The Atlantic Book of Modern Plays, Gordon Bottomley et al. [kiss me liar novel english .TXT] 📗
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The centre of interest, as well as the spring of the action, is clearly Hallgerd, descendant of Sigurd Fafnirsbane and of Brynhild—
… a hazardous desirable thing,
A warm unsounded peril, a flashing mischief,
A divine malice, a disquieting voice.
She, and not any superstitious belief in "second-sight" and death decreed, is the cause of Gunnar's remaining outlawed. She wrangles about the headdress, not because she particularly wants it, but to send her husband on a perilous mission to secure it. She says openly that she has "set men at him to show forth his might … planned thefts and breakings of his word" to stir him to battle. Mr. Abercrombie believes that "She loves her husband Gunnar, but she refuses to give him any help in his last fight, in order that she may see him fight better and fiercer." We should, then, have to suppose that her amazing speech at his death—
O clear sweet laughter of my heart, flow out!
It is so mighty and beautiful and blithe
To watch a man dying—to hover and watch—
is not for the blow Gunnar had given her when she "planned thefts and breakings of his word," but is rather, as the lines powerfully indicate, the exultation of a descendant of the Valkyrie watching above the battlefields.
Really poetical plays—plays which are both poetic and strongly dramatic—are indeed exceedingly rare. Mr. Bottomley is one of the few who have produced such drama in English. For many years he printed his work privately, in beautiful editions for his friends; but of late several of the plays have been made available—King Lear's Wife in Georgian Poetry, 1913-15, and in a volume of the same title, including Midsummer Eve and The Riding to Lithend, published in London last year.
Those who want more stories of this sort will find them in Thorgils and other Icelandic stories modernized by Mr. Hewlett; in the Burnt Njal, translated by Sir George Dasent, from which this story itself springs; and in the translations by Eirikr Magnusson and William Morris, the Saga Library—particularly the stories of the Volsungs and Nibelungs, and of Grettir the Strong.
louvre—a smoke-hole in the roof
thrall—a captive or serf
bill—a battle-ax
second sight—prophetic vision, as in Riders to the Sea and Campbell of Kilmhor
fetch—one's double; seeing it is supposed to be a sign that one is fey or fated to die
wimpled—"clouted up," as Hallgerd expresses it, in a headdress rather like a nun's. A widow, apparently, might wear her hair uncovered
byre—cow-barn
midden—manure
quean—in Middle-English, a jade; in Scotch, a healthy lass; the history of this word and of queen, which come from the same root, is strange and interesting
ambry—press
Romeborg—Rome; Mickligarth—Constantinople (Viking names)
Athcliath—evidently an Irish port
mumpers—beggars
Markfleet—a fleet in an inlet of the sea
mote or gemote—a formal assembly for making laws
thing—assembly for judgment, or parliament; this is an early Icelandic meaning of the word thing
BIBLIOGRAPHY OF PLAYS FOR READING IN HIGH SCHOOLS+Thomas Bailey Aldrich+
MERCEDES: A tragic story of the inextinguishable hatreds and reprisals of the French invasion of Spain in 1810, and of a woman's terrible heroism.
In Collected Works, Houghton Mifflin.
PAULINE PAVLOVNA: Cleverly executed, slight plot in dialogue, wherein the character of the hero is sharply revealed; reminiscent of Browning's In a Balcony, though with a quite different scheme.
Ibid.
+Mary Austin+
THE ARROW-MAKER: The tragedy of a noble medicine-woman of a tribe of California Indians, and of a weak and selfish chief.
Duffield.
+Granville Barker+
Rococo: In which we discover a clergyman and his relatives in physical altercation over a rococo vase, and follow their dispute to a determinative conclusion.
Sidgwick and Jackson, London.
VOTE BY BALLOT: A drama of English elections and the forces involved.
Sidgwick and Jackson.
THE VOYSEY INHERITANCE: The inheritance is a dishonored name and a dishonest business.
In Three Plays, Sidgwick and Jackson.
+Granville Barker and Dion Calthorpe+
HARLEQUINADE: Its development from the days of Persephone, Momus, and Charon is displayed and explained by Alice and her uncle.
Sidgwick and Jackson.
