PERCY MACKAYE 
 
 A SKETCH OF HIS LIFE 
 
 WITH BIBLIOGRAPHY OF HIS WORKS 
 
 Reprinted from 
 
 The Twenty-fifth Anniversary Report 
 
 of the Class of 1897 
 
 Harvard College 
 
 1922 
 
Gift 
 
PERCY MACKAYE 
 ANCESTRY 
 
 Percy ^Lv.cKvTE is of New England and Scottish stock, being directly descended 
 from Gov. William Bradford, of Plymouth, and Roger Williams, of Rhode Island. 
 His paternal great grandfather came from Scotland about 1800. His grandfather. 
 Col. James Morrison MacKaye, an Abolitionist leader, was appointed by Lincohi 
 as Chairman of the Commission to promote the Emancipation Proclamation. 
 
 His mother (nee Mary Medbery, of Xewbur^-port, Mass.) is the author of a dram- 
 atization of "Pride and Prejudice," widely used in schools and universities. His 
 father, Steele MacKaye, author of "Hazel Kirke," "Paul Kauvar," etc., (1845-94), 
 was eminent as a dramatist, actor and inventor in the art of the theatre. From him 
 his son Percy received the basic education for his life-work. 
 
 Together,' father and son have contributed to the American drama, in creative 
 continuity, an average of one dramatic work a year for fifty years (1872-1922). 
 
 Born at New York, N\Y., March 16. 18T5. Son of (James) 
 
 Steele and Mary Keith (Medbery) MacKaye. 
 School: (1884-87) Grammar School No. 40, New York 
 
 City; (1888-89, 6 months) Lawrence Academy, Groton, 
 
 :\Iass.; (1889-90, 3 months) Washington, D.C., High 
 
 School; (1890-93) home study. ' 
 Yeaes IX College: 1893-97. A.B.; A.M. (Hon. Dartmouth) 
 
 1914. 
 Married: Marion Homer Morse, of Cambridge, Mass., Oct. 
 
 8, 1898, Shirley Centre, Mass. 
 Children: Robert Keith, Oct. 8, 1899; Arvia, Feb. 14, 1902; 
 
 Christina Loring, Jan. 10, 1909. 
 OccrPATiox: Poet and dramatist. 
 Address: (business) Harvard Club, 27 West 44th Street. New 
 
 York, X.Y.; (home) Cornish, X.H., P. 0. Windsor, Vt. 
 
 This sketch is written in a little studio, built for me among 
 tall oaks and beeches, on the Lower Campus of Miami Uni- 
 versity, Oxford, O., where since October, 1920, I have held the 
 first university Fellowship in Poetry established in America. 
 Under congenial conditions I am given entire freedom to 
 pursue my own creative work, as the fundamental idea of this 
 new precedent in the educational world is " the desire of the 
 university to be instrumental in creating art and literature, 
 
 [ 3 ] 
 
notsimpl}^ in teachmg them." So it is from this quiet mile- 
 ' ' stbiie-.of woi'l: that' I make my retrospect of twenty-five years. 
 
 Below, I shall summarize the published works and produc- 
 tions which have crowded those years for me with innumerable 
 tasks involving plays, poems, communal dramas, operas, es- 
 says, lectures, traveling, organizing, directing, etc. To all of 
 these activities, varied though they have been, m}^ own ap- 
 proach has been primarily that of the poet (in its ancient sense 
 of maker, or builder), seeking manifold yet exact forms of 
 technique for the expression of the poet's individual vision in 
 its relation to human society. 
 
 Many changeful vistas of those tasks glimmer in remem- 
 brance : Early stage-rehearsals of " The Canterbury Pil- 
 grims," with a recalcitrant milk-white donkey, all four legs 
 frozen, budgeless with his burden, the dismayed soubrette Wife 
 of Bath. — Midwinter, in the little town hall at Dublin, X.H. : 
 a man-model against a dusky curtain: Abbott Thayer, the 
 artist-inventor, intent, excited, testing (in 1906!) his new 
 " camouflage " principles to create a stained-glass vision of 
 Charlemagne for the Sothern-Marlowe production of my play 
 " Jeanne d'Arc." — The battle-field of Ticonderoga : a raised 
 platform: speeches from President Taft, Secretary Root, Am- 
 bassador Jusserand : tourists, farmers, hundreds of up-peering 
 faces, as I read to them of " soldier and saint and sagamore " 
 in my poem of old Champlain. — Opening night of my Greek 
 Tragedy in New York (across the street from " The Merry 
 Widow," also having its premiere) : the net scene between Sap- 
 pho and her slave-lover Phaon : enter from the wings a brindled 
 unsalaried cat, who slinks between the lovers toward the temple: 
 " Never mind, old fellow," whispers William Vaughn Moody, 
 who sits next me ; " it 's a tortoise-shell cat ! " — Behind the 
 scenes at " The Scarecrow" : half a dozen stage-hands furi- 
 ously puffing corn-cob pipes, to keep the Devil supplied with 
 brimstone for Lord Ravensbane: one stage-hand horned, and 
 hairy to the waist, to portray the " dummy " in the magic mir- 
 ror. — The ^letropolitan Opera House, crammed to the ceiling: 
 Peary, just returned from the North Pole: the clamorous 
 ovation: a few tingling moments of silence in which to voice 
 that consummation of the centuries in a poem. Governor 
 Hughes introducing me: the thrilling response and its mem- 
 ory. — Again the ^Metropolitan, and again the Wife of Bath, 
 
