S/5 UC-NRLF $B 317 bm The Little Shepherdess: Comedy in One Act: y Andre Rivoire : Trans- ated by Barrett H. >lark amuel French : Publisher i-30 West Thirty-eighth Street : New York PRICE TWENTY-FIVE CENTS THB WORLD'S BEST PLATS BY CELEBRATED EUROPEAN AUTHOBS BARRETT H. CLARK GENERAL EDITOR The Little Shepherdess: A Comedy in One Act: by Andre Rivoire : Trans- lated by Barrett H. Clark Samuel French : Publisher 28-30 West Thirty-eighth Street : New York OOFYBJOHT, 1915, Kt SAMUEL FRENCH ANDRfi RIVOIRE. Andre Rivoire was born at Vienne in 1872. His early education was received at Lyon. Later he came to Paris and there in 1895 he published his first volume of poems, Les Vierges. The poet Sully Prudhomme said of this volume, to which he wrote a preface : The author has described some ex- tremely delicate states of the soul, using only the traditional resources of versification. " M. Rivoire is one of the genuine poets of the younger generation; into his plays too (" La Peur de Souffrir," " II fitait une Bergere-— " and " Pour Vivre Heureux ") he has infused much of his poetic spirit, yet the success of " A Temperamental Journey" ("Pour Vivre Heureux") proves the power of the poet to construct a play at once dramatic and beautiful. " The Little Shepherdess " requires the simplest of settings. An ordinary out-door set, with painted trees and underbrush, or with practical set-pieces is sufficient. The costumes should be eighteenth century style. THE LITTLE SHEPHERDESS PERSONS REPRESENTED. The Shepherd The Shepherdess The Princess THE LITTLE SHEPHERDESS Scene: — The scene is laid in a little wood; every- where about are bushes, trees, and underbrush. Down-stage to the left at the foot of a great tree is a sort of couch formed by the grasses; this moss-covered hollow is partially concealed by the low bushes; to the right, a tree trunk, used as a bench. — An ancient half-ruined wall extends from down-stage right to up-stage left; in the wall is a little gateway. Above the wall the well-trimmed trees of the park can be seen. As the curtain rises the Shepherd and the Shep- herdess are seated side by side. There is a long period of silence, then. Shepherd. There ! Shepherdess. Is that the end? Shepherd. Yes — I'm so happy, now — the even- ing is lovely. How we love each other — how good it is to be together! (He takes her hand) See, I touch your hand, then we dream — our hearts are full of unexpressed words — but we don't speak them — we don't need to — ! Shepherdess. So — ! Shepherd. What can we say? That we adore each other? I know it, you know it. Shepherdess. Say it all the same — once more! Shepherd. You say it! Shepherdess. No, you! Begin — one, two, three ■ — Yes, you ! You first ! 5 6. • .THE LITTLE SHEPHERDESS. * » Shepherd. You ! Shepherdess. No, you ! I'll say " Thank you ! w '"Shepherd. "Yes, I love you, I love you Shepherdess. Wait till I'm ready — ! Wait! Put your forehead against my neck — lower — There ! — Your ear over my heart Shepherd. Like that? Shepherdess. Tighter — Yes — Now don't say a word — Do I need answer you by words? Shepherd. • My love ! My only love ! You're the whole world to me ! (He is about to kneel be- fore her) Shepherdess. (Preventing him) No, stop! ^Shepherd. (Disengaging himself) I can see you better — when I kneel — There Shepherdess. (Looking about her) It's pretty here ! It's like a room that's alive, with the breeze cooling us and the leaves protecting; our hearts can open wider-. here! Here I feel you are more mine than anywhere else. When you speak, every- thing else speaks, too : I hear the wind rustling in the branches, and over there the drops in that spring, so cool and fresh. Here everything is tender — like your voice, dearest. Then there is a faint odor of strawberries in the moss; our kisses taste of them. How alone, how quiet we are, I loving you and you loving me ! Shepherd. Oh, how I love you ! Shepherdess. Some day — in a month's time or six months, I really can't say — we-ferast get married — possibly the time's not so far off — ! Shepherd. Ah, but your father will never allow it! Shepherdess. Lover and sweetheart will be man and wife, never fear! I'm not in a hurry— and then, your parents and mine — I really don't care ! I can wait! Shepherd. What if we were discovered — ? Shepherdess. (Rising) Discovered — ? Here? THE LITTLE SHEPHERDESS. 