harold
SCARING OFF OF TEDDY DAWSON. c 2m 2w _French_
LONESOME-LIKE. p 2m 2w _Phillips_
THE PRICE OF COAL. p
THE MAID OF FRANCE. p 3m 2w _Phillips_
THE DOORWAY. p _Joseph Williams_
SPRING IN BLOOMSBURY. p _Joseph Williams_

BRIGGS, Caroline
ONE A DAY. c 5m _Shay_
In "Morningside Plays."

BROOKE, Rupert
LITHUANIA. d 5m 2w _Chicago_

BROWN, Alice
JOINT OWNERS IN SPAIN. c 4w _Baker_
THE LOVING CUP. p 4m 9w _Baker_

BROWNE, Maurice
KING OF THE JEWS. p _Drama_, _Vol._ 6, 1916

BROWNING, Robert
IN A BALCONY. p 1m 2w _Dramatic_

BRUNNER, Emma Beatrice. BITS OF BACKGROUND
OVER AGE. p 1m 4w
SPARK OF LIFE. p 2m 2w
STRANGERS. p 2m 1w
MAKING A MAN. p 2m 2w
Four plays in one volume _Knopf_

BRYANT, E. M.
THE PEACEMAKER. c 2m 3w _French_

BRYANT, Louise
THE GAME. p 2m 2w _Shay_

BUCK, Gertrude
MOTHER-LOVE. p 1m 3w _Drama_, _Feb._, 1919

BUNNER, H. C.
COURTSHIP WITH VARIATIONS. c 1m 1w _Werner_

BUNNER, H. C., and MAGNUS, J.
A BAD CASE. c 1m 3w _Baker_

BUSHIDO. _See_ IZUMO (TAKEDA)

BUTLER, Ellis Parker
THE REVOLT. p 8w _French_

BYNNER, Witter
THE LITTLE KING. p 3m 1w 1j _Kennerley_
TIGER. d 2m 3w _Kennerley_

DECAULAVET, G. A.
CHOOSING A CAREER. c _French_

CALDERON, George
THE LITTLE STONE HOUSE. p _Sidgwick_

CAMERON, Margaret. COMEDIES IN MINIATURE
MISS DOULTON'S ORCHIDS. c 3m 3w
THE BURGLAR. c 5w
THE KLEPTOMANIAC. c 7w
THE PIPE OF PEACE. c 1m 2w
A CHRISTMAS CHIME. c 2m 2w
COMMITTEE ON MATRIMONY. c 1m 1w
HER NEIGHBOR'S CREED and FOUR MONOLOGUES. c 1m 1w
Seven plays in one vol. _Doubleday_
PIPER'S PAY. c 7w French
THE TEETH OF THE GIFT HORSE. c 2m 3w _French_
THE WHITE ELEPHANT. c 2m 3w _French_
Published separately _French_

CAMPBELL, M. D.
A CHINESE DUMMY. c 6w _Baker_

CANNAN, Gilbert. FOUR PLAYS
JAMES AND JOHN. p 3m 1w
MILES DIXON. Two acts, p 3m 2w
MARY'S WEDDING. p 2m 3w
SHORT WAY WITH AUTHORS. p 7m 1w
Four plays in one volume _Phillips_
EVERYBODY'S HUSBAND. p 1m 5w _Huebsch_

CAPUS, Alfred
MY TAILOR. c 1m 2w _Smart Set_, _Feb._, 1918

CARMAN, Bliss, and KING, Mary. EARTH DEITIES, etc.
THE DANCE DIURNAL. m 2m 3w i
EARTH DEITIES. m 1m 10w i
CHILDREN OF THE WAR. m 1m 1w 24j
PAS DE TROIS. m 3m 1w
Four masques in one vol. _Kennerley_

CARTER, Josephine Howell
HILARION. c 2m 2w _Poet Lore_, _Summer_, 1915

CARTHEW, L.
THE AMERICAN IDEA. p 3m 2w _Baker_

CARTON, R. C.
THE NINTH WALTZ. c 1m 1w _French_

CHAMBERS, C. Haddon
OPEN GATE. d 2m 2w _French_

CHATTERJI, Tapanmohan
THE LIGHT-BEARER. d 4m _Drama_, _Aug._, 1918

CHURCH, Virginia
PIERROT BY THE LIGHT OF THE MOON. f 2m 3w _Drama_, _Feb._, 1919

CLEMENTS, Colin C., and SAUNDERS, John M.
LOVE IN A FRENCH KITCHEN, a Mediaeval Farce. 1m 2w _Poet Lore_