 [ 4 ] 
 
but this time a German singer in mj " Canterbury " opera and 
 deKoven's, 1917: From a box Ambassador Gerard has just 
 read President Wilson's proclamation of our entrance into the 
 World War: the German orchestra has just played (for the 
 first time ever) "The Star-Spangled Banner": curtain rises 
 on Act Third: the Wife of Bath begins an aria, sways, sings 
 more faintly, falls in a swoon — and is carried off stage (soon 
 after to be interned as a German spy) : end of that perform- 
 ance ! — Snowy quiet on the lonely hills of Cornish, N.H. : 
 midnight: a lit candle: paper, pencil, and work: a snug 
 wood-fire: a little mouse climbs up the candle, nibbling close 
 to the flame: we eye each other: he wonders: so do I. — Night 
 again : Two hundred thousand human beings massed on a sum- 
 mer hillside of St. Louis, like clover-tops in a moonlit field: 
 across a gleaming of water, the magic world of my Masque in 
 full production: the Pioneers and the Earth-Sj^irits shine in 
 their wrestling, half naked : Gold and his followers are downed : 
 the human clover-field rustles, rumbles, roars like a million bee- 
 swarms. — Carnegie Hall, New York: demurer crowds: black 
 coats on the platform: amongst them one white head, with 
 hand tilting forward the left ear: Edison receiving his gold 
 medal: he does n't hear my poem, but discusses it afterward, 
 telling me reminiscently how he and my father had sat up all 
 night, many 's the time, discussing each other's inventions. — 
 Dawn in the Harvard Stadium, after an all-night light rehear- 
 sal of " Caliban " : the glow in the forty-foot plaster dome of 
 Prospero's visions is a misty rose color ; but so also — a misty 
 rose — is that sky there at 3.30 a.m. : the two dome lights 
 commingle: the dawns are blended. 
 
 So the vistas glimmer and change ; but through all their 
 diversities one aim has been the goal of my endeavors : to at- 
 tain through varied arts a practical svnthesis for the poetrv of 
 life. 
 
 Soon after our country entered the war, my son Rob (then 
 in Exeter) and I registered together at the same booth in 
 New York, but his class was too young and mine too old to be 
 called into service. So my war work consisted of contributing 
 a Masque (" The Roll Call ") for the Red Cross, a Christmas 
 Masque (" The Evergreen Tree ") for army camps and com- 
 munities, and my play " Washington, the Man Who Made 
 Us," having for its theme the still-living leadership of our first 
 
 [ 5 ] 
 
great leader. After the armistice, with the return of our 
 soldiers, I had the honor to give at Harvard my Lowell Cen- 
 tenary poem, " The Returning," in Sanders Theatre, under 
 conditions very similar to those under which Lowell himself 
 read his "Commemoration Ode " on the return of Harvard men 
 from the Civil War. 
 
 So much for glimpses in retrospect. In looking forward, 
 I fancy that — like most of our classmates — I look hopefully 
 to the new generation, wherein I feel I have made my most con- 
 structive contribution to our Alma Mater in the sturdy young 
 manhood of Robert Keith MacKaye, Harvard, '23, who won a 
 gold medal in his Freshman year by " throwing the hammer " 
 against Princeton. — Long live '97 and '23 ! 
 
