<. 'o. . * .0* O. '' .. ♦' * 1 .i^ o V - \ / ^-« ^i ,, -*->^.'/ v-^^*/ V'^\«^' ' -^^0^ V-' .^' . r-. -^o v^ :S ^^-^^^ , *' .. s» A .^ 'oK r o^V^;:>o /^^i;^^^'^. ^°/a«>- ./ -"' .-IP. 0_ "^ \' > <55°>Va'. •*<•. .c** -'^i^'- ■e^ A<- .VixVa"' •'■^^., the:- roll call A MASQUE OF THE RED CROSS Hv- I*! IXY M.ALK.V1 1 IMPORTANT NOTICE This masque may readily be produced in small communities, with amateurs taking the leading parts. In preparing the instructions and suggestions in the appendix, it has been necessary to make pro- vision for great productions in large cities, but by a judicious elimination of such items as are im- practicable in the smaller towns, the masque may be effectively done, on a modest scale, by a limited number of people. Concerning materials needed to produce the masque, which will be furnished at cost by the iSrh (Eroaa QUrriatmaa SRall (Enll, see ANNOUNCE- MENT on last page of this volume. THE ROLL CALL A Masque of the Red Cross by PERCY MACKAYE + IB^h OlrnsB OlifrtBtmHB Holt (Eall NATIONAL HEADQUARTERS AMERICAN RED CROSS WASHINGTON, D. C. 1918 <0 Copyright, 1918, by Percy MacKaye All Rights Reserved NOTE: For information concerning the right to produce this Masque, address Red Cross Christmas Roll Call, The American Red Cross, National Headquarters, Washington, D. C, and see Announcement on last page of this book. ynANSPg.ix::etO THE ROLL CALL A Masque of the Red Cross for Community Acting and Singing by PERCY MACKAYE With Scenic and Costume Desig^ns by ROBERT EDMOND JONES and Cover Design by ARNOLD GENTHE Together with An Appendix of Instructions and Suggestions Concerning the Production OF THE. Masque written by the Author and Scenic Designer and Irving Pichel Director of the initial production at Washington l^ PREFACE At the invitation of the American Red Cross, National Headquarters, Washington, this Masque has been written, with the aim in particular of serving the cause of the ^h (UtoBB GIl|rtBtmafl iRoU dall — the enrolling of Universal Membership under the Red Cross — and in general of providing a dra- matic expression of the Red Cross Spirit useful to its world-wide organization at any time. For this purpose, it aims by its construction to be of service anywhere to communities, large or small, on a scale modest or elaborate according to local conditions: In order to render its production the more prac- tical and simple, the text here printed is followed by an Appendix containing explicit designs in color, together with comments regarding such details of acting, lighting, setting, music, costumes, etc., as seem pertinent and suggestive. A growing, vital ideal of education in our new age urges the principle that all who seek to under- stand and grasp the essentials of their environment — whether in trade, labor, art, government, or the great social movements of our time — shall person- ally share and take some definite part in doing that which they aim to understand. That principle — participation — is the prime mo- tive of community drama. To take positive, voluntary part in creating and interpreting a dramatic production imbued with a large human theme, quickens the interest and imag- PREFACE. ination of the participator with fresh understand- ings of its theme in ways more deep and enduring than any mere negative witnessing of a play, read- ing of a story, listening to a lecture, or studying of a treatise, created and developed wholly apart from his own initiative. To the unnumbered workers for the Red Cross, their own share of service in that great social organism is a kind of educating experience based essentially in this vital principle — participation. It has seemed, therefore, to the writer that the kind of expression in art peculiarly adapted, by kinship, to the use and inspiration of such workers is the form of community drama — a manifold form, capable of infinite variety. So it is with the relish of a sincere hope, and with a quick sense of the high privilege conferred on him, that he submits to their use the simple experi- ment of this community Masque. Percy MacKaye. New York: 2^ October, 1918. CONTENTS INTRODUCTORY PACK Preface vii List of Illustrations x Persons and Groups xi Choruses xii TEXT OF THE MASQUE In a Prelude, Ten Actions and mi Epilogue Prelude. The Doorway i I. Mother and Daughters 3 11. Shadows of the Despoiler 7 III. The Despoiler 10 IV. " Lonely and Starless " 13 V. All Hearts 17 VI. The Sons 23 VII. " Magic of Mercy " 30 VIII. " Light of New Worlds " 35 IX. The Red Cross 37 X. The Drums 40 Epilogue. The Roll Call 42 APPENDIX Instructions and Suggestions by Percy llacKaye, Concerning I. Community Song-Overture 45 II. Community Song-Finale 45 III. Interpretation of the Masque 46 IV. Production 47 Instructions and Suggestions by Robert Edmond Jones, Concerning I. Costumes and Masks 54 II. Setting and Lighting 56 Production Notes, By Irving Pichel 61 Announcement 65 ix LIST OF ILLUSTRATIONS PLATE FACING PAGH 1. /. GROUND-PLAN i //. SCENES 2. Stage Setting of the '" The Roll Call " .Frontispiece PLATE FACING PAGE 3. Tableau of the Despoiler 14 4. Tableau of All Hearts 36 ///. COSTUMES PLATE FACING PAGE 5. Mother 4 6. Despoiler 10 7. All Hearts 50 8. . Rapine, Terror 6 9. Hate, Hunger 8 10. Poverty, Pain, Pestilence 16 11. Daughter, Heralds 54 12. Child, Chorus, Child-Spirit of Pity 52 IV. INSIGNIA PLATE PAGE 13. Pageant. Insignia I (Main Divisions) 57 14. Pageant. Insignia II (Sub-Groups) 59 PERSONS AND GROUPS (In the Order of their Appearance) SPEAKING PERSONS THE MOTHER THE DAUGHTERS Girl Young Woman THE DESPOILER THE SONS Soldier Sailor Laborer Aviator ALL HEARTS PANTOMIMIC PERSONS AND GROUPS THE CHILDREN Boy Girl FOLLOWERS OF THE DESPOILER (Men) Terror Rapine Hunger Hate (Women) Pestilence Pain Poverty FOLLOWERS OF ALL HEARTS (Men Heralds) Courage Mercy Reason Love (Children Attendants) Pities PARTICIPATING GROUPS AND LEADERS PAGEANT FOLLOWERS OF COURAGE BANNER-BEARER OF OVERSEAS DIVISION Reconstruction Groups, with Banner-Bearers Hospital Hut Groups, with Banner-Bearers Etc. PAGEANT FOLLOWERS OF MERCY BANNER-BEARER OF NURSES DIVISION Nurses Groups, with Banner-Bearers Nurses Assistant Groups, with Banner-Bearers Etc. PAGEANT FOLLOWERS OF REASON BANNER-BEARER OF ACTIVE SERVICE DI- VISION Canteen Groups, with Banner-Bearers Motor Corps Groups, with Banner-Bearers Etc. PAGEANT FOLLOWERS OF LOVE BANNER-BEARER OF PRODUCTION DIVISION Surgical Dressings Groups, with Banner-Bearers Knitting Groups, with Banner-Bearers Etc. CHILDREN HERALDS JUNIOR WORKERS DIVISION, WITH BAN- NER-BEARERS DRUMMERS TRUMPETERS CHORUSES 1. (Women's Voices only) : Chorus of Womanhood. 11. (Mixed Voices, with Soprano Solo) : Chorus of the All-Forsaken. III. (Mixed Voices) : The Power of Gentleness. IV. (Mixed Voices) : Chorus of All Hearts. THE ROLL CALL xm GROUND PLAN PRELUDE (The Doorway) IN the background, a Great Doorway rises in shadow, its massive gray doors closed. In the foreground, on either side, a Gate, lesser in size, is lit by a lantern above. Between the Doorway and Gates, walls — hung with gray — shut in an oblong space (forming the stage), at the centre of which a low seat is raised the height of one step by a larger dais. From the entire length of the oblong space, broad steps descend to the assembly place of the audience, through which four aisles lead to the open ground-space in front of the steps. Facing this space, at centre, between the two nearer aisles, is the place of the Community Chorus. From there, before the action begins. Women Voices of the CHORUS are heard singing, to a pensive music,* cadenced like the measure of soft, slow footfalls. THE CHORUS Earth! How dreamily Ope thy Doors of Life! — Dark and silently Close thy Gates of Death! By thy shadozv'd porch Waits our Womanhood: Far, on alien paths, War our battle hosts. * The Twentieth Prelude of Chopin, with slow cadence. I THE ROLL CALL When, ah, when — between Dark and dark — shall our Yearning Mother-Love Weld all hearts of Man? FIRST ACTION (Mother and Daughters) WHEN the Action begins, the stage is silent and shadowy. Then, sounding far off and muffled — en- circHngthe entire audience with a rhythmic rumbling — Drums begin to roll. At first hardly audible, their low beating quickens faintly louder, holds a sustained moment of murmurous thunder, and wanes again more slowly away into silence. With the first rumbling sound, one of the great doors opens a narrow slit and, through dim light from behind, the form of a Woman enters — a Figure nobly tall and graciously maternal. Clad in black, a grey-black veil flows behind and about her shoulders, sheltering below the forms of two half-nude Children in white — who cling to her. On the smocks of the Children, in rust-hued red, the imprint of a huge hand is vaguely out- lined. As the Woman comes slowly forward, with them, and sits on the low dais-seat, two other Female FoRMS^ clad in grey, glide through the closing door, and approach on either side. On the robe of each, below her left breast, in rusty red, the same huge imprint of a hand is visible. One of them, a lithe GIRL, pauses — listening — • and speaks to the seated Woman. THE ROLL CALL THE GIRL Mother — hear them : — the drums ! THE MOTHER Hush ! O, be still— be still. (Turning, the other One — a Woman, young- but austere- speaks low.) THE YOUNG WOMAN Listen, Mother: it comes Upward from valley and hill, Far-beating. — What can it be? THE MOTHER The call of our beating hearts Echoing back. We hear it Die where our hope departs; But time, nor eternity, Man, no. ministering spirit — None hears it but us, my daughters. THE GIRL Mother, why were we born Hallow'd by quiet waters In the faith of a beautiful, glad tomorrow, Only now to be torn By a tempest of shame and slaughters. Pent in a house of poisoned sorrow — Here — here — on our breasts the brand Of him — the Despoiler's hand? THE ROLL CALL THE YOUNG WOMAN Mother, where is he gone — Our father, Peace, who was with us Yesterday? Why in the dawn Did he walk in sleep, and bequeathe us Only a dream — his dreaming Of men in their noble seeming — To heal the horrible scar Of men as they really are ? For now — now the Despoiler is come. And this is our home — our home. THE GIRL He has taken the one I was to wed. THE YOUNG WOMAN He has taken my wedded one — he is dead. THE GIRL Is there no might in mercy — none ? THE YOUNG WOMAN Is there no champion of love — not one Who counts his own pain less than another's ? THE GIRL Where are your sons — our brothers? He sent them forth — the Despoiler there — He sent them through ocean and earth and air To spread his empire more and more: Ah, when will they turn to our father's door To avenge him, and restore? THE ROLL CALL THE MOTHER Brittle as the broken wings Of birds are woman's questionings. O women, — daughters of mine! *Tis ours to watch for a sign That never comes — that never comes. THE GIRL (Starts, with lifted face) Mother, once more I hear them — drums! Listen — their rolling call. (Faintly the murmurous Drum-Beats are repeated, and die away.) THE MOTHER The call of our hearts — 't is all And — nothing. THE YOUNG WOMAN Yet if we knew, Mother, it might be true That all we are hoping for — (Harsh, from within, a Brazen Gong resounds, and a hoarse Voice