7 No, no — the thickets and the underbrush are our faithful guards — we are quite safe here — at home! Don't iear! None suspects all that goes on in "this wood! Never fear! Shepherd. If I fear, it is only for your sake. Shepherdess. I know. Shepherd. {Nervously) That old wall — ! Shepherdess. (Gaily) That old wall is charm- ing, with its bearded moss and pretty bunches of wild-flowers, planted by the birds in the crumbling crannies. Shepherd. Yes, but there is a garden on the other side of the wall ! Shepherdess. A beautiful garden — I can smell the carnations growing there. It's the King's garden — At any rate/ the gates are closed; and no one ever comes to smell'the roses and pinks. People don't walk in king's gardens. And how lucky it is we two have come here with our secret love — we at least can smell the flowers. Shepherd. (Insisting) Yet that gate and those footprints Shepherdess. Where? Shepherd. There! Sepherdess. Those are ours — from the other evening — that time you ran after me — what a fellow you are ! What tiny things disturb you ; you al- ways see people following us, and hear footsteps — and then you don't kiss me — Look, now, the bolts are Shepherd. That makes no difference Shepherdess. But who would open the gate? And why indeed? You know very well kings don't wander about in the woods ! They spend the livelong day writing, and signing documents — why, they have no idea ! And then kings are so old ! They don't play the fool — they're not lovers, as we are! They only go out in grand carriages through the broad countryside, in daytime, and never with- 8 THE LITTLE SHEPHERDESS. out many, many servants. Shepherd. Kings, perhaps — but the Princess — ? Shepherdess. Oh, the Princess, she might come! I don't care! Here eyes are sweet: I shouldn't be afraid of her. And then, there's nothing criminal in our love — I'll say in a whisper, and very humbly: " That Shepherd, Madame, is my lover ; my father doesn't want me to marry a shepherd, and / won't — well, love loses nothing by waiting." Shepherd. Of course; if it's the Princess, then we'll pay court to her — she is sure to delight in our love stories. We'll tell her our own, and then per- haps she'll marry us! Shepherdess. One word from her would be enough. Shepherd. Simply say I am to be a great sheep- owner some day — she'll believe that. Shepherdess. Well, that's no more than the truth — you'll be rich some day. Shepherd. I hope so. Shepherdess. I am sure you will. Shepherd. She has such soft eyes! Shepherdess. Precisely what I told you — you ought to believe me ! Shepherd. With such blue eyes, she can't pos- sibly have a black soul. Shepherdess. You think her eyes are blue? Shepherd. Like flax flowers. Shepherdess. Then you know her? Shepherd. Very well. Shepherdess. Naughty ! Shepherd. Very slightly, I should say! I have seen her — on Sundays — in her carriage — with a little dog sleeping in her arms — all white it was, with a pink ribbon tied round its neck. Shepherdess. Tell me all about her. Shepherd. She seemed fearfully bored. When I passed, she looked at me, and waved at me with the tip of her parasol. THE LITTLE SHEPHERDESS. 9 Shepherdess. You? Shepherd. Me ! Shepherdess. The idea! Shepherd. Word of honor! — And then — she passed. Shepherdess. Is she pretty? Shepherd. Yes, indeed. Shepherdess. Prettier than I? Shepherd. That's different. Shepherdess. Tell me : prettier or not so pretty ? Shepherd. Whiter. Shepherdess. What ? ! Shepherd. But not so pink. Shepherdess. Good! But, dear, I know so many things about the Princess : she is beautifully dressed, and I am positive that her godmother is a real fairy. Shepherd. A fairy? Shepherdess. Yes, a fairy. Of course, I haven't seen the Princess, as you have, but I know things — ! For instance, did you see her ring? Shepherd. What ring? Shepherdess. She always wears it — her fairy- godmother gave it to her — It gives her more power than if she were a queen, when she has it on her finger. Whoever owns it may make three wishes — of any kind whatsoever. Ask that a forest bloom in winter — and it blooms ; ask that one who despises you love you — and behold the most ardent of lovers at your feet! Shepherd. Truly? Any wish? Shepherdess. Yes. But there are only three — as soon as the third is made — good-bye! — Now, come — kiss me again — and remember, fairy or no fairy : — will you always love me? Shepherd. Always! Shepherdess. My dearest Shepherd. My life! io THE LITTLE SHEPHERDESS. {They are now seated, talking in low tones. The gate at the back opens. The Princess enters not seeing the couple, nor do they see her.) Princess. {Looking about) No one — and no one has followed ! For a single hour I shall be a free princess. How open and sweet the air is this side the wall! {She goes upstage toward