 A summary of specific data follows : 
 
 After marriage in Oct., 1898, lived abroad (1898-1900), residing suc- 
 cessively at Rome, Brunnen (Switz.), Leipzig, and London: at Univ. of 
 Leipzig studied as matriculated student, 1899-1900; taught in private 
 school, New York, 1900-04; joined Cornish, N.H., Colony, 1904; lectured 
 on the theatre at Harvard, Yale, Columbia, and many other universities, 
 1906-13; delivered address on "The Worker in Poetry" before the National 
 Academy and Institute, New Theatre, New York, 1911; Harvard Phi 
 Beta Kappa poem, 1908, and commemorative poems on Lincoln, Peary, 
 AVilbur Wright, Goethals, Edison, Walt Whitman, Vaughn Moody, How- 
 ells, Alexis Carrell, Lowell, Tennvson, Browning, Thackeray, Shakespeare, 
 Ellen Terry, 1909-19; Prologue to Saint-Gaudens Masque, Cornish, N.H., 
 190.5; contributed various articles and poems to magazines; appointed to 
 first American fellowship in poetry and drama, at Miami Univ., Oxford, 
 O., 1920; commemorating the Unknown Soldier, "Arlington, Va., Ceremony, 
 and the Washington Conference, wrote " The Unknown Dead " and U. of 
 P. Phi Beta Kappa poem " Ourselves," 1921. 
 
 Editor: Chaucer's "The Canterbury Tales: Prologue and Ten Tales: 
 A Modern Rendering into Prose" (Fox, Duffield, New York, 1905) ; "The 
 Modern Reader's Chaucer" (with Prof. J. S. P. Tatlock: Macmillan, 
 1912). 
 
 Biographer: "Steele MacKaye, Dvnamic Artist of the American 
 Theatre" (The Drama Quarterly: 19li-12). 
 
 Member: Societies: National Institute of Arts and Letters; Poetry 
 Society of America; (hon.) Harvard Phi Beta Kappa, and Tufts Phi B. 
 K.; Dramatists' Guild of Authors' League of America; Society of May- 
 flower Descendants. — -Clubs: Players, Harvard, MacDowell (New York); 
 Everglades (Palm Beach); Cosmos (Washington, D.C.). 
 
 Author of the following published works and productions: 
 Poems: 
 
 Poems (Macmillan, 1909); Second Edition entitled The Sistine Eve and 
 Other Poems (Macmillan, 1915). 
 
 Lincoln, A Centenary Ode (Macmillan, 1909). 
 
 Uriel and Other Poems (Houghton Mifflin, 1912). 
 
 The Present Hour: Poems of War and Peace (Macmillan, 1914). 
 
 Poems and Plavs: Collected in two volumes; Vol. I: Poems (Macmil- 
 lan, 191fJ). 
 
 Dogtown Common: A Narrative Poem of Old New England (Mac- 
 millan, 1921). 
 
 [ 6 ] 
 
Essays : 
 
 The Playhouse and the Play, and Other Addresses Concerning the Theatre 
 and Democracy in America (Macmillan, 1909). 
 
 The Civic Theatre, in Relation to the Redemption of Leisure: A Book 
 of Suggestions (Mitchell Kennerley, X.Y., 1912). 
 
 A Substitute for "War, with an Introduction by Irving Fisher, Ph.D., 
 and with Prefatory Letters by The Right Hon. Viscount Bryce, O.M., 
 and Norman Angell (Macmillan, 1915). 
 
 Communitv Drama: Its Motive and Method of Xeighborliness (Hough- 
 ton Mifiiin, 1917). 
 
 Plar/s: 
 
 The Canterbury Pilgrims, A Comedy (Macmillan, 1903) ; first produc- 
 tion: by the Coburn Players (Park Extension, Savannah, Ga., April 
 30, 1909: first A^tc' York prod.: Barnard College: May 25, 1909); 
 acted in outdoor repertory, 106 performances during 6 seasons. 
 
 Fenris the Wolf, A Tragedy (Macmillan, 1905). 
 
 Jeanne d'Arc, A Tragedy: Scene Designs by Barry Faulkner (Mac- 
 millan, 1906); first prod.: by E. H. Sothern and Julia Marlowe, inci- 
 dental Music Suite bv F. S. Converse (Lvric Theatre, Philadelphia, 
 Oct. 15, 1906: first Netv York prod.: Lyric Th., Jan. 28, 1907: London 
 jyrod.: Waldorf Th., April 2-1-, 1907). 
 
 Sappho and Phaon, A Tragedy, set forth with a Prologue, Induction, 
 Prelude, Interludes, and Epilogue (Macmillan, 1907); first prod.: 
 (the Tragedy Proper, only) by Harrison Grey Fiske, with Bertha 
 Kalich, incidental (Greek) Music com. by Prof. A. A. Stanley (Univ. 
 of Mich.), temple scene designed bv Maxfield Parrish (Opera House, 
 Providence, R.I., Oct. 14, 1907; Sew York prod.: Lyric Th., Oct. 
 