crying aloud.) THE VOICE More of my branding — more! Ho, Rapine! — Ho, Terror! Plate 5 THE JMOTIiEK I'LATE 6 THE DESPOILER Plate 7 ALL HEARTS SECOND ACTION (Shadows of the Despoiler) INSTANTLY the two Gateways flare lurid with red and orange light, through which appear the sinister forms of TERROR and RAPINE. Little serpents gleam in the dark headplumes of Terror, and the gnarled horns of Rapine twist downward before his eyes. Entering, they come toward the two younger Women, who recoil before them. THE MOTHER (Cries faintly) No! No — not to these ! (Backing against the Great Door, the Young Girl swoons there. Before she falls, Rapine seizes her.) THE YOUNG WOMAN (Trying to intervene) Let go! (Herself, at the touch of Terror's hand, starts back, es- capes through the door ajar, and disappears, followed by the form of Terror and of Rapine bearing the Girl. Behind them the door-slit closes. Crouching at the centre, the Mother clutches to her more tightly the two Children. After a breathless moment of silence, she speaks to them low.) THE ROLL CALL THE MOTHER Little ones, now there is only You — ^you, for his orgy to squander. Here we have nowhere to hide, my lonely : But hush, we will wander Far from this old gray door; And Mother will find you some younger Beautiful home. (Rising, she moves stealthily with the Children toward the right Gateway, the Little Boy preceding her. There, in wan, grayish light, appears a Gaunt Form, who reaches toward them long, shrunken arms. Seeing it, the Child starts back to the Mother, who utters a sharp moan.) — Ah, Hunger ! (Turning, she starts with the Children toward the other Gate, where in greenish glow a Dwarf-like Figure glares at them slyly. Seeing it first, the Girl Child points, and clings to the Mother, who murmurs — staring.) Hate ! — He has sent them. (Again the dull brazen clang sounds from within, and through it the hoarse Voice^ calling.) THE VOICE More! (Drawing back to the centre, the Mother watches, tense and spellbound, while the two Figures move slowly nearer and more near — HUNGER, blindfolded, out- reaching for the Boy, HATE with eyes fixed on the Girl Child. As in trance, she speaks — gazing from one to the other.) 8 ? THE ROLL CALL THE MOTHER . (To Hunger) A child— Who hath not eyes to love it? What hath a little child For you, in your horrible craving", Blind one, blindly to covet? (To Hate) How shall the undefiled Serve your enslaving? — Ah me! God leaves us utterly. (From her side, Hunger and Hate grasp the Children and — stifling their half-uttered cries — bear them off through the Door, disappearing. For an instaant, the Mother stands motionless ; then, with a shrill cry, she rushes toward the Doors.) Ha ! Give them back ! Set them free — Despoiler ! Despoiler ! (Through the Great Doors, ajar, glows a red-orange glare, casting a huge Shadow of Black, behind which the Voice speaks again.) THE VOICE Woman, What is your will? THIRD ACTION (The Despoiler) THE glare widens, and in the Doorway appears the DESPOILER — an immense Figure, clad in coppery brass and black. On his head towers a brazen many-spiked helmet; from his shoulders fall the rusty-red folds of his cloak, through which his right arm holds the staff of his Standard — the Mark of a Hand in Rust-Hued Red on Cloth of Black. To him the Mother lifts her face, entreating. THE MOTHER 0, release them ! Let me fulfil The bond of their fate! 1, who brought them human Forth unto earth, I, who conceived them — let me expiate The deed of their birth ! THE DESPOILER Woman, what is your will? — A little flame, in the wind : A candle flame in the night Held by a hand on a lone doorsill, To sputter and be spinned By the storm of the Infinite. 10 THE ROLL CALL THE MOTHER Yet me — through me they have lived, And all that my will has conceived — THE DESPOILER All that your will has conceived — mine, mine shall wwcreate ! THE MOTHER (Sinking down on the seat) Yet — yet — not only me their mother: There was another By whom they were begotten In beauty — THE DESPOILER Aye, — your mate, Their father, Peace! Where now is he To staunch your agony? THE MOTHER Ah! THE DESPOILER Here he made his home. Muddled and glad and besotten, He laid him down to dream. With your sputtering candle-beam He built him a shining dome To shelter his house from the thunder-stroke, And the world — his golden park! But I — I burst the dome, and he woke — Blinded and mad — in the dark. II THE ROLL CALL THE MOTHER (With strange quiet) And he is gone from us. Far From home and the warm heart-beat Of women, under some unknown star He stays his bleeding feet, And gropes for a vanished grace, And stares on the dead face Of God. THE DESPOILER Aye, he is gone — With all he dreamed upon ! And his daughters do my best. And his sons perform my quest, And you — a slave at my door — Shall wait, but see his sign in the dawn No more. (Turning scornfully, he goes to the Great Doors. As he does so — circling upward once more — the low, rhythmic Thunder rolls and rises and wanes to stillness.) THE MOTHER (Listening) It comes ! Still — still it comes : The dream-beat of the drums ! (The Despoiler goes within. The Doors are closed.) 12 FOURTH ACTION ("Lonely and Starless") LEFT alone now — to low strains of music* — with face upraised, the Mother speaks. THE MOTHER O hearts of our earth's sorrow, Hearts of her singing! Hearts of the dumb breasts of broken peoples! Hearts of the live upspringing Children, which are the chimes of their ruined steeples ! Hearts of a strange Tomorrow Struggling for birth in the labor of old bowed women. Begotten of strong men's pain mid the fiery sling- ing Of bombs ! Hearts — hearts of rebellion, born Of weakness and bondage and scorn! O hearts of the swimming Athletes of surging air — Hearts of dreamer and toiler, Of joy — of despair ! Hear me, all hearts! and with mine, The heart of a mother — conspire! Come, with a hallowed sign. Come, with a sign of fire. And purge this house of our dreams from him — from him, the Despoiler ! O hearts, I bow; I wait; I wait for your fiery sign. ♦Music of organ or violin, playing faintly Chopin's Nocturne, Opus 37, Number 1, Second Part, rdigiosamente. 13 THE ROLL CALL (Dully the brazen gong reverberates again, and the Voice OF THE Despoiler crics from within.) THE VOICE OF THE DESPOILER Again Now let my rituals commence: Ho, Pestilence! Ho, Poverty — and Pain ! (Now, rising from the place of the Chorus, three Female Forms begin slowly to move toward the steps; at the centre, PESTILENCE — vivid in scarlet robe and veil of splotched piedness — carries a lurid taper, which throws its flickering gleam on the other two; on the right, PAIN, in dim purple, with head bent backward in one bended arm; on the left, POVERTY, half nude in drab, with face bowed and gray-black hair unbound. Following these from behind, a Fourth Figure — shrouded wholly in gray — lingers apart and — later — mounts the stairway alone. As the Three Figures move forward, the Chorus begins to sing. As they reach the broad steps and mount them toward the black Form of the Mother, bowed on her seat at the centre, simultaneously the Great Doors in the background swing open, revealing behind, in feverish lights, a dumb TABLEAU OF THE DESPOILER, dominant among the grouped forms of the Daughters and Children, in the thrall of Terror and Rapine, Hunger and Hate, surrounded by other Shadowy Forms in bondage. Very faintly at first, but swelling slowly more loud, the Chorus sings to the throbbing melody of Chopin's Marc he Funebre.*) * The Chorus is sung to the first fourteen bars only ; sixteen bars are then skipped, and the next eight bars constitute the accompani- ment to the soprano solo. The eighth line of the Chorus words may be omitted in singing, or be sung to the music of the seventh line, repeated. THE ROLL CALL THE CHORUS Lonely and starless, After the battle, — Moon dark, and sun dead — the moaning zvatchers lie. Blood-dim and blind, stare the lidless eyes of Pain. Starless and lonely. Stark in the wan night, Haunted with dreams, rise the homes of Poverty, — Pale, through the gloom, glide the ghosts of Pestilence. Lonely and starless — Lord of the outcast! — Where shall tlie all-forsaken hail Thy sign? (Now, as the Figures pause, and the Music changes to a strain celestial in its comforting (sung by a single Soprano Voice), darkness blots out the Tableau of THE Despoiler — darkucss through which a single beam of white light, falling at the centre, illumines the Mother, and beside her, the Figure Shrouded in Gray. There, dropping oE the shroud, the Figure emerges — a Form youthful and gracious, clad in clinging white. Glancing at the slowly lifted face of the Mother, she points upward where, above them, gleaming dream- like from the dark, the Sign of a Red Cross glows, softly luminous. At that moment, to the tender cadence of the Soprano Voice as it ceases, touched by the white beam, she reveals the sign to the Mother.) 15 THE ROLL CALL THE SOPRANO VOICE (Solo) Lo, glimmering upon Thy breast, Love — illumined with Thy hallow'd light — Love revealeth there Thy heart-red cross To heal the all-forsaken of their sorrow. (Reaching uplifted arms, the Mother rises in the light — her lips parted to cry out — when instantly in darkness the Cross and Figure disappear; and again the dim Forms of Pestilence, Poverty and Pain begin to move, passing off inward behind the closing Doors, while the Chorus deepens to the throbbing strains of their dumb march.) THE CHORUS , Lonely and starless, Lord of the outcast! — There shall the all-forsaken hail Thy sign! 16 FIFTH ACTION (All Hearts) NOW, as the Chorus ceases, a light as of dawn begins to fill the space before the Great Doors, where the Gray-Shrouded Figure is seen standing beside the Mother, who speaks aloud in wonder, while still the dark is thinning. THE MOTHER Where? — ^Where? — O healing Sign, that disappears Yet still abides in faith! Hath now no music throbbed within my ears, Nor moaning breath Of choirs ? Hath here no heart-red Cross — No star-bright Shape — burned through my dross Of shadow? Or hath a dream — A dream once more! — Made visitation at this door Of dreamers dead? (Seeing suddenly the Shrouded Figure before her) What are you? THE FIGURE You have said. (For an instant, as the Mother peers forward, the Figure parts her shroud, revealing on her breast a red cross, which hangs there like an amulet; then she wraps it close again.) THE MOTHER O dream ! — And was it you who came ? 17 THE ROLL CALL THE FIGURE I heard you call; Yet ere you spoke, as deep as spirit plumbs, I answered with my drums. THE MOTHER But I — I prayed to all Hearts of all peoples! THE FIGURE So you called my name, For / am All Hearts, and all peoples are mine ! I bring their life-blood in this hallow'd sign — The Red Cross, and within that fire — With you, with me — their wills conspire. THE MOTHER But this dim shroud ! — ^Why are you so concealed ? ALL HEARTS Within the house of death, life must be healed In hidden ways to meet the world again: And we, who match our wills with pain To outwit the great Despoiler, — we Must make our deep conspiracy Work from within, disguised in death's own garb, Till we shall turn his poisoned barb Against himself — and set our wounded free. THE MOTHER Ah, you will free them? — How? i8 THE ROLL CALL ALL HEARTS By my earth-wide Alliance, sprung From many lands. Too long Love lived a hermit, and his labors, done Alone, were crushed: but now — All mercies now shall work as one ; For Pity Organized hath power more great Than all the Hosts of Hate. THE MOTHER And who are those, allied To free the world? ALL HEARTS You bore them from your side. THE MOTHER My children ! — But my babes and daughters lie In bondage yonder, and my strong sons die Fighting to serve him — the Despoiler! ALL HEARTS Nay, They faint no more — nor fight — to serve his will, But mine: our will, that shall waylay And trap him in his lair. THE MOTHER Yet how ? 