I ~l DIALECTS FOR ORAL INTERPRETATION iilii GERTRUDE E. JOHNSON DIALECTS FOR ORAL INTERPRETATION SELECTIONS AND DISCUSSION BY GERTRUDE E. JOHNSON Assistant Professor in the Department of Speech in the University of Wisconsin. Author of "Modern Literature for Oral Interpretation," and "Choosing a Play" NEW YORK THE CENTURY CO. COPVIlUillT. IDi'i, BY THE CENTURY CO. AI.l. HKillTS RESERVED, INCLUDING THE HK.MT TO REPRODUCE THIS BOOK, OR PORTIONS THEREOF, IN ANY FORM. 872 PtlKTED IN V. S. A. 43oS TO J. M. O'NEILL whose leadership has made constructi\t: work possible ACKNOWLEDGMENTS I "WISH to express my appreciation of the kind words as well as permissions which have been accorded me by several authors, and my thanks to the editors and publishers who have granted me the use of material. To Bobbs-Merrill & Co. for selections by Wallace Bruce Amsbary taken from ' ' Ballads of the Bourbonnais. ' ' To Century Co. for selections by Joel Chandler Harris, Ruth McEnery Stuart, Ellis Parker Butler, Irwin Russell, and Ruth Com- fort Mitchell. To Geo. H, Doran & Co. for "The Fair" by Theodosia Garrison, from ' ' The Dreamers and Other Poems. ' ' To Dodd, Mead & Co. for two poems by Paul Laurence Dunbar, taken from ' ' Selected Readings ' ' compiled by Anna F. Morgan. (All Dunbar's material is copyrighted by Dodd, Mead & Co.) To Forbes & Co. for selections from ' ' Ben King 's Verse, ' ' and from "Old Ace and Other Poems," "Pickett's Charge and Other Poems, ' ' by Fred Emerson Brooks. To Harcourt, Brace & Co. for selections by T. A. Daly taken from "Canzoni, " "Carmina, " and "McAroni Ballads." To David McKay Co. for selections by W, M. Letts. To G. P. Putnam 's Sons for selections by W. H. Drummond. To Small, Maynard & Co. for selections by F. P. Dunne. To the following authors and owners of copyrights: To Mrs. Alice Chapin for the use of her son's play, "The Phi- losopher of Butterbiggens. ' ' To Mrs. W. H. Drummond for the use of poems by Dr. W. H. Drummond. To Bertha N. Graham for the use of her play, "Spoiling the Broth. ' ' To William F. Kirk, Arthur Stringer, and Ruth Comfort Mitchell for their generous permissions to use their work. viii Acknowledgments To Hi.ljjoU'V Torronco for permission to uso "The Rider of Dreams. ' ' To Mra Clmrios Unttoil Loomis for permission to use Mr, Loomis' Boloctions. To the K.lit^r of "Country Life" for the use of the poem "The Twa Weclunia" by Mrs. Violet Jacobs. PREFACE AS in an earlier book, "Modern Literature for Oral Interpretation," the author has been handicapped in the selection of material for this book by refusals and prohibitive costs. Much, therefore, that should have been included does not appear. It is hoped, however, that the book as a whole may be of service in a field constantly in need of material of every sort. Certainly, there is need of a collection solely of dialect forms, since in the whole range of research but one such book was found. It has been the intention in the discussion to offer as concrete suggestions as possible on matters which have had little direct explanation in any of our texts. The book is not meant to be a research treatise on dialect, but a usable text and source of material in dialect form ; suitable both for study for the sake of the dialect, and also to use as good program numbers. Dialect study should receive more attention as a desirable medium in training students in expression as well as for use upon programs. It will be found that all selections of what is sometimes termed "colloquial dialect" (Riley, Foss, Field, etc.) have been omitted; also all "child dialect" (Cooke, Riley, Field, etc.). These are not clearly "dialect," at least, not in the sense in which it is considered in this book. Such selections do not call for so complete change in vocal elements, such as pitch, quality, and rhythm, or have as great variety in corresponding bodily changes as the types of selections herein included. They are, however, often excellent ma- terial for interpretation, either as studies or as program Z Vrefacc nunibors, niul tliey are comparatively numerous and easy to locate. Ill elioosiiig the selections, those which include a great many strange or obsolete words have been purposely onjittcd; since it is not the intention that the selections should prove of use for such study of words in dialect. The material is confined for the most part to the attempt of those who are native to another country to use the Knglish language. They are in the form, not too difficult, of "The foreigner speaking English and including two factors, his own language and the language of his adop- tion." "Whereas the effort has been made to make the selections fairly inclusive of as many types of dialect as possible, many have perforce been omitted. For instance, no cockney dialect is included. Kipling has much that is excellent but not obtainable. It will be noted that the selections are written entirely in dialect. Complete dialect being the only form desirable for the aims of this book, it will be seen at once that the selection was much more difficult. The inclusion of an extensive bibliography, found at the end of the book, should prove of great assistance to teachers and others in locating selections desired. For much of the work of this bibliography, I am indebted to Frances Ellen Tucker of Dodgeville, Wis., High School, Department of Speech. Having felt the need of some such compilation as this present one through a long period of years, it is offered in the hope that it will prove helpful to a large number who have been handicapped in the use of Dialect mainly because it has been so hard to find. CONTENTS PART I Discussion SKCTinN PAGE I A General Stjrvey 3 IJ The Meaning and Significance of Dialect .... 11 III How TO Study a Dialect 19 ,W Advantages in the Interpretative Use of Dialect . 31 V The Monologue and Its Interpretation ..... 39 PART II Material for Interpretation VI Scotch 45 VII Italian 75 VIII Negro 89 IX French and French Canadian . 125 X Scandinavian 145 XI Irish 157 XII Miscellaneous 203 XIII One-Act Plats in Dialect 219 PART III Bibliography XIV General References 281 XV Detailed List of Selections 286 Index 305 PART I DISCUSSIOK SECTION I A GENERAL SURVEY DIALECTS FOR ORAL INTERPRETATION SECTION I A GENERAL SURVEY WHEN one interested in the field of interpretation is convinced of the benefits to be derived from the use of Dialect for the interpreter, both in vocal and bodily reaction and development, his first thought is to survey the field; to determine, if possible, why others interested in the subject have not investigated its resources. As a possible clue to this last, it is necessary, first of all, to discover the sources of the material. Setting about in such a survey, the first step was to locate Dialect selections, and for this purpose volumes of selected readings compiled for use in interpretation were examined. Out of a total of one hundred books, only one was found that listed Dialect in its table of contents, nor was there any mention of Dialect material in the indexes or appendixes of the other ninety-nine.^ In this survey it was necessary to go over these books page by page in order to determine whether or not Dialect selections were in- cluded, and if so what particular kind of dialect was rep- resented (Irish, French, Chinese, etc.) ; also, the form in which they were written, whether prose or poetry, for this * A bibliography of these selections, with a chart of detailed find- ings, appears on pages 281-303. 3 4 Dialects for Oral Iittrrprctation was inilii'iited in the iiulox in only one instance. In the one hundred hooks a total of 6200 selections were reviewed, 430 of which were Dialect. It should be noted here that more than half of the latter, or 215, were repeated two or three times. Of course there were some duplications in the other selections, but it would not lower the total more than 2000, so that the actual amount of material in dialect form is in the proportion of 215 to 4200. One volume that purported to be wholly Dialect contained 118 selections, 50 of which were usable. The other 68 selections were either three- and four-line jokes, or not real Dialects. It can readily be seen that there is an apparently appalling lack of Dialect material. Furthermore, it is little wonder that an instructor would not be enthusiastic in the use of material that has to be literally dragged from its hiding- place, examined, and diagnosed. The use of Dialect selec- tions, therefore, is likely to be greatly retarded by this one element alone, the finding of material. A glance over the Dialects included in this volume will perhaps reveal that the so-called Yankee, Hoosier, Child, and varioiLs other Dialects do not appear. These, it seems, are only variations within our own language, sometimes termed Dialect, it is true. They would seem to be, in a truer sense, colloquialisms, vernaculars, or provincialisms. Pitch, accent, emphasis, even pronunciation, as well as certain idiomatic expressions, may differ in different lo- calities throughout our country, as they do in other coun- tries as well ; but this is only a matter of degree, and not one of radical change such as will be found when the foreigner attempts to adopt our language. Mr. E. S. Sheldon has the following to say upon this point in his article "What Is a Dialect," found in the Dialect Notes of the American Dialect Society, Vol. 1. I Discussion 5 quote at some length, as it may serve to clarify our dis- cussion to a great extent. Mr. Sheldon says: "Language we consider primarily as spoken by the various individuals who use it. No two individuals use exactly the same language. All language is constantly changing and the gradual changes in different localities produce in time, in the lack of conservative or unifying forces, forms markedly different, even though the source of all of these may have been the same, that is, with only slight and unnoticed individual variations. These different local forms of speech we may pro-visionaUy call dialects, but it is evident that a sharp line between dialects and language can only be drawn after adopting strict definitions of both words, also that no slight line can be drawn between the slight, and for the most part unnoticed, differences among individuals speaking the same dialect or language and the more notice- able ones which we call differences of dialect. Dialects, thus understood, can not be assigned in general to definite regions with sharply drawn geographical limits. ..." and later he terms the changes that occur "Local Dialects." The entire article should be carefully read by all who have to teach in this field. Matters of Child Dialect offer another problem, and should not properly be termed Dialect, it seems. This speech belongs to a different world, the world of Baby- land. This speech can not be compared with the grown-up world, nor with the speech of the foreigner attempting to accommodate his native language to ours. The latter has some years of experience, while the child is just learn- ing. The child's speech is surely but a variation within our own forms, and will have but little variation in melodic rhythm at least. The melodic rhythm in a given language, together with the quality conditions, are, it seems, the final (J Didliits for Oral I iitcrpritation (lotcriiiiiiiii^ factors ol' difTercntiation for the interpreter III the si-arch tlirouj^li many volumes for material, ona is struck l)y the fact that by far the greatest number ot sekH'tious is in verse form. Comparatively few writers have used Dialect entirely in prose form. A possible ex- planation for this preponderance of the poetic form mifjlit be that Dialect is a medium of expression for a distinct character situation, taken more frequently than otherwise from the lower walks of life. Poetry idealizes, and many of these selections if written in prose might call forth a mere crude enjoyment instead of the appreciation that the author desired. Considerable prose in Scotch may be found, and a great deal in Irish. This latter Dialect Mr. "William H. Carpenter of Columbia College thinks should not come under the same sort of Dialect consideration as the Dialect of other foreigners in this country ; indeed, he seems not to consider the Irishman as a "foreigner." In his article "The Philosophy of Dialect" in "Modern Lan- guage Notes," Vol. 1, he says: ' ' The Irishman, whom we have always with us, does not come properly into consideration here. His language is, from the very start, an English patois entitled to its vagaries of expression by lawful transmission from a long line of preceding generations." I encountered by far the greatest difficulty in finding anything like good Dialect, either in prose or poetry, in the German, and am not at all satisfied with what is in- cluded. In this connection I wish to quote again from Mr. Carpenter, since what he has to say is very illuminat- ing in this connection. In the same article referred to above he says: "The German divides with the Irishman the honor of constituting a weighty part of our foreign element — a part Discussion 7 which, from its size and importance, is quite assertive, and we are accustomed to read and hear frequently that form of English which arises from the imitation of a Ger- man original. To understand this international hodge- podge is, in some parts of the country, a linguistic problem that must be solved by every one, for its every-day re- currence is assured. In spite, however, of this widespread familiarity with this alien pronunciation of English it is curious to observe the clumsiness with which American writers use it. This is apt to be the case wherever it is emploj^ed, not only in the hastily written 'news item,' but may also be discovered in the last new novel." This, at least, is interesting in the light of my difficulty in finding Dialect in this fonn. The attitude of the "special schools" of expression in this matter is worth consideration, since they occupy an important position in the field of interpretation, for they supply very largely the teachers in this field. What the teacher in training learns of methods, materials, etc., she carries into her own work. I have wondered sometimes whether these schools place sufficient emphasis upon the study of Dialect. As far as I have been able to discover through evidence obtained from graduates of these schools, and I know it was the case in my own training. Dialect is not generally employed as a means or method for benefiting the individual in vocal and bodily reactions, nor is much time devoted to a study of its philosophy and possible advantages. What is done depends too much upon students who are "apt" imitators, or upon instructors who have a special "gift" or knowledge of some particular Dialect. Often, then, it may happen that only one or two Dialects are touched upon in an entire course, and Dialect may come to be considered more or less of a trick performance, 8 Dial tits for Oral Interpretation rathor ihan a fundamental study of importance to any toacher or interpreter. Surely, if authors of note and authority find the use of Dialect fundamental to the de- lineation of a c-haracter or situation, we should give it some general and serious consideration before we may hope to approximate the author's intention, or do justice to the people we are attem|)tiiig to portray. There must be some basic truths concerning its value and use. SECTION II THE MEANING AND SIGNIFICANCE OP DIALECT SECTION II THE MEANING AND SIGNIFICANCE OF DIALECT DIALECT is found where a branch of the parent tongue is radically affected