 21, 1907). 
 
 Mater, An American Study in Comedy (Macmillan, 1908); first prod.: 
 by Henry Miller, with Isabel Irving, Music by George W. Chadwick 
 (Van Xess Th., San Francisco, Aug. 3, 19U8: Xe-w York prod.: Savoy 
 Th., Sept. 25, 1908: London prod.: by Winifred Emery, Playhouse, 
 June 4, 1915). 
 
 The Scarecrow, or The Glass of Truth: A Tragedy of the Ludicrous 
 (Macmillan, 1908); first prod.: by Harvard Draniatic Club (Brattle 
 Hall, Cambridge, Mass., Dec. 7, 1909); Xexc York prod.: by Henry 
 B. Harris, with Frank Reicher and Edmund Breese (Garrick Th., Jan. 
 17, 1911); acted in America, by Frank Reicher, during two seasons; 
 prod, in England: by Muriel Pratt (Tlieatre Royal, Bristol, Nov. 30, 
 1914). 
 
 L'Epouvantail ("The Scarecrow"): traduite de I'anglais par Charles- 
 Marie Garnier, de la Sorbonne (Paris, 1910). 
 
 Die Vogelscheuche ("The Scarecrow"): uebersetzt von Walther Fischer, 
 Ph.D. (Univ. Penn.) : for production in German by Rudolph Schild- 
 kraut, Deutsches Theater, Berlin, direction of Prof. Max Reinhardt 
 (Berlin, 1914). 
 
 Anti-Matrimony, A Satirical Comedy: Frontispiece in color by Arnold 
 Genthe, of Miss Crosman as " Amorata " in Act HI (F. A. Stokes, 
 1910); Xew York prod.: by Henrietta Crosman (Garrick Th., Sept. 
 
 22, 1910) ; acted during 2 seasons. 
 
 A Garland to Sylvia, A Dramatic Reverie, with a Prologue (Macmillan, 
 
 1910) : writing begun at Harvard, in 1897. 
 Tomorrow, A Plav in Three Acts (Stokes, 1912); first prod.: by Frank 
 
 Reicher (Little'Th., Philadelphia, Oct. 31, 1913). 
 Yankee Fantasies: Five One-Act Plays (Duffield, 1912): 
 
 (1) Chuck, An Orchard Fantasy; 'first prod.: by Coburn Players 
 
 (Miami Univ., Oxford, Ohio, July 17, 1912). 
 
 (2) Gettysburg, A Woodshed Commentary: first prod.: by Howard 
 
 Kyle (Bijou Th., Boston, Jan. 3, 1912). 
 
 [ 7 ] 
 
(3) The Antick, A Wayside Sketch: f.rst prod.: bv "Washington 
 
 Square Players (Bandbox Th., New York, Oct. 4,' 1915). 
 
 (4) The Cat-Boat, A Fantasy for Music: first prod.: by University 
 
 Players (Univ. of Kentucky, May 16, 1921). 
 
 (5) Sam Averacre, A Silhouette: first prod.: Toy Theatre (Boston, 
 
 Feb. 26, 1912). 
 
 A Thousand Years Ago, A Romance of the Orient, with an Introduc- 
 tion by Clayton Hamilton: Frontispiece of the Author and Cast 
 (Doubieday, Page, 1914; paper edit. Saml. French, N.Y., 1920); 
 first prod, yezc' York: by Shubert & Brady, with Henry E. Dixey 
 and Rita Jolivet. Music by \Vm. Furst (Shubert Th., Dec. 1, 1913)*. 
 
 Washington, The :\Ian Who Made Us: A Ballad Play, with Scene De- 
 signs by Robert Edmond Jones (Alfred A. Knopf, New York, 1918; 
 the ballads with music, illustrations by Arvia MacKaye, pub. by H. 
 W. Gray Co., N.Y., 1920); first prod.: by Walter Hampden (Belasco 
 Theatre, Washington, D.C., before Congress Members and Cabinet, 
 Washington's Birthday, 1920; New York prod.: Lyric Theatre, March 
 1, 1920). 
 