the left) Shepherd. {Tenderly) My dearest! Shepherdess. Would you like to go to sleep now? Shepherd. You too! Shepherdess. {Offering her lips) Once more! The last ! — Good-night ! Shepherd. Good-night ! Shepherdess. {After a pause) Are you asleep? Shepherd. Almost — are you? Shepherdess. Yes. {They go to sleep.) Princess. {Coming down-stage toward the right, still zvithout seeing the lovers) Not a soul! The whole green forest is mine. Now that I have all this time to myself, what shall I do? Run through the underbrush? All alone — ? Why? . {She sits down) I think I'd rather look at the blue sky up there as it gradually fades. — Free at last! {Very sadly) And — alone ! Shepherdess. {In her sleep) My dearest! Princess. It is so sweet to breathe freely again, but I should be doing something! And it's getting so dark here — I can hardly hope for something surprising to happen — and that would be too bad! {A pause) What if I used fairy-godmother's ring? Nonsense ! I have only three wishes — that's not many, and I should take good care of them — no, I shan't think of that! {She reflects for a moment) True, if I made one wish I should still have two THE LITTLE SHEPHERDESS. u left. (Catching sight of the Shepherd and Shep- herdess) Shepherds! Asleep! Shpherd. (In his sleep) Dearest! Princess. Lovers! How sweet — enchanting! I have never seen real lovers ! (She continues look- ing at them) Shepherd. (Mis eyes still closed) It's very late! Shepherdess. (Her eyes are also closed) You've wakened me ! Princess. They speak even in sleep ! (She hides in the underbrush behind them) From here I can see everything, and they shan't be able to see me! — / was never so happy ! Shepherd. (Sitting up) But I tell you it's late: the sun has set. Shepherdess. Don't wake me yet! Shepherd. Sleep then — / am going. Shepherdess. (Motionless) Not yet — how in- considerate of you ! Listen : I was dreaming that we were old — years and years and years from now ! And we loved each other just as much as we do now — it was so sweet ! Shepherd. You are telling me that because you don't want to wake up yet Shepherdess. I was a grandmother, and you a grandfather, and our little* grandchildren swarmed about us by the thousand, prattling and singing Shepherd. (Interrupting) Yes, but come quick — it's getting very dark ! See, the stars are coming out — you'll be late! Shepherdess. I can resign myself to that! — Now — ! (She rises, and takes her bonnet which hung suspended from a bush) Is my bonnet be- coming ? Shepherd. Yes. Shepherdess. It's not too red? Shepherd. No. Shepherdess. Then — until to-morrow? 12 THE LITTLE SHEPHERDESS. Shepherd. Until to-morrow! {They kiss.) Shepherdess. (Starts to go then returns) One more — to remember on my way home. — Do you love me? Shepherdess. Ah, do I?! My dear one, I do love you ! When you go, my heart stops beating — yet my eyes are so full of you that I see things, the whole world — with you between ! And I stand for hours and hours, not saying a word, not budging a single step — when the sun sets. The flowers smell not half so sweet when you are gone, the brooks sound harsh as they dance over the rills ; the leaves aren't so beautiful. But then I think that to- morrow, in spite of everyone — of those who want us to separate especially — I shall see you, first in the distance, under the shady trees, then coming down the path strewn with dry leaves. You don't know, dear, you don't know what — ! Shepherdess. Ah, yes — I know — for I love you, too ! I do know ! Shepherd. Go now, quickly; you must! Shepherdess. My love ! Shepherd. My dear one ! Shepherdess. Yes, I'll run! Princess. (Aside) I must see him and speak with him ! Shepherd. I love you ! (The Shepherdess has disappeared. The Princess comes from her place of hiding.) Princess. Shepherd ! Shepherd. (Surprised and startled) Some- one — ! Princess. I was hiding there in the underbrush — I heard ! But you mustn't blame me ! THE LITTLE SHEPHERDESS. 