by the locality, time, accident, or revolutions. When an Italian, Chinese, or Frenchman comes to America, he comes with the language of his native soil, but upon his arrival finds that it no longer serves his purposes adequately. The removal from the fatherland to a new world necessitates his changing the parent tongue to fit new needs. Often whole words, phrases, idioms, etc., are transferred to the new tongue. The French-Canadian will say, "I go to fine soiree." The first four words are distinctly American in form but not in order to tense, and this affects the melodic rhythm. "Soiree" is French and transferred to the new tongue. His native language has been radically affected by en- vironment and needs, and the result is a Dialect, or mixture of two languages. In this we find a possible answer to the question, **Why do authors use Dialect?" When one reads, "I go to fine soiree," one knows immediately that it is not just any man talking. As far as the dialectic form is employed, it is accidental — a means, not an end in itself. That simple sentence is an expression of character, a foreign character. It is a word picture. An artist would depict the man in his native costume, posture, coloring, etc., but your author 11 l-i Dialtcia for Oral I iilcrpntation breathes vory life into him through the medium of words Immediately one senses an element of the dramatic. Whyl Heraiiso, if one knows anything at all about the French Canadian, tins knowledge forms a subconscious back- ground. One is at once upon the alert, full of expectancy, looking for something to happen. It need not be intense or swiftly moving, but just a tinge of difference will give it dramatic tlavor. Or, if the reader knows little or noth- ing concerning the French Canadian, the dialectic form ac(iuaints him with the fact that here is something different. A Dialect situation must have this dramatic element, or it is worth nothing. It may at times add only a grotesque effect or color to a situation, but it must be present in some degree. Dialect aids the reader or hearer to picture the character who is speaking. It establishes, to some degree, a sympa- thetic medium of understanding. It is much more satisfy- ing to have such a character speak in his own way, setting forth his own experiences and his reactions in his own Dialect, than to have some one tell about him in ordinary language. The reader or hearer is able to appreciate more fully the spirit, thought, and feeling of the character and situation. Dialect points up a situation, holds the details in focus, and gives a different mood or color to the whole. Recently play producers have seen fit to have music ap- propriate in movement and mood before the curtain rises, in order to establish an atmosphere. That is what Dialect does for fiction. As Doctor Curry ^ says, '"'Dialect is a kind of literary or vocal stage make-up that enables the reader or auditor to recognize the character." Robert Burns used this "make-up" for the speaker in *" Browning and the Dramatic Monolog," by S. S. Curry, Chap. 13. Discussion 13 the majority of his poems. They were in Scottish dialect, simple and spoken from his very heart. To quote Doctor Curry again, "It was native to his heart." He was in- timately connected with the peculiar feelings, experiences, and reactions of his people. In his distinctly Scottish poems we get a sense of the dramatic spirit of the thought, while in those that are known as his English poems we feel the lack of this element. They are wanting in appeal; they seem weaker, and do not stir us as do his other poems. Dialect is the language of the heart or emotions, and we react naturally to its appeal. One of the heroes of the hour, and a truly great man. Sir Harry Lauder, is a living example. He is an artist, but would his art have the same flavor, the same appeal, if he sang the "Wee Hoose 'Mang the Heather" or "Roamin' in the Gloamin' " without that famous Scotch burr. Through his consummate skill he can make an audience shout with laughter or melt with tears. To those who know Scotland he brings the fragrance of the heather, and the eerie call of the bag-pipe that tugs at every Scotchman 's heart ; to those who do not know his beloved country, he brings the vague feeling of a wonder country yet unseen but greatly loved. Sometimes we must know a man's character in order to appreciate why he did a certain thing, and in just this capacity is Dialect needed the better to suggest the experiences of a certain character situation. This is the real meaning and justification of Dialect. Vernaculars such as the Hoosier and Yankee find justi- fication in this way. Riley in his Hoosier poems establishes a bond of sympathy between character and reader through the vernacular. The stories of Alice Brown and Mary E. W. Freeman, as well as much of the work of Robert Frost and Percy Mackaye, would lose appeal and signifi- 1 i Diitlrcts for Oral I ttlrrpntation caiu'o w«>r(' till' voniacular, the idioms, and the colloquial- isms of New En<;hind loft out. They locate the stories. Though we have chosen not to call Yankee and Iloosier strictly Dialects, yet we feel that there is a place for the vernacular of different localities as well. The spokesmen of another race have been found in Ruth McEnery Stuart, F. Hopkinson Smith, Thomas Nelson Pag:e, and Joel Chandler Harris, all of whom have dealt humorously and sympathetically with the Dialect of the black race. Perhaps the best of these writers, and one not yet mentioned, Paul Laurence Dunbar, spoke from a still deeper understanding of the black man, for he was the prophet of his own race. Sympathetic understanding is an element absolutely essential to Dialect. The author must have this, and identification in the character situation to be set forth, if he would appeal to the auditor or reader. It must appear in all of his work, whether it be humorous, tragic, pathetic, or tender. This sj'mpathetic understand- ing and appeal is beautifully portrayed in a very short poem of Dunbar's, "A Death Song": Lay me iovra beneaf de willers in de grass, "Whah de branch '11 go a-singin' as it pass; An' w'en I 's a-layin' low, I kin hyeah it as it go Singin, ' ' Sleep, my honey, tek yo ' res ' at las '. ' * Lay me nigh to whah hit meks a little pool, An' de watah stan's so quiet lak an' cool, Whah de little birds in spring Ust to come an ' drink an ' sing. An ' de chillen Avaded on dey way to school. Let me settle w 'en my shouldahs drops dey load Nigh enough to hyeah de noises in de road; Fu ' I t'ink de las' long res' Gwine to soothe my spurit bes' Ef I 's layin' 'mong de t'ings I 's alius knowed. There is one sad fact concerning Negro Dialect, though it may be found among the others, but in this more espe- Discussion 15 cially, and that is, that many pseudo-authors who have no real appreciation of the wealth of beauty and rich humor back of the Dialect use the Dialect as an end for some poor mock-situation, putting uncouth and untrue expressions into the character's mouth. For the instructor or pupil of interpretation a word to the wise is sufficient : ' ' Know your authors." Though Doctor Drummond is not a French-Canadian, his constant association with these people through a long period of years has given insight into their lives. He has written several volumes of monologues in the French- Canadian Dialect, portraying with deep and sincere ap- preciation and sympathy their quaint humor. The pe- culiar melodic form and rhythmic movement of their language is delightful and exceptionally well preserved. No doubt the chief charm of the expression of plain peoples lies in the fact that they can express themselves with few words and great truth. They "do not costume their feelings for social effect.'* SECTION III HOW TO STUDY A DIALECT SECTION III HOW TO STUDY A DIALECT IN taking up the study of Dialect for interpretatijn, one must necessarily examine the symbols. They must then be analyzed and assimilated for future reference and use. Perhaps the most noticeable differences — those that are most apparent to the hearer — are the variations of the melodic rhythms in the various mother tongues. It must be understood that these rhythms cover a series of words in a phrase, clause, sentence, and entire paragraphs, as well as the attack on single vowels, which may be drawled, curved, or struck very quickly. Each melodic rhythm, whether it is peculiar to the French, Irish, or Italian, strikes us first as a totality. Examination of this effect shows one that the causes are many, such as variations in pitch, range, vocal quality, elisions, and substitutions of vowels and consonants, and accent or emphasis. Let us examine the first of these symbols, variations in pitch range. In the Scandinavian Dialect, for example, the pitch tends to be comparatively high, and the inflec- tional modulations and changes more frequently occurring from the established pitch upward. The voice tends geldom to fall below the established key or pitch, and the jumps are comparatively slow. In comparison, the Negro Dialect runs a wide gamut in pitch range, now high, now low, with frequent and abrupt changes. The Chinese, on the other hand, have a very high standard pitch with a range of only 19 20 Dialects for Oral Interpretation two or three notes above the orij;inal i)iteh, and the rate of eliange is extremely staccato and rapid. Another symbol that we may consider here is vocal quality, and this deals first of all with voice placement and resonance. To continue with the Scandinavian example, the tonal condition is the result of head-tones. These need not be in any way nasal, but have their resonance very largely in the head. They are not especially musical, for they lack warmth and richness of quality. The German dialect, in opposition, has guttural tones produced far back in the throat passage. There is a certain richness and heaviness about them. The Chinese have a distinctly nasal twang which, when combined with the usual high pitch, produces a sometimes distressingly grating sound. The tones of the Canadian-French are well forward in the mouth, while the placement of the Irish voice fluctuates, now forward in the mouth cavity, now back in the throat with many sibilants. The nasal tone has a peculiarly flat twang or quality, and the only Dialects that have this to a marked degree are the Chinese and the Yiddish. The difference in the two as a vocal proposition is found in the pitch ; the Chinese having the higher, the Yiddish the lower pitch. As a general rule, the Negro has a voice of unusually pure quality. This is because he produces his tones easily and fully, the tones being unobstructed in the throat passage. Scandinavian and Cockney Dialects are inclined to a certain flatness or lack of quality, for they lack deep resonance, which makes for richness. Italian and French-Canadian Dialects have a light, musical quality — more delicate than deeply rich. It is the quality that aids so much in portraying feeling. Certain pitch and tone variations are peculiar to every tongue; they are very delicate and complicated. Discussion 21 Science is now experimenting in this field, but has done little, so far, to help us. The interpreter must train his ear to catch these variations and changes. He must train his mind to understand them. And the third step is to train his vocal mechanism to reproduce them. Let it here be said that the ideal way to study any language, in Dialect or otherwise, is to hear it spoken, since there are innumer- able shadings impossible to catch by any other means. But that we can do nothing with Dialects without hearing them I do not agree, for this will cause their continued neglect. I do not believe that enough effort has been made to study Dialect in ways here suggested. I know from experience that much can be accomplished thus, even when ear ob- servation is not possible. When started upon the right track, students' interest is greatly stimulated, and in many instances they make remarkable progress, I find, too, that they often find opportunity to hear the Dialects "first hand." The next symbols to be considered are vowel changes and elisions and substitutions in vowels and consonants. There are certain vowel sounds in every language identified very largely with that language only.^ The spelling in two languages may be identical, but the quality, duration, etc., may differ in degree. Because we can not make an in- ^ An interesting example in this connection is the Scotch Dialect. It is very easy to learn. There are only about two hundred words to remember, and another two hundred that are the same as English words with "ie" tacked on, for example: lad, laddie; plaid, plaidie ; lass, lassie. But the vocabulary gets the harder as we get farther north into the highlands, and the change in vowels becomes very noticeable. This comversation took place between a buyer and seller at a fair in the north. "Oo?" "Ay, oo." "Aw oo?" "Ay, aw oo." "Aw a 00?" "Ay, aw a oo. " The translation is: "Wool?" "Yes, wool." "All wool?" "Yes, all wool." "All one wool?" "Yes, all one wool." 22 Dialects for Oral Intcrpntatiou tensive study of the original sounds of foreign tongues, authors, in writing the Dialect, endeavor to spell the words according to the sound; but it is almost impossible of re- production in writing, as authors are well aware. To approximate it to some degree requires great understand- ing, taste, and skill. In his book of "Irish Poems" ^ Arthur Stringer writes: "I have again and again, in the matter of the written word, been coerced into something not unlike a sacrifice of actuality on the altar of literary convention. . . . There are tricks of speech so characteristic and so persistent that they can not be ignored. One, for instance, is the flattening of the dental digraph "th" into something ap- proaching a "d." To write it down always as a "d" is a somewhat clumsy artifice. . . . Still another practice is the lowering and " de-dentalating " of the sibilant, readily recognized in the "smile" which becomes "shmile" and the "street" which must be recorded as "shtreet," though here again the inserted "h" is a somewhat awkward in- strument to denote that tenuous rustle of breath with which Erin wafts out its hissing consonants. . . . And beyond this there are many more difficulties, difficulties of idiom, and of mental attitude. And as an excuse for a newcomer's invasion of that land of brogues and accents and intonations, which are as elusive as quicksilver even while they are as penetrating as turf -smoke and as soft as a bog-land breeze, I can only add that it is a field in which there are many anomalies and no finalities." It must be remembered here that Dialect is accidental — a means, not an end. Dialect must suggest the dramatic spirit, and be neces- sary to the situation in amplifying a character or in giving * Arthur Stringer, ' ' Irish Poems, ' ' Foreword. Discussion 23 a unique point of view or experience. The chief element of Dialect is not in the spelling of the words, but in the melody of the sentences. It is not a matter of individual words, but of the entire feeling, spirit, and thought. At best, Dialect can be suggested only vaguely. In the matter of elisions, let us look for a moment at a bit of Negro Dialect: "I'nin' up de whi' folks' close." The "ro" and the final "g" have been dropped from the word "ironing" and the "te" from "white"; "d" is substituted for "th" and "th" is ignored in "clothes"; so that, when read in the dialect form, the words of the sentence run together. In this case Dialect is a blending of sounds. No one word would stand out clear-cut from the others. The Negro Dialect has, perhaps, more elisions than any other, though some are found in the Italian, German, French-Canadian, etc. Dropping of the "u" from "you" and the "d" from "and" occurs regularly in the Negro Dialect. Substitution of vowels and consonants is very common in all Dialect forms. In German Dialect selections we continually find "I vas," the substitution of "v" for "w" in "was."