 Washington, Action Dramatique (la version fran^aise de la Onzi^me 
 Action — Acte III, 2e partie — de "Washington, The Man Who Made 
 Us: a ballad play"), traduite de I'anglais par Pierre de Lanux, 
 Esquisse Scenique par Robert Edmond Jones, frontispice (de Copeau 
 dans le role de Washington) par Arnold Genthe (New York, Bren- 
 tano's, 1919); first prod.: by Jacques Copeau, with Induction and 
 Prologue, transl. into French by Copeau (New York: French Theatre 
 du Vieux Colombier; week of Feb. 17, 1919; Special Performance for 
 Members of Natl. Inst, and Academy of Arts and Letters, Feb. 20). 
 
 Operas : 
 
 The Immigrants, A Lyric Drama, with an Introduction by Frederick C. 
 Howe, Commissioner of Immigration at Ellis Island, New York (B. 
 W. Huebsch, N.Y., 191.5) ; written as a commission for the Boston 
 Opera House, the music being composed by Frederick S. Converse. 
 
 Sinbad, the Sailor, His Adventures with Beauty and the Peacock Lady 
 in the Castle of the Forty Thieves: A Lyric Phantasy, with Designs 
 by Joseph Urban (Houghton Mifflin, 1917); written for the Boston 
 Opera House, the music being composed by F. S. Converse. 
 
 The Canterbury Pilgrims, An Opera (cloth* edition, Macmillan, 1916; 
 paper edit., John Church Co.. 1917: Text with Music bv Reginald 
 deKoven: John Church Co., 1917); prod.: by Gatti Cassazza (Metro- 
 politan Opera House, N.Y., March 8, 1917: 7 performances that 
 season). 
 
 Rip Van Winkle, Folk-Opera in Three Acts (cloth edition, Alfred A. 
 Knopf, N.Y., 1919; paper edit., G. Schirmer, N.Y.: Text with 
 Music by Reginald deKoven, G. Schirmer, 1919); 2>rod.: by the 
 Chicago Opera Company (Auditorium, Chicago, Jan. 2, 1920: New 
 York prod.: Lexington Theatre, Jan. 30, 1920: 6 performances 
 that season). 
 
 Communal Dramas (Masques and Pageant-Rituals) : 
 
 Saint-Gaudens Masque-Prologue ("in "Poems," Macmillan, 1909; de- 
 scribed in MacKaye's "American Pageants and their Promise," Scrib- 
 ner's Magazine, July, 1909, and in "The Civic Theatre," pages 166- 
 170, 306-308; the Masque by Louis Evan Shipm.an) : prod.: by Cornish 
 Colony artists; Music by Boston Symphony Orchestra; Designs bv 
 Maxfield Parrish, Kenyon Cox, Charles A. Piatt, Herbert Adams 
 (Augustus Saint-Gaudens estate, Aspet, Cornish, N. H., June 23, 
 1905). 
 The Gloucester Pageant, "The Canterbury Pilgrims" large-scaled (de- 
 scribed and summarized in "The Civic Theatre," pages"l61-164, 280- 
 287); prod.: by Eric Pape, with 1500 citizens of Gloucester, Mass; 
 
 [ 8 1 
 
Music by Walter Damrosch, Charles A. SafFord, Conductor and Chorus 
 Leader, in honor of President Taft (Fort Hill Park, Aug. 3, 1909). 
 
 Pittsburgh Pageant, "A Masque of Labor" (described and summarized 
 in "The Ci%lc Theatre," pages 45, 25i, 288-305); projected, with John 
 W. Alexander, for Pittsburgh, Pa. (July 4, 1910). 
 
 Sanctuary, A Bird Masque, with a Prelude by Arvia MacKaye, with 
 photographs in color and monotone by Arnold Genthe (F. A. Stokes, 
 1914); the Lyrics with Music by F. S. Converse; pub. by H. W. Gray 
 Co., N.Y. (1915); prod.: by Joseph Lindon Smith, Ernest Harold 
 Baynes, and the author, in honor of President and Mrs. Wilson, to 
 dedicate the bird sanctuary of the Meriden Bird Club (Meriden, 
 N.H., Sept. 12, 1913) ; repetition by Civic Forum, with Conference on 
 Conservation and the Art of the Theatre (Hotel Astor Th., N.Y., Feb. 
 24, 1914) ; since when 120 performances, directed by E. H. Baj'nes (in 
 Redpath Chautauqua, before 200,000 spectators, with 4000 'children 
 participating, 1916) ; also many community productions elsewhere 
 every season. 
 