19 THE ROLL CALL ALL HEARTS To snare The soul-snake and the cuttle- Man-beast, the brain of Mercy must be subtle Even as he, And foil the camouflage of Cruelty By craft of love more keen. — So / have been, For now behold — even at the tyrant's doors — These new conspirators! (Amid another murmur of Drums, in both of the Gates at once appear Four Tall Forms, also Shrouded in Gray. Coming forward, the Four join one another, and pause near the Mother.) THE MOTHER (In wonder) But who are these? ALL HEARTS Ah, they themselves shall tell ! For now I go To meet our common enemy, and dwell Here in his house, to work his overthrow. (She moves to go. The Mother starts to prevent her.) THE MOTHER No! There is ruin! 20 THE ROLL CALL ALL HEARTS Have no fear : (Showing again her small red cross) This cross shall be my talisman Against all harm. (See moves on, close to the Great Doors) THE MOTHER He will revere No sign or sacred charm. ALL-HEARTS Yet he will fear the power, which soon shall ban His empire from the earth: the secret power Of All Hearts — mine. Assembled from all peoples, in this sign. (With a gesture to the Four Shrouded Forms) For you, dear fellow workers, you know best The magic of its might. The longed-for hour Is almost struck. Remember, then the test : — When, from within this house of plague, you see My heart-red Sign burn forth, then set unfurled The banners of our purpose, let the air With all our bugles blare, And rouse with drums of our conspiracy To our Red Cross — the roll call of the world! (The Four Shrouded Figures raise their right arms as in oath. Turning to the Great Doors, ALL HEARTS pauses in a moment of silence, and then — knocks. From within, the brazen clang answers, and the doors partly open, half revealing the Despoiler behind.) 21 THE ROLL CALL THE DESPOILER Who knocks there? ALL HEARTS (In low voice) One who wearieth To wear a shroud. THE DESPOILER «^A Ah! — ^Welcome, Death! (All Hearts passes within. The Great Doors close.) 22 s SIXTH ACTION (The Sons) TANDING by her seat, the Mother speaks wistfully to the Shrouded Figures, who draw near and crouch down before her. THE MOTHER Shapes of my clouded mind! Smouldering dreams, that the blind Dumbness of woe cannot smother With ashes ! Oh, my breast Pains with a hope supprest. — What are you, shrouded ones, So mute before me? THE NEAREST ONE (Springing up in light from his fallen shroud— a Young SOLDIER— cries to her) Mother ! THE THREE OTHERS (Starting up likewise, in a flame-like glow — Young Athlete Forms, SAILOR, LABORER and AVIATOR— cry aloud) Mother ! 23 THE ROLL CALL THE MOTHER (Reaching to their outreaehed arms) Sons ! O my sons ! (They kneel close about her. She gazes ardently from one to the other, caressing their hands.) You — my own ones, returned Out of the deeps! — Is it true? THE SAILOR We — and you, Mother, you — Together ! THE SOLDIER How we have yearned Homeward — homeward for this! THE AVIATOR Out of the whirlwind! THE LABORER Up from the abyss ! THE MOTHER (Lifts her face) Waters of life, and shores Of death ! O, deep of the skies, Dark — dark of the earth ! Tzuice you have given them birth : Once from my agonies, And now from my joy, that restores Light of them back to my eyes ! (Sitting, she turns more close to them. Suddenly, to the Aviator, she makes a low cry.) Ha ! Your brow — that red ! 24 THE ROLL CALL THE AVIATOR (Smiles, adjusting a blood-red bandage and points upward) A scratch in the sunrise — yonder! (Looking swiftly at the Others, she sees the splices on the Soldier's arm, the swathings on the Sailor's breast, and the scarred face of the Laborer.) THE MOTHER You — both ! — And you ? THE LABORER (Quietly) Some bread Comes charred from the oven. THE SOLDIER Guns Leave shells. THE : SAILOR When ships go under, Strange sharks lay by. THE MOTHER O my wounded ones And I, who should have nurst And healed and comforted, I have only these empty arms To welcome you — homeless — instead! 25 THE ROLL CALL THE SOLDIER Nay, Mother, home — home is thirst Made cool, and loud alarms Made quiet, and festering wrong Lanced, and faint will made strong By faith revived. So, Mother, Here — here is home, With you and All Hearts. Come ! Let us go in. (He starts to lead her toward the Doors.) THE MOTHER (Sadly — staying his gesture) Another Dwells in your father's place. THE LABORER (With strong quiet) Whom we have come to efface. THE MOTHER But you labor and fight for him — His bondmen! 26 THE ROLL CALL THE AVIATOR His no more! He willed a thing called War. He planned to make it — iron beam And arch — his own, and us to contrive And toil — slave bees, with blood for honey, And mud for wax, and golden money For mortar — to build its roaring hive — His temple! Ha! but he shall not win: For we, his bees, have hidden, within, A Queen of our own, and her secret leaven Works to weld us, mind and spirit. One soul — the army of All Hearts ! Now, Now our wills combine : Here we await her sign — Her call to swarm to a new-world bough, And leave his war-hive empty and riven, — And none again to rear it ! (After a momentary pause, the Other Sons speak with a strange dreaminess.) THE SAILOR (Slowly) I saw in crimson waters The last of his monsters gasp and gape. THE SOLDIER I saw a heart-red shape 27 Shine in the sundown of slaughters. THE ROLL CALL THE LABORER I saw a red-and-white bird escape From the crush of his purple mortars. THE AVIATOR I saw the red cross on its white wing: High over the storms — I heard it sing! THE SOLDIER (Turning, with decision) So, Mother, we will go in There, where our sisters lie; For the sign we all have seen Quickens our blood to vie With him, who lords it obscene In our father's house. THE MOTHER Where you, My sons, go — I will go, too. (She moves from her seat toward them. Together, they join and greet her.) THE SAILOR Ha, Mother, our arms about you! THE AVIATOR What were your sons without you ! THE LABORER You of your courage who bore us, Brave for our need — You, Mother, walk now before us, Brave for our counsel, and lead! 28 THE ROLL CALL THE MOTHER (Smiling on them) We will go — together. (As they start toward the Great Doors, from within the Voice of the Despoiler is heard crying aloud.) THE VOICE OF THE DESPOILER Guile ! Guile and snare! THE MOTHER (As the Sons start forward, makes them a gesture of quiet.) Stand by. THE VOICE OF THE DESPOILER Spies! Ho, Treachery! I — to be gulled ! THE MOTFIER (To her Sons) Awhile Wait in the shadow there. THE SOLDIER (Tensely, as the Four move aside in shadow) Our swords are waiting. 29 T SEVENTH ACTION (" Magic of Mercy ") HE Great Doors open suddenly, and the De- spoiler comes out in ang:ered amazement. They close behind him. 'fc)' THE DESPOILER (Muttering aloud) A snare! Duping of spies ! Still — still — None entered over this sill But Death in his shroud, and I scanned Well, where he bowed beside The bed of Pain, and I half descried The blood-red cross in his hand. — Only Death, and a cross Blood-hued : nothing human Else has entered. (Seeing the Mother) Ha, — Woman ! Only the woman's heart Can have conceived this. — You! Where have you waited? 30 THE ROLL CALL I have waited. I have prayed. THE MOTHER Here — apart — THE DESPOILER What did you do? THE MOTHER THE DESPOILER You prayed — whom to? THE MOTHER THE DESPOILER What was your prayer? THE MOTHER I prayed that one might enter there With magic of mercy. THE DESPOILER You! You, then, it was. And are you ware How your magic is speeding? To all hearts. THE MOTHER Well? 31 Hath it sped THE ROLL CALL THE DESPOILER (Half to himself) Pain, my bondslave, lay on her bed. One sat close by in a shroud. — The pulse Of Pain throbs ever in fire; her head Cranes, and her cramping limbs convulse In vices of ague: So I have watched her, since long ago I thralled her. But now When I looked, instead — Now on her pillow she lies With a smile half dream, and brow Blanch'd in sleep, and breasts that rise And fall, as hght as a June breeze passes. And limbs, like morning flowers laid Cool in meadow grasses. THE MOTHER Ah, not all in vain I prayed ! THE DESPOILER But not only Pain hath your witchery Warped to you: Poverty — Aye, she who, trembling and lonely. Ever hath shrunk her eyes from mine Deep in her raggled locks, — Now, on bold, buxom knee, Mincing her gesture, neat and fine, Now in golden laughter she mocks — She mocks — at — me ! 32 THE ROLL CALL THE MOTHER (Exulting, low) O golden effluence Of All Hearts! THE DESPOILER How ! Beware What you hide in your murmurs there! — Where is she — Pestilence? None within could hatch her loss, And none but Death, with his dangling cross, Hath entered from without. Yet now, when my yearning Eyes were about To draw to my lips her scarlet kiss — She was vanished; and only her blood-dim veil Distilled like cloud through a dark abyss — All white and lily-pale! THE MOTHER Vanished! Transformed — all three! Ah, she ! — it was she ! THE DESPOILER So — an accomplice! You shall name Her name. THE MOTHER I have told. THE DESPOILER The same You shall make bold Once more. 33 THE ROLL CALL THE MOTHER 'Tis All Hearts. THE DESPOILER Weak ! Too weak — The will of all human hearts, to undo My will! (With threatening gesture, he reaches toward her) So Speak, Mother of weaklings! Tell me who Hath wrought now this insolence. — (With a cry from their shadowy hiding, the Four Sons rush forward, with long swords drawn, encirchng the Mother, protectingly.) THE SOLDIER (Fiercely) THE LABORER Your insolence hath spoke in error. THE DESPOILER (Turning, at their cry) Conspirators ! Your sons! — rebels! (Calling aloud) Ho, Rapine, here ! Ho, Terror ! Hunger and Hate, here — ho! Defend my doors! You! 34 EIGHTH ACTION (" Light of New Worlds ") FROM within, the grim forms of his Four Bodyguards rush forth to the Despoiler's call, and confront the Four Sons. These, reversing their swords, hold upward the red crosses of the handles, which blaze upon their opponents in crimson light, appalling them. Dividing in double groups, and backing fearfully before the on-moving crosses to the gates, they turn there and flee out — Terror and Rapine fleeing from the Soldier and Aviator, FIunger and Hate from the Sailor and Laborer. At the gates the Four Sons pause, and turn back toward the Mother awaiting them at the centre, where they reach aloft their burning crosses to- ward the amazed Despoiler. He, recoiling, makes a gesture of rage toward them and the Mother, crying terribly aloud: THE DESPOILER Blazing of Woman's heart ! Ha, scorches Of rebel lightning! Put out — put them out, your torches ! (Turning, he starts toward the Great Doors, when suddenly these swing open, revealing within a glowing TABLEAU OF ALL HEARTS, rising in beauty from her sloughed-off shroud, and bending in tender minis- tration above the Daughers and Children. About them, in visionary light, are grouped the Child-like Forms of ministering Pities. 