13 Shepherd. (Uneasily) The Princess! (After a moment's consideration) People say she is kind Princess. I happened to be passing — no one else knows ! I was walking all alone ; I thought there was no one else in the whole forest. Shepherd. We too! Princess. I know I should not have looked, when I saw you sleeping there — it was not right — Shepherd. At least, don't say anything about it! Princess. I saw your happy smile as you were sleeping — I never saw such a smile — And now the moment I appear, the smile goes ! I am a Princess, and no one dares look me in the face ; wherever I go there is silence; I see only eyes which are blind. It's sad, truly — Even the little pages, whom I hear playing in the distance, suddenly lose their joyful expression when I am present: they are mute from respect and fear. In vain I ask them questions, I insist — and I know beforehand just what their answers will be! It's so sad — do you under- stand ? Shepherd. In other words, your court pays you too much court, and you are tired of it all? Princess. Indeed I am! Shepherd. You would prefer a bold page who made love to you. Princess. Oh, yes! (Interrupting herself) That is to say — (Gaily and sincerely) Yes! I should like to be loved ! Shepherd. Oh, that will come, never fear ! You needn't lose hope, for even among kings you may find a handsome man! Princess. Yes — possibly Shepherd. Of course — why not? Princess. I'm so bored: my life is like a foun- tain on a rainy day — why, I haven't even a man cousin ! Now, a cousin is a brother — almost a lover ! 14 THE LITTLE SHEPHERDESS. We could talk, and quarrel, and make up! He could tell me I was pretty — do you know, I can't find out, I have no means of learning, whether I'm pleasing to look at ! Shepherd. (Very naturally, as he scans her) You are — very ! Princess. Really? Shepherd. Indeed you are! Princess. Am I what you would call a " pretty girl " ? Shepherd. You know that perfectly well! Princess. No! This is the first time that was ever said to me ! To my face ! Every other time I suspected that it was said because I was rich ! Tell me that again — my heart is beating so! Do you think someone would love me if I were a shep- herdess ? Shepherd. Without the shadow of a doubt! Princess. Would my eyes be considered pretty? And my mouth? (Coquettishly) Personally, I think I have a very pretty mouth — and my smile — ! Of course, I look nearly always very sad when I smile, but look ! My mouth and eyes are all lighted up! When I am near you, my whole face glows! Tell me that I am pleasing to you — hm — what is your name? Shepherd. Sylvain. Princess. I think it's a charming name. Shepherd. (Modestly) An ordinary shepherd's name — you'll find Sylvains everywhere: we are all called Sylvain, it's handed down from father to son. Princess. I like to repeat it: Sylvain! (Con- scious of her charm) Don't hang your head that way ! Say something — Sylvain ! Shepherd. What shall I say! Princess. Imagine that I am engaged to you! Shepherd. To you? I! Princess. And why not? Sylvain — truly, I love the name ! THE LITTLE SHEPHERDESS. 15 Shepherd. You're making fun of me! Princess. Say those nice things that shepherds say to shepherdesses, when they are driving home their flocks! Something tender, something serious — as you two did not long ago — Then I did not feel so lonely. It was as if you were speaking to me of love! Each kiss, each caress — I too felt! Shepherd. When we were alone we dared Princess. But we are alone now! Sylvain — talk to me as you did to her — look at me : the mo- ment I come you are reproachful and afraid! — Why are you so still? Shepherd. You talk all the time ! Princess. Come — nearer! Nearer to me! Shepherd. I must go now! Princess. You must? Truly, must you ? Shepherd. Yes. Princess. This is the divine hour when the woods are freshest — stay, only for a little while! Shepherd. I cannot: I live far from here, at the end of the village. They are waiting for me. Princess. You are like a little girl! Stay: I shall allow you to make love to me as if I were your sweetheart! Do — ! (Almost violently) I wish it! (Softly) Please! (Sadly) Not long ago, I was almost sure I was pretty, but now — I don't know! Why can't you understand me — and love me? Shepherd I'm only a common shepherd Princess. I will make your fortune. Shepherd. I can't love two women; and I love one now. Princess. Then love only me, you must choose me! I am a Princess, and I wish it, I command — Shepherd. But you shouldn't say " I command you to love ! " The heart must give itself. Take some page, some courtier, with gallant manners and fine language — ! I should be too common, too hasty and violent. And choose one who is not engaged, 16 THE LITTLE SHEPHERDESS. as I am ! — Now, good-bye ! Believe me, I am greatly flattered. Let us go, you to your palace, I to my shepherd's hut — Good-evening. Princess. Please don't go yet. Shepherd. We should only spend the night here, and never advance a single step. I do not love you — and if I must speak my mind: I'm tired of you, Madame la Princesse ! — So much the worse ! Good- night, I am going — stay or leave — (He goes out) Princess. Pleasant! I'll be revenged! The