^ In other Dialects, as well, there are the substitutions of "e" for "d," as "ole" for "old"; "y" for "j" in "just"; "u" for "a" in "and." The Chinese ^ Of interest in this connection are some of the results in a recent research upon errors in given English sounds, made as a thesis study in the Department of Education in the University of Wis- consin. Seventeen races represented in the United States were tested, the smallest number in any one being twenty-five, the largest ninety. The voiceless " th " was found to be the most diffi- cult sound for all and the sonant "th" rated next in difficulty, while the next two in order were "v" and "wh." (See bibliography for reference.) 24 Dialects for Oral Interpretation constantly substitute "1" for "r" and "r" for "1." "Every" roads "evly." So, there are numerous elisions and substitutions, only a few of -which are mentioned here. This can not be an exhaustive discussion of the subject; the purpose is to indicate what the interpreter is to look for. Should such a discussion go into meticulous detail, the interpreter would become discouraged because of the great mass of material. Then, too, if the Dialect is to be truly assimilated, the interpreter, or teacher of interpreta- tion, must necessarily discover some of the facts for him- self. The substitutions and elisions discussed are merely suggestive guides in the right direction. The next aid is in the matter of accent and emphasis. This has to do first of all with the words themselves, that is, syllabic accent — whether or not the accent falls on the first, second, or third accent of a three-syllable word. Secondly, it deals with the stress or accentuation of special words in the phrases and clauses. Many times the ac- centuation of another syllable than the usual one in a single word causes the accenting of a phrase or group of words to be changed. The American asks, " Chris'to-pher Co-lum'bus?" and his Italian brother answers, "Chris- toph' Co-lumb'!" (The words have been divided here into syllables in order to show w^here the accent falls.) The elisions in the latter, combined with the differences in accentuation, produces a startlingly different result. So much, for the moment, for that Dialect. Let us consider briefly the attack the Frenchman makes upon accent. The Frenchman tends to articulate each syllable of a word very precisely and delicately, with no special accent upon a given syllable. The result is that he seems to talk faster, because he does not pause upon some syllable. This vitally affects the rhythm. The regularity or ir- Discussion 25 regularity of accent occurrences, pause between syllables or words, and the prominence given certain words or word groups, makes for variations in rhythm. The rhythm is a totality of effect — and timing has much to do with it. Could the Dialect speech of the Italian be considered as a musical score, the tempo or time would be allegro, or "quickly." The Scandinavian would be talking in andante, or slowly moving, even time. Cockney Dialect is allegretto — faster than andante but slower than allegro. The Irish Dialect is now in andtinte, now allegro, the latter predominating. We all are acquainted with the famous nursery rhyme "Mary's Lamb." Let us look at it a moment rendered in four different Dialects — Chinese^ German, French, and Irish: Was gal name Moll had lamb, Flea' all samee white snow; Evly place Moll gal walkee Ba-ba hoppee 'long too. II Dot Mary haf got ein leedle schaf Mit hair yust like some vool; Und all der place dot gal did vent Das schaf go like some fool. Ill La petite Marie had le jeune muttong, Ze wool was blanche as ze snow ; And everywhere la Belle Marie went Le jeune muttong was zure to go. IV Begorry, Mary had a little shape, And the wool was white entoirely. An' wherever Mary wad sthir her sthumpa The young shape would follow her completely. S6 ])itili(ts for Oral Interpretation Kcad those aloud, and listen for the rhythmic differences. No doubt yon have often heard the comedienne on the vaudeville staison. 'T is now, honey. Lucy. No, youah las' dime you spent Sunday an' I ain' give you no money since. You got it wif out payin' for it. You charged it. Malison. Yassah, I got it wif out paying for it an' I Material for Interpretation 231 going to keep on a-gettin' it wifout payin' for hit as long as de gittin's good. Lucy. How you like to be treat dat way? Madison. What way? Lucy. If you was keepin' a store, to have folks charge things when dey did n ' know how dey could pay. Madison. I 'm willin' fo' to be treat dat way ef dey can do hit. Let 'em come an' git my things if dey finds any. Lucy {breaking down). Oh, I cain' stan' hit. Youah sinkin' fas' down to de fiery lake an' you 's pullin' my Baby down too. Madison. No, I 's raisin' him up an' I goin' to Ian' us all in a sof ' place on dat Easy Street I heah em singin' 'bout so long wifout seein'. Lucy {suddenly examining the guitar). Wheah you git dis guitar? Madison. What guitar? Lucy. Dis. Oh, IMadison, dis is 'Zek'l AVilliams' own guitar dat he would n' sell. Dis is de guitar dat nobody could n' buy. How you come by it? Madison. Look heah, woman. You act like I stole de guitar. You don 't think I 'm a thief, do you ? Lucy. How you come by hit? Madison. I got it off Wilson Byrd. Lucy. Dat sueakin' w'ite man. How 'd he git it? Madison. I did n ' ask him. Lucy. What you give him fo' hit? Madison. Oh, dat 's anotheh story. Him an' me 's goin' in business togetheh. Lucy. Oh, Madison, dat w'ite man stole dis guitar. Oh, take it back dis minute an' snatch youah soul from de bu'nin'. QS'i Dialects for Oral Interpretation ]\Iadison. Who, me? What you tak' me fo', gal? Take back a guitar to de rich man, de man what own de very house we live in! Lucy. Well, we soon will buy it. Madison. Dat 's right. We will. But dat ain' de question. I did n git dis guitar fo' to return it, I git it fo' to play it. I boun' to play it cause I 'm goin to be er rich man soon an' I got to have a plenty music in me. Lucy. You goin' to git rich playin' guitar? ^Madison {laughing comfortably). Eh, yah, yah. Whoopee! No, indeedy. I flies higher dan music flies. I 'm one er dese heah kin er 'lectioneerin' mens which make dere money work fo' um. Dey sen's one dollah out in de heat an' sweats her twell she rolls home wif anutheh. Lucy. How you goin ' to put money out, Madison, lessen you wuks an' gits de money? Madison {cunningly). Oh, don' yo' botheh youah haid long er dat. I bin down low and folks trample me des same as a wu'm but now I 'm goin' spread my wings an' sting 'em like a king bee. Whaffo' I lay dere an' let'm trample me ? 'T were because I lack conferdence. I puts my 'pen'ance on dis promis', I puts my 'pen'ance on dat, an' dey all fails me. Lucy. You ain't neveh put youah trus' in Gawd. Madison. Yassuh, I did, an' Gawd He up an' gimme de go-by too. What He bin doin' fo' me? Nuthin'. Now I goin' spit on my ban's an' whu'll in an' trus' myse'f. An' I feels lots betteh. I can feel conferdence wukin' all oveh me. I casts 'em all off. I 'm lookin' out fo' myse'f. M-m-m — It took me long time to git heah but now I 'm heah let 'em look out for me. {His voice rises to a chant.) j\I-m-m — Midnight on de sea. All de lights out. I 'm Material for Interpretation 233 carry in' hod en Jacob' Jaddeh to build me a new house an' I 'm buildin' it high, man. Don' tech me. I 'm a flame of fieh an' I '11 singe you sho'. If dey asks fo' me tell 'em say, "I saw somethin' sailin' up but he was headin' fo' a high hill on de sun an' my eyes failed me." Tell 'em say, "He had de fo' win's runnin' like stallions to fetch up wif him but dey carried 'em out, an' buried 'em in the valley. He bus' dere hea'ts!" Tell 'em say, "He was herdin' lightnin's like sheep an' dey wuz too slow an' he picked 'em up an' sheared 'em an' sent 'em home." Dat 's me, I 'm de one you '11 be talkin' 'bout. For why? 'Cause I cas' off ever 'thing an' I puts my trus* in myself an' nuthin' can't hole me. De mo' I says it de mo' I feels conferdence. I feels it a-wukin'. Lucy, You goin' to wuk, Madison? Madison. Yes, indeedy. I got to wuk' an' wuk ha'd. I can't shirk none. Lucy. What wuk you goin ' to do ? Madison. I 'm a stock brokin' man. I goin' into de stock brokin' business tomorrer. Lucy. How ? Madison. Buyin' an' sellin', dat 's how an' which too. Lucy. De Devil 's wrastlin' wif you, Madison, an' you 's perishin' fas'. Ef you keeps on in dis paf you '11 Ian' mongs' de rocks er mournin'. You let somebody tu'n you roun'. Madison. Not me. Nobody can't tu'n me roun'. I dreamed it an' I dreamed it right, face fo'mos' an' on de run, Lucy. How dream? Madison. Las' night an' day befo' yistiddy night an' night befo' dat. I \\uz layin' groanin', "0 Lawd, how long," an' I heah a voice say, "Git up an' come 234 Dialects for Oral Interpretation a-runnin'." Looks up an sees a fine w'ite saddle boss. Hoss say, "Ride me right an' I '11 guide you right." On I gits an' off he goes, slick as a rancid transom car. Comes to high hill lookin' down on de sun an' moon. Hoss stop an' say, "Brung you heah to give you noos De worl' is youahn to pick an' choose." I ax him "How dat?" Hoss say: ' ' How is how an ' why is why, Buy low an' sell high." I say to him, "I got no money to buy. Wheah I goin' git de fun's to buy low?" Hoss respon': ' ' Trus ' yo 'se 'f an ' take youah own, Git de meat an' leave de bone. Bus' de nut an' fling 'em de shell, Ride an' let em walk a spell, Findeh's keepeh's, loseh's weepeh's, I hope dese few lines finds you well." I ax him who tole him all dis an ' hoss say : "Ole hoss Grab will nevah balk. All dis heah is w'ite man talk." Dat what de hoss say to me in my true dream ev'y night dis week an' I 'm a-goin' to bide by hit twell de las' er pea time. 'Cause I 'm er true dreameh an' my mammy she wuz befo ' me. Lucy. "What come of de hoss in de dream, Madison? Material for Interpretation 235 Madison. Dat 's all. Hoss went up in smoke an' I come down in bed. Lucy. Hoss went up in smoke ! No, hit went down in smoke an' fiah. Madison. Now look-a lieah, woman. I 'm goin' to make you a good livin' f 'um now on. I 'm goin' into business termorrer. I 'm goin' in de specalatin' wu'k. I 'm goin' to buy low an' sell high. Lucy. What kin you buy wif? You got no money. Madison {hesitating hut collecting Ms forces gradually). Oh, ain 't I tell you 'bout dat ? I got it in de dream. Lucy. In de dream? MiiDisoN. Um hmmm. You know dat hoss I tole you 'bout. Well'm 'jes' fo' we pa 'ted he prance up th'ough a starry fiel' an' come to a gyarden fence. Oveh dat fence ie lep an', man, she was a fine gyarden. "Whose patch dish yer?" I say to him. Hoss say: "If you asks me grab what you see." Den he reaches down an' pulls up a tu'nip wif his teef an' gives it to me an' say, * ' Dis gyarden truck will fetch you luck. ' ' (He watches Lucy furtively.) An' I takes an' sta'ts to peel dis tu'nip an' what does I find? I find she 's a fine fat roll er bills, dem tu'nip tops is greenbacks. Lucy. So youah money is dream money? Madison. Well, no, not ezackly. De hoss whispeh sumpin' in my eah an' told me how to make dat dream money real money. An' I took de hint an' done it today. An' on dat money I '11 buy low an' gouge 'em all good. Lucy. How much you got? £36 Dialects for Oral Interpretation I\Iadison. Well'm — {He hesitates.) I got a little an' den some. I got erbout — fifty er so. Lucy. "Wlieah you git it? {She catches hold of him.) ]\Iadison. Tu'n me loose, woman. I goin' to baid. I got to make early sta't. {He pulls off his coat.) Lucy {ivildhj). I ain' goin' to let you stay in sin. {She snatches the coat from him.) I goin' take dis money an' make you say wheah you got it. {She hegi7i3 hastily searching through the pockets of the coat.) Madison {calmly regarding her with great good humor and hreaking into a laugh as she fails in her search) . Eh, yah, yah, sea 'eh an' look, sea'ch an' look. Lucy. Oh, Madison, ain' you' got no honin' ter be hones' at all? IMadison. Hones'! "What kin' er fool talk is dat? I done got my ear-string bus' now an' dem preachah wu'ds can't fool me no mo'. You '11 neveh fin' it, honey. 'Cause why? 'Cause I 'm got it in my pants an' I goin' to keep it f 'um a foolish woman. Lucy {running to him desperately). You got to give it to me. Madison. Gal, if you don' tu'n me loose I '11 git ugly. Now, look heah. I wants to heah de las' er dis. I got new ideahs. I got big plots en plans. I done give you de plankses in my platfo'm an' I 'm a-goin' to stan' on hit. When I makes a lot mo' money in de broker business I 'm a-goin' to give you all de gold youah ap'un '11 hold, ev'y day er youah life, an' you won' have to wait long. But till dat day an' to dat time I 'm de treasu'eh er dis lodge an' I 'm de stake holdeh er dis race an' dat money stays in de pu'se in de hip or my ol' jeanses. {He says this last slowly and with growing emphasis and as he ends, gives Material for Interpretation 237 himself a resounding whack on the hip over his pocket. There is a moment's pause. He puts his hand hurriedly in the pocket and then dazedly into one on the other hip.) What dis? Wheah dat roll? Lucy {fearfully). I ain't tech it. You know I ain* ben neah you. Madison {rushing to her). Gimme de coat. {He §natches the coat amd begins going through the pockets, from time to time searching and slapping the garments he is wearing.) Didn't you git it? You mus' er tuk it. Lucy. No, Madison, I ain ' see nor tech it. You watched me. Madison, Oh, Lawd, he'p me look. {He begins to run around the room, looking on the table, picking up articles and letting them fall, dropping on his knees and hunting under the table and chairs. As he searches he grows more frantic.) Oh, my Lawd, oh, wheah is it? I got to have it. Oh, I could n' lose it, hit ain' mine ter lose. Stay by me, Lucy, an ' he 'p me fin ' it ; git down on youah knees, Lucy. Oh, wheah did I drop it? I 'm gittin' old an' needs it. Ef I lose dis I lose all my push. I was jes' goin' into business an' we all wuz goin' to fly high. I got to fin' it. I ain' give up. Lemme think. Oh, I hopes some hones' puson foun' it. Lemme come on down — Know I put it on dat side 'cause dat de side Mistah Long he wuz on — Oh, I '11 go crazy — {He strikes his forehead, groaning.) Lucy {starting). Mistah Long! He 's cashiah in de Dime Savin 's ! How he give you money ? Madison. Oh, lemme see — he gimme de money an' put it right in yere. {He fumUes again distractedly in his pocket.) '288 D'lah-cts for Oral Interpretation Li'CY {pursuing him desperately). Onliest money at de Dime Savin 's is de money. You could n 't draw hit out. You didn' do dat, — you could n' — Tell me if you did fo' I '11 fin' it out tomorrer — Oh, tell me true — you could n' wlien it 's in my name — tell me now fo' I '11 find it out. IMadison. Oh, I can't stand it. Lucy. Ef you wan' me to he'p you den be free wif me. How you draw money from de Bank? I give you no papeh. You could n' draw de money. Madison. Wilson Byrd, he gimme de papeh. Lucy. I give him no papeh. Madison. He write it fo' you. Lucy. Oh, Gawd, dat w'ite man write my name. You drawed de money — I see it now. You had dealin's wif a fo'geh, Wilson Byrd. ]\Lu)isoN. Spar' me