CLARK, Barrett H. FOUR PLAYS FOR THE FREE THEATRE
DECUREL, F. THE FOSSILS. Four acts p 6m 4w
JULIAN, J. THE SERENADE. Three acts. p 7m 6w
PORTO-RICHE, G. FRANCOISE'S LUCK. c 3m 2w
ANCEY, G. THE DUPE. c 1m 2w
Four plays in one volume _Stewart_

COLQUHON, Donald. _See_ REPERTORY PLAYS
CONFEDERATES. d 4m 1w _French_

CONWAY, Ed. Harold
THE WINDY SHOT. p 5m _Smart Set_, _April_, 1915

CONRAD, Joseph
ONE DAY MORE. d 4m 1w _Smart Set_, _Feb._, 1914

CONVERSE, Florence
THE BLESSED BIRTHDAY. A Christmas Miracle Play.
19 Characters _Dutton_

COOLIDGE, H. D.
DEAD RECKONING. p 2m 1w _Baker_

COPPEE, Francois
THE VIOLIN MAKER OF CREMONA. c 3m 1w supers _Dramatic_
PATER NOSTER. p 3m 3w _French_

COURTLELINE, Georges
THE PITILESS POLICEMAN. c 3m _Poet Lore_
BLANK CARTRIDGE. p 1m 1w _International_, _July_, 1914
PEACE AT HOME. c 1m 1w _International_, _Dec._, 1913
PEACE AT HOME. c 1m 1w _Poet Lore_

COURTSHIP OF MILES STANDISH. _See_ PRESBERY, E.

COWAN, Sada
THE STATE FORBIDS. d 1m 2w 2j _Kennerley_
IN THE MORGUE. _Forum_, _April_, 1916
SINTRAM OF SKAGERRAK. p 1m 1w
In Mayorga's "Representative One-Act Plays" _Little_

CRAIG, Marion Wentworth
WAR BRIDES. d 3m 4w _Century_

CRANDALL, Irene Jean
BEYOND THE GATE. Two acts. p 7m 2w _French_

CRANE, Mabel H.
THE GIRLS. p 9w _French_

CROTHERS, Rachel
THE RECTOR. p 1m 6w _French_

DANE, Essex
FLEURETTE & CO. p 2w _French_
WRONG NUMBERS. c 3w _French_

DANGERFIELD, Trelawney
OLD STUFF. p 1m 2w _Smart Set_, _June_, 1917

DARGAN, Olive Tilford. LORDS AND LOVERS
LORDS AND LOVERS. p 18m 4w _Scribner_
WOODS OF IDA. m _Century_, _August_, 1907

DAVIS, Richard Harding
MISS CIVILIZATION. c 4m 1w _French_
PEACE MANOEUVERS. p 2m 1w _French_
THE ZONE POLICE. p 4m _French_
ORATOR OF ZAPATA CITY. p 8m 1w _Dramatic_

DAVIES, Mary Carolyn
SLAVE WITH TWO FACES. a 3m 4w _Arens_

DAVIS, Robert H.
ROOM WITHOUT A NUMBER. c 3m 1w _Smart Set_, _April_, 1917

DAVIS, Robert H., and SHEEHAN, P. P.
EFFICIENCY. d 3m _Doran_

DELL, Floyd
A LONG TIME AGO. f _Forum_, 1917
KING ARTHUR'S SOCKS. c 1m 3w _Shay_
THE ANGEL INTRUDES. c 3m 1w _Arens_

DELAND, Margaret
Dramatized by M. B. Vosburgh from "Old Chester Tales"
MISS MARIA. c 2m 3w _French_

DEMUTH, Charles
THE AZURE ADDER. s 3m 4w _Shay_

DENISON, Emily H.
THE LITTLE MOTHER OF THE SLUMS
Seven one-act plays _Badger_

DENTON, Clara J.
TO MEET MR. THOMPSON. c 8w _Baker_

DEPUE, Elva
HATTIE. p 2m 3w _Shay_
In "Morningside Plays"

DICKENS, Charles
BROWNE, H. B. Short Plays from Dickens. Contains 20 dramatized
sketches from the work of Charles Dickens _Scribner_
BARDELL VS. PICKWICK. c 6m 2w _Baker_
A CHRISTMAS CAROL. p 6m 3w _Baker_