 Saint Louis, A Civic Masque: with Preface and Appendices concerning 
 its production (Doubleday, Page, 1914; Text of the Masque Choruses, 
 with Music by F. S. Converse, pub. by H. W. Gray Co., N.Y., 1914) ; 
 prod.: by Joseph Lindon Smith and the author and many assistants, 
 with 7500 citizens of St. Louis, before half a million spectators in 5 
 performances (Forest Park, Art Hill, St. Louis, May 28-June 1, 1914). 
 
 The New Citizenship, A Civic Ritual: Devised for Places of Public 
 Meeting in America (Macmillan, 1915); prod.: for Mavor's Commit- 
 tee (N.Y. City College Stadium, July 4, 1916; also St'. Louis, Feb., 
 1916, and Denver, Col., Aug. 1, 1916; and in many schools, etc.). 
 
 Caliban, By the Yellow Sands, A Community Masque of the Art of the 
 Theatre: Devised and Written to Commemorate the Tercentenary of 
 the Death of Shakespeare; Illustrations by Joseph Urban and Robert 
 Edmond Jones (cloth and paper editions, Doubleday, Page, 1916; New 
 Edition — paper, 22d Thousand — with omissions and additions to text: 
 new Foreword, and Epilogue, as performed at the New York produc- 
 tion, 1916; and Comment on the Music, with Themes reproduced, by 
 Arthur Farwell; Doubleday, Page, 1917; Text of the Choruses, with 
 Music by Arthur Farwell, pub. by John Church Co., N.Y., 1917); 
 prod.: with use of symbolic actor-masks, by the author, Joseph Urban, 
 Robert Edmond Jones, Richard Ordynski, and Garnet Holme, Cecil 
 Sharp, Hazel MacKaye, Irving Pichel, with 2500 citizens and eminent 
 stage-professionals, Isadora Duncan, John Drew, Lionel Braham, Edith 
 Wynne Matthison, etc.. Wash. Sq. Players, Neighborhood Playhouse 
 and hundreds of organizations participating, before 135,000 spectators 
 in 10 performances (N.Y. City College Stadium, enlarged double 
 size, May 25-June 5, 1916) : second prod. (Cambridge, Mass.) : by 
 Frederick Stanhope, Robert Edmond Jones, Irving Pichel, Samuel 
 Eliot, Virginia Tanner, and (com. directors) Percy Burrell and Hazel 
 MacKaye, with 5000 citizens of Greater Boston, before 250,000 specta- 
 tors in 17 performances (Harvard Stadium, with new Stage and light- 
 ing-dome, Julv 2-Julv 21, 1917) ; pub. " Caliban News," 4 numbers 
 (Harvard Stadium, July 4-20, 1917). 
 
 The Evergreen Tree, A Masque of Christmas Time for Community Sing- 
 ing and Acting, with Scenic and Costume Designs (in color) by Robert 
 Edmond Jones, together with Three Monographs on the Masque, writ- 
 ten bv the Author, the Scenic Designer and Arthur Farwell, composer 
 of the Music (cloth edit., D. Appleton & Co., N.Y., 1917; paper edit., 
 John Church Co., 1917; Text of Choruses and Carols, with Music by 
 Arthur Farwell, pub. by John Church Co., 1917); first prod.: by 
 Alfred G. Arvold, The Little Country Theatre, Agricultural College, 
 Fargo, N.D. (Dec, 15, 1917) ; by War Camp Community Service, St. 
 Louis (Coliseum, Dec. 27, 1918), and many communities elsewhere. 
 
The Roll Call, A Masque of the Red Cross for Community Acting and 
 Singing, with Scenic and Costume Designs (in color) by Robert Ed- 
 mond 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 (Red Cross 
 Christmas Roll Call, National Headquarters, American Red Cross, 
 Washington, D.C., 1918; the Choruses of the Masque, the Music arr. 
 by Clarence Dickinson, pub. by H. W. Gray, N. Y., 1918) ; prepared 
 for 'production by Irving Pichel, Mrs. Otis Skinner, and Howard Kyle 
 at Washington, Nov., 1918; and produced, with masks designed by 
 R. E. Jones, at York, Pa., Cleveland, O., Atlanta, Ga., Ballston Spa, 
 N.Y., Aiken, S.C, and Chicago, 111., in Dec, 1918; on battleships, and 
 elsewhere. 
 