35 THE ROLL CALL (With the outswinging of the Doors, and the Vision, sounds a Muffled Pealing of Trumpets. Spellbound, the Despoiler stares, and speaks with hoarse murmur.) O light of new worlds! My roof falls, — yea, and my crumbling porches! (Falling prostrate, he lies prone, as the Chorus burst into singing, and the Vision brightens in splendor.) THE CHORUS* All hail the power of Gentleness Whose love all fear deties To purge the dark Despoiler's halls With joys of sacriUce! Where Hatred glowered and Hunger thralled And Terror dwelled with Pain, There Mercy brings her ministering dreams To drive them forth again. Now through the Tyrant's crumbling walls New worlds their hosts convoy To hail the power of Gentleness And crown that power with joy! * To the music by Oliver Holden for " Coronation." 36 NINTH ACTION (The Red Cross) DURING the final strains of the Chorus, the Despoiler rises. As the music ceases, he shakes his clenched hands above him, and calls in rage. THE DESPOILER All Hearts! — All Hearts! You, in your vision of Pities, Not you shall confound my dreams! The will of my dreaming Builds in eternal Hate — ^builds on your flame- charneled cities And the blood of their corpses, upsteaming ! (Starting forward again toward the centre of the Vision, abruptly he is confronted by Darkness, save that high above the Great Doors, in sudden splendor — enormous — a RED CROSS rises, burning. Reeling back, he strikes both hands over his eyes and bows over, with moaning scream. With the blazing cross of light a blaze of sound rises in loud Shrilling of Trumpets. Standing with their faces turned toward the four Aisles, the Four Sons lift their sword-hafts. At their signal, down the Aisles four athlete Runners rush toward them and, mounting the stair- way, reach the top as the Trumpets cease, and — appearing high in the background, standing as upon air — All Hearts calls with clear-ringing voice.) 37 THE ROLL CALL ALL HEARTS Ho, Heralds of my Red Cross ! Hail ye ! Hail, above His fall! Ho, Courage — Mercy — Reason — Love! (The Four Heralds — the sign of the Red Cross on their breasts, their several symbols streaming from their Standards — salute the Mother at the centre, then stand beside the Four Sons, as adjutants. Meantime, the Despoiler — half bowed, and grop- ing — strikes at his eyes, and groans loud with horrible gesture. So, while he speaks, silently, from the shadowed space around and beneath All Hearts, her Groups of Light reappear, about to emerge.) THE DESPOILER Light! Light of new worlds! Blinder of me, in my yearning Power ! O light of old dreams, awakened to watch now the spurning Of me — me, in my dawn of darkness ! Ha, duper and f oiler! Striker down of the strong in hate — despoiling the Despoiler ! Light of All Hearts ! Yea, stricken am I ; but not broken Yet. — I am ware; I am wise; I am zuill — the will which has lasted Ages outworn ; and I will that your women yet shall be yoken Under my lash; and your men made — ^blood, and your children — be blasted ! 38 THE ROLL CALL (Gropin^^ with outstretched arms, he strikes stumbline against the left Gate, and staggers out. As he does so, All Hearts— with her followin^^ Groups— comes forward, leading to the Mother the little Boy and Girl.*) ALL HEARTS Out of that blasphemy, these shall redeem our vow. (Showing the Mother to the two Children she speaks for them.) ^ Mother ! (The Children both rush forward. With a sharp cry of gladness, the Mother nestles them close.) THE MOTHER Children! My little ones! — Now The spring of God's waters Wells again back to us— up from the slough And ashes of Death. Babes— sons— ah, my daughters ! (Beside her, the two Daughters go to her eager caress) M.?V ?^tf' n °^ ^m' ^^^'^''? ^"^ *" *^° Daughters, the branding Mark of the Despoiler is no longer visible. 39 TENTH ACTION (The Drums) NOW, from the circumference of the audience, and circHng the place of action, low and muffled, the Murmurous Drumming be- gins again. Through it, All Hearts speaks to the Heralds. ALL HEARTS Runners of Joy — Runners of the Four Winds! — Hark! Do you not hear — do you not hear them — my drums ? Rolling, they call — rolling out of the dark, Throbbing the heart-beat of life, as the daybreak comes Throbbing heart-red with the young Tomorrow — the dawn That wakens all sleepers, all toilers, all peoples as one. Hark! Harken! They wake them — ^my peoples. O Runners, begone, And bring them — my workers — before us, Their groups and their leaders: bring them, with chorus And banners and bugles and roll-beat — my heart- beat — of drums ! 40 THE ROLL CALL (As she ceases, the rumbling Drum-Call rolls louder and louder, rising to a rhythmic din of encircling thunder from vyhich the Chorus breaks suddenly into song ' During this with glad salutes, the Runners have dashed down the steps and up the four Aisles, meeting the Banner Leaders of the Red Cross Workers and Participants now visible, as they enter in Color and Pageantry and are led by the returning Heralds to their places of grouping, amid the Marching Song of THE Chorus.) THE CHORUS^ Hail, q Light of All Hearts Shining as one soul. Through the storm of battle Guiding to our goal! Cloud of Wrong surrounds us. Dark of Hate and Ire: Forward guide us! Forward guide us With your hallow' d tire! Sing, O Voice of All Hearts Choral in one cry! Sing above the battle Where your peoples lie! In that mighty paean Moan of pain shall cease: Onward call us! Onward call us To the world's release! H^L"' ^"''' ^^ ^'■*^"'" S""'^^" f°^ "Onward, Christian 41 Soldiers." EPILOGUE (The Roll Call) DURING this Chorus, Children-Heralds In pageant regalia have formed a cordon com- pletely surrounding the Audience, as with a red-and-white garland. And now, as the Chorus ceases, and the grouping spaces of the Pageants gleam in massed glory around her where she stands at the centre, All Hearts calls to the Audience and Participants. ALL HEARTS Pilgrims of the Red Cross! You, whom Courage and Love Mercy and Reason convoke here Now at my calling! Wakeners of a new world! Wakers — who yet can dream, And through the day still carry Visions of starlight. We — you and I, you and I — We ourselves, must still dream And organize this starry Masque of tomorrow. 42 THE ROLL CALL We are not near the end But the beginning: There — Out there — in his blinded rage, still Roams the Despoiler, Rankling with hate ; and out there — Under some unknown star — Brooding on ruined lands, Peace Yearns for his children. We, then — we — you and I — Each of us — one and all — None too poor or discouraged, Weak, or too weary — Old, disillusioned, — or young. Reckless of misery — none But each shall act his part, and Sharing with All Hearts — Join our conspiracy, still Back from the doors of Peace, Forth from the house of life, to Drive the Despoiler. Join, then, actors of truth ! Pledge me your names and your vows ! Join our Red Cross, to the kindling Drums of my roll call! (Now, to the roar of Drums, the Heralds make signal; the cordon of encircHng Children answer with a joy- ous shout of " All Hearts ! " and, raising their enroll- ment blanks, enroll the Audience and Participants, while the Singers renew their final Chorus.) 43 THE ROLL CALL THE CHORUS Hail, O Love of All Hearts Bound in one desire 'Gainst the World Despoiler Henceforth to conspire! Lead us with your song-light Each to serve the zvhole: Godward lead us! Godward lead us, Godward — to our goal! FINIS 44 APPENDIX APPENDIX INSTRUCTIONS AND SUGGESTIONS By Percy MacKaye I. COMMUNITY SONG-OVERTURE For practical considerations of assembling the audience, as well as for enlarged opportunities for local community choruses, it is desirable that some appropriate Overture of Choral Song should precede the performance of the Masque. The selection of songs for such Overture may well be left to the discretion of local producers and organizers, with this suggested caution, that all selections used, though they should doubtless be popular and familiar, should pre- serve the essential spirit of the Red Cross, which is one of consecration to service; and their sequence should be so arranged as to lead the mood of the audience toward direct receptivity to the opening chorus of the Masque Prelude ("The Chorus of Womanhood"), which sets the key of the first Action. The time limit of the Overture, moreover, should be gauged to last as long as, but no longer than, the time practical for thoroughly assembling and seating the aud- ience, for no interruptions of the action, due to seating arrangements, should be allowed after the Masque has begun. The Overture would thus normally last not more than fifteen or twenty minutes. Under no consideration should any other form of pro- gram, or " entertainment," be substituted for community singing as Overture. II. COMMUNITY SONG-FINALE The Chorus of the Masque Epilogue (" The Chorus of All Hearts"), to the stirring tune of Onward Christian 45 INTERPRETATION OF THE MASQUE Soldiers, Is designed to stimulate all those assembled to the direct purpose and practical consummation of the Masque — the enrolling of new members under the Red Cross. With this purpose in view, whatever song-selections may- be made, by local producers, for enlarging this Epilogue into a finale of community singing, should not only pre- serve but enhance the mood of exalted enthusiasm stirred by the music of Onward Christian Soldiers. The time- limit will, of course, be gauged by the numbers assembled, and by the time needed for the delegated Children Heralds of the Junior Workers, and others, to record the pledges or enrollments of the maximum number of the audience. III. INTERPRETATION OF THE MASQUE The object of this Appendix (which is prepared at the request of the Red Cross authorities in Washington) is to provide local producers with such brief essential sugges- tions and instructions as a personal conference with the author and scenic designer might lead to. Printed state- ments are never adequate substitutes for spoken questions and answers, but since in this case there is no better alter- native, the printed suggestions here given are submitted with the hope that they may be to some degree helpful. This Masque is not a play for Naturalism to interpret in realistic ways, nor a pageant for Allegory to clothe in merely decorative forms. It is a symbolic drama for Imag- ination to interpret, through insight into elemental human passions, by appropriate expression of these in sensuous images and rhythmic cadences to the eye and ear. Very subordinately, Naturalism will be utilized by the discreet actor in rendering emotions with elemental sim- plicity. Less subordinately, Allegory will take on its ap- propriate emphasis at the hands of a producer with a sense of interpretive decoration, especially in relation to the only Figures of the Masque proper which are allegori- cal merely — the four Heralds of the Ninth and Tenth Actions. 