DICKINSON, C. H., and GRIFFITHS, Arthur
THE RIFT WITHIN THE LUTE. p 4m 1w _French_

DIX, Beulah Marie
THE GLORIOUS GAME. d 6w _A.S.P.L._
THE ENEMY. d 5m _A.S.P.L._
CLEMENCY. d 3m 1w _A.S.P.L._
LEGEND OF ST. NICHOLAS. d _Poet Lore_
ALLISON'S LAD AND OTHER PLAYS
ALLISON'S LAD. d 6m
THE HUNDREDTH TRICK. d 4m
THE WEAKEST LINK. d 4m
THE SNARE AND THE FOWLER. d 3m
THE CAPTAIN OF THE GATE. d 6m
THE DARK OF THE DAWN. d 4m
Six plays in one volume _Holt_

DONNAY, Maurice
THE GIMLET. c 1m 1w _Stratford_, _Dec._, 1918

DORAN, Marie
THE GIRLS OVER HERE. p 8w _French_

DOREY, J. Milnor
UNDER CONVICTION. d 2m 2w _Drama_, _Feb._, 1919

DOWSON, Ernest
PIERROT OF THE MINUTE. f 1m 1w _Baker_

DOWN, Oliphant
THE MAKER OF DREAMS. f 2m 1w _Phillips_
THE QUOD WRANGLE. c 5m 1w _French_

DOYLE, A. C.
WATERLOO. p 3m 1w _French_
A DUET. c 3m 1w _French_

DRACHMAN, Holgar
"RENAISSANCE." d 6m 2w _Poet Lore_

DRAKE, Frank C.
THE ROSEBERRY SHRUB. p 1m 3w _French_

DREISER, Theodore
PLAYS OF THE NATURAL AND SUPERNATURAL
THE GIRL IN THE COFFIN. p 4m 3w
THE BLUE SPHERE. f 4m 2w 2j
LAUGHING GAS. f 6m 2w
IN THE DARK. f 11m 4w
THE SPRING RECITAL. f 9m 9w
LIGHT IN THE WINDOW. f 9m 7w
OLD RAGPICKER. f 4m 1w
Seven plays in one volume _Lane_

DREW, Sylvan
THE NEW PYGMALION AND GALATEA. c 3m 6w _French_

DREYFUS, A.
THE SILENT SYSTEM. c 1m 1w _Baker_

DRISCOLL, Louise
THE POOR HOUSE. p 2m 2w _Drama_, _Aug._, 1917
THE CHILD OF GOD. p 2m 3w _Seven Arts_, _Nov._, 1916

DUNSANY, Lord. FIVE PLAYS
THE GODS OF THE MOUNTAIN. p 10i
THE GOLDEN DOOM. p 11m 1w
THE GLITTERING GATE. c 2m
KING ARGIMENES. p 10m 4w
THE LOST SILK HAT. c 5m
Five plays in one volume _Little_
PLAYS OF GODS AND MEN
A NIGHT AT AN INN. p 8m
THE QUEEN'S ENEMIES. p 9m 2w
THE TENTS OF THE ARABS. p 6m
THE LAUGHTER OF THE GODS. p 9m 4w Three acts
Four plays in one volume _Luce_
THE MURDERESS. In prep.
FAME AND THE POET. c 2m 1w _Atlantic_, _Aug._, 1919

DYMOW, Ossip
NJU. t 6m 3w 2j _Knopf_

EARLE, Dorothy Kirchner
YOU'RE SUCH A RESPECTABLE PERSON,
MISS MORRISON. c 3m 2w _Smart Set_, _Aug._, 1915

EBNER-ESCHENBACH, Marie von
A MAN OF THE WORLD. p 3m _Poet Lore_

ECHEGARAY, Jose
THE STREET SINGER. p 2m 2w _Drama_, _Feb._, 1917
MADMAN OR SAINT. p 7m 4w _Poet Lore_

EDGERTON, Lady Alex.
MASQUE OF THE TWO STRANGERS _Gowans_

ELDRIDGE, Paul
THE JEST. p 4m 2w _Stratford_, _July_, 1918

ELKINS, Felton B. THREE TREMENDOUS TRIFLES
THE BELGIAN BABY. c 2m 2w
THE QUICK AND THE DEAD. c 5m 1w
FIGURATIVELY SPEAKING. c 3m 2w
Three plays in one volume _Duffield_