 The Will of Song, A Dramatic Service of Community Singing, devised 
 in co-operation with Harry Barnhart: for use as a Two Days' Song 
 Festival, in Two Parts: Cover Design by Claude Bragdon (with 
 Preface concerning the "Group Person" and Chants of the People: 
 the Appendix containing: Musical Prog:ram and Notes, by Harry 
 Barnhart; Setting for Production, by Irving Pichel; Program of the 
 Orange Production, Orange Armory, May 2 and 3, 1919; and Program 
 of the Bufifalo Production, Elmwood Music Hall, May 26 and 27, 1919; 
 Boni and Liveright, N.Y., 1919); prod.: by Irving Pichel (in Orange, 
 N.J., and Buffalo, N.Y., at dates here given). 
 
 The Pilgrim and the Book, A Dramatic Service of the Bible, Designed to 
 be used in Churches: Written for the American Bible Society: Cover 
 Design from statue by Augustus Saint-Gaudens, by special permission: 
 together with Comments and Suggestions in Regard to Participation 
 in the Service, and Words and Music of the Hymns (American Bible 
 Society, Bible House, Astor Place, New York City, 1920); prod.: by 
 churches of many denominations, with minister, choir and congrega- 
 tion, during and after Pilgrim Tercentenary Celebrations, 1920-21, 
 throughout America; and in Hawaii, Syria, and elsewhere. 
 
 Miscellaneous Works and Editions: 
 (1) Publications with Music: 
 
 Three Sonars from Sanctuary: Music by F. S. Converse (H. W. 
 
 Gray, 1914). 
 Choruses from Saint Louis Masque: Music by F. S. Converse (H. 
 W. Gray, 1914). 
 
 (1) Chant of the River Spirits (for Men's Voices). 
 
 (2) Song of the World Adventurers (for Mixed Voices). 
 
 (3) March of the Pioneers (for Male Chorus). 
 
 The Lads of Liege: Music by Carl Paige Wood (H. W. Gray Co., 
 
 1916). 
 Choruses of "Caliban": Music by Arthur Farwell (John Church 
 
 Co., 1916). 
 Choruses and Carols of "The Evergreen Tree": By Arthur Far- 
 well (John Church Co., 1917). 
 The Battle-Call of Alliance (Four-part Chorus of Mixed Voices): 
 
 Music by Reg. deKoven (G. Schirmer, N.Y., 1917). 
 American Consecration Hymn: Music by Francis Macmillen (Carl 
 
 Fischer, N.Y., 1917). 
 The Canterbury Pilgrims: Opera: Text and Score: Music by 
 
 Reg. deKoven (John Church Co., 1917). 
 Choruses of "The Roll-Call": Red Cross Masque (H. W. Gray 
 
 Co., 1918): 
 
 (1) Chorus of Womanhood (Music by Chopin). 
 
 (2) Lonely and Starless (Music by Chopin). 
 
 (3) The Power of Gentleness (Music by Oliver Holden). 
 
 (4) Chorus of All Hearts (Music by Arthur Sullivan). 
 
 [ 10 ] 
 
Rip Van Winkle: Opera: Text and Score: Music by Reg. 
 
 deKoven (G. Schirmer, 1919). 
 The Ballads from "George Washington": Illustrations by Arvia 
 
 MacKave: Music, old Appalachian folk-tunes (H. W. Gray Co., 
 
 1920). ' 
 
 (2) Publications by Societies: 
 
 The Civic Drama as a Constructive Social Force: with Discussion 
 bv Lorado Taft, George Pierce Baker, Thomas H. Dickinson, 
 Mary Austin, Mrs. A. Starr Best, Mr. Hinckley, P. W. Dykema, 
 Hamlin Garland, Chas. F, Wieland, and Robert E. Lee: in 
 "Proceedings of ihe Conference of 'The League of Cities' (of 
 the Saint Louis Masque), held May 29-31, 1914" (Saint Louis 
 Pageant Drama Assn., 1914). 
 
 The Need of Dynamic Symbols for Peace: with Discussion by 
 George W. Xasmith, Xorman Angell and John Mez: in "Pro- 
 ceedings of the Conference on International Relations, held at 
 Cornell L'niversitv, June 15^30, 1915" (World Peace Foundation: 
 Boston, 1916). 
 
 The Returning: Lines in Commemoration of James Russell Lowell: 
 delivered in Sanders Theatre, Harvard College, pub. in " Celebra- 
 tion of the One Hundredth Anniversary of the Birth of James 
 Russell Lowell bv the Cambridge Historical Societv, February 
 22, 1919" (Cambridge, Mass., 1919). 
 