46 PRODUCTION Throughout, in speech, movement, groupings, pauses, lightings, the aim of the interpretive director will be to produce a rhythmic harmony of sound, color and plastic visualizing, all breathing one consecrated mood — the mood of its theme. So he will interpret the Masque by means of the same impersonal spirit which gave it inception and form in the dramatist's mind. This spirit, impersonal though it be, is not therefore impassionate. On the contrary, it is emotion which seeks constant release in rhythmic expression. For this reason the Masque is of its nature in verse — verse, the cadences of which are part and portion of the thought and emotion to be expressed. The verse, then, is not accidental. It is, of course, not blank verse. Even if it were unrhymed, it would not be. It must not, therefore, be scanned or spoken as blank verse. If that is done, the effect will be very damaging to the whole production. It will. I think, easily and naturally speak itself, if the actor will not take pains to construe it other than it is. With these general considerations suggested, let us take up the sequence of the Masque, and touch informally upon such details of its production as may seem pertinent from the dramatist-producer's standpoint. IV. PRODUCTION Prelude: Here the mood of the lighting and of the music is, of course, one and the same — a pensive, ominous foreshadpwing of tlie Action to follow. First Action: At the option and experiment of the pro- ducer, the Mother may already have entered to the soft, foot- fall cadence of the Prelude Music (in the slit of dim light through the doors ajar), taking her position by the central seat; and now — to the drums' first murmur — the Daughters enter, approach on either side, and speak through the lessening murmur, which ceases entirely at the words of the Mother : " We hear it die where our hope de- parts." 47 PRODUCTION Utter simplicity and lack of self-consciousness cannot be too much emphasized in the acting of every character in the Masque — in the Mother, above all. In her, the austerity of sorrow, though passionate, is usually suppressed, except in her outburst of appeal to the Despoiler in Action III, and the last part of her first speech in Action IV. After her meeting with the Sons in Action VI, her repression changes to a growing release of expression. In this First Action, the Young Woman is also austere and repressed, but the Young Girl expresses still a buoy- ancy and hope, only partly seared by the branding mark of the Despoiler. The drums will require careful rehearsal and expert drummers. Their cue for commencing must be exact, the response simultaneous, and the rolling continuous in its ensemble rise and fall, with no sense of individual drum- beats. The drummers are concealed, not only behind the scenes, but at well-spaced intervals (curtained off, or in outer galleries, if available), surrounding the entire aud- ience. Second Action: Nowhere in the Masque should dra- matic action be physically strenuous. In this scene, let Terror and Rapine exhibit no heroics of villainy. Terror glides; his glance and the touch of his hand are sufficient for the flight of the Young Woman. Rapine has much more physical force of gesture, but no occasion to use it in struggle, for the Young Girl has swooned just before he seizes her. He carries her off bodily, but with only a terrible instant of the suggestion of physical force. Hunger and Hate move with a silent inevitability — timed with equality of movement to reach the Mother at the centre. The scene is one of spell-bound action. The Children do not scream; a low sobbing in-take of breath, almost immediately stifled by Hate and Hunger, who draw them away, almost unresisting : that is all. The definite stage-effect of the Black Shadow of the 48 PRODUCTION Despoiler, before his appearance, is important and shouLl not be omitted. Third Action: In the interpretation of the Despoiler the actor is referred to the prehminary general suggestions. A too obvious, and wrong, way to act the part would be to invest it with a roaring realism. A mistaken antidote to that would be to act it with a repressed naturalism. For the part is one neither to be ranted nor suppressed. The Despoiler is a part at once passionate and symbolical. In his bodyguards, Terror, Rapine, Hate and Hunger, are projected single intense elements of him; but he himself comprises and fuses these and more — attributes of intellect as well as of passion — into a kind of monstrous humanity, warped in vision but large and imaginative in faculties grown horribly awry. At times, therefore, he expresses himself with a kind of imagery and feeling which would be quite unnatural to an " out-Heroding " interpretation of the part, but which are wholly in keeping with the imaginative monster he is by nature. This is especially to be noted in his dialogue with the Mother in Action VH, in which the subconscious influence of All Hearts — after she has entered into his dwelling — makes its momentary impress upon a nature plastic to poetry even in its cruelty, and affects both his speech and action in that scene. Fourth Action: The forms of Pestilence, Pain and Pov- erty have been seated till now in the front row of the Chorus, concealed by wearing the Chorus over-garment, which they drop of! when the music commences. All Hearts, who has been seated with them, also drops off her Chorus over-garment, but retains still her gray shroud. Details of the Tableau of the Despoiler are indicated by Mr. Jones' illustration. The Red Cross appearance in this action is not the same as Action IX. In this action the appearance is of a smaller cross, mysterious in lighting, emerging as from the air, at right, three-quarters down stage, and about fifteen feet above it. There it grows in brightness with the music. 49 PRODUCTION In Action IX the appearance is sudden, great in scale, from above the Doorway. As this is probably tlie first time that sung words have been provided for the Twentieth Prelude and Marche Funebre of Chopin, local chorus leaders (for purposes of the Masque in the immediate future) will themselves ar- range the part-singing for the Marche Fimchre, which is for mixed voices — from which the soprano solo emerges without interruption in the flow of the music. The music, together with the chorus words, will however shortly be published. Information concerning it may be obtained from the National Headquarters of the American Red Cross, as stated in the Announcements at the end of this volume. Fifth Action: All Hearts, after having put oflf her shroud at the moment of revealing the Red Cross, resumes it again in the darkness. , The rendering of the part of All Hearts is, of course, vitally important to the projection of the whole Masque in the spirit befitting the Red Cross. In that spirit, which is hers, " all mercies work as one." In her, those more buoyant and tender qualities of the Mother-Love, which are partly repressed in the tragic role of the Mother, should have full scope. Much care should therefore be taken in choosing for the part a woman prefer- ably not too young, yet imbued with a radiant and youthful charm of loving-kindness, which shall project its influence through the Masque to the entire assembly. Sixth Action: To suggest the universality of the Mother, it will be appropriate and advisable to costum^e the Sons in uniforms of some of the Allied nations, as for instance : The Soldier — French, in light blue ; the Sailor — Italian or English; the Aviator — American. The costume of the Laborer should suggest a universal symbol of Labor. The actors of these four roles should be cau- tioned against any overplaying of their parts in excessive physical action. SO PRODUCTION Seventh Action: The amazement of the Despoiler in this scene is touched with a sense of the supernatural — almost dreamy in its imaginative gropings for the cause of the transformations he has witnessed. The long swords of the Sons are brought by them from their shadowed place of hiding now for the first time. They have not carried swords until now. Eighth Action: The groups of the Pities in the Tableau of All Hearts may well be acted by children of the Junior Red Cross Workers, as also the Children Heralds in the Epilogue. Ninth Action: When the Despoiler starts toward the centre of the Vision, in local productions where instan- taneous darkness may be difificult to achieve, the Tableau may be shut ofif by the closing of the doors instead. Not until her cry of " Ah, my Daughters !" does the Mother see the Girl and Young Woman, who have fol- lowed All Hearts. They, when they go to her caress, remain grouped with the Mother and the two Children by the central seat, during the Epilogue. Tenth Action: At the climax of their roll call, the Drummers (as well as the Trumpeters of Action VHI) may appear in costume, with other Participants — the sides of their drums being covered with cloth of red. The organizing and marshalling of the pageant-groups of Red Cross Workers comprise processional movements and decorative massings. For these, all four aisles, the ground-space, the steps and the stage itself may be util- ized according to the numbers participating. The order and sequence of the groups are suggested (in the list of Persons and Groups and the Insignia Designs) under the four Herald Leaders, Courage {Overseas Divi- sion and Sub-Groups), Mercy (Nurses and Sub-Groups ), Reason (Active Service and Sub-Groups), Love (Produc- tion and Sub-Groups). Epilogue: The Children-Heralds will here perform a very important, practical function, not only by forming SI PRODUCTION their cordon which holds the audience till their names and memberships are pledged, but also by delegating from their body those who will go among the audience to obtain the signatures to enrollment blanks. This function should be thoroughly organized and re- hearsed beforehand by local directors. All Hearts, in her appeal, will stand at a central position at the top of the steps. As stated in the suggestions regarding a community Song-Finale, the ceremony of enrolment will doubtless con- tinue for a considerable time after the close of the Masque proper, during the singing of further song-selections by the Chorus. At the end of the Song-Finale, under no consideration should the persons in the Masque or the Participating Groups be left to break up in chaotic confusion for their departure. All those in costume (except those engaged in the function of enrolment) should withdraw in well-ordered Recessional, to the singing of the Chorus (in which they themselves may join), and not disband until after they have withdrawn entirely from the place of assembly. This should be carefully kept in mind from the begin- ning, and provided for by adequate rehearsals of the Ban- ner Bearers, in conjunction with the chief Persons in the Masque proper. Mr. Robert Edmond Jones, with whom I have already been happily associated in the production and book-making of two of my Masques (" Caliban " and " The Evergreen Tree ") and a new play (" Washington ") has prepared the designs for settings and costumes of this Masque. His Notes upon them follow in this Appendix. After conference with me regarding the first pro- duction of the Masque in Washington the director of that production, Mr. Irving Pichel (who was As- sistant Director of the productions of " Caliban " at the City College Stadium, New York, and at the Harvard Stadium, Cambridge) has prepared further notes on pr^c- 52 PRODUCTION tical details of the Masque's production, which also are contained in the following pages. For purposes of record in this field of community drama, it is requested that producers of this Masque will kindly forward copies of their programmes and press notices of their productions, in duplicate, one copy to the Red Cross Christmas Roll Call, Washington, D. C, and one copy to the author at the address below. Percy MacKaye. Harvard Club, New York; 20th October, 19 18. 