an' he'p me. He tol' me ef I draw de money he 'd take me into business wif him an' gimme de guitar besides. Lucy. Did you spar' me? Fifty dollahs! You said fifty, didn' you? How could you do hit? Moren' six months' ha'd slavin'. Six months mo' befo' I can resto' it back. I could 'a' bought de house tomorrer mo'nin' an' now hit 's six months off to pay in dat fifty. It was fifty, did n' you say? Maybe 'twuzzn' dat much. Tell me right. I '11 fin' it out tomorrer. Madison. Dis yere '11 kill me ef I can't think. Lucy. How much you draw? Tell me right. Look at me. Were hit fifty? {She holds his eye.) Less? Mo'? How much? {She continues to hold his lustreless eyes, reading them.) A hunde'd? Two hunde'd? Eight hunde'd? {A pause ensues as she reads the truth in his face.) All of hit. {She sinks in a chair.) Twelve yeahs' labor sence I married you an' termorrer I wuz goin' to Material for Interpretation 239 mek de payment an' we 'd a bin undeli owah own loof. I 'm done. I could a paid off pa't, mebbe fifty, but I won' las' twelve yeahs mo' at de same thing. But I thank Thee, Lawd, dat it wuz stole f 'um us all ef hit had to be stole. Madison. Ef I could on'y think. Had hit in de bank — felt hit an' had it on Thu'd Street— slapped hit an' had it at Joe's house — slapped hit an' had it coming up de alley — jes' fo' I clum de hill — lemme see — clum de hill — went in th'oo Wilson Byrd's hedge fence — he gimme de guitar — scrape my back comin' out — {His face shows gradual recollection, and suddenly brightens.) I knows now! Dat 's hit! In dat white man's yard where he gimme de guitar! I wuz jes' goin' to give him de money when somebody grabbed him f'um behin'. He give a squawk an' skeered me. I run out th'oo his hedge fence an' scrape my back. 1 scrape de pocketbook out. She's dere ! In dat Wilson Byrd 's yard. I '11 git it yit. Watch me. {He grabs his hat and runs excitedly toward the door. ) Lucy {rushing toward him). No, sumpin' might hap- pen. You might git mix up wif him ergin. Lemme go, but I mus' resto' dis guitar at Uncle Williams' as I go by his house. I '11 slip it on his porch. Maybe he '11 neveh know it wuz gone. Oh, if somebody had seen it heah! How could I have stood it? {She puts on a shawl and takes up the bag, but as she la/ys her hand on the door-knob a loud knock is heard on the door. Both start back and wait. The knock is re- peated. She throws off the shawl, places the bag in a corner, and returning to the door, opens it. She greets the visitor in a strained voice, almost with a shriek.) Uncle Williams! Step in, please. {A man enters. The neivcomer is old, with white hair 2-1.0 Dialects for Oral Interpretation and heard. He is probably of Moorish descent. He is so synall and weazened as to be almost a dwarf, but his whole demeanor indicates great latent power. A strong personality, dominating the two others from the first iiistant.) Williams. Good evenin', Lucy. {He seems to he unaware of the presence of Madison. He comes forward with little mincing steps and an old man's gesture, then takes off his hat and sees about him. The others stand watching him tramsfixed.) Ain' you go in' shut de do', Lucy? I feels draf 's. I 'm gittin' old an' catches cold easy. Ain' you goin' take my hat? {She reaches for it mechamcaUy, watching him apprehensively.) No, de hat — not de stick — ol' pu'son like me always need good stout stick er club case er havin' faintin' spell — ^sumpin' to lean on. Now, wheah a cheer, better fetch me er cheer fo' feah I might set on sumpin' you wouldn't choose fo' me. {She obeys dumbly and brings a chair to him.) Set it neareh. Dat 's right. Now gimme youah shouldeh an' ease me down. Ah — {He leans heavily on her and sinks totteringly into the chair wnth a great show of feebleness.) Now take a cheer yo'se'f. I 'sprize to see a lady standin' an' me takin' ray res', old ez I is. {She obeys, watching him with doubt and dread.) Set it dah, wheah I can see you good. (Madison is stand- iyig up by the wall, right, gazing at him as though paralyzed with fear.) Dah now. We kin be ca'm and have a nice talk. Does you know what business I come yere fo' tonight? {He pauses.) You does, doesn't you? Lucy {ahnost beside herself with nervous tension). You — come to see — ef — {Recovering herself with a mighty effort.) Oh, yes, you come to look oveh de stove an' see ef you like to buy hit. Material for Interpretation 241 Williams (musingly). M-m. Well, I reckon— dat 's hit. Yes, dey tells me y'all has a wahmin' stove to sell an' now katydid cease, fros' ain' fur off, an' I needs hit. Is dish yere de one? Lucy (rising and rushing toward door at side). No, not dat. Hit 's outside — ef you please to step out. Williams. Well 'm, I '11 take 'n look her oveh. (She hastily lights a ca^idle as he rises and totters in the wrong direction. ) Lucy. Th'oo heah, th'oo heah. De stove 's out in de woodshed. (She grasps and guides him.) Williams. Ah — well'm. Um hm. I always gives things er good lookin' oveh befo' takin' stock in 'm. You needn' come erlong. I lived so long in dis house befo' you wuz bawn dat I knows my way. Is de stove an easy wood eateh? Lucy. Yes, yes. (She gives him the candle and almost pushes him through doorway at side as she follows him out. Madison, who has watched fearfully from a dark corner, darts forward and looks after them, listening. He then runs toward the door at hack hut hesitates hefore it and turns as Lucy comes swiftly in from outer room, clos- ing the door softly.) Madison. What he say? Do he know? Lucy (desperately seizing the hag and pressing it into his hands as she turns him again toward doorway at hack). Oh, I cain' tell. On'y resto' dis in case he don' know er case he do. Now 's de one chance to be hones'. Madison. Huh. What erbout dat eight hundord dollah ? Lucy. I don' know. Trus' Gawd an' be hones'. Madison. Huh uh. One of us has got to go look fo' dat money. Lucy. One of us has got to take back de guitar. 242 Dialects for Oral Interpretation Madison. I 'm goin' fo' de money. Lucy. Den I '11 take dis. {She takes up the guitar and she and Madison go toward door at hack. Then she halts.) Oh, Madison, you can do bofe. One of us has got to stay wif Uncle Williams. But take back de guitar first. IMadison. All right. I '11 go. An' I ain't played on dis heah but twice. {He takes the guitar from her.) Lucy. Go now. Can you fin' youah way to his porch in de dahk? Madison. Will we find de money? Dat 's de p'oblem I wants de anseh fo'. (Lucy opens door at hack to go out. Madison is at her side. Both start hack. Williams stands hefore them in the open doorway.) Lucy {haltingly, after a pause). How — you like — de stove ? Williams {entering more vigorously than hefore). Well'm befo' we goes any furder we betteh come neareh de real p'int and question. I didn't come fo' no stove dis night. (Madison shrinks hack into the shadows.) Lucy {slowly). Yo' — don' — wan' — Williams. No'm. To be sho', I might tek de stove one er dese days, but dat ain' my erran' now. Hit 's dis; does you know when we mek de bargum about you buying dis heah house? Lucy. Twelve yeah ago. Williams. Gal, you dreamin'! 'T were n't but las' year. 'T were de fus' er Octobah las' year an' I say I gives you de refusals for one yeah. 'Membeh dat? Lucy. Yassuh. Williams. So fur so good. Now does you know what day de month dis is? Lucy. Fus' er Octobah. Material for Interpretation 243 Williams. Dat 's true as preachin'. Well'm, time's up. Lucy. What you mean ? Williams. I 'm er man er my wuhd. Pay me de money an' tek de house. Lucy. Termorrer — Williams. No. Termorrer won ' do. Lucy. Why you push me so? Oh, please spar' me an' wait — wait anutheh day. Williams. No, I 'm er business man. I kin sell de house fer mo' money termorrer but I hold's to my wuhd ter sell it to you. I holds to it an' loses money, but it falls due dis day an' night an' I won' stretch it one jump er my hea't. Lucy. You know — de bank — ain't open — Williams. Sign de check fer hit. You kin do dat, cain 't you ? Lucy. I — s'pose — I — kin. Williams. Den up an' do hit. Heah's er check, all wrote out but de signin'. {She takes the check he pro- duces.) An' heah 's one er dese fountum pins. {She takes the pen.) Octobeh fus' — pay to Zek'l Williams — eight hunderd dollahs. Des write "Lucy Sparrow." {She mechanically turns to do so.) Looks easy, sho'. But de law allows hit; dis writin' out money. {lie pauses, then adds impressively.) Dat is, ef you got de money in de bank. Co 'se ef de money ain ' dah an ' you. writes de cheek fer hit de law puts you in State prism. {She stops and stares at him. The pen falls from her hand and the check flutters to the floor.) What de matteh? You wants de house, don' you? (Lucy's head sinks.) An' you got de money, ain' you? Madison. Dat 's de question. {He copies forward out of the shadow.) gi-t Dialects for Oral Interpretation AViLLiAM {seemingly observing Madison for the first time during the evening). Why, heighyo, Madison. I bin lookin' fer you dis very evenin'. Whah you bin? Madison. Bin home. Williams. Sho'ly not, Madison, sho'ly not all evenin'? Has you? Madison. Yes. Williams. Well, ain' dat de whu'lygig? I wuz lookin' fer you at Pratt's sto' at eight o'clock an' day say you jes' lef ' dah. You wuz dah, were n't you? IMadison. No, suh. Williams. Well, dere I am fool agin. An' who you think done fool me? Madison. Dunno. Williams. Well suh, 'twere n't no one but — {He pauses a moment.) Wilson Byrd. Lucy. Byrd! {Springing to her feet with the shock.) Williams {after watching the two a moment). So you ain' got de money no mo', is you? {They are speechless before him.) I knows you ain' ca'se I knows who has got hit. Madison {involuntarily). Who? Williams. I has. {He observes them and then chuckles softly.) I has de money an' de bargum 's closed, fer de goods is bin delivered an' dey 're right in dis room in dat corner. One guitar at eight hunderd dollahs. Insterments comes higher 'n what dey did once but you would have it an' now you got it an' everybody 's fixed. Madison {groaning and bending over the table). Oh! Williams. Yassuh, de man what buys guitars at dat price su'tinly plaj^s on de golden strings. Eight hunderd fer one guitar makes 'm mighty near twenty thousand dollehs er dozen. De cos' er livin' is shore gone up but ef you mus' you mus'. Material for Interpretation 24.5 Madison. Oh ! Williams. Well, I cain' stay heah, I got er be amblin' on. I much erblige ter you to mek youah plans to move out er heah fo' I got ter sell de house befo' sundown. Well, so long, an' I hopes you gits all de good er youah high price music. {He turns again with his feeble old man's step toward the do&rway, putting on his hat.) I wish y ' all good evenin '. Madison {moving toward him with the threatening de- termination of despair). Say, I 've got to have dat money. I sees red. I 'm gone bad an' I '11 kill befo' I '11 lose hit. (Williams suddenly turns with a swiftyiess and agility astounding in so old a man. Starting forward he confronts Madison with such dominance and fire that he seems suddenly to tower.) Williams. You kill me! You tek money away from me! Why, you po' grain er chaff, you don' know me. I 'm a king in my own right. I got ways an' means er pertecktin' myse'f dat you don' even dream on an' I don' need to lay a fingeh on you to do hit. Furdermo' I could brain you wif dis stick but ef you cross me I won' be dat easy on you. Ef you don' wan wuss'n dat don' cross me no furder er youah troubles '11 begin fer fa'r. Lucy. Oh, please don' lay nothin' on him. Williams. You po' sufferin' gal, I won' lay nothin' onto 'im but I 'm to tek sumpin off'n you. I 'm goin' tek de burding er dish yere pack er laziness off'n you. An' fus' I wants ter show you dish yere piece er papch. {He produces a folded document and opens it.) Does you know who wrote it? Answeh me. {He shoves the paper under Madison's eye.) Madison. It looks like dat Wilson Byrd's writin'. Williams. Yassuh, an' what 's mo' it is dat man's writin'. It 's his confession dat he fo'ge Lucy Sparrow's 2J6 Dialects for Oral Interpretation name. I saw dat man steal my ^itar an' follered him home. Dah I grabbed him, dah I foun' de purse wif Lucy's name inside an' dah I made dat thief write out his confession. Knowed so much of his meanness already dat he had to do hit. An' now I owns you. Does you undehstan' dat? Answeh me, BIadison. Yas suh, no suh. Williams. Well, I '11 take 'n cl'ar up de myst'ry fer you. I got dis confession outer Byrd an' got other things ter prove hit an' I kin bring him an' you too, bofe befo' de gran' jury. Lucy. Oh, my sweet Jesus, save him. (The old man stands watching the two before him for some time in silence. Lucy falls on her knees befare him.) Oh, don't sen' ]\Iadison to de lawyers. Williams. No, Lucy, I ain't wishful ter. Lucy. You won't? Williams. Mebbe not. But fus', les' put all dis talk aside dat I bin talkin' up to now. I bin puttin' on an' pretendin' in ordeh ter try you bofe an' sif ' de chaff from grain in you. I des bin playin' wif you ter see how good you is an ' how ornry dish yere man er youahn is. Yit I '11 take an' give him er chance even so, an' I '11 pluck him f 'um he bu'nin' ef he f oilers de paf I p'ints out ter him. But we all got ter have cl'ar unde 'stan 'in ' 'bout dat. Fus' an' fo'mos' youah money is all safe wif me. De house is youah'n. Lucy. You means you sell it fer de money. Williams. In co'se. You didn't speck I 'd steal, too, like a w'ite man, did you? I '11 fetch you de deeds fo' hit fus' thing in de mo'nin', Lucy. Oh, fu 'give me, I was all mix up. But you won' sen' Madison to de gran' jury neitheh? Material for Interpretation 247 Williams, I say I ain' honin' ter. Lucy. Oh, my Makeh, I thank Thee fo' Thy mercy. Williams. But I shorely goin' to put dis man er youah'n th'oo er tes' ter see whetheh he 's fitten ter keep out er jail. Madison, will tek er tes'? Madison {humbly). Yassuh. What is it? Williams. A guitar. Madison. A guitar! WiLUAMS. Yassuh, dat 's hit, no mo' ner no less. I 'm goin ' give you dat guitar — but — dere 's suhtinly goin ' to be a string tied to it. You kin take dat guitar, but you got to make somethin' outer yourself wif her or back she '11 come to me. You kin give lessons an' learn folks music or you kin write down de music you make, but you got to do somethin' wif it fer Lucy. You got to wake up or I '11 take de guitar. Which '11 it be? Make youah choice. Madison (crushed). I '11 — keep de guitar. Williams, An' dat ain' all. You got ter quit runnin' wif Bj-rd an' Byrd wif you, you got ter be a better husban' an' you got to min' everything Lucy tells you. Will you do hit ? Madison. Yassuh. Williams. An' you ain' much of er temp'unce man neitheh, is you, Madison? Madison. I's a temp'unce man but I ain' no frantic. Williams, Well, suh, you got ter jine dc frantics now. No dram drinking at all. Will you quit hit er go ter jail? Madison. I '11 quit. Williams. Well, dat 's on'y a promise but I '11 shore hoi' you to hit er put you behin' de bahs. Why, look heah, man, does you know how you stan' pon top er dis yu'th? Does you know how you liken to er tree ? S 'posin ' sum pin ' ■wif er cool eye like er tree could see you an talk. I caiu' 248 Dialects for Oral Interpretation jedge you ca'm but er tree could. Tree would look at you and say, "Does dat 'ere man wu'k?" Win' 'ud whispeh, "No." "Do he eat?" "Yas 'n git fat," respon' de win'. "Who shines on him?" "His wife," win' say. "Do he put fo'th flower an' bless de wife?" say de tree. "No," "Do he give shade an' shelteh ter de wife?" say de tree. "No." Well, chop 'm down an' bu'n him befo' he rots," say de tree. "Dat 's all." But mebby I kin mek mo' of him dan dat an' so I '11 try prunin' him an' graftin' some good labeh onto him. An' I kin' er think hit '11 sabe him yit. Well'm, I must be er goin' now. Hit 's late an' I must git my res' fer I got to do a lot er bossin' termorrer an' dat 's allers ha'd fer me. Lucy, I '11 fetch you de deeds ter de house befo' nine termorrer an' Madison, you kin repo't to me at eight o'clock sha'p an' give my little boy a lesson on de guitar. You 11 be dah, won't you? Madison (meekly). Yassuh. Williams. Ready to whu'l in an' scratch. Madison. Yassuh. W^iLLiAMS. Well, den, les' all shek ban's on de noo nes' an' de noo aig. (They shake hands. He puts on his hat and turns to the door.) An' dat remin's me, Lucy, you better tell Madison to play on dat guitar a plenty tonight because he '11 need music fer to Stan' up undeh all de lessons I 'm goin' to lay onto him. Well, I wish you good night. I'm er gittin' kin'er ole an' I cain' stay up late no mo' without bein' Grosser in demornin'. Good night den an' far' you well bofe. Eight o'clock, Madison. Good night. (He goes, closing the door after him. The pair stand silent for a moment, Madison vnth hanging head and in deep dejection.)