 (3) Special Editions: 
 
 Johnny Crimson, A Legend of Hollis Hall: by Percy Wallace 
 MacKaye, '97: Cover Design by Eric Pape: Frontispiece of 
 Holden, Hollis and Harvard Halls, in 1794. by Alice Davenport, 
 after an old print; with tail-piece of the old yard pump (Boston, 
 Kiley, printer, 7 Spring Lane, 1895). 
 
 The Xeed of Imagination in the Drama of Today: Harvard Com- 
 mencement Part, 1897 (Reprint from "Harvard Advocate" at 
 Harv, L^niv. Library). 
 
 Jeanne d'Arc: Theatre Edition, paper: Frontispiece of Julia 
 Marlowe as Jeanne in Act I, with Four other Photo-Illustrations, 
 and Programme, of the Plav as first produced at Lvric Theatre, 
 Philadelphia, Oct. 15, 1906, bv E. H. Sothern and Julia Marlowe 
 (Macmillan, 1906). 
 Sappho and Phaon: Theatre Edition, paper: Frontispiece of Mad- 
 ame Kalich as Sappho in Act I (the Tragedy portion only) : with 
 Prefatory Note and Appendix of " A Brief Biography " of the 
 Author (Macmillan, 1907). 
 
 Saint Louis, A Civic Masque: Edition de Luxe, limited to 300 
 copies, signed by Author: Frontispiece portrait-drawing of the 
 Author by Kahlil Gibran: Cover Design Indian ]Man-Eagle of 
 the Mound-Builders (Doubleday, Page, 1914). 
 
 George Washington, A Dramatic Action, with a Prologue: Scene 
 Design by Robert Edmond Jones: together with Comments and 
 Suggestions in regard to its Production by the Author, the Scene 
 Designer, and Walter Hampden, first impersonator of the title- 
 role of the three-act Play, from which this Action (the Ninth) 
 is selected, entitled ' Washington, The Man Who Made Us, A 
 Ballad Play,' by Percy MacKaye (The George Washington Me- 
 morial Association, Washington, D.C., 1920). 
 
 George Washington at the Delaware (the Same as "George Wash- 
 ington," above): pub. by Samuel French (New York, 1920). 
 
 (4) Works published in Collections: 
 
 The Scarecrow (Revised Version, as acted in England, and — 
 translated — in Germany) : in " Chief Contemporary Drama- 
 tists," edit. ])v Thomas H. Dickinson: pp. 357-:393 (Houghton 
 Mifflin, 1915).' 
 
 [ 11 1 
 
" Representative American 
 pp. 841-878 (The Centurv 
 
 edit, by M. 
 
 The Scarecrow (Revised Version): in 
 
 Plays": edit, bv Arthur H. Quinn: 
 
 Co., X.Y., 1919)' 
 Sam Average: in "Representative One-Act Plavs 
 
 G. Mayorga: pp. 7-19 (Little Brown, Boston,* 1919) 
 Gettysburg: in "One-Act Plays bv Modern Authors": edit by 
 
 Helen Louise Cohen: pp. 95-110 (Harcourt, Brace & Co., X.Y. 
 
 Gettysburg: in "The Atlantic Book of Modern Plays"": 
 
 Sterling Andrus Leonard: pp. 1()0_]76 (The Atlantic 
 
 Press, Boston, 1921). 
 Various Poems, in Anthologies edited bv Rittenhouse, Monroe and 
 
 Henderson, Braithwaite, and many others. 
 Translations: 
 Hannele: The metrical portions of Gerhardt Hauptmann's play 
 
 translated from the German, for Mrs. Fiske"s production (New 
 
 ^ork, Lyceum Theatre, April 18, 1910). 
 CEdipus: The Choruses of Sophocles" tragedy translated from the 
 
 Greek, for the production by Isadora Duncan (New York, Cen- 
 
 edit. by 
 Monthly 
 
 tury Theatre, April KJ, 191.5) 
 Orniazd: Poem rendered from the 
 ** Sym))h()iiic Poem "" of F. S 
 
 Xatl. Acad, and 
 Nov. 20, 19U. 
 
 Persian Zend Avesta, for the 
 Converse, performed by the N.Y. 
 
 Inst, of Arts and Letters, 
 
 Svmphonv Society 
 
 .-Eolian Hall, N.Y 
 Prefaces : 
 Prefatory Letter to "The Communitv 
 
 leigh (Little Brown, Boston, 1917).' 
 On Some Potentialities of Our Poetry: 
 
 of Today,"' edit, by Howard W. Cook (Moffat Yard, N.Y 
 
 Theatre," by Louise Bur- 
 Introduction to "Our Poets 
 [918). 
 
eimSFS^ 
 
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