ELLIS, Mrs. Havelock. LOVE IN DANGER
THE SUBJECTION OF KEZIA. p 2m 1w
THE PIXY. p 3m
THE MOTHERS. p 1m 2w
Three plays in one vol. _Houghton_

ENANDER, Hilma L.
IN THE LIGHT OF THE STONE. p 3m 1w
THE MAN WHO DID NOT UNDERSTAND. p 1m 2w
ON THE TRAIL. p 4m 1w
Three plays in one volume _Badger_

ERVINE, St. John. Four Irish Plays
THE MAGNANIMOUS LOVER
THE CRITICS
MIXED MARRIAGE
THE ORANGE MAN
Four plays in one vol. _Macmillan_

ESKIL, Ragna
IN THE TRENCHES OVER THERE. c 10m 6w _Dramatic_

ESMOND, H. V.
HER VOTE. c 1m 2w _French_

ESTERBROOK, Anne L.
THE CHRISTENING ROBE. p 1m 3w _Baker_

EURIPIDES
ALKESTIS. Nine characters _Baker_
ELECTRA. Nine characters
THE FROGS. Twelve characters
IPHIGENIA IN TAURUS. Seven characters
Translated by Gilbert Murray Allen

EVANS, Florence Wilkinson. THE RIDE HOME
THE MARRIAGE OF GUINETH. p 7m 3w _Houghton_

EVREINOV, Nicholas
THEATRE OF THE SOUL. f 5m 4w _Henderson_
A MERRY DEATH. c 5m
THE BEAUTIFUL DESPOT. c 5m 3w 1j
Two plays; in Bechofer: Five Russian Plays

FAYDON, Nita
THE GREAT LOOK. c 2m 2w _French_

FENN, Frederick
THE NELSON TOUCH. c 2m 2w _French_
CONVICT ON THE HEARTH. c 6m 5w _French_

FERGUSON, J. A.
CAMPBELL OF KILMHOR. p 4m 2w _Phillips_

FERRIER, Paul
THE CODICIL. c 3m 1w _Poet Lore_

FERRIS, E., and STUART, A.
NICOLETE. p 2m 2w _French_

FEUILLET, Octave
THE FAIRY. c 3m 1w _French_
THE VILLAGE. c 2m 2w _French_

FIELD, Rachel L.
RISE UP, JENNIE SMITH.

FILLMORE, J. E.
"WAR." p 2m 1w _Poet Lore_

FITZMAURICE, George
MAGIC GLASSES. p 3m 3w
THE PIEDISH. p 4m 2w 3j
THE DANDY DOLLS. p 4m 2w 3j
With two long plays in one volume _Little_

FLANNER, Hildegarde
MANSIONS. p 1m 2w _Stewart_

FLANNER, Mary H.
THE CHRISTMAS BURGLAR. p 3m 1w _French_

FLEXNER, Hortense
VOICES. p 2w _Seven Arts_, _Dec._, 1916

FLORIAN, J. P.
THE TWINS OF BERGAMO. p 2m 2w _Drama_, _Aug._, 1918

FLYING STAG PLAYS. Arens, 1917-19
CRONYN, G. THE SANDBAR QUEEN. d 6m 1w
OPPENHEIM, J. NIGHT. d 4m 1w
DELL, F. THE ANGEL INTRUDES. c 3m 1w
HELBURN, T. ENTER THE HERO. c 1m 3w
MOELLER, P. TWO BLIND BEGGARS AND ONE LESS BLIND. p 3m 1w
O'BRIEN, S. BLIND. c 3m
DAVIES, M. C. THE SLAVE WITH TWO FACES. a 3m 4w
KEMP, H. THE PRODIGAL SON. c 3m 2w
ROSTETTER, ALICE. THE WIDOW'S VEIL.