* Lucy (throwing her arms around him). Oh, my hus- ban', I '11 pray fer you. Don' sorrer now. Git youah res' Material for Interpretation 249 tonight. We kin be hones' now. We 've got de house at las' an heah's de guitar. Madison. Yassuh, heah's de guitar. {Ee plays it and fondles it. Then hisi face assumes again its melancholy look.) Lucy. What's de trouble? Madison. I don' undestan' dis worl'. If I wants to make music why cain't folks lemme alone to make music? If I dream a fine dream why is it I always wake up ? Looks to me like somebody 's always tryin' to crowd me out an' git me in a tight place. Lucy. You wuz doin' all right till you got mix up wif dat white man an' his tricks. De trouble wuz dat dis dream of youah's wuz n't a good dream, Madison. Yes, but not all of my dreams is bad ones. All I wants is room to dream my good dreams an' make my own music. o-j ? m Ridgely Torrence. SPOILING THE BROTH ^ (Characters) ]\Irs. Chance (a widow about thirty-eight). Joey Chance {her son, a youth ahout seventeen). David Wells (the lodger, about the samie age as Mrs. Chance ) . 'Melia Hammond (a factory girl). Scene: Mrs. Chance's kitchen; fire l, doors c and r, dresser kg, kitchen table c, chairs h, against wall and at hack; plates and dishes, &c. on dresser, clock on chimney piece, saucepan simmering on the fire. *A11 acting rights reserved. Permission from Samuel Frejich, 28 West 38th St., New York City, and Messrs. Chapman and Hall, Ltd., 11 Henrietta St., London, England. 250 Dialects for Oral Interpretation {Cockney Dialect) (Joey Chance, a loutish looking youth of between six- teen and seventeen, is sitting in chair by the fire, gazing at the clock and looking very sick. He holds in his hand a small bottle ivith the cork out.) Joey. Quarter to six — time for another dose. {Lifts bottle to his lips, then removes it and reads label.) No, it wants just a minute to the quarter. The bloke says as how I must be exact. (Reads.) ''Love Potion spershuUy com- pounded for Joseph Chance, by Professor Swornorff, the inventor of the unrivalled anti-drink powder, one dose should be taken exacly twenty-four hours after a rift 'as occurred between lovers" — yuss, at 'arf pas' five lars night 'Melia 'Ammond gave me the go bye for Bert Green, becos 'e 'ad a gallery pass giv' 'im for the 'ippodrome. I 'd like to knock 'is silly 'ead orf if 'e wos n 't 'arf a foot bigger 'n me. I took the first dose at 'arf pas' five exack. "Second dose to be taken fifteen minutes later, and the third fifteen minutes after that, each one calling on the name of the beloved one." (Raises bottle.) 'Melia 'Ammond, I looks towards yer, as I 'opes yer 'eart may be turned towards me. (Drinks.) Of all the beastly (Half chokes.) Oh, 'Melia, wot I 'm goin' through fer you! — Ugh! (Subsides in the chair looking sicker than ever.) (Mrs. Chance, a bright cheery looking woman, bustles in with a bag for marketing on her arm.) Mrs. Chance. Joey ?— Joey ?— Bless the boy, where can he be. Joey (still feeling sick and sorry from the effects of the love potion). 'Ere. Mrs. Chance (taking parcels from bag and putting them on dresser). Is that a way to speak to yer mother? — Material for InUrprciation 251 An' I 've bought a bit extry fer our supper, seein' as it 's yer birfday. Joey {limply.) 'As yer? Mrs. Chance. There's as nice a bit of pickled pork as yer could wish to see, an' some winkles an' a nice fat bit of 'am. Joey {looking as if the mere mention of the things were more than he could stand) . Is there ? Mrs. Chance. Well I never, now ! — what 's up with you, Joey! what 'ave you been an' done? {Co-mes down to a little u of tahle.) Joey {sulkily). Nothin' . I ain't a bin doin' nothin'. Wot should I 'a bin a doin' of? Mrs. Chance {anxiawsly). You ain't bin roun' to the ''Seven Stars" agin, 'ave yer, Joey? Joey. Wot if I 'ad ? I 'm a man, ain 't I ? Mrs. Chance. Gettin' on that way, but oh, Joey, don't you go and take to the drink. It would nearly break my 'eart. You must remember 'ow yer father, pore feller — {wiping her eyes). But there, 'e 's dead Joey. Yus, a good job Mrs. Chance {horrified). Joey! {Pauses in her work of arranging dishes.) Joey. Fer 'im! {Rises and slouches to the door.) Mrs. Chance. Now don't yer go away in a temper, Joey. I 'm yer mother, an — an — I wants to see yer grow up a steady respeekable young man like Joey {chanting) . ' ' Our lodger 's sech a nice young man, a nice young man is 'e. " I don ' think. Mrs. Chance. I'm sure Mr. Wells 'as bin a real blessing to us, an' wot I should 'ave done without 'is little bit of rent coming in as reglar as clockwork, I don' know. It 's a great thing fer you, Joey, 'aving sech a good example in front of yer. 252 Dialects for Oral Interpretation Joey. 'Ere 'e is, since yor thinks seeh a lot on him. {Enter David Wells, a well set up, fine specimen of the British working nmn; he carries a carpenter's hag.) David. Evenin', Mrs. Chance. Evenin', Joey. {Hangs up cap.) Mrs. Chance. Good evenin', Mr. Wells. Joey {sulkily). Evenin'. {He slouches^ to the door.) Mrs. Chance. Where are yer goin', Joey? Joey. Aht. {Exits scowling at David.) David. Wot 's up ? Mrs. Chance. Per'aps the pore boy ain't v^ell. There 's a lot of that nasty inferlenzera abaht. I '11 make the boy some nice gruel fer 'is supper, like wot I did when he was a little lad. {Takes oatmeal from, tin on dresser, mixing and stirring with water in saucepan, which she then ^ets on hob.) 'E did n't seem to fancy anything that I 'ad bought. Fair turned up 'is nose at the pickled pork, and the winkles didn't seem to attract 'im neither. David. Yer spoilin' that lad, that 's wot yer doin'. Mrs. Chance. It 's hard not to. 'E 's all I 've got to spoil an' do for. I 'm one of those that must 'ave sutthin' or someone to fuss after, an' 'e 's all I 've got. Bless the man, what ever are you starin' at me for like that. Yer can smoke if yer wants to. David (taking his pipe out and filling it mechanically, much too shy to say at the nwrnent what he wants to). Thank you, Mrs. Chance. Mrs. ChxVnce. I'm not one to mind the smell of a pipe. Out of the way please, Mr. Wells, I just want to put this on the 'ob. I don't 'old with objectin' to this an' that an' the other that don't realh^ matter. {Puts on saucepan.) But I 'm sorrj^ as you thinks I 'm spoilin ' Joe}', but 'e 's got such a way with 'im; just like 'is father's w'en 'e happened to be sober. Material for Interpretation 25S David. Them as drinks often 'as ways with 'em that them as does n 't would give a month 's earnin 's to 'ave. Ways of sayin' things that Mrs. Chance. That you 'as n't, Mr. Wells. You 're a bit late tonight, ain't you, fer Saturday? (Crosses to dresser and goes on preparing.) David {nervously fidgeting with something in the hag). Yer see, it's Joey's birthday Mrs. Chance. An' you been buyin' 'im a present. Well, I do take it kind of you ! David {coyly). It ain't exactly fer 'im — it 's fer you. You 're a givin ' 'im presents all the time, and it don 't seem fair — so I bought this! {displays with pride a blue glass vase). Mrs. Chance. Ain't it beautiful ! But you didn't ought to waste yer money like this; you'll be thinkin' of getting married one of these days. A nice bright bit of colour this '11 make on the chimney, won't it? David. I 'd have liked to make it something more — more personal like. A — a brooch or a ring, only I did n 't rightly feel sure 'ow you 'd take it ! But that is a bit tasty now, ain't it? Mrs. Chance. Tasty ! It 's fit for a palace. David. Glad I 've been able to 'it off your fancy in this little matter — I wish as I might in some other. {With an outhurst of confidence.) Mrs. Chance. I 'm sure Joey '11 like it. I likes to keep the 'ome bright and 'appy for 'im, pore lamb, it may 'elp to keep 'im away from the "Seven Stars" or that there 'Melia 'Ammond, what's always a lookin' after 'im. David. Calf love ; don 't you worry, 'e '11 outgrow it. We all goes through it, but it don't 'ardly ever last. It 's different with older Deoole. Mrs. Chance. 254 Dialects for Oral Interpretation Mrs. Chance, It 's the "Seven Stars" I mind most about. {Turns the vase up.) W'y; it 's all full of 'ay! The stuff it 's bin packed in, I suppose. I '11 go and wash it out. {Exit R.) David. I '11 go and 'ave a wash and brush up f er supper, H'm, goin' on the loose, are yer, Joey ; breakin' yer mother's 'eart. I'll soon put a stop to that. {Takes small packet from his pocket and readts directions.) "Professor Swor- norff, the distinguished Russian Physician completely de- stroys the drink habit, by the use of his unrivalled powder. Three packets usually complete a cure. Dissolve 'arf a packet at each meal in the patient's food." {Looks round cautiously.) 'Ere goes. 'Arf a packet! {P fitting powder in saucepan.) Blest if it ain't all gone in! Maybe it will cure 'im all the quicker. {Stirs.) {Enter Mrs. Chance, r. drying vase.) Mrs. Chance. So you ain't gone yet. David. I thought as 'ow the gruel was goin' to boil over! {Stirring.) Mrs. Chance. There 's not many men so thoughtful as you, Mr. Wells. Don 't your present look beautiful, now it 's clean. {Puts vase on chimney piece.) Daved. I shall be more of a match for it by supper time, {Goes to door r. then returns'.) Mrs, Chance! Mrs. Chance. Yes, Mr. Wells? David {with some nervousness) . Supposin' it 'ad bin a ring I 'd brought, would you ha' took it? Mrs. Chance {slowly). There's Joey to be thought of, Mr, Wells. {Comes c.) David. 'E's earnin' 'is own money now, ain't 'e? Eighteen shillin' a week 'e gets, don't 'e? 'E could live 'ere with us just the same. I 'm a steady chap on the 'ole, Sarah ! Material for Interpretation 255 Mrs. Chance {thoughtfully and with a touch of emo- tion) . Yes ; you Ve been steady enough all the time you 've been 'ere. David. Three years come Christmas. It was a lucky day for me when I saw the card in your window, "Lodg- ings for a respectable single man." Mrs. Chance {turning towards him half shyly). And I think it was a lucky day for me. David {embracing her). Sarah! {He holds her away from him and looks at her laughingly.) Church or Reg- istry ? Mrs. Chance. Church, please, David. I always did hold with Church ; it 's more stylish like. David. Then to-morrow three weeks, Sarah? ]\'Irs. Chance. Well, you are in an 'urry! But I don't mind. David. Rahnd I goes to the Vicarage after supper! Nah, that 's settled — Sarah! {Tenderly.) Mrs. Chance {pushing him off laughing). You go away and let me get supper ready. {Bustles about.) David {returning) . So that I '11 get round to the Vicar- age the sooner. Mrs. Chance. Oh, get along with you. {Exit David, r. Mrs. Chance bustles about singing to herself; stirs the contents of the saucepan and is laying the table when Joey returns more miserable than ever, with his cap well pidled down over his left eye. He slouches over to the fire and sits staring into it.) Mrs. Chance. Back again, Joey. Joey. Yus. Mrs. Chance. Supper 's almost ready. Joey. Don't want no supper. Mrs. Chance. I do 'ope it ain't the inferlenza, Joey. {Anxiously.) 256 Dialects for Oral Interpretation Joey {pulling his cap dawn more firmly). No, it ain't. Mrs. Chance. I'm cookin' a little something special for you in that there saucepan; you just give it a stir now an' then to keep it from burnin ', while I puts this lettuce under the tap to fresh it up a bit. (Exit r.) Joey (sH.s the gruel ohedienthj, then seeing he is alo-ne takes the small bottle from his pocket and pours the con- tents in). P'raps it won't taste so filthy in sutthin' else. 'Melia 'Ammond, be mine, and give Bert Green the chuck !! — is what I wish. (Enter David cleaned and tidied, r.) David. Sarah, old girl, I 've just thought Joey. 'Oo are you callin' Sarah! If it 's my mother, I 'd 'ave you to know David. Of course it 's 'er. Joey. I don't see as there's no "in course" about it. David. Wy, ain't she told yer Joey. No, she ain't told me. Wot can she 'ave to tell me abaht you? David. Why, that she an' me are goin' to be married. Joey {utterly amazed) . What! An old woman like 'er? David {stoutly). She ain't old! She 's goin' to be my old woman — but she ain't old! An' she's yer mother an' don't you fergit it, or I '11 come the 'eavy father over yer, my lad. Joey. Oh, you will, will yer? An' if yer marries 'er, "w'ere am I to bring my missus w'en I marries, eh? David. You're too young to marry yet awhile, Joey; I don't approve o' these young marriages. You wait till you 're my age, my lad. Joey {squaring up to him fiercely). An' you jolly well keep your blooming advice till you 're asked for it, {Enter Mr.s. Chance loith the lettuce on a plate. She looks at the two men amazed, hut tactfully takes no notice.) I I Material for Interpretation 257 Mrs. Chance. 'Ere 's the lettuce, an' now we can all sit down nice an' eomferble to supper. Bless me, if I ain't forgot the beer ! David {taking jug from dresser). I '11 go round and get some. Mrs. Chance (aside). 'Ave yer told 'im? David {aside). Yus. Don't you fret, it '11 be all right. {Aloud.) Shan't be long, Sarah. {Exit c.) Mrs. Chance. Quite a nice birthday party for yer, Joey, if you wasn't so poorly. Joey {his arms on chimney piece and head hent). Can't yer leave a fellow alone, mother? {Goes rc. slawly.) Mrs. Chance (l. of table). Well, well; I can under- stand you feelin' it a bit. But I don't care any the less for yer, Joey, an' don't yer never think it. {Comes to him, put- ting her hands on his shoulders.) An' some day, maybe, you '11 be gettin' married to some nice steady respec'able girl, an' we can all live together as 'appy an' eomferble. {Removes his cap and touches his hair tenderly.) Wy, wotever 'ave yer been doin ' ; not fightin ', 'ave yer ? Joey {who has winced at her touch on the hruise). Yus. Mrs. Chance. Not — not with David? {Anxiously.) Joey. Nah, chap in the street. Mrs. Chance. W 'y ? What 'ad 'e done ? You did n 't ought to be so suddent like as you are, Joey. {Gets\ basin of water and towel from dresser.) Joey {gruffly). 'E said as 'ow I did n't know enough to keep 'er. An' all the time it only was 'e 'd been give two gallery passes for the 'Ippidrome. Mrs. Chance. 