audacity ! To dare tell me to my face that I bore him! Have I been dreaming? How inelegant of him — how common ! He needs a good lesson — But I knew how to get rid of him — a single flash from my eyes was enough! (She falls into a r every) Of course I did send him off — after he ran away! (A pause) No, no, I can't let him leave this way ! I am so sad, and he so happy ! I want — I — He must come back this instant, forget that he loves his Shepherdess, and say ." I love you ! " to me. I wish — I wish — I wish ! — For the first time, oh ring, perform my wish. (Soft music 7 ieard in the distance. The landscape takes on a faint mysterious bluish cast. This remains until the fall of the curtain) What is this I hear? — Thank you, good godrnother! That music, this pale light that fills the forest! This lovely Spring air — he mill love me! What will he say? I'm afraid (The music ceases and the Shepherd enters.) Princess. He's coming! I must not seem to be expecting him. First I must say No — it always begins that way in books — first deprive one's self — and pluck the flower after Shepherd. Strange! Unheard-of! Princess. Here you are again, Sylvain ! Shepherd. Yes, it is I. Princess. I was tired of doing nothing, and I was picking flowers. — You know — I forgive you. — Were you looking for something? THE LITTLE SHEPHERDESS. 17 Shepherd. Oh, no ! Well, that is to say — Yes. — This is strange! As if a hand had been laid on my shoulder and dragged me back. Yes, it's I. I recognize this old wall and that clearing over there, yet I seem to have been made over — I hardly know myself. Princess. (Aside) He is afraid, and he's ashamed — I must encourage him — Tell me ! Shepherd. I love you ! Princess. Is that true? Do you love me? Shepherd. Of course I do, but how? Why? Some divine, sweet power draws me toward you. I want to say nothing to you, but the driving power, that sweet something within me, gives me words. So I dare — to touch your hand, too. — Now, I am yours, and I love you! Princess. Now you are as I wished you to be! To-night we two shall go to the palace, and to- morrow instead of your simple costume you will be clothed in the handsome uniform of a page. Shepherd. Embroidered with gold? Truly — ? Princess. It will be magnificent. Shepherd. How splendid! I am very, very happy ! Princess. And you and I will ride all day long in a carriage. Shepherd. With the little dog between us? Princess. What dog? Shepherd. The little white one ! Princess. Oh, no, he's m'deous. He was nice — before I knew you ! Shepherd. Didn't you love him? Princess. Perhaps — he was so gay and amus- ing — but now I don't love him — now I have you! Shepherd. Naturally — it's not the same now! Princess. It seems that I was in a dream, and now I am waking from it; something in my heart has suddenly burst open — do you love me? Shepherd. I love you — now tell me : what else 18 THE LITTLE SHEPHERDESS. shall we do in the palace — from morning till night? Princess. All sorts of things — anything you lik" — did you ever eat preserved roses? Shepherd. No. Princess. You'll see: they're — exquisite! Shepherd. In my uniform I'll look like a marquis. — And on Sundays may I wear lace cuffs? Princess. Of course! Shepherd. And on Sundays we can escape to this wood, and I can show my friends how I've risen in the world ! Princess. If you like. Shepherp. Not everyone walks arm in arm with a princess! It's extremely flattering! Princess. I'll do everything you like — only, you love me? Shepherd. Oh, I do ! Princess. But you say it so — briefly — and you only answer when I ask you ! When one loves, he says how and why, and speaks a thousand tender words — as you did when I overheard you here. — Try now. Shepherd. I tell what I feel : I love you. My heart is entirely yours. What else shall I say? I did love another, but that love is gone ; I did not love you, and now I do! There! Princess. (Sadly) There! Shepherd. There! I am happy when I look into your eyes. — There ! (They are silent.) Shepherdess. (Calling in the distance) Sylvain! Princess. It is she! Shepherd. Yes. Princess. Not a word! Shepherd. I don't intend to; there would be no use. Let us go. Princess. Yes — but at once! THE LITTLE SHEPHERDESS. 