FRANCE, Anatole
THE MAN WHO MARRIED A DUMB WIFE. Two acts. c 14m 4w _Lane_
CRAINQUEBILLE. Three scenes. p 12m 6w _French_

FRANK, Florence Kiper
JAEL. _Chicago_
CINDERELLINE. p 1m 4w _Dramatic_
THE GARDEN. p 3m 3w _Drama_, _Nov._, 1918

FREDERICK, John T.
THE HUNTER. p 2m 1w _Stratford_, _Sept._, 1917

FREYBE, C. E.
IN GARRISON. p 5m _Poet Lore_

FROOME, John Redhead
LISTENING. p 3w _Poet Lore_
MRS. MAINWARING'S MANAGEMENT. Two acts. c _French_
BILLY AND THE DIRECTING FATES. Two acts. p 3m _Dramatic_

FRY, Horace B.
LITTLE ITALY. d 2m 1w 1j _Dramatic_

FULDA, Ludwig
BY OURSELVES. c 3m 2w _Badger_

FURNISS, Grace L.
A DAKOTA WIDOW. c 1m 2w _French_
PERHAPS. c 2m 1w _French_

GALBRAITH, Esther
THE BRINK OF SILENCE. p 4m
In Mayorga's "Representative One-Act Plays" _Little_

GALLON, Tom, and LION, L. M.
MAN WHO STOLE THE CASTLE. p 4m 2w _French_

GALSWORTHY, John. THE LITTLE MAN, etc.
THE LITTLE MAN. s 5m 2w
HALLMARKED. s 3m 3w
Two plays in one volume _Scribner_
THE LITTLE DREAM. An allegory in six scenes _Scribner_

GARLAND, Robert
AT NIGHT ALL CATS ARE GRAY. p 3m 1w _Smart Set_, _March_, 1916
THE DOUBLE MIRACLE. p 4m 1w _Forum_, _April_, 1915

GERSTENBERG, Alice
OVERTONES. _See_ "Washington Square Plays."
BYOND. p 1w
In Mayorga's "Representative One-Act Plays" _Little_

GIACOSA, Giuseppe. THE STRONGER, etc.
SACRED GROUND. c 3m 1w _Little_
THE WAGER. c 4m 1w _French_
THE RIGHTS OF THE SOUL. p 2m 2w _Stratford_, _Feb._, 1918

GIBSON, Preston
S.O.S. p 8m 2w _French_
DERELICTS. p 2w _French_
SUICIDES. p 2m _French_
THE SECRET WAY. p 3m _French_
THE VACUUM. p 2m 1w _French_
CUPID'S TRICKS. c 3m 2w _French_

GIBSON, Wilfred Wilson
WOMENKIND. d 2m 3w _Macmillan_
The following volumes of Mr. Gibson's are replete with short,
intensely dramatic sketches of English labor folk.
DAILY BREAD. _Macmillan_
BORDERLANDS AND THOROUGHFARES. _Macmillan_
FIRES. _Macmillan_

GILBERT, W. S.
SWEETHEARTS. Two acts. c 2m 2w _French_
ROSENCRANTZ AND GUILDENSTERN. c 5m 3w _French_
COMEDY AND TRAGEDY. d 14m 2w _French_

GLASPELL, Susan
TRIFLES. p 3m 2w
THE PEOPLE. p 10m 2w
CLOSE THE BOOK. c 3m 5w
THE OUTSIDE. p 3m 2w
WOMAN'S HONOR. c 3m 6w
BERNICE (3 Acts). p 2m 3w
SUPPRESSED DESIRES. c 1m 2w
TICKLESS TIME. c 2m 4w
In One Vol. _Small_

GLICK, Carl
OUTCLASSED. c 4m 2w _Smart Set_, _Sept._, 1918

GLICK, C., and HIGHT, M.
THE POLICE MATRON. d 3m 2w _Baker_

GOLDBERG, Isaac
THE BETTER SON. p 2m 1w _Stratford_, _Oct._, 1918

GOODMAN, Kenneth Sawyer
BACK OF THE YARDS. d 3m 2w _Shay_
DUST OF THE ROAD. d 4m 4w _Shay_
EPHRAIM AND THE WINGED BEAR. c 4m 3w _Shay_
GAME OF CHESS. d 4m _Shay_
BARBARA. p 2m 1w _Shay_
DANCING DOLLS. p 4m 7w _Shay_
A MAN CAN ONLY DO HIS BEST. c 6m 2w _Shay_

GOODMAN, K. S.
THE GREEN SCARF. c 1m 1w _Shay_

GOODMAN, K. S., and HECHT, Ben
THE HERO OF SANTA MARIA. c 4m 1w _Shay_
THE WONDER HAT. f 3m 2w _Shay_

GOODMAN, K. S., and STEVENS, T. W.
HOLBEIN IN BLACKFRIARS. c 6m 2w _Shay_
RYLAND. c 5m 2w _Shay_
REINALD AND THE RED WOLF. m _Shay_
CAESAR'S GODS. m _Shay_
THE DAIMIO'S HEAD. m _Shay_
THE MASQUE OF QUETZAL'S BOWL. m _Shay_
MASQUE OF MONTEZUMA. m _Shay_