53 INSTRUCTIONS AND SUGGESTIONS. By Robert Edmond Jones. I. COSTUMES AND MASKS. Productions of " The Roll Call " in different parts of the country will vary enormously according to the varying phys- ical and imaginative resources of different communities. It seems to me that the more practical these printed suggestions can be, the better. Out of this raw material the local pro- ducer can create as he wishes. Roughly, the Masque is thought of as a scheme of four colors — red, white, grey and black. Keep clearly in mind the contrast between the rusty red of The Despoiler and the clear scarlet of the Red Cross. The Mother: flowing drapery of soft black; long veil of thin dark-grey, worn over a veil of pale grey. The Despoiler: a figure of copper and black; black short- sleeved shirt, trunks and hood ; breast-plate and many-spiked helmet of papier-mache painted to imitate copper; sandals and thongs of scarlet leather; thick heavy cloak of rust-red felt (or substitute) cut in the shape of a semi-circle. After his last appearance the helmet is cast asijde. Daughter. The design labelled Daughter represents The Girl: long flowing dress of soft grey with mark of the De- spoiler in rust-red. The Young Woman wears a grey band about her hair. In the Tableau of All Hearts and after, band and handmark are removed. The Sons. No drawing of these is given because Sailor, Soldier and Aviator will wear some form of the uniform of the Allies. These uniforms, however, should be sim- plified to the greatest degree possible by eliminating all de- tails of trappings, giving chief emphasis to color. The laborer would best wear a kind of Russian smock — suggest- ing a Laborer of the world instead of any particular country. All Hearts: a Giottoesque figure, naive and slight and sim- ple; a wreath of rosebuds in her fair hair; long dress of 54 COSTUMES AND MASKS clinging white, long sleeves, high waist, round neck ; a cross of red enamel is worn as a locket. Child (Boy and Girl) : bare arms and legs: minimum of underclothing; in First Action, soiled white rags bearing mark of Despoiler; in Ninth Action, smocks of the same clinging stuff, but clean and white. Terror: something gray, tightly bound, wraith-like; one fleshless hand stifles a scream. More than any other panto- mimic character, the effect of Terror's pantomime will de- pend on choosing an actor of imagination. Rapine: half bull, half alligator; scales of rust-red cloth sewed on a rust-red union-suit ; heavy clanging hoofs of brass ; a buU's-hide tied about the neck. Hunger: a blindfolded, groping thing nearly naked, with flesh stained gray like the gray rags it wears. The hands and arms are tightly bandaged with white gauze. The im- personator should be thin, almost emaciated. Hate: a dwarf, part condor, part rat; a gray union-suit dyed rust-red on arms and legs ; long rust-red pointed shoes ; spurs and Chinese nail-guards of white; a great pointed hump. Pestilence: underdress of dull red; large veil of clotted gray and red over face ; no features. Pain: a thin tortured figure in dull purple with the scarlet of fresh blood. Poverty: silvery gray rags, gray flesh; long flowing wig of coarse gray-black horsehair. Heralds: ordinary running costume of white with the Red Cross on the breast; wreath of gold laurel; streamers of thin fluttering red and white hang from arms and shoulders. Choose splendid physiques. Child Spirit of Pity: a scarlet surplice ; bare arms and legs. Chorus: a red surplice with the Red Cross on a white ellipse, front and back ; a red clinging veil with white band. Make the Masks of papier-mache or buckram over wire frames. Model them sharply and clearly so that they will 55 SETTING AND LIGHTING take strong high Hghts and deep shadows. Keep them large and simple and serene. Let their wearers rehearse carefully and discover for themselves how the method of acting in masks differs from acting without masks in rendering its own essential effects. II. SETTING AND LIGHTING. Keep the setting large and simple, with an entire absence of detail. If need be, grey curtains may be substituted for the side walls. Make the center doorway massive, the doors thick and heavy in appearance. The doors must swing easily and noiselessly; their opening and closing will be contrived from behind the scenes, at cues. The first tableau is grouped in front of a black curtain; the second, in front of a white curtain. In lighting, think of the masque as a masque of moving sculpture wherein the human form is as important as the face. Focus light on the people ; do not focus it on the setting, which will always take on a charm of light and shadow through reflected light. New York, October 21, 1918. 56 I. (COURAGE) ACTIVE SERVICE IT. (MERCY) PRODUCTION (REASON) TV. (LOVE) PAGEANT INSIGNIA I MAIN DIVISIONS 57 Plate 14 59 PRODUCTION NOTES By Irving Pichel To produce " The Roll Call " effectively, it will be neces- sary to divide the responsibility for its preparation among a number of people. Each one of these will be in charge of a definite department of the preparatory work, free to ap- point or recruit such assistants as he may need. For chap- ters or groups inexperienced in the production of masques, the following suggestions for a form of organization may be found of value. As soon as it has been decided to present the masque, an officer of the chapter should be appointed as Managing Director. He is to be the responsible business head of the undertaking. He will authorize all expenditures, see that the publicity is taken care of, that the auditorium is secured, that programs and tickets are printed, — in short, attend to all matters not relating to the actual staging of the masque. He may, of course, appoint a^ssistants to take charge of various details, all of them directly responsible to him. In immediate and complete charge of the staging of the masque should be the Masque Director, a person, if possible, experienced in rehearsing plays. His aides may be as fol- lows : A Stage-Manager, whose duty it is to prompt at re- hearsals and performances, to see that the orders of the Director are being executed, and to assist the Director in all ways necessary. A Chorus Leader, to recruit, rehearse and conduct the community chorus, and to rehearse the orchestra, if one is used. An Assistant to recruit players for the principal parts and for the groups. The actual selection of the players, how- ever, should be left to the Director after they have been tried in the parts. A Wardrobe Mistress, responsible for the making of the costumes, and for their care during performances. A Chief Mechanic, who will attend to the construction of the stage and scenery. 6i AUDITORIUM, STAGE AND PROPERTIES An Electrician, who, with his assistants, will install the proper lights and operate them during performances. A Property Master, who will procure, make, or have made, all needed properties, see that they are in the hands of the players at performances, and care for them. The property department also operates off-stage sounds and effects other than electrical. A list of properties for " The Roll Call " will be found below. As the effects, scenery and properties of " The Roll Call " are all quite simple, most of this work can be done by volun- teers. Wherever possible, somebody experienced in stage lighting should have charge of the lights, and the person in charge of the execution of the costumes should know some- thing of materials and of dyeing. But the making of them can be done by the workers of any Red Cross workroom. The Auditorium and Stage. It is not necessary that the masque be given in a theatre or in an auditorium with a stage. None of the usual stage machinery, drop curtains, footlights, border Hghts, etc., are required. The masque may be acted in any large room at one end of which a platform has been erected. With the exception of the great doors at the back and the smaller entrances at either side, none of the scenery requires the services of a professional carpenter. The stage, if it has to be built, should be at least two and a half feet higher than the floor of the hall, reached by five or six steps. Properties. The following properties are required : Dais. Seat. Lanterns above right and left gates. Standard for the Despoiler (see design). Standards for Courage, Reason, Mercy, and Love (See design). Swords for Soldier, Sailor, Aviator, and Laborer. Standards for pageant groups of Red Cross workers (See designs). 62 LIGHTING EQUIPMENT A gong. A taper. Drums. Trumpets. Behind the doors, two platforms, the same height, but one of them smaller than the other. The smaller is set upon the larger. The hilts of the four swords should be cross-shaped, and should be constructed especially. Have a tinsmith make them of galvanized iron, in the form of a cross-shaped box without a lid. The inside of the box should be silvered so that it becomes a reflector. The electrician should then mount in them a number of miniature electric light bulbs such as are used in pocket flash-lamps. The surface of the box is to be made of red glass. The lamps should be con- nected by wires with batteries carried on the persons of the four Sons. The gong which alw*ays accompanies the speeches of the Despoiler should be a Chinese gong or tam-tam, procurable at any store that deals in musical instruments. It should not be struck, but should be shaken or vibrated. If the masque is given in a church or auditorium where there is a pipe organ, this effect may be supplemented awesomely by opening the lowest pedal stop on the instrument. The drummers should, wherever possible, be stationed all around the auditorium out of sight of the audience. They should begin their rolling simultaneously, so it will be necessary to arrange for a signal to be given from the stage. This can be done simply by having a number of elec- tric lights strung to the places where the drummers are con- cealed. They should be wired in series and switched on and off from the stage. As a cue approaches, the stage- manager turns on the light as a warning. At the cue, the light is turned out. Lighting Equipment. It is most desirable that the switchboard be equipped with dimmers. If they should not be obtainable, the lights may be " blinded off," or gradually diminished in intensity by 63 LIGHTING EQUIPMENT slowly passing a piece of cardboard in front of them. Use nitrogen lamps of high wattage, not arc lights or " strip lights." If stage