19 Shepherdess. (Still invisible, but her voice sounding nearer) Sylvain! Shepherd. Hurry! Princess. (At the gate) I can't find the key- hole — it's so dark! Shepherdess. (Appearing at the back) Sylvain! Sylvain, I'm afraid — A wolf — I saw his shadow ! Where are you, Sylvain? Shepherd. (To the Princess) Hide! (To the Shepherdess) Here I am! Shepherdess. (Running to him and throwing herself into his arms) At last! It's you! I ran ail the way here. Take me and hold me close! Oh, I'm afraid — and cold ! To die alone — oh ! Take me — but you don't hold me tight ? ! Shepherd. Yes, I do. Shepherdess. Why don't you speak? What's the matter? Why don't you look me in the eyes? Shepherd. But I am! Shepherdess. Look at me ! Tell me now, why are you so silent and cold? This isn't you — those are not your eyes — and you don't smile at me! Answer me : are you cold, are you sick ? Your hand is icy, and your forehead — let's go together — and we'll let people say what they like. Come ! Shepherd. I can't. Shepherdess. What ? Shepherd. Someone is waiting for me. Shepherdess. Who? Shepherd. Someone very rich and very im- portant. Shepherdess. Who? Shepherd. The Princess! Shepherdess. The Princess, waiting for you?! Shepherd. Yes — she is in love with me! I anv no longer a shepherd. Shepherdess. (With condescension) And my poor love ! Yes, I see Shepherd. I am a page. 20 THE LITTLE SHEPHERDESS. Shepherdess. You're mad ! Some sorceress of the forest has turned your head. — How terrible! And at his age ! — Come and let me take care of you. My poor dear ! Princess. (Appearing) He is right. Shepherdess. The Princess! Shepherd. You see! Shepherdess. Am I dreaming? Is he really leaving me? Doesn't he love me, and is he in love with you? Madame la Princesse, take pity on us — No, it can't be ! He loved me not an hour ago — now he doesn't love you — see, he's crying! You don't answer! It's your magic ring that's bewitched him — How could you do that ! You are both silent. Oh, Princess, how could you take him from me? I loved him so tenderly! (She begins to cry) Princess. Don't cry! Shepherdess. You understand, Madame! He is my lover — you cannot separate us, you would not Princess. But you mustn't cry ! Shepherd. No, you mustn't. You make us feel very sorry ! Shepherdess. I have only my tears! I have no godmother, I have no ring, as you have, to cure me ! If my love is lost, I shall die ! Shepherd. Die ! Nonsense ! Shepherdess. Yes — I'd rather die — then I shan't suffer Princess. What shall we do ? Shepherd. I have no idea — it's all your fault: think of something. Princess. Would you like dresses and fine jewels? Shepherdess No. Princess. Or a title, perhaps? Countess? Shepherdess. No. Princess. Or Marquise? Shepherdess. No ! No ! THE LITTLE SHEPHERDESS. 21 Princess. What do you want? Tell me. Shepherdess. No, no, no. I want nothing of all that — only give him back to me, as I knew him : faithful and tender ! Princess. Give him back? Never — I am too afraid of being lonely again — I have just felt the happiness of being loved — you ask me to renounce too much. Shepherdess. Give him to me! Shepherd. (Approaching the Princess) Per- haps, without having to give me up, you could make her forget me? Princess. Yes, but — would she really die other- wise? Shepherd. Surely! Princess. But — I should then have only one more wish ! — Poor child ! Well — For the second time, ring, perform my wish! (Music is again heard in the distance) Shepherdess. What is happening to me? I'm so happy ! That soft sweet music in the air ! Some balm is soothing my breast! — No, no — I want to love you still ! I should rather suffer and love you ! — I — ! I want to suffer, and remember! — Now — now — a great weight is lifted from my heart, and I (The music gradually dies away.) Shepherd. Now — I am forgotten! It's all over! See how happy she looks ! She doesn't suffer now. Shepherdess. (Absent-mindedly, to herself) Now I love no one. Shepherd. Now we are all happy — You don't love me any more, do you? Shepherdess. No. Shepherd. What a marvelous ring! — Now, are you going? Shepherdess. Yes. 22 THE LITTLE SHEPHERDESS. Shepherd. And all alone? What if you should see the wolf? Shepherdess. Now I am not afraid. Shepherd. But — thieves? bandits? Call loudly if you need help. Shepherdess. I had only my love, and that has been taken from me. Oh, I have nothing to fear now in the dark forest ! Shepherd. What will you do from morning till r.i^ht? Shepherdess. I shan't care. Shepherd. You'll soon find a new lover. Shepherdess. I hardly think so. Shepherd. But you can't remain single forever. Of course, I shall have the Princess, and you must Shepherdess. I shall have my dog and my sheep. — But you — aren't you v unhappy? Shepherd. No, I'm going to wear a beautiful uniform of gold; I shall ride in a carriage all day long. Then I'll eat preserved flowers — roses! They're delicious ! I'm very happy ! Shepherdess. You are crying! Shepherd. No, only my eyes smart — you are crying? Shepherdess. No, I was just listening to what you were saying. Shepherd. But look! That big tear — on your hand — ! Shepherdess. Oh — it must have come from your eyes. — People cry only when they're unhappy, and / am very happy ! Shepherd. Yes, we are happy ! Princess. {Who in the meantime has come close to the couple) Poor children, I am trying to destroy their happiness! It is very wrong of me! — Even the ring cannot separate them! (To Sylvain) Sylvain, don't cry, you mustn't ! Shepherd. But I am not crying — I am ready to go with you — I love you. » * * * THE LITTLE SHEPHERDESS. 