GORDON, Leon. Three Plays _Four Seas_

GOULD, Felix. THE MARSH MAIDEN, etc.
THE MARSH MAIDEN. p 2m 2w supers
THE STRANGER. p 3m 2w
IN THE MARSHES. p 1w
Three plays in one vol. _Four Seas_

DE GOURMONT, Remy
THEODAT. p 7m 1w
THE OLD KING. p 3m 3w
Two plays in one number _Drama_, _May_, 1916

GRAHAM, Bertha M. SPOILING THE BROTH, etc.
SPOILING THE BROTH. c 2m 2w
THE LAND OF THE FREE. p 2m 3w
OH, THE PRESS. c 1m 1w
THE ROSE WITH A THORN. c 2m 2w
TAFFY'S WIFE. p 2m 1w
Five plays in one volume _Chapman & Hall_

GROSSMITH, Weedon
COMMISSION. c 3m 2w _French_

GRAY, Eunice T.
WINNING OF FUJI. c 3 scenes 3m 3w _Dramatic_

GREENE, Clay M.
THE DISPENSATION. p 4m
THE STAR OF BETHLEHEM. p 5m
THROUGH CHRISTMAS BELLS. p 4m 1w
AWAKENING OF BARBIZON. c 4m 1w
Four plays in one volume _Doran_

GREGORY, Lady
SPREADING THE NEWS. c 7m 3w
HYACINTH HALVEY. c 3m 3w
RISING OF THE MOON. c 4m
THE JACKDAW. c 4m 2w
THE WORKHOUSE WARD. c 2m 1w
THE TRAVELING MAN. p 1m 2w
THE _GAOL_ GATE. p 1m 2w
Seven plays in one volume _Luce_
THE IMAGE. Three acts. p 5m 2w _Maunsel_
GRANIA. Three acts. p 4m 1w
KINCORA. Three acts. p 8m 3w
DERVORGILLA. p 3m 3w
Three plays in one volume _Putnam_
THE CANAVANS. Three acts. p 3m 2w
THE WHITE COCKADE. Three acts. p 10m 2w
THE DELIVERERS. p 6m 3w
Three plays in one volume _Putnam_
THE BOGIE MAN. c 2m
THE FULL MOON. c 2m
COATS. c 4m 1w
DAMER'S GOLD. c 4m 1w
MCDONOUGH'S WIFE. c 1m 2w
Five plays in one volume _Putnam_

GREGORY, Lady, and YEATS, Wm. B.
THE UNICORN FROM THE STARS. _Macmillan_

GUIMERA, Angel
THE OLD QUEEN. p 7m 7w _Poet Lore_

GYALUI, Wolfgang
AFTER THE HONEYMOON. c 1m 1w _French_

GYP
THE LITTLE BLUE GUINEA-HEN. c 5m 4w _Poet Lore_

HAGEDORN, Herman
MAKERS OF MADNESS. Five scenes. d 14m supers _Macmillan_
HORSE THIEVES. c 4m 2w _Harvard_
HEART OF YOUTH. _Macmillan_

HALE, Louise Closser
THE OTHER WOMAN. p 2w _Smart Set_, _June_, 1911
PASTE CUT PASTE. p 3w _Smart Set_, _Jan._, 1912

HALMAN, Doris
WILL 'O THE WISP. p 4w
In Mayorga's "Representative One-Act Plays" _Little_

HALSEY, Forrest
THE EMPTY LAMP. p 1m 1w 1j _Smart Set_, _May_, 1911

HAMILTON, Cicely
JACK AND JILL AND A FRIEND. Two scenes. c 3m 1w _French_

HAMILTON, C., and ST. JOHN, Christopher
HOW THE VOTE WAS WON. c 2m 8w _Dramatic_

HAMILTON, Cosmo. Short plays for small stages
ST. MARTIN'S SUMMER. c 1m 2w
SOLDIER'S DAUGHTERS. c 3w
TOLLER'S WIFE. c 4m 1w
WHY CUPID CAME TO EARL'S COURT. c 3m 4w
Four plays in one vol. _Skeffington_
JERRY AND A SUNBEAM. c 1m 1w _French_
AUBREY CLOSES THE DOOR. c 3m 1w _French_