'Oos 'er? Not that feather 'eaded 'ussy, 'Melia 'Ammond? Joey. Now don't you go saying nothin' against 'Melia. One o' these days I 'm goin' to marry 'er. Mrs. Chance. Sit there an' keep yer 'ead still w'ile I 258 Dialects for Oral Inierpretation bathes it. {Pushes Joey inio chair, rc.) First time I've heard o' you gettin' inarriod. Joey. Well, it won't be tlie last. I 'm — I'm goin' to marry 'Melia if — if I dies for it. So there ! Mrs. Chance. Bless the boy! Wy can't you keep yer 'ead still. Joey. You need n't think you 're the only one as can do things on the quiet ! Mrs. Chance. There — there, Joey, don 't say that ! I 'd as it were not knoAvn, an' yet I 'ad known for a long time — but it won't make no difference between you an' me. That I promise. Joey {completely immersed in his own affairs) . I believe I 'd take poison to win a kind glance from 'j\Ielia. {Glances at hroth.) Mrs. Chance. Now don't you go talkin' like those silly poitry books. An' so it 's because of 'Melia you 'its out at this chap in the street. 'Oo was it ? Joey. Bert Green, what 'olds the Bantam lightweight medal of the Camberwell Beauties. Mrs. Chance {admiringly). Well, you are a good plucked 'un ! Not that I 'olds with fightin ', mind yer, Joey. An' so you ups an' 'its 'im? Joey. Yus. Leastways, I 'its at 'im. But 'e was too suddent like f er me. Mrs. Chance. Pore feller! {Putting hasin on side.) There, you '11 do now. You shall 'ave a drop of gin in yer Bupper to-night. Joey {goes to fire and stirs the gruel). I dunno as I wants it. {Enter David with heer. He puts the jug on the table.) Mrs. Chance. Oh, yus yer do; there's nothin' like a drop of gin w'en yer not feelin' quite the thing. David. D 'you think 'e 'd better, mother? {Anxiously.) Material for Interpretation 259 Not if 'e don 't want it ? It 's no use f orcin ' the pore feller as it were. Mrs. Chance (cheerfully). 'E don't want no forein'. Do yer, Joey ? You just 'ave a little drop to give the gruel a taste. Joey [shivering) . I — dunno — I — I think it '11 do very well as it is. Taste and all. Mrs. Chance. Oh, nonsense ; you ought to 'ave it to sort of drink our 'ealths. Me and David '11 drink yours in the supper beer. (Pours the gruel into small hotel and sets it on table R.) You '11 carve the pork, David. (Pours gin into gruel.) Now we '11 all sit up to the table and be the 'appiest and jolliest little party in Camberwell. (They sit at table: Mrs. Chance c, David l., Joey r.) David. 'Ave a slice of pork, Joey? It looks first rate. (Carving.) Joey (who has tasted the gruel cautiously but with deter- mination). No; I think — I — I don't want anything else. I '11 sit by the fire and drink this. (Sits l., drinking the gruel with every appearance of heroic determination and distaste.) ]\Irs. Chance. Sorry you feel so porely, Joey. Well, you 'ave given me a large 'el pin', Mr. Wells. David. David ! Mrs. Chance (coquettishly) . David! David (gallantly) . 1 'elps yer, as I loves yer — Sarah! Mrs. Chance. Well, I never knew such a feller as you are for say in' things. My old old man never did. (Helps him to salad.) David. 'Ere, whoa ! 'Old on a bit ; don't you givin' me all the garden stuif. Wot do you say to goin' to the Empire or the Palace this evenin'? Mrs. Chance. Oh, David ; that would be nice ! 260 Dialects for Oral Interpretation David. Stalls, second 'oiise. Mrs. Chance {firmly). No, David, no extravagance. Upper circle, first 'ouse. Oh, it will be nice ; I do like a music 'all. I thinks it 's jujst like 'eaven, an' with you there, too! David. If we goes to-night, we goes to stalls. I want to show the fellers what bloomin' fatheads they were to leave a jolly little woman like you a widow for so long. Mrs. Chance. I couldn't ha' married befor', because of Joey; but now 'e 's grown up, an' it 's different. Oil, David, I am glad you came to stay 'ere as a respec'able single man! {Cries a little.) David. There, there! There's nothin' to cry about, you silly. 'Ere, 'ave a drop of beer. {Pouring out beer.) We '11 all drink your 'ealth. 'Ere, Joey! {Going to him with glass. ) Drink our good 'ealth ; an ' when your time comes, we '11 do the same by you. (Joey, who has sunk into a state of unconsciousness, nat- urally returns no answer.) Mrs. Chance. Wy don't you answer, Joey? Yer not sulking, are yer? David {standing behind and a little above Joey). I — I think he 's asleep — Mother. {Nervously.) Mrs. Chance. Asleep! Wake up, Joey, and drink our 'ealths. {Shaking him.) David {nervously). W'at — w'at 's come to 'im, do you think ? Mrs. Chance. Blest if I know ! Joey — ^Joey — What 's wrong with you? (Joey rolls on to the floor.) David. P 'raps 'e 's .'ad a drop too much. You did give 'im a good drop of gin for 'is cold. Mrs. Chance. W'y 'is 'ead 's stronger than that, pore Material for Interpretation 261 lamb. 'Ere, let 's loose 'is neck cloth. Joey — Joey — Don't you 'ear me? (Pause. Then with a sudden inspiration picks up the howl and tastes the contents.) Ugh ! Run for the doctor ! 'E 's poisoned ! My Joey 's poisoned ! David (staggering back against the table). What! I never meant no 'arm ! That I did n 't ! They 're guaran- teed 'armless! Mrs. Chance. Oh, Joey ; my pore Joey ! You 've piz- ened 'im. You 'ave, I can see it in your fice. 'Ow did yer do it? (Kneeling l.) David (kneeling r. of Joey). 'Is 'eart 's all right! Mrs. Chance. You get away ! 'Ow did you do it, you — • you — oh! An' I thought you so respec 'able! 'Ow did yer do it? David (repeats miserably) . They was guaranteed 'arm- less. Mrs. Chance (angrily). 'Ow, don't keep on say in' that! Wot was? David. Professor Swornorff's unrivalled Drink Cure. 'Ere 's another packet, yer can see for yerself. Sarah, I knoo 'ow worritted yer was sometimes because 'e seemed to 'ave a bit of a likin' for a drop, an' — an' by accident I give 'im an 'ole packet in 'is gruel instead of 'all That 's all. jMrs. Chance. If my Joey dies, I 'II never speak to you again as long as I live. David. 'E ain't dead, not 'im. Look, 'is colour 's comin' back. Joey (groaning and sitting up very dazed). 'Melia! Mrs. Chance (clasping him in her arms). My boy ! My boy! Joey (embracing her fervently). 'Melia! Then the spell 's worked ! Oh, 'Melia ! Mrs. Chance. Oh, 'e 's raving! 262 Dialects for Oral Interpretation David. That ain't 'Melia, it 's your mother you 've got 'old of. Stop it ! Joey. 'Melia! (Listening.) (Loud rap at door c.) Joey. That 's 'Melia! The potion 's brought 'er 'ere! Let 'er in. (Rises.) Mrs. Chance (almost sohhing). 'E 's gone dotty! Joey dear, that ain't 'Melia; it 's just yer ain't feelin' quite right in yer 'ead. David (awestruck) . There is someone there. (Rap repeated, and almost without a pause 'Melia 'Am- MOND, a smart handsome girl in a furious temper, bounces in.) 'Melia. Well, Mrs. Chance, I do think as w'en a lidy comes to see another lidy, as the fust lidy might do 'er the favour of tiking a little notice on 'er. Mrs. Chance. Joey ain't very well, an' 'Melia (continuing). — but it 's only w'at I should ex- pect of the mother of that. (Contemptuously.) Joey. .'Melia, you 'ave come. 'Melia. Shut yer silly fiee till I 've done talkin'. Mrs. Chance. Out o' my 'ouse, you 'og! Call yorself a lidy, you owdacious 'Melia. Oh, I 'm goin' fast enough, Mrs. Chance, when I 've said what I wants to say to Mr. Joey Chance there. Joey (feebly). 'Melia! 'Melia. Miss 'Ammond if you please; and I '11 thank you not to speak to me in future. I '11 tike it as a per- sonal insult if yer does. Yer miserable little presumin' worm. David. 'Old 'ard now, Miss 'Ammond ! "Wot 's the good of callin' names. 'Melia (unth great contempt). This ain't no concern of Material for Interpretation 263 yours, and I '11 thank you not to open your mouth in case yer puts yer foot in it. Mrs. Chance. Now look 'ere, Miss 'Ammond, this is my 'ouse and 'Melia. An' you look 'ere, Mrs. Chance, I '11 say wat I came to say, if I stops 'ere a week. {To Joey.) Wot call 'ad you to go 'itting of my bloke ? Joey (apologetically). 'Melia! I — Oh, lor, my *ead! (Rocking.) 'Melia. Keep still — yer gives me the fidgets! Joey. Yes, 'Melia! (Sits on arm of chair, lc.) 'Melia. It was a piece of imperence, that 's wat it wos ! Blooming imperence, and don't you dare to speak to me again, so there. A little miserable shrimp like you to go a 'ittin' of the Bantam Lightweight Medal 'older of the Camberwell Beauties ! Yah ! David. You must say as it was plucky, Miss 'Ammond. 'Melia. Plucky! Just foolishness and conceit — and I don't 'old with such! I 've done with 'im. {Jerking her head at Joey.) Joey {pulling himself together). An' — an' I 'm done with you, 'Melia 'Ammond. Keep wot I 've gived yer towards yer feather club, an ' go out with yer Bantam if yer likes. As for me, I '11 smash up that old Professor Swornorff David. Swornorff! I '11 help yer, Joey. — An' 'is 'ole bag of tricks, if I does a six months' stretch for it ! 'Ere 'ave I 'arf poisoned myself with this 'ere blooming love charm. {Holding up bottle.) David. Eh ? Mrs. Chance. Joey? {Simultaneously with David.) Joey. — Wot was to make you care for me, 'Melia. 5264- Dialects for Oral Interpretation '^Ielia {unth a touch of remorse). I always knew you was soft, Joey. Joey. I ain 't soft no longer. I 'm as 'ard as you are. I\Irs. Chance. An' now per'aps you '11 go, Miss 'Am- mond. (Opens door.) 'Aving got wot you corned to say off your chest. ']\Ielia. Yes, I 'm goin'. Joey. An' I 'opes yer '11 enjoy the 'Ippidrome, (With repressed emotion.) 'Melia. I 'opes so, Mr. Chance. Joey. An ' w 'en I 'm in quod for smashin ' up Swornorff and 'is stall, I 'opes you '11 enjoy the thoughts of that. It might even come to murder. {Hitching his collar suggest- ively.) '^Ielia (turning hack) . Oh, Joey, no ! No, yer would n't. Oh, Joey, not that — please Joey. « Joey. You 've made me 'ard, and 'ard I stays ! ^ 'Melia. But not murder ! I did n't think it of you, Joey. Oh, yer can't. Oh, Joey; I 'd never forgive myself if you went and got stretched for a measley foreigner ! Oh ! Oh ! (Flings her arms round him.) Joey (emhracing her). 'Melia! Cheer up! Yer goin'- to stick to me ? ^ ']\Ielia. Yus, Joey. (Sohhing.) David. Seems as if there might be some good in that there potion arter all ! Bei tha N. Graham. Material for Interpretation 265 "THE PHILOSOPHER OF BUTTERBIGGENS"* (Characters) David Pirnie Lizzie, his daughter. John Bell, his son-iiv-law. Alexander, John's little son. John Bell's tenement at Butt erhig gens* consists of the very usiuil ''two rooms, kitchen and hath," a con- cealed bed in the parlour and another in the kitchen^ enabling him to house his family — consisting of him- self, his wife, his little son, and his aged father-in-law — therein. The kitchen and living room is a good-sized square room. The right wall (our right as we look at it) is occupied by a huge built-in dresser, sink, and coal bunker; the left wall by a high-mantled, ovened a:nd boilered fireplace, the recess- on either side of which contains a. low painted cupboard. Over the far cup- board hang-s a picture of a ship, but over the near one is a small square window. The far wall has two large doors in it, that on the right leading to the lobby, and thai an the left appertaining to the old father-in-law's concealed bed. The walls are distempered ^ a brickish red. The ceil- ing once was white. The floor is covered with bright linoleum and a couple of rag rugs — one before the fire * " The Philosopher of Buttcrbiggcns" is fully protected by copy- right, and all rights are reserved. Permission to act, read publicly, or make any use of it must be obtained from Samuel French, 28-30 West 38th Street, New York, N. Y. ' Distempered — calcimined. * Butterbiggens is a suburb of Glasgow. IL 266 Dialects for Oral Interpretation — a large one — and one smaller one before the door of the concealed bed. A deal table is just to r. of center, a long flexible gas bracket depending from the ceiling above it. An- other many-jointed gas-bracket projects from the mid- dle of the high mantle-piece, its flame turned down towards the stove. There are wooden chairs at the table, above, below, and to l. of it — the latter chair be- ing in the centre. A high-backed^ easy-chair is above the fire, a kitchen elbow chair below it. The kitchen is very tidy. A newspaper newly fallen to the rug before the fire and another — an evening one — spread flat on the table are {besides a child's mug and plate also on the table) the only things not stowed in their prescribed places. It is evening — the light be- yond the little square window being the grey dimness^ of a long Northern twilight which slowly deepens dur- ing the play. V^^hen the curtain rises it is still light enough in the room for a man to read if the print be not too faint and his eyes be good. The warm light of the fire leaps and flickers through the grey, showing up with exceptional clearness the deep-lined face of old David Pirnte, who is discovered half-risen from his arm-chair above the fire, S'tanding on the hearth-rug, his body bent and his hand on the chair arm. He is a little feeble old man with a well-shaped head and\ weather-beaten face set off by a grizzled beard and whiskers wiry and vigorous in curious contrast to the wreath of snowy hair that encircles his head. His upper lip is shaven. He wears an old suit — the waist- coat of ivhich being unbuttoned shows an old flannel shirt. His slippers are low at the heel and his socks loose at the ankles. Material for Interpretation 267 The old mnn's eyes are fixed appealingly on those of his daughter, who stands in the half-open door, her grasp on the handle, meeting his look squarely — a straight-h rowed, hlack-haircd, determined young wo- man of six or seven and twenty. Her husband, John, seated at the table in his shirt-sleeves, with his head in his hands, reads hard at the paper and tries to look unconcerned. David. Aw — but Lizzie ! Lizzie {with splendid firmness). It 's nae use, Feyther. I 'm no gaein' to gie in to the wean.