23 Princess. No, no, don't say that! I free you from those deceitful promises I forced you to make, Sh — I don't want, I refuse — ! Shepherd. I think only of you! Princess. You make love to me, and your hands are ice-cold ! Shepherd. It's the night-wind! Princess. No, it is because your love for me is nothing but my wish that you should do so ! I love you, you do not love me, and every word you speak I steal from you! When you were free, you did not choose me; when I begged you, you ran away. Your heart did not turn to me of its own accord — the charm forced you! Now you must be faithful to yourself and return to your true love. For the last time, ring, perform my wish! {Music as before.) Shepherd. {To the Shepherdess) It is you! Shepherdess. Sylvain! — How blue the sky is! Shepherd. And how light the shadows! Shepherdess. How beautiful your eyes! Shepherd. How sweet are yours ! Shepherdess. I love you! Shepherd. I adore you ! Princess. They are happy. Shepherdess. Take care! Don't say anything that will wound her! We must be nice to her! Come, Madame ! — She is crying ! Please, I beg you, don't cry! You are so pretty! And I promise that you will be loved. To begin with, we shall never forget you — but someone else will love^ you : a prince! Shepherd. Or perhaps an Emperor! Shepherdess. And you will not need the ring to make him love you! Princess. My poor ring! Here, I'll make you a present of it. It will bring you good luck. 24 THE LITTLE SHEPHERDESS. Shepherdess. You are very good! Princess. Now — forgive me, both of you — you, too, godmother ! But I regret nothing : I took account of nothing before to-day but my own whims and caprices, and I thought happiness was some- thing that could be captured — Alas ! I have learned from these wishes that lovers' hearts are no toys for a little child, but that love must begin and finally come forth like a flower. You can do* every- thing else, godmother, you hold all Nature in your power — but you cannot separate two lovers ! — Now I understand : an hour ago I was a little child. (To the Shepherd and Shepherdess) I have cried for you both, and I feel much better for it. Good-night, my dears. Let us return, each to his home. (She turns to go) CURTAIN. THE WORLD'S BEST PLAYS By Celebrated European Authors A NEW SERIES OF AMATEUR PLAYS BY THE BEST AUTHORS, ANCIENT AND MODERN, ESPECIALLY TRANSLATED WITH HISTORICAL NOTES, SUG- GESTIONS FOR STAGING, Etc., FOR THE USE OF SCHOOLS, COLLEGES, AND DRAMATIC CLUBS BARRETT H. CLARK General Editor ITH the immensely increased demand for new plays for purposes of production by amateurs W comes a correspondingly great demand for a care- ful selection of those plays which can bs easily and well presented by clubs and colleges. The plays in the present series have been chosen with regard to their intrinsic value as drama and liter- ature, and at the same time to their adaptability to the needs and limitations of such organizations. The Series, under the personal supervision of Mr. Barrett H. Clark, instructor in the department of Dramatic Literature at Chautauaua, New York, assistant stage manager and actor with Mrs. Fiske (season 1912-1913), now comprises ten volumes, and fifteen more will make their appearance during the year. Eventually there will be plays from ancient Greece and Rome, Italy, Spain, France, Russia, Germany, and the Scandinavian countries, repre- sentative of some of the best drama of all ages and lands. Each volume is prefaced by a concise historical note by Mr. Clark, and with a few suggestions for staging. Plays Now Ready INDIAN SUMMER, a comedy in one act by Meilhao and Halevy. This little play, by two of the most famous writers of comedy of the last century, has been played at the Comedie Fran- caise at Paris for upwards of forty years, and remains one of the brightest and most popular works of the period. Price 25 Cents. ROSALIE, by Max Maurey. A