flood lamps and spot lamps are not avail- able, they can be improvised out of wooden boxes of proper size, lined with asbestos. A small wash basin at the back of the box can be made to serve as a makeshift reflector. But in almost any town, D'Oily holophane reflectors can be bought very inexpensively. With a little ingenuity, a frame can be fastened to the front of the reflector to hold the color screens. The best possible substitutes for spot lights and flood lights, however, are automobile headlights and windshield spots. Automobile lights cannot be burned on the ordinary electric circuit, and require either storage batteries or a transformer, A transformer large enough to carry six automobile spot lights can be purchased for about three dollars. It will be noted that the luminous cross appears twice. The first appearance should be dimmer and less sharp in outline than the second. The first appearance should also preferably be smaller and placed in front, above and to the stage right of the central seat, but this smaller sized cross is not absolutely essential, if local equipment is difficult. The cross should be a large box with a transparency front. Inside, brilliant lights. The box is suspended high up above the stage. In front of it, reaching down toward the center doors, a dark gauze may be hung, concealing the cross from the audience. At its first appearance, the lights may be brought up on the dimmer slowly until the cross shows dimly through the gauze. On the second appearance the lights are thrown on in full brilliance. If there is no dimmer available, the first appearance of the cross can be produced by projecting a cross on the gauze curtains by means of a stereopticon. If the lens is slightly out of focus the outlines of the cross will be blurred and the effect visionary. (Finis. ) 64 ANNOUNCEMENT All the materials needed for produc- ing this masque — except the scenic effects and the costumes (designs for which are included in this volume) — such as copies of the masque, the music, the masks to be worn by the pantomime characters, the advertising posters, the four-page general announcement of the masque, will be fur- nished by the National Headquarters of the American Red Cross at cost. For this material, address C. S. Clark, Executive Secretary, Red Cross Christmas Roll Call, Washington, D. C. 65 LIGHTING PLOT II. •■ -■ • { ,-.r-, .- r If <•" L .■* he ed ir e 3646 "THE aOLL CALL" by Percy MacKaye LIGHTING PLOT II. Ill In the plot here following only the cues are indicated. Local stage n;anagers can designate for taemselves places in the script as ;^arning cues. This plot IS drawn up v.ith a full electrical equipment m mind. For productions ^r.here the equipment herein referred to cannot he obtain- ed, the stage ir^-nager may elia.inate as he sees fit, but should strive to retain all the light effects and changes indicated. If stage dingers are lacking, changes in intensity may be accomplished by "blinding" the lights, or passing a card before the soiirce of light. If the lights can be controlled fron. a central switchboard, however, fe'v- er men are needed to operate the lights and there is less danger of cues going wrong. The lighting units should consist, as far as possible, of spot lights, or lights that are focusable and can be directed as desired, rather than flood lights or lights of wide diffusion. If ordinary stage spot lights are not obtainable, General Electric Company Type L-1 lamps aake a sat- isfactory substitute. These lights are in general use for lighting out- door construction »;vork at night and for illuminating the outside of buildings, so that they are obtainable through General Electric Comp^any agencies in miost cities. The X-Ray Reflector Conpany also nakes a very satisfactory lamp of this type. Failing either of these, automobile nead lamps may te used. Eulbs of 110 volt capacity with small size bases to fit head light sockets may be obtained, so that the lamps may be used with the ordinary current. Disposition of lights on the stage. . As far as possible, the lights sliould come from above. It is best if the Masque is given in a theatre, not to use the footlights and borders. In the following cue sheet, eleven light stations are presupposed, indicated by letters of the alpna bet, as in the key below. (a) Overhead Bight (B) Overhead Left . (C) Rta pe Right (D) Sta pe Left . (E) T^ip-ht. T^ntrance. One or two spot lights commanding the whole stage in front of tne great doors. As on the opposite side of the stage. These two units Should be kept as far "down stage as possible . A sr^ot light, and possibly a flood light, well "down siSe-: TuesS .should be raised to a hexght ox 6 or 9 feet, TlnZn» productions either A and B, or C and D rray be omitted. ) A flood lamp outside the gate "down stage." If Possible also a "baby" spot lamp to project aero.. ?he stage to the entrance opposite. -■■ f ... 0"-" !T.K.'*: J ■' y : , ■ - . Ij.j. :?>L.; ./^:r--'i .fT •I i;-»vi 1 (F) (G) (H) (I) (J) (K) r. e n r If ■he led ir e T^ZZIZ 3F? J646 -2- (F) L3ft Entrance . (G) Tableau Right , (H) Tableau Left. As above. A powerful flcodlaii.p back and to the right of the center gate. As above. (I^ Tableau Overhead. Above and in back of the great center doorvvay, concealed by the cap of the gateway. This should consist of three flood lamp units, directed down- ward. Three colors are used - red, green and blue. By the mixture of these colors in varying intensities, any color called for in the follow- ing plot iray be produced- If dimrrers are not available, these lights should be covered with blue, deep orange and li^ht amber colors. (J) Sirall Red Croi (K) Large Red Cross . Colors. Either this is produced by showing the large Red Cross less brilliantly illuiiiinated and partly irasked by a gauze, or is projected by means of a stersoptican f rou. the front of the auditorium on a gauze hung above the door and to the right of it, (See apj:endix of Book). (See book). On a stage, this may be lowerea from the "flies" in tne laoment of darkness before it is switched on. Otherwise, it should be above the gateway concealed by a gauze. Gelatine colors aiay be obtained from any theatre electrical supply house; rray sometiu.es be borrow- ed from a local theatre, or may be purchased from the New York Calcium Light Company, or fron, Klaigl Brothers, l^e-' York. In case they are not obtainable, color;a tissue paper, made raore- tran- slucent by' being ciied, can be used .vith fairly satisfactory results. 1. Cue : 2. Cue; (a) TTaHTTNG PLOT. After tne Prelude of corrmunity singing, the lan- . «>,o^P the right and left entrances should iTllilli: ?hese^ights Should be of a pale a... ter color and not too bright. ils chorus "Earth How Dreamily" begins, tegin slowly to lower auditorium lights. ^ ^v,-r.ri 1 inp of third stanza of opening chorus At third ■^^^IJ^I ;^f^^ .^^ xast auditorium "Yearning Mother Love > .^^^: /^^.^^i^g the stage light should be extinguished l.-vin^ ^^^ for the moment in utter darkness, -.xc.p dim glow of the lanterns. -^ ' ■ '• r, e d n ilf ihe led cts, L- 3 5ir L r s. 3646 ( b ) On san^ cue grey, behini doors!'''^ '''^^'^'' ^'^'''" ^^^ ^'^'^^ ^^^^ 3, Cue As mother sits or h u orange (As near .' rT ' ^^^'^^^^^ ^^g^* lig^-^ on, dim ^ coppery tone as possible). ~'' l^inl f on!"^ ^^^P^iler, "More of my branding, .oroi" <^ on, red. "' ^'' Ti^Tt ■'^f" -" - E and F slo..ly dl,„,:ad out. -^ i-u aoout Jn.cif lorrrer mcensity. Cne "Motner v.ili find ycu soire younger, beautiful hoirie' ■c- green, aiiL. F grey blue, dia. 7. Cue: "iUh: C-od leaves us utterly."' E ana F diaj-i^ed out. 8. Cue.: "rtoir.an, -;;,t is your will?" I. red- orange up on diiraiBrs. B. orange spot to door uay on De spoiler. 9. Cue: The De spoiler exit. I. out B " D to mother, aniber. 10. Cue : "Again now let urj rituals coi.inencG. " C to center near mother • s se^at - copper. B to right of doorway - nagenta A to left of doorway - deep blue G - red H - green I - orange and blue 11. Cue.: (a) Cnorus sings: "Where s/.all the all for saken hail thy. sign." Black out all lights. (b) Solo voice begins: "Lo, gliumering upon thy breast. A - white spot to All Hearte> - center of stage. J - sn^ill croi -ss slowly on. (If stereoptican is used, ross slightly out. of focus to blur out- project c 1 ine . ) 12. Cue : Chorus sings "Lonely and Starless . A - out J J - out 1 Restore lighting as of Cue 10. 13. Cue.- End of chorus and closing of doors. C - changes to rose or light amber. D - slowly on light amljer. brighter, cut (N.B. - The lights now beconie warn^r -n not intense . ) 14 li I :"'•.• ~ O ■• TO- - ihe led -C=-: 5r 3 L- 3 3ir lie 1 acj 3646 -4- 14. Cue : "And foil fhr. more keen" '^'^'^'^^fl^'^ge of Cruelty by craft of lov, light amber, up slowly to half intensity. 15. Cue : "The rnll r^- n T f.. ^^^ °^ ^^e wrld". -t - ciull copper. 15. Cue.: The doors close - I out. 17. Cug_: The soldier cries, "Mother .»" A - light amber on the soldier as he drops his shroud. 18. Cue.: The other sons cry "Ivlother."' B - as A above . ^^- 5lie: "Guile/ Guile and Snare?" I on, dull copper. General diiriivdng of all stage lights. A - dull ore^nge, to left of center for Despoilar's ent ranee . 20. Cue : "Blading of Women's Hearts." G - H and I on full, v»/hite or lignt amber. 21. Cue : "And the blood of their corpses upsteair.ing! " Black out all lights K on full. 22. Cue : Trumpets sound. A and B to sons at front of stage. G - spot to All Hearts. 23 Cue : "Ho - Courage, Mercy, Reason, Love."' G - H and I gradually up to fuU intensity. ^4_ Q^^. "Out of that blasphezry, these shall r sdeem our vow." C and D on full. T.TaHTS STAMP Till' END 't '.- ■:i '..L... V? ,.-:;= VvtL. •:! - .; ..:f ■ . :->. :•'-••.' XO •i.-r^' ■UT ^v;,.-i- 3-^MPi. 1.. Part f oior Overs These The C has a workd best aTjdit fianct shoii] the c innex for t 11- Entra Worke at tl^ of th so th reqiii The B^ steps its B: atten steps remai a.bov- 1'. -^ •V A " . ■ • r' f ■*■' i ;'^ -!-»»■- i •? /t'.^ f i ^,. *::.i-^. ^-^^ '"'ii'^:;^^^''--."^-'': '-^-i;' ■ft T, H> .^-^ .^^•i^Vf^: i- 3 iir lie L -•—■-*' ■ *■ ••^'^^': -• rx'T '' 3658 The Roll Call by Percy MacKaye.. SUGGESTIONS FOE PAGEANT FINAI^ OF RED CROSS WUKmS . 1.. participants . The Pageant participants are divided arbitrarily into fovr gro^5>s v^*lich for the sake of convenience have been called The Overseas, Nurses, Active Service, and Production Divisions.. niese groups enter down the four aisles indicated on the ground plan.- The Overseas group comes down the aisle by which the Herald "Courage" has entered. The Nurses* Division follow "Mercy", the Active Service workers follow "Reason", and the Production workers follow "Love". In determining the number of workers to be used, the best guide will be fotmd in the number of rows of seats in the auditoriTOTi in which the masque is to be performed.. For it is to be the function of those Pageant participants to enroll the audience. There should therefore be a v^rorker for each row of seats on each aisle.. On the outer aisles, there will be one worker for each row, on the tv.