^ Ye 've been tellin' yer stories to him nicht after nicht for dear knows how long and he 's gettin' to expect them. David. Why should he no' expect them? Lizzie. It dis na do for weans to count on things so. He 's layin' up a sad disappointment for himself yin o' these days. David. He's gettin' a sad disappointment the no'. Och, come on, Lizzie! I 'm no' gaein' to die just yet an' ye can break him off gradually when I begin to look like to. Lizzie. "Wha's talkin' of yer diein', Feyther? David, Ye were speakin' o' the disappointment he was layin' up for himself if he got to count on me. Lizzie. I was na thinkin' o' yer diein', Feyther — only — it 's no guid for a bairn David. Where's the harm in my giein' him a bit story before he gangs tae his bed ? Lizzie. I 'm no ' sayin there 's ony harm in it this yinst ^ Feyther; but it 's no richt to gae on nicht after nicht wi' never a break * Wean or bairn, small child. ' Yinst = once. 268 Dialects for Oral Interpretation David. "Whit wey is it no richt if tlier 's nae harm in it? Lizzie. It 's giein' in to the wean. David. AVhit wey should ye no' gie in to him if there 's nae harm in it? Lizzie {keeping her 'patience with difficulty). Because it gets him into the habit. David, But why should he no' get into the habit if there 's no harm in it ? (John, at the table, chuckles. Lizzie gives him a look, hut he meets it not.) Lizzie. Really, Feyther, ye micht be a wean yerself ye 're that persistent. David. No, Lizzie, I 'm no' persistent. I 'm reasonin' wi' ye. Ye said there was nae harm in my tellin' him a wee bit story an' now ye say I 'm not to because it '11 get him into the habit, an' what I 'm asking ye is where 's the harm o' his gettin' into the habit if there 's nae harm in it? Lizzie. Oh, aye ; ye can be gay clever, twisting the words in my mouth, Feyther; but richt 's richt, and wrang 's wrang for a' yer cleverness. Davtd (earnestly). I 'm no' bein' clever ava,^ Lizzie — no' the noo — I 'm just trying to make ye see that if ye admit there 's nae harm in a thing ye canna say there 's ony harm in it an' (pathetically) — I 'm wantin' to tell wee Alexander a bit story before he gangs to his bed. John (aside to her). Och, wumman Lizzie. T'ts, John, ye 'd gie in tae onybody if they were just persistent enough. John. He 's an auld man. Lizzie (really exasperated) . I ken fine he 's an auld man, John, and ye 're a young yin, an' Alexander 's gaein' to be * Ava = at all. Material for Interpretation 269 anither, an' I 'ma lone wumman among the lot o' ye. But I 'm no' gaein' to gie in to John {bringing a fresh mind to hear upon the argu- ment). Efter a', Lizzie, there 's nae harm Lizzie (almost with a scream of anger). Ochl Now you 've stairted, have j^ou ? Harm ! Harm ! Harm ! You 're talkiu' about harm and I 'm talking about rieht and wrang. You 'd see your son grow up a drunken keelie an' mebbe a thief an' a murderer so long as you could say there was nae harm in it. David (expostulating with some cause). But I cudna say there was nae harm in that, Lizzie, an' I wudna. Only when there 's nae harm Lizzie. Och!! (Exits off to the cause of the trouble). Are ye in yer bed yet, Alexander? (Shuts door with a click.) David. (Standing on hearthrug and .shaking his head more in sorrow than in anger). She 's no' reasonable, ye ken, John, she disna argue fair. I 'm no' eomplainin o' her mither, but it 's a wee bit thing hard that the only twa women I 've known to be really chatty an' argumentative with should have been just like that. An' me that fond o' women's society. (He lowers himself into his chair.) John. They 're all like it. David (judicially) . I wudna go sae far as to say that, John. Ye see I 've only kent they twa to study carefully — an it 's no fair to judge the whole sex by just the twa ex- amples an' it were — (running on) but it 's gey hard an* I was wantin' to tell wee Alexander a special fine story the nieht. (Removes glasses and blinks his eyes.) Aweel!! John (comforting). Mebbe the morn David. If it 's no' richt the nicht it '11 be no' richt the mom's nicht. 270 Dialects for Oral Interpretation John. Ye canna say that, Feyther. It wasna wrang last nicht. David (bitterly). Mebbe it was an' Lizzie had no' found it out. John. Ah, noo, Feji:her, dinna get saureastic. David {between anger and tears, xceaMy). I canna help it. I 'm black affronted. I was wantin' to tell wee Alex- ander a special fine story the nicht an' now here 's Lizzie wi' her richt 's richt an' wrang 's wrang. Och! There 's no reason in the women. John. We has to gie in to them, though. David. Aye. That 's why. {There is a pause. The old mnn picks up Ms paper again and settles his glasses on his nose. John rises and with a spill from tJie mantelpiece lights the gas there, which he then bends to throw the light to the old man's advantage.) David. Thank ye, John. Do ye hear him? John {erect on hearth rug). Who? David. Wee Alexander. John. No. David. Greetin' his heart out. John. Och, he 's no' greetin'. Lizzie 's wi' him. David. I ken fine Lizzie's wi' him, but he 's greetin' fo^ a' her. He was wantin' to hear yon story o' the kelpies up to Cross Hill wi' the tram {breaking his mood impa- tiently). Och! John {crossing to table and lighting up there). It 's gettin' dark gey early. We '11 shin be haein' tea by the gas. David (rustling his paper). Aye. (Suddenly.) There never was a female philosopher, ye ken, John. John. Was there no? Material for Interpretation 271 David. No. {Angrily in a gust.) An' there never will be! {Then more calmly.) An' yet there 's an awful lot of philosophy about women, John. John. Aye ? David. aye. They 're that unreasonable, an' yet ye canna reason them down, an' they 're that weak an' yet ye canna make them gie in to ye. Of course ye '11 say ye canna reason doon a stane or make a clod o' earth gie in tae ye. John. Will I ? David. Aye. An' ye '11 be richt. But then I '11 tell ye a stane will na answer ye back, an' a clod o' earth will na try to withstand ye, so how can ye argue them down? John {cowvinced). Ye canna. David. Richt. Ye canna. But a wumman will answer ye back, an' she will stand against ye, an' yet ye canna argue her down though ye have strength an ' reason on your side an she 's talkin' naething but blether about richt 's richt and wrang 's wrang an' sendin' a poor bairn off t* his bed i' the yin room an' leavin' her auld feyther all alone by the fire in anither an' — ye ken Philosophy {He ceases to speak and wipes his glasses again.) (John, intensely troubled, tiptoes up to the door and opens it a foot. The wails of Alexander can be heard, muffled by a further door. John calls off.) John. Lizzie. (Lizzie immediately comes into sight outside the door • urith a ''shsh.") John. Yer feyther 's greetin', Lizzie {with a touch of exasperation) . Och, I 'm no heedin'. There 's anither wean in there greetin' too, an' I 'm no heedin' him neither, an' he 's greetin' twicet as loud as the auld yin. 272 Dialects for Oral Interpretation John (shocked). Ye 're heartless, wumman. Lizzie {with patience). No. I 'm no heartless, John, but there 's too much heart in this family an' someone 's got to use their heid. (David cranes round the side of his chair to catch what they are saying. She stops and comes to him kindly, but with womanly firmness.) Lizzie. I 'm vexed ye should be disappointed, Feyther, but ye see, don't ye {A singularly piercing wail from Alexander ^70^5 up. Lizzie rushes to silence him.) Lizzie. Mercy! The neighbours will think we 're mur- derin' him. {The door closes behind her.) David {nodding for a space as he revolves the woman's attitude). Ye hear that, John? John. Whit? David {with quiet irony). She 's vexed I should be dis- appointed. The wumman thinks she 's richt ! Wummen always think they 're richt — mebbe it 's that makes them that obstinate. — {With a ghost of a twinkle.) She 's feart 0' the neighbours, though. John {stolidly). Ah, women are feart 0' the neighbours. David {reverting). Puir, wee mon. I telt ye he was greetin', John. He 's disappointed fine. {Pondering.) D 'ye ken what I 'm thinkin', John? John. Whit ? David. I 'm thinkin' he 's too young to get his ain wey an' I 'm too auld an' it 's a fine thocht. '^ John. Aye ? David. Aye. I never thocht of it before, but that 's what it is. He 's no' come to it yet, an' I 'm past it. {Sud- denly.) What 's the most important thing in life, John? (John opens his mouth and shuts it again, unused.) Material for Interpretation 273 David. Ye ken perfectly well. What is it ye 're wantin' a' the time?" John. Different things. David (satisfied). Aye — different things! But ye want them a', do ye no'? John Aye. David. If ye had yer ain wey ye 'd hae them, eh ? John, I wud that. David {triumphant). Then is that no' what ye want? Yer ain wey? John {enlightened). Losh! David {warming to it). That 's what life is, John — gettin' yer ain wey. First ye 're born an' ye canna dae anything but cry, but God 's given yer mither ears an' ye get yer wey by juist cry in' for it — {hastily anticipating criticism) I ken that 's no' exactly in keepin' wi what I 've been sayin' aboot Alexander — but a new-born bairnie 's an awfu ' delicate thing an ' the Lord gets it past its infancy by a dispensation o' Providence very unsettling to our poor human understandings. Ye '11 notice the weans cease getting their wey by juist greetin' for it as shin as they 're auld enough to seek it otherwise. John. The habit hangs onto them, whiles. David. It does that — {with a twinkle). An, mebbe if God 's given yer neighbours ears an ' yer live close ye '11 get yer wey by a dispensation o' Providence a while longer. £ut there 's things yer '11 hae to do for yourself gin ye want to — an' ye will — ye '11 want to hold out yer hand, an' yer will hold out yer hand, an' ye '11 want to stand up an' walk an' ye urill stand up an' walk, an' ye '11 want to dae as ye please an' ye ivill dae as ye please, an' then ye are practised an' learnt in the art of gettin' yer ain wey — an ' ye 're a man ! 271 Dialects for Oral Interpretation John. j\Ian, Feyther, ye 're wonderful ! David {complacciitly). I 'm a philosopher, John. But it goes on mebbe. John. Aye ? David. Aj-e. Mebbe ye think ye 'd like to make ither folk mind ye an' yer wey an' ye try, an' if it comes off ye 're a big man an' mebbe the master o' a vessel wi' three men and a boy under ye as I was, John. {Dropping mto the minor.) An' then ye come down the hill. John {apprehensively) . Doon the hill? David. Aye — down to mebbe wantin' to tell a wean a bit story before he gangs tae his bed, an' ye canna dae even that. An' then a while more an' ye want to get to yer feet an' ye canna, an' a while more an' ye want to lift up yer hand an' ye canna — an' in a while more ye 're just forgotten an' done wi'. John. Aw, Feyther ! David. Dinna look sae troubled, John. I 'm no afraid to die when my time comes. It 's these hints that I 'm done wi' before I 'm dead that I dinna like. John. What'n hints? D.wiD. "Well — Lizzie an' her richt's richt an' wrang 's wrang when I think o' telling wee Alexander a wee bit story before he gangs tae his bed. John {gently). Ye are a wee thing persistent, Feyther. David. No, I 'm no persistent, John. I 've gied in, I 'm a philosopher, John, an' a philosopher kens when he 's done wi. John. Aw, Feyther! David {getting lower and lower). It 's gey interesting, philosophy, John, an' the only philosophy worth thinkin' about is the philosophy of growin' auld — because that 's what we 're a' doing, all living things. There 's nae Material for Interpretation 275 philosophy in a stane, John; he 's juist a stane an' in a hundred years he '11 be juist a stane still — unless he 's broken up, an' then he '11 be juist not a stane but he '11 no ken what 's happened to him because he did no break up gradual an' first lose his boat an' then his hoose an' then hae his wee grandson taken away when he was for tellin' him a bit story before he gangs tae his bed. — It 's yon losing yer grip bit by bit an' kennin' that ye 're losing it that makes a philosopher, John. John. If I kennt what ye meant by philosophy, Feyther, I 'd better able to follow ye. (Lizzie enters quietly and closes door after her.) John {turning to Lizzie). Is he asleep? Lizzie. No, he 's no asleep, but I 've shut both doors, an' the neighbours canna hear him. John. Aw, Lizzie Lizzie (sharply). John David. Whit was I tellin' ye, John, about weans gettin* their ain wey if the neighbours had ears an' they lived close. Was I no' rieht? Lizzie {answering for John, ivith some acerhity). Aye, ye were richt, Feyther, nae doot, but we dinna live that close here, an' the neighbours canna hear him at the back o' the hoose. David. ]\Iebbe that 's why ye changed Alexander into the parlor an' gied me the bed in here when it began to get cauld. Lizzie (hurt). Aw, no, Feyther, I brought ye in here to be warmer — David {placably). I believe ye, wumman — {with a faint twinkle again) but it 's turned oot luckily, has it no'? (David ivaits for a reply, hut gets none. Lizzie fetches needle work from dresser drawer and sits ahove table. 276 Dialects for Oral Interpretation David's face and voice take on a more thoughtful tone.) David {musing). Puir wee man. If he was in here you 'd no ' be letting him greet his heart oot where onybody could hear him. Wud ye? Lizzie {calmly). Mebbe I 'd no'. John. Ye ken fine ye 'd no', wumman. Lizzie. John, thread my needle, an dinna take Feyther's part against me. John {su7-prised) . I 'm no* Lizzie. No, I ken you 're no' meaning to, but you men are that thrang ^ {She is interrupted by a loud squall from David, which he maintains, eyes shut, chair-arms gripped, and mouth open for nearly half a minute before he cuts it off abruptly and looks at the startled couple at the table.) Lizzie. Mercy, Feyther, whit 's wrang wi' ye? David {collectedly) . There 's naething wrang wi' me, Lizzie, except that I 'm wantin' to tell wee Alexander a bit story Lizzie {firmly but very kindly). But ye 're no' goin' to {She breaks off in alarm as her father opens his mouth preparatory to another yell, which, however, he postpones to speak to John.) David. Ye mind whit I was sayin' about the dispensa- tion o' Providence to help weans till they could try for theirselves, John? John. Aye. David. Did it no' occur to ye then that there ought to be some sort of dispensation to look after the auld yins who were past it? John. No. * Thrang = thick. Material for Interpretation 277 David. Aweel — it did na occur to me at the time — {and he lets off another prolonged wail.) Lizzie {going to him). Feyther! The neighbours 11 hear ye ! ! David {desisting as before). I ken it fine. I 'm no' at the back of the hoose. {Shorter wail.) Lizzie {almost in tears). They '11 be comin' to ask. David. Let them. They '11 no' ask me. {Squall.) Lizzie. Feyther — ye 're no' behaving well. John John. Aye ? Lizzie {helplessly). Naething Feyther, stop it! They '11 think ye clean daft. David {ceasing to howl and speaking with gravity). I ken it fine, Lizzie ; an ' it 's no ' easy for a man who has been respectit an ' lookit up to a ' his life to be thought daft at eighty-three, but the most important thing in life is to get yer ain wey. {Eesumcs wailing.) Lizzie {puzzled, to John). Whit 's that? John. It 's his philosophy what he was talking aboot. David {firmly). An' I 'm gaein' to tell wee Alexander yon story tho' they think me daft for it. Lizzie. But it 's no' for his ain' guid, Feyther. I 've telt ye so, but ye wudna listen. David. I wudna listen, wumman ! It was you wudna listen to me when I axed ye whit harm — {checking him- self). No. I 'm no' gaein' to hae that ower again. I 've gied up arguin' wi women. I 'm.just gaein' tae greet loud an' sair till wee Alexander 's brought in here to hae his bit story, an' if the neighbours {Loud squall.) Lizzie {aside to John). He 's fair daft. John {aghast). Ye 'd no' send him to Lizzie {reproach f idly). John {A louder squall from the old man.) 278 Dialects for Oral Interpretation Lizzie. Oh, Feyther ( beseechingly ) . {A still loii-der one.) Lizzie {heating her hands together distractedly). He '11 be Will He'll Och!! (Resigned and beaten.) John, go and bring wee Alexander in here. (John is off like a shot. The opening of the door of the other room can he told hy the hurst of Alexander's voice. The old man's wails have stopped the second his daughter capitulated. John returns with Alex- ander and hears him to his grandfather's waiting knee. The hoy's tears and howls have ceased and he is smiling triumphantly. He is, of course, in his night- shirt and a hlanket which Grandpa wraps round him, turning towards the fire.) Lizzie (looking on unth many nods of the head and smacks of the lips.) There you are! That 's the kind o' boy he is. Greet his heart oot for a thing an' stop the moment he gets it. David. Dae ye expect him to gae on after he 's got it? Ah, but Alexander, yer didna get it yer lane this time — it took the twa o' us. An' hard work it was for the Auld Yin! Man (playing hoarse) I doot I've enough voice left for a (bursting out very loud and\ making the hoy laugh). Aweel! Whit 's it gaein' to be — eh? Harold Chapin. PART III BIBLIOGRAPHY SECTION XIV GENERAL REFEEENCES BOOKS OF REFEEENCE "Dialect Notes," American Dialect Society. (Several volumes.) "Modern Language Notes." (Several volumes.) "Seen on the Stage," Clayton Hamilton, Ch. 2. "Browning and the Dramatic Monologue," S. S. Curry, Ch. 13. ' * Yankee Fantasies, ' ' Percy