+James Barrie+
THE ADMIRABLE CRICHTON: In the struggle for existence on a desert island, the family butler provides the brains and safety for an English family; the party is then rescued, and returns to the impeccable conventions of London.
Scribner's, New York; Hodder and Stoughton, London.
ALICE SIT-BY-THE FIRE: A mother with keen insight and a delightful sense of humor has to deal with a serious attack of romantic imagination in her very young daughter, who feels responsible for the conduct of the family.
Scribner's; Hodder and Stoughton.
THE OLD LADY SHOWS HER MEDALS: Mrs. Dowie, a charwoman who has resorted to desperate remedies in order to have some part in the war, goes through an agonizing crisis of exposure, into real joy and sharp sorrow. The rich humor of the characters makes this quite unique among plays of its type.
In Echoes of the War, Scribner's.
THE WELL-REMEMBERED VOICE.Ibid.
PETER PAN: A charming fairy drama of the baby from the Never-Never Land and of his make-believe play with his friends in the nursery.
Scribner's.
THE TWELVE-POUND LOOK: On the eve of achieving knighthood the hero suffers a startling disclosure which leads him to look suspiciously for the "twelve-pound look" in his lady's eyes.
In Half-Hours, Scribner's.
WHAT EVERY WOMAN KNOWS: As we behold the creation of John Shand's career by Maggie his wife, who lacks charm, and particularly as we observe her campaign against a woman fully possessed of charm, we want to learn "what every woman knows." The secret is enlightening.
Scribner's.
+Lewis Beach+
BROTHERS, A SARDONIC COMEDY: Two "poor whites" quarrel violently over a worthless inheritance, and then combine in arson to prevent their mother from getting it: a disquieting and searching study of depths of shiftlessness and passionate meanness.
In Fifty Contemporary One-Act Plays, edited by Frank Shay and
Pierre S. Loving. Frank Shay.
THE CLOD: A powerful drama of the flare-up of a stolid and apparently unfeeling nature in the flame of the pity and horror of war.
In Washington Square Plays, Doubleday.
+Jacinto Benavente+
HIS WIDOW'S HUSBAND: An absurd comedy of the small gossip and rigid conventions in a Spanish provincial capital. (Translated by John Garrett Underhill.)
In Plays, First Series, Scribner's.
+Arnold Bennett+
A GOOD WOMAN: A farcical triangular plot with particularly good comic characters.
In Polite Farces, Doran.
THE STEPMOTHER: Satirical presentment of a lady novelist, her efficient secretary, and her stepson, not to mention the doctor downstairs; amusing studies in character.
Ibid.
THE GREAT ADVENTURE: Good dramatization of the astounding adventures of Priam Farll (from Buried Alive), who attends his own funeral in Westminster Abbey, marries a young and suitable widow with whom his late valet has corresponded through a matrimonial bureau, and meets other amazing situations.
Doran.
THE TITLE: A delightful comedy in which several people who have denounced the disgraceful awarding of English titles have a bad time of it with Mrs. Culver, who does not propose to let slip the opportunity of being called "My Lady." You can probably guess which side wins in the end.
Doran.
+Gordon Bottomley+
KING LEAR'S WIFE: An episode in King Lear's earlier years, which throws much imaginative light on Goneril's and Cordelia's later treatment of their father. Lear's wife herself, as we might have guessed, is a pathetic figure.
Constable, London; also in Georgian Poetry, 1913-15.
MIDSUMMER EVE: Several farm maidservants meet to see their future lovers' spirits on Midsummer Eve, but see only the "fetch" or double of one of them, foretelling her death.
In King Lear's Wife and Other Plays, Constable.
+Anna Hempstead Branch+
ROSE OF THE WIND: A fairy play of the dancing and allurement of bewitched slippers, and of other wonders.
Houghton Mifflin.
+Harold Brighouse+
THE DOORWAY: A sharp and cruel picture of unsheltered people on a freezing night in London.
Joseph Williams, London.
THE GAME: A cocksure and triumphant girl meets more than her match in an old peasant woman, the mother of the man she wants to marry.
In Three Lancashire Plays, Samuel French.
HOBSON'S CHOICE: In which the eldest daughter at Hobson's plays a winning game against her tyrannous father and superior-feeling sisters, using a quite excellent but disregarded piece.