HANKIN, St. John
THE CONSTANT LOVER. p 1m 1w
Vol. III. No. 2 _Theatre Arts_

HARE, W. B.
ISOSCELES. p 2m 1w _Baker_

HARVARD PLAYS. THE 47 WORKSHOP
FIELD, R. L. THREE PILLS IN A BOTTLE. f 5m 3w
OSBORNE, H. THE GOOD MEN DO. c 3m 5w
PILLOT, E. TWO CROOKS AND A LADY. p 3m 3w
PROSSER, W. FREE SPEECH. c 7m
Four plays in one vol. _Brentano_
THE HARVARD DRAMATIC CLUB
HAWKBRIDGE, W. THE FLORIST SHOP. c 3m 2w
BROCK, H. THE BANK ACCOUNT. p 1m 2w
SMITH, R. C. THE RESCUE. p 3w
ANDREWS, K. AMERICA PASSES BY. p 2m 2w
Four plays in one volume _Brentano_
THE HARVARD DRAMATIC CLUB. 2nd Series
BRAY, L. W. HARBOR OF LOST SHIPS. p 3m 1w
BATES, E. W. GARAFELIA'S HUSBAND. p 4m 1w
BISHOP, F. SCALES AND THE SWORD. d 6m 1w
KINKEAD, C. THE FOUR FLUSHERS. c 4m 1w
Four plays in one vol. _Brentano_

HASLETT, H. H. DOLORES OF THE SIERRA, etc.
DOLORES OF THE SIERRA. p 1m 1w
THE SCOOP. p 2m 1w
UNDERCURRENTS. p 4m 2w
A MODERN MENACE. c 3m 1w 1j
THE INVENTOR. p 2m 1w
WHEN LOVE IS BLIND. c 1m 1w
Six plays in one volume _Elder_

HASTINGS, Basil McDonald
TWICE ONE. p 2m 2w _Smart Set_, _Jan._, 1913

HAUPTMANN, Gerhart
THE ASSUMPTION OF HANNELLE. Two parts. p 7m 3w _Poet Lore_

HAWKRIDGE, Winifred
THE PRICE OF ORCHIDS. c 4m 2w _Smart Set_, _Oct._, 1915

HAY, Ian. _See_ BEITH, Ian Hay

HEAD, Cloyd
GROTESQUES _Poetry_

HEIDENSTAM, Verner von. Translated by K. M. Knudsen
THE SOOTHSAYER. In prep. _Four Seas_
THE BIRTH OF GOD. In prep. _Four Seas_

HENNIQUE, Leon
DEATH OF THE DUC D'ENGHIEN. d Three scenes. 22m 2w _Poet Lore_

HENRY, R.
NORAH. p 2m 1w _Dramatic_

HERTZ, H. Translated by T. Martin
KING RENE'S DAUGHTER. d 6m 2w _Baker_

HERVIEU, Paul
MODESTY. c 1m 2w _French_

HENSLOWE, Leonard
PERFIDIOUS MARRIAGE.
A HERO FOR A HUSBAND.
PEOPLE FROM THE PAST.
Three plays in one vol. _Stanley Paul_

HELLEM, Valcos, and D'ESTOC
SABOTAGE. d 2m 2w 1j _Dramatist_

HICKS, Seymour
NEW SUB. c 8m 1w _French_

HILBERT, Jaroslav
WHOM THE GODS DESTROY. d 12m 1w _Poet Lore_

HOFFMAN, Phoebe
MARTHA'S MOURNING. p 3w _Drama_, _Feb._, 1918

VON HOFMANNSTHAL, Hugo
DEATH AND THE FOOL. d 4m 3w _Four Seas_
MADONNA DIANORA. _Four Seas_
THE DEATH OF TITIAN. In prep. _Four Seas_

HOGG, C. W.
MIRROR OF TIME. c 1m 1w _French_

HOLLEY, Horace. Read aloud plays
Nine short plays _Kennerley_
ELLEN. p 2w _Stratford_, _March_, 1917

HOLT, Florence Taber
THEY THE CRUCIFIED. p 7m 2w
COMRADES. p 7m 2w
Two plays in one volume _Houghton_

HOME, Ian
A DREAM ON CHRISTMAS EVE. 10j _French_

HOPKINS, Arthur
MOONSHINE. p 2m Vol. III. No. 1 _Theatre Arts_