Mackaye, Introduction. * * Irish Poems, ' ' Arthur Stringer, Introduction. "American Speech," Calvin Lewis, Ch. 5. "American Speech," H. L. Mencken. EEFERENCE ARTICLES "A Study in the Correction of Dialectic English," D. W. Redmond, • Eng. Journal, Oct. 1914. "Standard of American Speech," F. N. Scott, Eng. Journal, Jan. 1917. "The Stage and Better Speech," W. P. Daggy, Speech Quarterly, Nov. 1921. "Vocal Elements that Cause Foreigners Difficulty in the Pronuncia- tion of English," E. M. Michaels, Thesis, U. of Wis., 1919. LIST OF BOOKS OF COLLECTED READINGS CONTAINING DIALECT Title of Booh "Best Things from Best Authors" "Choice Readings" "Dialect Ballads" "Handbook of Best Readings ' ' Author or Compiler Publisher C. Shoemaker's (com- Penn Pub. Co., Phila- piler) (28 vol.) R. L. Cumnock C. F. Adams S. H. Clark 281 dolphia A. C. McClurg, Chi- cago Harper Bros., N. Y* Scribner, N. Y. 282 Dialects for Oral Interpretation Title of Book Author or Compiler "Humorous Speaker" P. M. I'earson "Modern Literature G. E. Johnson for Oral Interpre- tation" Publisher Hinds & Eldredge, N. Y. Century Co., N. Y. I "Modern Mono- logues ' ' Marjorie B. Cooke Cliarles Seegel, Chi- cago 'One Hundred Choice C. Shoemaker (com- Penn Pub. Co., Phila- Selections" piler) (20 vol.) delphia 'Eeadings from Lit- Halleck & Barbour erature" (compilers) 'Readings and Reci- (58 Vol.) tations" American Book Co., N. Y. E. S. Werner, N. Y. "Studies in Dialect" M. M. Babcock (com- L^niversity of Utah pilar) MISCELLANEOUS "Selections for Oral C. M. Feuss Reading ' ' "Standard Selec- Fulton & Trueblood tions ' ' "Selected Eeadings" Anna Morgan "Soper's Dialect H. M. Soper Readings" "Scrap Book Recita- H. M. Soper (com- tions" piler) (15 vol.) Press, Salt Lake City Macmillan Co., N. Y. Ginn & Co., Boston A. C. McClurg, Chi- cago T. S. Dennison & Co., Chicago T. S. Dennison & Co., Chicago Authors -whose writings afford good selections either all Dialect, or Dialect in part. The list includes colloquial Dialects found in various parts of the United States and child Dialect, James Laxe Allen J. J. Bell Alice Brown J. M. Barrie Ellis Parker Butler Peter F. Dukne Charles Dickens Josephine Dodge Daskam Dorothy Dix William Allan Deoomgoold Norman Duncan John Fox, Jr. Georce Fitch Mary E. W. Freeman Bibliography 283 Etjgene Field Montague Glass Zona Gale Sally Pratt Greene 0. Henry Joel C. Harris Fanny Hurst Jerome K. Jerome Owen Johnson Charles B. Loomis Joseph C. Lincoln Ian Maclaren Helen R. Martin F. HoPKiNsoN Smith Euth McEnery Stuart Marie Van Slyke Henry van Dyke Owen Wistes Wallace Bruce Amsbaby Burton Braley Gillette Burgess Edmond Vance Cooke HoLMAN F. Day Paul Laurence Dunbar William H. Drummond T. A. Daly Sam Walter Fobs Egbert Frost Eugene Field James W. Foley Strickland Gillilan Wallace Irwin Burgess Johnson James F. Kirk Joseph C. Lincoln W. M. Letts John Masefield Percy MacKaye J. W. ElLEY Irwin Russell Arthur Stringer R. L. Stevenson Nixon Waterman SECTION XV DETAILED LIST OF SELECTIONS 286 Dialects for Oral Interpretation MMMMMMMMMMMMMMMMMMM M MMMX « S =3 ^" fc>" d D ^ a> Oi (Ih WD o O '--' *^ 5d2d a -a rt OJ m -T o CO Q -,5 ^ Q « c S «^ « ■ 0.2-^^ ^; +J o t. « bb § w ^ « ^ _3 -^ aj (D -tJ :i tj W: : o o o a -sa. g oa- : ^: §>: :: a o a CO bD 0«Q 2 • o ■ a : i § « 2 •■ +- CL a, S J 3 cl 'g o rt oOQ bx) CQOQOQ i- CO Bibliography 287 MMMMXIMM MM M M M MM M M MM M MM 3d t s § d (^•^.s" ^g^ -1- .5 . ►^ CO 1^ d :: ^ ^ ^' -£^r di ^ - ^ cc Hb 2 ai 03 .M 05 F>4 05 M "3 00 "3 -^ (D a> o ® oi a> <& OQ . CQ . CO . CO . egos CO !3 ',3 " 2 ""^ fl 'r^S fi o o o o J3 w^ ^^^ P3 4) PQ ^ - CO ,J3 O o O bo +j be a c.S b n o f-. Z Z m f? rv « CO ;(!( " y '-' K^ Q rt 05 K* , ' — • -^ - -. t 3 S 3 O 01 dl 3 Cl 03 3 OS « 3 3 OCCkH ;o O " 1^ £ 2 a ^osCO ^ O 2 1^! 'J ,3 3 a; ;d m aj « O ^ -pq fi 3 i »: § £ 288 Dialects for Oral Interpretation M MMM MM MMMMMMMM MMMM MM M M ^— ' © O tS ^ m t! O) o 2 ® ^ O) 2 -< (1 pq d P3 6 PQ ^ CI (c a> • PQ PQ- - GO u . OS ■ WW OS CI n 4H 02 iS cd © 03 pQ.«m o c8 o c8 02 ^. .SiCQ :o ;::;o ^03 r-( ~ 1« Q Co « 2 « ^^ a ? O e« • S - - PQ C5 I- c 00 a es b rt 3 rt ;: 00 a O rO . . a ^1 a "^ GO • &i - "• -2 .S (=5 O ^^ •XI ■ :Q.S '^, eq - -S , -4^ -1^ jc a ! 3 O 01 >-« §.'2 a, j«i -a rt02 O - OJ Ol r-l HI a o ► o 5 aj >^ _^ 5 TJ Glj s: CI r -u-w-ki a+j?2^ o OOOOO©'^ - ) .~ o Mh^l^SS Bibliography 289 XXXX XXX XX MM X M MM MMMM MM M PQ o^ ^ W o^> o ® • £ . S . 02 Ah*:: a> oj th ^ -tJ TO rf t^ c3 O o S Q02 1 ^ s^ o -t-> <» -^ ^ i-( S M 00 " OS <0 03 CQ 'Si- "S ^ a - Pl •k4 OT ^ (D c 3^ w :Hb«r O-gi" o 5, o - - ■ ^ • ;; j : « . m '■"A % ■ • -M w : • fl • rt :^ ^ ^3 • ■ n rt^ ^ m: aj CO H (=^t> t-* Ph ,2 3 a 10 pq ^^ 290 Dialects for Oral Interpretation XXXXXXPOiX MMMMMMM MMMMMMMMM I Ch' 02 W cc Ah' d Ch' « eC 02 fn' g 02 : Ph S Ph" w in" w oi - CT3 _j. «J O i-i ^ 1-1 5 jn o TO M ;^ S h "^ (-1 a) ^-^-^ ' es t, rt _2 ^ S g S g - o © o o OJ m M ^ S S^ tn m c r- Wl fi £ o « o O 3 ." O --•^ o -s --•:: f >. "^ o — ^ 5 "-I o tu , M OJ F^ OJ O) 02 jn CQ ^''-' _jn CQ (B u d) d ?, ^^ H 2 V <^ ^ Mrs o -2 2 fc; S >^ ^ ^ o o <» Tr,-^ O '5 -tJ '5 ^ c^OPhPhPhPh ■-. OJ 73 S o O ^ CJ a> o pq ^ (u ^ -^ S '5 >» t^ ~ . 03 :" ^"►^ 0.2.2 73 *; -u art 03 gP^AH c3 (B cS^^ O^^-tJ+J (1iMPhPhPhWcZ50OC»O2 Bibliography 291 XXX XX XXX XXXXXXXXX X XXX XXX 6^i ^ :: S- - o - - o 6 - .- S^z . d d «^ Ph'mo ^ - ^ f^'od: ^: d few'-si " " s h": I— I o «o CO si) S 2 « S a «J ■^ > -^ i.^- - O ID O o - 1^^ O 01 0) 1-H P* K* vO p^ o E-l OT 3 1-1 h^ a . a >* s (U 03 s s mm i ^W <^ . Mm c^o; -:*P3 a> o rj •;:; m o! (j3 o g t^ :S w -T' ^ uJ lJ O O ^ w h,- ;g' ^' g: Ph" o Q 1-5 »«■ 03 .^ - c3 el 03 « O «4H O o Its g ■ pq S 2 2 \<-n -as 03 03 . ^ o : -co AS rt Q .2 fl 03 03 03 03 03 > ^ ^ ^ «3 H H H 03 fcJO o - ►-I -T) ^.»H :^ m op 03 " J3 :cc . B CO, . 03 03 " . 03 03 +J<=W 03.2 3 C I— t t- 03 3 03 rt o p OT 03 0^ 03 q o H H H Eh •H <= c3 • +^ fe O IS • . VH 03 ^(^ fcuD 2 . <4H =4-1 TS . O O rj3 ., C 3 03 03 o 03 03 fO - f- a o o^o^^P^S^^ 292 Dialects for Oral Interpretation >> e H O 0. u CO o a CL. XJMXXMXM X >^ >^>H a> goo .5 ja .a :^ Sod o ^ .a CO ^ 02 o ^02 ^ oi o H & S. Shields K. Dallas M. Wilbor B. Cooke Bourchier Kylo Dallas onymous O > o "3 (P o m _a &, o t3 2 a o O .S a S' 3 s 3 n 02 ci3 OQ 03 1-5 > . ^> •02^ Eh BFerty 's Ev: O'Brien" Storv".., Stairs".., O'Flann 's Soliloqi 'ConneU • *> • cS ^'^ §1 - hH m 's Edu( Hoy"..., Butler a ! a • r2 Elocution andy's Re Coache • o ! a - o 00 a C3 O M O 02 fci: O a c3 M.2 3 <<< "Below i "Bridget "Bridget "Coonior "Daniel ^ 2 3 ~ S f*< "Iff ' "Hoolahi "Jimmy "Jimmy Owl ' ' "Judy School "Mick T ' ' Mickey Father "Mrs. Roller • ' Mrs. Mf "S a O OQ Bibliography 293 X X X X X XXX X X XX XX X X X X o ^ o (k OQ (u cu W cu o «8 d S<5 - ^ d a gcd: w A. odOn Z 02 A^ oa: w CU H&H : Ki C^ .2 fl O -2=^« ft, OJ -_^s 73 m 73 rrt OT OT 3 dar ner ner o u o n »H k. Cj 0) 0) a a a c a a 3 3 3 Ah Oh Ah &H Ph &H go "a O 5 "-3 J^ 03 >-^ t^ -'-' ; -a ■ f3 o c) "■ rt . iH a -3 . ® 3 o "S . o rt o . 3 3-3 -a ^ :^ «s g s ^s : S QO 3O: 03 Ah' a a C ■ ■ -■ o :'^o*H • « o ® . K o a o a< O ® "3 w ^ ^ o o :o o 03 .i! o rt 03 Ph 111 " ;o ! 3 a • T3 n .^-c!3.S>;f-rtcS > 2 ►- a cij - 29i Dialects for Oral Interpretation MMMMMMMMM MMMMMM X XX XXXX ■ C3 -S. .-3. . "d cs- w -*^ H +j, ^ ^ P ^^ .t:3 .^3 . to 03 °^.s ^ s ^ g ^ .Ph 2^ p. .Ph CQ WtD d: Wd: : WDKb: H 00 •r; o Q> . -Jss ^ ■<*( , -5 Ci o • © <" 2 £ M 3 3 o o ^ 3 rt o ~* O 2 2 o o § 3 3^ a O Qj ^^ ^ 2 *- "►- ^ ~ 3 u oj « != " ^ 00 1) 00 © m CO "rS r^ 'rS "H |15 ^-^3 3- '-' aiCC ojM to h 4^ tH .^ M ^ o ^ o 3 0) 3 oj 3 >H T? ^" ':2 - h oj CO aj CO - a> ^ 5 ^ Q ^ 3 mS M cC cd 3 c^ tf d O O -g Q Q Q ^' m ^ -H.O CO

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" ::: S = = J: -5 ^ ?2 '^ -^ 1; .2 5 ^ K a^ G ^ s «2 3 S .S rt _t^'2 .ti rt radoi 1. r - '*! aaa a::^ C C P h: oEti: JJ3 J Bibliography 297 MMX WMMMMMMMMMMMM MMMMMMMMMMMMM " h4 ^ >H »4 (§ 3 CC CQ 32 d Gh 02^ O 00 :p^ ■ ^ las 1^^*^ > cS c3 cs « C<2 p>^ c3 bio a ^ O O i f2 a tj3^ 1^ 3 O) o ^ o o ^ a a o -^ a - K cs • -^ a H 'g 3 ^Ahk, «"S ?* a \ cq ^'■-J 5*^' '«• - ^W^ o . '^ s "S -M "s ^ ^ 'zi 3 O be ^ 3 C3« c3 ® 03 — — rr^ fe -^ -^ • rH J, QQ Ph" c4 te" S § pq «H 2 aj : o ^5 :M ®M 3 rt ^ --^ ^2 p ^ ^ > =3 -E an J3 ^'' gpQ ^^ J" ^ ^ ai a « go bp £ E — •-' V HH -_. U ,« 5 2 ® U^^^^^ ■ -^ a - a:- 2 I lI'^S 3 3 >^.'^ « 3 ^ 3 M '^ .2 -^ ^ — ^ .3 3 J- '^i jg --^ O E£ 2u^qH^ W 5 3 02 t* O 7: X he ' d- PiZ - d MP^'" od Anoi:: Ah: 02 rn'oi: Pi PI ^(^Z cCz :: <1 hoh: w flnW: Oh: d «^'w: CLi O Ho;: M Ci' ^S ^ 2 u rt 2 o o 2 o Ob* -^ o ,-i\> CO ^ p:i .■^ t^ I— 1 ,^*s o ^^^ (M u y -— N ^-^^ '^ s p-4 ^^— ^ lO 0) ~"^ 2>^ CI (MM 05 ri} S— ' .s S rner 's Choic emake cS aj o o 13 t> CD 02 b, o -a ^ ^02 w bo ^ o S o oj ^ ■" ^H o 020; 0^ P^ i-i H^q c4 tdS^ ^ ^ 02 o H-l rt be ,4 d 1-4 Cm 1-5 hj Ph i-i t^^ -i ►- S -w" a «xi H a o '^ c3 *-■ c i-i _ . -^rS.2 9,,. 1 . ■^ iH a a i o 3 cs a •£ (H (I ja o P3oq oa ;:. "i-^ r- O go *j m ^ a> >-:! ^^ "^ c SP o d .g fe^ o ,t^pH N- 2 n< -^ p^ r-r o .5 a o -»- Pi W Q^ c3 a* '^S ,a - O c-c a 03 w w;3^^ s rt Ph _^ " o ^ o 3 • tr '- be S2: 300 Dialects for Oral Interpretation X XXX XXXXXXXXXX M MM X! MM M K CO 6 U : : ^ d _) n Oi Z Z 'Xi Ph: Oai: »i4 fM :: :: H Oh: ^H q ^ Oi M r3 s—' fH 03 a> (^-" cS M - ^ s ^ s OQ oq! oS'-j .a W 5 ^ 2 Ph' W • ® • _ ai O .1—1 2 &fiH ' 3 bJO, o ^ II ii! Q -g^*-^ -^ I ^ r-'* /^ -^ O o ® c 2P ;5o 2Ph O u o O &H H H S Eh H M 5H ^ rj H o -y -a o IS ^ 3.2 •-1 O >H " o '-' jn ^«> ^ ^ rt 1;? pa — « -s^ t> ® 1) ^ © 3 (H § SO § +^ fl ■*-• P t:3p P 3 » _© D Pt3 Bibliography 301 MM MMMMMMMMXJM XXXXXX XXXXX X X X Ah': cm: o ^■^l^'l^' o u ^■a OPM ai di £ 02 d GO CMO: CC Ah .a <5a; H PJ 13 H ^" e4 (Ih''^: HAh' ^Q (M (M Csl as CO tl (s o a> o 3 5 ''3 -ti > 02 ^CQ Mo 'S o J o CO CZ2 p »4 S in So 3 > O -iJ t> r-H 02 OO aDc § ^ fl a -r ^ t* , r 1 ^ -^ S''*^ gw PQ :*PQPQ^ o;^«M en I5- "• 00 ^ p^ d'h: : Ph" : Oh' „ CO --O 03 O J rt (U t> ci - tH St3 g '-> a --^ P=!'"- c3 - a? 3 c 3 ^ 3 o O :S 3 © -u J3 J ■!-< *J 02 GQ 02 O a; 02 .2 ^-^ 00 rH O ^-^ Q Oi rH Ol CO 03 o 4:) ^ oa (3 00 1-^ c5 *^j ^ Ph-^ m " S n rt n rt " M Werner Shoema 100 Ch( ^ »-< c3 u Choice Hunioi Werne Shoem Werne Shoem Hdbk. a;: - © 'S o Werne Choice Hdtk. Werne -^^ a ^ O 0)00 a :: :: 1 M a> .S :^ •2 o a : cy a H i.a j=-a' a a (u ? !> 02 w 304 Dialects for Oral Interpretation ADDRESSES OF PUBLISHERS IN ABOVE LIST "100 Choice Selections" and "Shoemaker's Best Selections," Penn Pub. Co., 925 Filbert St., Philadelphia, Pa. "Choice Selections," Cumnock, and "Selected Readings," Morgan, A. C. McClurg & Co., Wabash Ave., Chicago, 111. ' ' Werner 's Readings, ' ' Edgar S. Werner & Co., 43 E. 19th St., New York City. Ginn & Co., Boston, Mass. Chas. Scribner 's Sons, New York City. Century Co., New York City. Hinds & Eldredge, New York City. University Press, Salt Laie City, Utah. American Book Co., New York City. Harper Bros., New York City. INDEX SCOTCH Artist, The .... Auld Daddy Darkness Banks o' Doon, the . Cuddle Doon Coom, Lassie, Be Good to Did You Ever? . . Highland Mary Last May a Braw Wooer My Ain Wife . My Ain Fireside * Scotch Wooing, A . She Liked Him Kale Weel Twa Weelums, The * Twa Courtin 's, The . Wife He Wants, The . * Why No Scotchmen Heaven .... When Mither 's Gane . Me Go to John Stevenson . Joseph Ferguson Robert Burns Alexander Anderson Charles Mcllvane John Stevenson . Robert Burns . Robert Burns . Francis Bennoch William Hamilton Jerome K. Jerome Andrew Wauless Violet Jacobs David Kennedy . John Stevenson . Anonymous Anonymous . ITALAN • An Italian 's Views on the Labor Question Joseph Kerr Between Two Loves .... T. A. Daly . ' ' Descended from Christoph ' Colomb " Fred Emerson Brooks Those starred are in prose. PAoa 65 63 48 60 72 56 58 64 57 54 61 45 46 51 49 55 71 82 75 84 305 306 Index PAQB Da 'Mericana Girl .... T. A. Daly 77 Da Veera Lectla Baby ... T. A. Daly 80 Da Posta-Card from Napoli . T. A. Daly ...... 81 Mia Carlotta T. A. Daly 79 So Glad for Spreeng .... T. A. Daly 76 NEGRO * Aunt Amity's Silver Wedding Ruth McEnery Stuart . . 96 * Brer Rabbit and the Little Girl Joel Chandler Harris . . 115 Dancing in the Flat Creek Quarters John A. Macon .... 113 De Circus Turkey Ben King 91 De Namin' ob de Twins . . . Mary Fairfax Childs . . 100 Dance, The Irwin Russell .... 104 *"Dey Ain't Xo Ghosts" . . Ellis Parker Butler . . . 105 De Cushville Hop Ben King 112 * Dark Brown Diplomat, A . . Marjorie Benton Cooke . 93 In the Morning Paul Laurence Dunbar . . 89 Nebuchadnezzar Irwin Russell .... Ill or Joshway and de Sun . . . Joel Chandler Harris. . . 94 Opportunity Paul Laurence Dunbar . . 118 Theology in the Quarters . . . John A. Macon .... 99 * Tale of the Possum, The . . Joel Chandler Harris . . 120 * Why the Guineas Stay Awake Joel Chandler Harris . . 102 FRENCH AND FRENCH CANADIAN Charmette William H. Drummond . . 132 Dieudonn6 William H. Drummond . . 125 "De Nice Leetle Canadienne" . William H. Drummond . 131 De Cirque at 01' Ste. Anne . . Wallace Bruce Amsbary . 137 Family Laramie, The .... William H. Drummond . 135 Football at Chebanse .... Wallace Bruce Amsbary . 127 Little Battese William H. Drummond . . 126 Index 307 * Eesponse to a Toast . Wreck of the "Julie Plante" Litchfield Moseley . William H. Drummond SCANDINAVIAN Abou Swen Anson Ai Tank So William F. Kirk J. B. Babcock . Barefoot Boy, The Courtship of Miles Standish . George Washington . William F. Kirk William F. Kirk William F. Kirk Stealing a Ride William F. Kirk Sheridan's Kide William F. Kirk IRISH * Borrowing a Pie Birds . . . . Charles B. Loomis Moira O'Neill . Choice, The W. M. Letts . Childer Arthur Stringer Corrymeela Moira O 'Neill Cloidna of the Isle .... Arthur Stringer Cuttin' Rushes Moira O'Neill Circumstances Alter Cases , . Anonymous . Cut Finger, The Ellis Parker Butler Drownded W. M. Letts . * Donegal Fairy, A . . . . Letitia McClintock Evening Up, The Arthur Stringer . Fair, The Theodosia Garrison I '11 Niver Go Home Again . . Arthur Stringer * King O 'Toole and His Goose Samuel Lovor * New Year 's Resolutions * Natural Philosopher, A , * On Political Parades Ould Doctor MaGinn . * On Charity .... F. P. Dunne T. Maccabe F. P. Dunne . . Arthur Stringer . F. P. Dunne . . PAoa 134 140 308 Index Pat Mapee Lena Gyles . Pride of Erin ...... Arthur Stringer Says She W. M. Letts . . Tomorrow ......:. Alfred Tennyson Wife My Brother Got, The . Wise Man, The .... Wishing Bridge, The . Padric Gregory . . , Arthur Stringer . Euth Comfort Mitchell . MISCELLANEOUS Dog Story, A (German) . . . John T. Brown Foreign Views of the Statue (Medley) •Hans' Hens (German) . John Chinaman's Protest Fred E. Brooks . . . Charles Battell Loomis Anonymous .... Mr. Schmidt's Mistake (Ger- man) Charles F. Adams Rustic Song, A (Medley) Alfred Tennyson Spinster 's Sweet Arts, The (Lincolnshire) Arthur C. Deane ONE-ACT PLAYS IN DIALECT Philosopher of Butterbiggens, The (Scotch) Harold Chap in . Eider of Dreams, The (NeRro) Eamlet o' Puce, The (Irish) Spoiling the Broth (Cockney) Eidgeley Torrence . A. McClure Warnock Bertha N. Graham . Books of Eeforence Eeference Articles List of Books of Collected Eeadinos Containing Dialect . List of Authors furnishing Dialect Material, Prose and Poetry Bibliography of Four Hundred Selections rAOB 192 199 177 184 198 157 159 215 206 203 213 208 210 205 265 227 249 219 281 281 281 282 287 THE LIBRARY UNIVERSITY OF CALIFORNIA Santa Barbara Goleta, California THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW. A''^ATr,ABI,E I'CU i . , LAY .li&ftTTTD 3 1205 02383 8053 ll!lil^SiiiiS,''^'^'°^'^L LIBRARY FACILITY AA 001063 879 ,illi!!l|I m it '!!!!< > I > li '■'"""•' n.'!!!! mm 11 1 i r llil 111 { M ill i i !' ■1 1 '■! ,1 i i