Constable, London; Doubleday, New York.
MAID OF FRANCE: An effective play in which Joan of Arc lays aside her old hate for the English soldiers, whom she discovers on French soil again.
Gowans and Gray, Glasgow.
THE OAK SETTLEGowans and Gray.
THE PRICE OF COAL: Picturing the stoical and terrible resignation to peril of death of old women in the coal regions—and presenting an unexpected ending.
Gowans and Gray.
+Harold Brock+
THE BANK ACCOUNT: A small but poignant tragedy of the savings-account which a clerk has counted upon to free him after many years of drudgery, and which he has entrusted to his stupid and vulgar and cheaply frivolous wife.
In Harvard Dramatic Club Plays, First Series, Brentano's.
+Alice Brown+
JOINT OWNERS IN SPAIN: The two most refractory inmates of an Old Ladies' Home have to face and solve the problem of living in the same room.
Walter H. Baker.
+Witter Bynner+
THE LITTLE KING: A delineation of the cruel suffering and the dauntless courage of the small Louis XVII; he refuses to be cowed by the bullying of his keeper or to let a poor boy assume his fate.
Kennerley.
+George Calderon+ idealized him meanwhile that her realization of the altered situation brings an astounding reaction.
Sidgwick and Jackson.
+Margaret Cameron+
THE TEETH OF THE GIFT HORSE: A pleasant farce built about two huge and hideous hand-painted vases and a charming little old lady who perpetrated them.
French.
+Gilbert Cannan+
EVERYBODY'S HUSBAND: Three generations of ladies discuss the individual characteristics of their husbands, but find them, after all, indistinguishable men.
Seeker, London.
JAMES AND JOHN: They are faced with their invalid mother's request that they crown many years of tedious sacrifice and atonement for their father's weak crime by taking him into their lives again.
In Four Plays, Sidgwick and Jackson.
MARY'S WEDDING: Bill's mother tries in vain to dissuade Mary from the certain and inescapable misery of marrying her drunkard son. Bill himself settles the problem.
Ibid.
A SHORT WAY WITH AUTHORS: An entertaining farce showing how a great actor-manager goes about encouraging serious dramatic composition.
Ibid.
+Harold Chapin+
AUGUSTUS IN SEARCH OF A FATHER: He returns from abroad and discusses with a night-watchman the problem of his search for his father.
THE LITTLE STONE HOUSE: A mother has denied herself everything to build a small mausoleum to her dead son, and so Gowans and Gray.
THE AUTOCRAT OF THE COFFEE STALLS: A strange character with an astonishing history is shown us in the night-light from a refreshment wagon in London streets.
Gowans and Gray.
THE DUMB AND THE BLIND: A study of a bargeman's family in London tenements. Mr. William Archer calls this "a veritable masterpiece in its way—a thing Dickens would have delighted in…. We feel that the dumb has spoken and the blind has seen."
Gowans and Gray; forthcoming, French, New York.
IT'S THE POOR THAT 'ELPS THE POOR: Of the simple kindliness of
London costermongers and their neighborly help and sympathy.
French.
MUDDLE ANNIE: Of course, it is "Muddle Annie" who helps their friend the policeman save the more suave and self-satisfied members of her family from a precious rogue.
Gowans and Gray.
THE THRESHOLD: Tells of a Welsh girl about to elope with a specious rascal, and of the intervention of her old father, who is killed in a mine accident.
Gowans and Gray; forthcoming, French.
COMEDIES.Chatto and Windus, London.
+Colin Clements and John M. Saunders, translators+
LOVE IN A FRENCH KITCHEN: A comical medieaval French farce. Jacquinot endures a miserable compound tyranny of petticoats until matters are brought to a head by cumulative injustice and the intervention of accident.
In Poet Lore (1917), 28:722.
+Padraic Colum+
MOGU THE WANDERER: Pageantesque and dramatic story of the rise of a beggar to be the king's vizier, and of as sudden and entire reversal of fortunes.
Little, Brown.
THOMAS MUSKERRY: The tragic story of a poorhouse-keeper who repeats Lear's error of letting go his cherished power, and who suffers as keenly a more humble tragedy.
Maunsell, Dublin.
+Rachel Crothers+
HE AND SHE: A woman's designs
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