M Grand Guignol " comedy In one act, full of verve and clever dialogue. Rosalie, the stubborn maid, leads her none too amiable master and mistress into uncomfortable complications by refusing to open the front door to a supposed guest of wealth and influence. Price 25 Cents. MODESTT, by Paul Hervieu. A delightful trifle by one of the most celebrated of living dramatists. Price 25 Cents. THE ART OF BEING BORED, (Le Monde oil Von s'Ennuie), a comedy in three acts by Edouard Pailleron. Probably the best- known and most frequently acted comedy of manners in the realm of nineteenth century French drama. It is replete with wit and comic situations. For nearly forty years it has held the stage, while countless imitators have endeavored to reproduce its fresh- ness and charm. Price 25 Cents. A MARRIAGE PROPOSAL, by Anton Tchekhoef, a comedy in one act, by one of the greatest of modern Russian writers. This little farce is very popular in Russia, and satirizes the peasants of that country in an amusing manner. Price 25 Cents. THE GREEN COAT, by Alfred de Mussbt and Emile Augier. A slight and comic character sketch of the life of Bohemian artists in Paris, written by one of France's greatest poets and one of her best-known dramatists. Price 25 Cents. THE WAGER, by Giuseppe Giacosa. This one act poetic comedy, written by the most celebrated dramatist of modern Italy, was the author's first work. It treats of a wager made by a proud young page, who risks his life on the outcome of a game of chess. Price 25 Cents. i3«an«ni THE LITTLE SHEPHERDESS, a poetic comedy in one act. by Andre Rivoire. A charming pastoral sketch by a well-known French poet and dramatist. Played with success at the Come'die Francaise. Price 25 Cents* PHORMIO, a Latin comedy by Terence. An up-to-date version of the famous comedy. One of the masterpieces of Latin drama; the story of a father who returns to find that his son has married a slave girl. Phormio, the parasite- villain who causes the numerous comic complications, succeeds in unraveling: the difficulties, and all ends happily. Price 25 Cents. THE TWINS, a Latin farce by Plaut.cs, upon which Shake- speare founded his Comedy of Errors. Price 25 Cents. THE BOOR, by Anton Tohekoff. A well-known farce by the celebrated Russian master; it is concerned with Russian peasants, and portrays with masterly skill the comic side of country life. Price 25 Cents. THE BLACK PEARL, by ViOTORiEN Sardou. One of Sardou's most famous comedies of intrigue. A house has, it is thought, been robbed. But through skilful investigation it is found that the havoc wrought has been done by lightning. Price 25 Cents. CHARMING LEANDRE, by Theodore de Banville. The author of " Gringoire" is here seen in a poetic vein, yet the French- man's innate seuse of humor recalls, in this satirical little play, the genius of Moliere. Price 25 Cents. THE POST-SCRIPTUM, by Emile Augisr. Of this one-act comedy Professor Brander Matthews writes: "... one of the brightest and most brilliant little one- act comedies in any language, and to be warmly recommended to American readers." Price 25 Cents. THE HOUSE OF FOURCHAMBAULT, by Emile Augier. One of the greatest of recent French family dramas. Although the play is serious in tone. It contains touches which entitle it to a position among the best comedies of manners of the times. Priob 25 Cents. THE DOCTOR IN SPITE OF HIMSELF, by Moliere. A famous farce by the greatest of French dramatists. Sganarelle has to be beaten before he will acknowledge that he is a doctor, which he is not. He then works apparently miraculous cures. The play is a sharp satire on the medical profession in the 17th Century. Prirb 25 Cents. RRIGNOL AND HIS DAUGHTER, by Capus. The first comedy in English of the most sprightly and satirical of present- day French dramatists. Price 25 Cents. CHOOSING A CAREER, by G. A. de Caillavet. Written by one of the authors of " Love Watches." A farce of mistaken identity, full of humorous situations and bright lines. Price 25 Cents. FRENCH WITHOUT A MASTER, by Tristan Bernard. A clever farce by one of the most successful of French dramatists. It is concerned with the difficulties of a bogus-interpreter who does not know a word of French. Price 25 Cents. PATER NOSTER, a poetic play in one act, by Francois Coppee. A pathetic incident of the time of the Paris Commune, in 1871. Price 25 Cents. ADDENDA CORRECTION x-The price of " The House of Fourchamhault and " Brignol and His Daughter " is 50 cents a copy. % m; Gay lord Bros. Makers Syracuse, N. Y. PAT. JAN. 21, 1908 ID J^^bO +