-o inner aisles two workers for each row, one for the right hand and one for the left hand. 11-. Entrance. First to enter should be the children of the Junior Workers., Let them sweep down one of the outer aisles, along the steps at the frontoQf the stage, and vp the other outside aisle, the leader of the long line joining the last child at the back of the auditorium, so that the audience is completely surrounded. The number of children required is to be determined, therefore by the circumferance of the nail. The Banner Bearer for the children should remain at the center of the steps leading to the stage. . , , ^ Then, marching do'-;n the four aisles, each grovp led oy its Banner Bearer, come the four Divisions.. The Banner Bearers, each attended by one worker of the particular groi^) should be massed on tne steps, forming a pyramidal picture with All Hearts as its apex, ihe remainder of the workers of each groxp remain in the aisles, as above, one for each row of seats. . .y^ 111. Enrollment . At the Children's shout, "All Hearts", those at tne front of the hall, facing the audience, pass a proper number °i ^°^^ Call Enrollment Blanks to each line of vorkers. The ^^f^f^^^'^^llll't buted back along the line until each worker is supplied. . ^i^e s each worker is provided with pencils.) The blanks and Pencils are ^ passed along each row and the names of the audience secured, ^i . worker for each row, the '.vhole process should not take "^^=^?. °^^^ °" minute. This process coincides with the Epilude of ^^^^J^^^J^^^.-.^; and IV. Exeunt . During the above action. All Hearts and the tte^_^ Banner Beareis should move to the back of the stage forming ^^^ .^o^kers tableau in the great doorway at the center of the ^*^^® ' . ^^ ^^.^vn the get the blanks with signat\ares from the audience, they ^^^^^^.g, zet aisles and up on the stage, grouping about their -^""^f Cross Workers this grouping be effectively arranged. When all the e ^j-jorus. (Hold this are up omthe stage, sing the last stanza of the ^^"^^ ^^ ^^^ the audience last stanza until then. The Song Leader should ^*v®^^ ^j^^s song, the to join. The words may be printed in the program.^ ^ ^^^ center door- players and pageant participants make their exit t. r^^ ^^^^ ^^^ ^^^^ ^j. way and the side doors. Rehearse the exit ^arefi^liy ^^^ Mother and will be orderly. The Children go off last, accOBopanyi 'fe ^^ ^^^ ^^on^ Children and Daughters and Sons, uho maintain their e^^^^^ audience center of the stage till the very end.. The Childien s-urroimded until th f plav is finished. -'" *f. r^ .. . . t . •. , ,-. C: Off -:^ r:i .--.-.vn -/' ;V:,;- ni ,:::- r-ol J iv^:^ '^'*'i ,7.0't \.J:":-':- "jot ^'1 •>'..'«.;■■■ A;. .' - •" } ly ^i5Ji*A^W - ' '' ■■-■ •■..'•;" '-r* ■ ;^i. .:; •.. .■.:;^i ■;:5riJ'hv "-^ ; ^'^'i'J>>i^ _>{;,; . h^iyi~« :;:-^;-=^' i^;^ ::;{ ;;.? i" . " i:«:?o'4'' -T^rr .?:v^;.,^. t;;-v.r'.no "yr^i^--^ •.•'■/ ^.. /;,•.. ^>i:-*: - :> It is semi-devotiona be patriotic a Local leaders mimbe r s that b I - 1. 2. 3. r. e d n 4. 5. I ■ [ 6. ft. ilf the led 3r lets, L- 3 COMViUlUTY tOWG PRELUDE ANE EPILUDE. It is suggested that the selections u.sod for the song prelude oe of semi-devotional and sentiuental character, while those of the finale should De patriotic and Evartial in character. Tne followino' selections are advocated. Local leaders nay add or elindnate, as seems vkise, but should not introduce numbers that break the mood desired eitner at the opening or close. I - rRT^TU DS 1 . AiXie r ica . 2. Aiiierica the Beautiful. 3. American Consecretion Hymn. -iVlac Millan. (Published by Carl Fischer, Boston.) 4. Tenting on the Old Camp Ground. 5. Old Folks at Home. 6. Old Bxack Joe. 7. Home Sweet home. 8. My Old Kentv.cky Hone. II _ EPILllDF 1. Battle Hymn of the Republic. 2. When Jomny Comes Marching Hcne. 3. Bersiglieri Hyain. Cc T^^et ^in-in^ stanzas, comnunity tne 4. Marseillaise. (Soloist sin^i.^^ chonis. ) 5. Dixie, g :e id m jlf ■ j . .... »—. led 3r 3 r ae L .3S 3935 New Version of P^^ ^ 43 °LTlffi_EpLL.CAJ4JvIasque by Percy MucKaye. We are not near the end But the begi.nning: Now - Now from the red pctns of ruin Peace comes returning Homeward through homeless tribes, Crying, "Destruction is done I •CrecxteX Create I my peoples 5. Build now together I" ^«'e. then - we - you and I - Each nf us ~ one cind all - None too poor or discouraged, Vieak or too weary ~ ■' Old, disiliusxcoed -- or young. Reckless of misery - none But each shall act his partj and Shcxring with A.ll Heci.rts - Join our vmited will, Now and henceforth, to build Out of old chaos - beau bye Freedom ctnd order. Join, then, actors of truth I Pledge me your names ana y^ur vows t Join our Red Cross p to the kindling Drums of my Roll Call - (Now to the roar of Drums, the Heralds ncake signal; the cordoro of encircling children .answer with a joyous shout of "All lisari.s and raising their erirollment blanks, enroll the audience and pa/' ticipantE, while the singers renew their final chorus.) The above is the substitution for the whole of page 43 of the book. Since Zotenberg published his epocJi-marXing 'Not ice sur quelques manuRoritf^ d^js Mille et une Nuits, ' there has been no contribution to that study so useful as the bibliography of Professor Ohauvin of the University of Liege, the first part of which has lately appeared. It forms volione iv. of his great 'Bibliographie deR Ouvrages arabes ou^relatifs aux Arabes pub- lics dans 1 'Europe chretienne ae 1810 a 1885,* a most laborious and praiseworthy worK in continuation of the much less laborious and praiseworthy 'Bibliotheca Arabica' of Schnurrer. It is true that Professor Ghauvin does not make as brilliant discoveries and fertile combina- tions as those which we owe to the industry and sagacity of Zotenberg; his hypothesis, e, g,, that the final editor of the Elg^T^tian recension of 'The 1001 nights' was a converted Jew, and, perhaps, the figure known in Jewish literature as the pseudo-Maimonides, will probably not meet with much acceptance. But by his labors the bibliography of the 'Nights, ' printed and in manuscript. Oriental and European, has at last been put on a trustworthy foundation. For this voliiime does not, by any means, limit itself chronologically or geographically within the bounds of its title. It takes account of the editions of Galland, his translators, supple - menters and rivals, from, the first and dovm to the present time, and includes as well the various Arabic texts anci versions printec^ in the East. The knov:n manuscripts, too, are reckoned with, and the fullest details given that Prof- essor Ohauvin could gather up, as to their characters and contents. He describes further the different imitations, in good and in bad faith. Oriental and European, and gives tables of the contents of these as v/ell as of the texts, manuscripts, and translations of the great ori- ginra. References, too, we find for articles on the 'Niglits' and reviews of the principal editions: it is _much to knoy; where to look for v/hat De Sacy, PHickert, A. Muller, Leigh Hunt, August von Schleg'el, etc., had to say from their very different standpoints. Finally, when the second part has appeared, vjith analyses of all the tales, anecdotes, etc., accounts of their •editions when published separately, and indices -2- for the whole, ^."e ^hall have a bibliographical thesaurus of the first rank. As an illustration of the width and interest of this hook, the treatment given to Dr. Marrtrus's "translation" — sit venia verbo — may be adduced. The voliornes DUblished are bibliographically described, and extracts are given rroin the pre- face, and from an article by Dr. Mardrus in the Revue Rncyclopedique Larousse, on his own work and rnetho'ls. It is evidently written in defence, and is amusing enough. The claim to literality is repeated. He has used all the printed texts, and also certain manuscripts, but has relied, above all, on a manuscriT)t in his own possession, which had been the source of the first Bulaq edition. This brings out clearly the issue between Dr. Mardrus and the Arabists. V/hen we consider that it is by no means the habit of Egyptian printers to trouble tiiemselves with editing anc' abbreviating their "copv" — always excepting indices and such useful things w^ich"' they regularly cut down or out — also that the Calcutta edition is certainly a complete reproduction of a MS. brought from Egypt and full sister to that which lies behind the Rulaq edition, it seems clearly "tiip to" Dr. Mardrus — with permission for the slang — to sup- port his statements and translations by produc- tion of his MS. This matter of simple honesty is not to be confused with certain other points in which Dr. Mardrus undoubtedly has the right. His conception of a purely literary version, in which the idea of translating and the figure of the translator must remain in the background, and from which all apparatus of notes, learned or otherwise, shall be rigidly excluded, is the only possible one, On some few points Professor Chauvin can be corrected and supplemented. On p. 9, at the reference to De Wallemburg's 'Notice, 'it would have been well to add a cross-reference to p. P/M of Miiller's 'Sendschreiben' (19 J. on p. 6), where that notice is examined. On pp. 117i f.. Professor Chauvi;-: is somewhat severe on Burton for citing the Bourdin edition of Galland, as edited by De Sacy. His suggestion that Burton has mistmderstood the title, "ne sachant -3- pas aanez l6 Pran^Jr.is," is enough to maXe that eninently French linguiGt turn in his grave. Chauvin hfir. himself misunderstoorl ~^urton, who (viii, 71) distinguishes betv;een De Sacy's "nd Bourdin's parts. The gravrunen of the accu- ■ation against the great Arabist is really that he, to pJ.1 appearance, wrote his 'Menoire' v/ithout consulting the Arabic original. On p. 116 Professor Chauvin han misseri the 'F^election from the Writings of Henry Torrens, with a Memoir by James Hume. Calcutta and London. 1854," It contains a reprint of all the verse and some of the prose in the single voluiie of the trans- lation of the 'Nights' v:hich Torrens printed in 1839. P. 197, it would be interesting to K:now what is the authority for ascribing an Egyptian origin to Galland's manuscript. Zotenberg does not do so in his 'Notice, ' and an old note (A. D. 1548) in the nanuncript itself is dated ^^om Tripolis in Syria. The history of MS. C, on p. 198, may be pushed a stage farther back by reference to Humbert's 'Antliologie Arabe, ' By conparinon of pp. 9 and 157 of that book it can be established that the MS. in question — 4678-9 in the Paris Library — is a copy of a certain "beau manuscrit de M. Sabbagh, actuello- ment (1819) entre les mains de M. Baudeuf." The orif;inal MS. wa-s brought from Kgypt (p. 9, "apporte d'^gypte"), was in the hands of H. Baudeuf, and has nov/ vanished; a copy was m.ade by Mich.el Sabbagh (p. 157) for Oaussin de Perceval, pere, and is MS, 0. above. That there are so fev; points open to criticism shows how excellent a piece of work has been done by Professor Chauvin for students of t^e 'Nights.' From. THE EVENING POST: NEW YORK, SATURDAY, MARCH 2, 1901. Hi? 8 [ f. n 'm WILLIAMS PRINTING COMPANY, NEW YORK >p'^^. ' "' i^^ ^-v 1^ » « • -^v^^ •' ^-.^'^'^ ^^ * '\ "" w^' .-^'^ -.ip:' /%. ^^ . . -^ K^ av ♦ ^ "-..^^^ iO-A aV * ' * '^ \ /.•i.;^^.> ,/..i^l'.V ..o^.l'^.*'l HECKMAN 1^ BINDERY INC. |s| DEC 88 N. MANCHESTER,